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GAYLORD Re
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NICOLAS RIMSKY-KORSAKOW
PRINCIPLESOF
ORCHESTRATIONWITH MUSICAL EXAMPLES DRAWN FROM HISEDITED BY
OWN WORKS
MAXIMILIAN STEINBERGENGLISH TRANSLATION BY
EDWARD AGATE
E. F.
KALMUS ORCHESTRA209
SCORES, INC.
WEST
57th STREETN. Y.
NEW
YORK,Printed
in U. S. A.
MUSIC LIBRARYUNIVERSITY or COUi^^CTlCUT
STORRS, C0.*4N^CriCUT
rc\T
no
CONTENTSpage
Editor's Preface
VII XII1
Extract from the Author's preface (1891)Extract from the Preface to the last edition
5
T'hapter
I.
General review of orchestral groups612 21little
A. String-ed instrumentsB.
Wind instruments: Wood-windBrasssustaining power:
C. Instruments of
Plucked stringsPizzicato
26 2727
HarpPercussioninstruments
producing determinate sounds,
keyed29 30 32 32
instruments
Kettle-drums
,
,
Piano and CelestaGlockenspiel, Bells, Xylophone
Percussion instruments producing indefinite sounds
Comparison
of
resonance
in orchestral
groups, and combination
33
of different tone qualities
Chapter
II.
Melody36 39in
Melody in stringed instruments Grouping in unisonStringed instruments doublingoctaves
4044 45 45 46 474951
Melody4
in
double octavesin three
fX~"^
'^
and four octaves Melody in thirds and sixths Melody in the wood-wind Combination in unison Combination in octaves Doubling in two, three and foiir octaves Melody in thirds and sixths Thirds and sixths together Melody in the brass Brass in unison, in octaves, thirds and sixthsDoubling
52
53 53
.......
55
IVpage
Melody in different groups of instruments combined together A. Combination of wind and brass in unison B. Combination of wind and brass in octaves C. Combination of strings and wind D. Combination of strings and brass E. Combination of the three groups
.
56
5657
5861 61
Chapter
111.
Harmony63of
General observations
NumberString
Duplication harmonic parts Distribution of notes in chords
6467
harmony Wood-wind harmonyFour-part and three-part harmony
6971
72
HarmonyRemarks
in
several parts
767778
Duplication of timbres
Harmony
in the
brass
82 82
Four-part writing
Three-part writing
84
Writing in several partsDuplication in the brass
848588.
Harmony1.
in
combined groups. . .
A. Combination of wind and brassIn unison
8888
2.
Overlaying, crossing, enclosure of parts
9094
Combination of strings and wind C. Combination of the three groupsB.
95
Chapter
IV.
Composition of the orchestrawaysof orchestrating the
DifferentFull
same music
97101
Tutu windtwo and three parts
Tutti in the
103 103
Tuiti pizzicato Tutti in one,
104 104106
Soli in the strings
Limits of orchestral range
Transference of passages and phrases
107108
Chords
of different tone quality
used alternately
Amplification and elimination of tone qualitiesRepetition of phrases, imitation, echo
109
110
Sforzando-piano and piano- sforzando chords Method of emphasising certain notes and chords Crescendo and diminuendoDiverging and converging progressions
HIIll
112 113114
Tone
quality as a
harmonic force.
Harmonic basisrhythm and colour
Artificial effects
116
Use
of percussion instruments forin orchestral
....
117
Economy
colour
118
Vpage
Chapter V.
Combination of the human voice with orchestra.119 119
The Stage bandOrchestral accompaniment of solo voices
General remarks
Transparence
of
accompaniment.
Harmony
120 122125 126 128
Doubling voices in the orchestra Recitative and declamationOrchestral accompaniment of the chorus
Solo voice with chorusInstruments on the stage andin the
wings
129
Chapter VI (Supplementary)Technical termsSoloists
Voices132 133
Range andVocalisation
register
133134
VowelsFlexibility
136137
Colour and character of voicesVoicesin
137139
combination
DuetTrio, quartet etc
139 139 142 142
Chorus
A.
Range and register Melody Mixed chorusChorus, in unison
144145
145
Progression
in
octaves
145146
Voices divisi; harmonic use of the mixed chorusB. Men's chorus
and Women's chorus
148
ST0RI
Editor's Preface.Rimsky-Korsakov had long been engrossedorchestration.
in
his
treatise
on
We
havein
in
our possession a thick note book ofdating
some 200 pages
fine
hand writing,
from the yearsof acoustics,
18731874, containing a monograph on the question
a classification of wind instruments and a detailed description ofthe construction and fingering of the different kinds of flute, the
oboe, clarinet and horn.In
(1)
his
"Memoirs
of
my"1
musical
life"
(li*
edition,all
p.
120) the
following passage occurs:to the compilation ofI
had plannedtreatise
to
devote
my
energiesthis
a
full
on orchestration. To
end
made
several rough copies, jotting
the technique of different instruments. the world on this subject,of this treatise, or,to
down explanatory notes detailing What intended to present to1
was
to include everything.
The writingit
be more exact, the sketch
for
took up
most
ofof in
my
time in the years 1873 and 1874.1
After reading theto
workswork,
Tyndall and Helmholtz,
framed an introduction
my
which
I
endeavoured
to expound the laws of acoustics
as applied to the principles governing the construction of musicalinstruments.
My manual was
to
begin
with
a
detailed
list
of
instruments, classified in groups and tabulated, including a description of the various systems in use at the present day.I
had bethat
not yet thought of the second part of the book
which was
to
devotedI
to
instruments in combination.far.
But
1
soon realisedin particular,
had gone too
With wind instruments
the
different
systems were innumerable, and each manufacturer favouredpet theory.his
his
own
By
the addition of a certain
key the maker
endowed(I)
instrument with the possibility of a
new
trill,
and
This manuscriptis
was
gfiven toit
me
by Alexander Glazounov;be placed there.
if
a Rimsky-
Korsakov museum
ever founded
will
VIII
madeof
s^nic
difficult
passages more playable than on an instrument
another kind.
*to
There was no endinstrumentswith
such complications.four,
In the brass,
I
found
three,to
and
five
valves,I
the
mechanism
varying according
the make. besides,
Obviously,of
could not hope to
cover sotreatise
large
a
field;
What value would such a
be
to the
student? Such a mass of detailed description oftheir
the various systems,
advantages and drawbacks, could notNaturally heits
but
fail to
confuse the reader only too eager to learn.to
would wishthrowthe
know what
instrument to employ, the extent ofsatisfactory information
capabilities etc.,
and getting no
he wouldinterest in
my
massive work aside.
For these reasonsfinallyI
my
book gradually waned, and1891 Rimsky-Korsakov,
gave up the
task."
In
now an
artist of
standing, the
comof
poser of Snegourotchka,the
Mlada, and Sheherazade, a masterhad been teachinginstrumentation.
orchestral technique he
for twenty years,to
returned to his
handbook onatafter
He would seemto
have made notes
differentfirst
times from
1891of
1893, during
which period,
the
performance
Mlada, he gave upThey
composition for a while.in his
These notes,volumes
occasionally referred to
Memoirs, are
in three
of manuscript-paper.full
contain the unfinished preface of 1891, a paragraphthoughtful writing, and reprinted in this book. (1)As"
of clear,
the author
tells
us in his
Memoirs
(p.
297), the progress of
his
work was hamperedat
by certain
troublesome
events whichdraft,
were happening1894 heof his
the time.
Dissatisfied with his roughit,
he
destroyed the greater part ofIn
and once more abandoned hisChristmas Night;this
task.
composedmost
The
was
the
beginningin
fertile period.
He becamewas not
entirely engrossed
composition, making plans for a fresh opera as soon as thein
one
hand was completed.returnedto
It
until
1905his
that
his
thoughts
the
treatise
on orchestration,
musical
output remaining in abeyance through no fault of his own.
Sinceas
1891
the
plan
of
the
work had beenstill
entirely
remodelled,
proved by the rough drafts
extant.
The author had given up
the idea of describing different instruments from their technical(1)
This preface had already been published in his Notes(St.
and
Articles
on
Music
Petersburgh, 1911).
IXstandpoint,
and was more anxious
to
dwell upon
the value
of
tone qualities and their various combinations.
Amongthe
the author's papers several forms of the
book have beenAtlast, in
found, each widely differing in detail from the other.
summer
of
1905 Kimsky-Korsakov
brought his
plans to a
head, and outlined the six chapters which form the foundation ofthe present volume.
But the work suffered a further interruption,laid
and the sketches were once more
aside.
In
his
Memoirs,
Rimsky-Korsakov explains theand a andgeneralfeelingof
fact
by lack
of interest in thetreatise
workin
weariness:
"The
remained
abeyance.I
To
start with, the
form
of the
book was not a success,in
awaited the production of Kitesh,that
order to give
some
examples from
work"
(p.
360).
Then came the autumn
of
1906.
The composer experiencedThe Golden Cockerelthat winter
another rush of creative energy; his opera.
madehis
rapid strides, and kept
him busytreatise
all
and theof 1907,
following summer.
Whento
it
was
finished, in the
autumn
thoughts
revertedlittle
the
on orchestration.
But the
work madeadequacyof
progress.
The author had
his doubts as to the
of the plan
he had adopted, and,
in spite of the entreaties to
his
pupils
and
friends,
he could not bring himself
broach
the
latter
part of the
book.
Towardsin
the
end
of
1907 Rimskythis
Korsakov
wasand
constantly
ailing
health,
and
materially
affected his energy.
He
spent the greater part of his time reading
old notesset
classifying
examples.
About the
20*li
of
May he
out for his
summer
residence in Lioubensk, and having justof the lungs,its
recovered from a third severe attack of inflammation
beganfinal
to
work on the
first
chapter of the treatise infinished onnight, thefatal.
present,
form. This chapter
was
June 7/20, about 4 o'clock
in the afternoon; the
same
composer was seized with a
fourth attack
which provedfell
The honourKorsakovfor
on
meI
to
preparethat
this
last
work
of
Rimsky-
publication.in
Nowit
Principlesto
of Orchestration
has appearedto
think
necessary
devote a few wordslabour imposed
the
essential
features
of the
book, and
to the
upon
methe
in
my
capacity as editor.I
On
first
point
will say but
little.
The reader
will
observe
from the Contents that the work
differs
from others, not merely by
reaston of
its
musical examples, but more especially in the systematicof
arrangementgroups(the
material,
not according to orchestral division infor instance), but accord-
method adopted by Gevaert
ing to each constituent of the
musical whole, considered separately.II
Theand
orchestrationIII)
of
melodic and harmonic elements (Chapters
receives special attention, as does the question of orches-
tration in general (Chapter IV).to
The
last
two chapters are devoteda
operatic
music,
and the
sixth
takes
supplementary form,
having no direct bearing on the previous matter.
Rimsky-Korsakov altered the
title
of his
book severalI
times,
and
his final choice was never made.to
The
title
have selected seemswork, "prin-
me
to
be the one most suitable
to the contents of the
ciples" in the truest sense of the word.
Some may
expect to find
the "secrets" of the great orchestrator disclosed; but, as he himself
reminds us
in his preface, "to orchestrate is to create,
and
this is
something which cannot be taught."Yet,
as invention, in
all
art,
is
closely allied to technique, this
book may reveal muchKorsakov has often
to the student of instrumentation.
Rimsky-
repeated
the axiom that
good orchestrationof tone-colours
means proper handling of parts.andtheir
The simple use
combinationsends.
may
also be taught, but there the science of
instruction
From
these standpoints the present
book
will
furnish the pupil with nearly everything he requires.
The
author's
death prevented him
from discussing a few questions, amongstfull
which
I
would
include
polyphonic
orchestration
and
the
scoring of melodic and harmonic designs.
But these questions
can be partly solved by the principles laid
downfirst
in
Chapters
II
and
III,
and
I
have no wish
to
overcrowd the
edition of thisif
book with extra matter which can be added later,to
it
is
found
be necessary.
I
had
first
of all
to
prepare and amplify the
sketches
made by Rimsky-Korsakovit
in 1905; these
form a connectedI
summary throughoutpleted
the whole six chapters.is
Chapter
was comfive
by the author;have
published as
it
stands, save for a few
unimportant alterationsters,I
in style.
As regards the otherin the order,
chap-
tried to
keep
to the original drafts as far as possible,
and have only made a few changesindispensableadditions.
and one or twopoint
The sketches made between 1891 andto
1893 were too disconnected
be
of
much
use,
but,
in
XIoffact,
they
corresponded
very
closely
to
the
final
form
of
the work.
The musical examples aredrawnBorodinchoosing
of greater importance.
According
to
the original scheme, as noted on the 1891 MS., they were to be
from
the
works
of
Glinkato
and
Tschaikovsky;later.
those
of ofto
and Glazounov were
behis
added
The ideaonly
examples
solely
from
own worksforof
camebut
Rimsky-Korsakov by degrees.partly
The reasonspreface
this
decision areotherhis
explained
in
the
unfinishedIf
1905,
motives
may begive
mentioned.
Rimsky-Korsakov had chosen
examples from the works
of these four
composers, he would have
had
to
some accountof
of their individual,
and often stronglybeen adifficult
marked
peculiarities
style.
This would havetojustify the
undertaking, and then,
how
exclusion of West-Eu-
ropean composers, Richard Wagner, for example, whose orchestration
Rimsky-Korsakov so greatly admired?hardlyfail
Besides, the latterafforded
could
to
realise
that
his
own compositionsmanner
sufficient material to illustrate every conceivable
of scoring,
examples emanatingthe
frorfl
one great general principle.
This
is
notis
place to criticise his method; RimsT^y-Korsakov's "school"
here displayed, each
may examine
it
for
himself.
The
brilliant,
highly-coloured orchestration of Russian composers, and the scoringof the younger French musicians are largely
dev^opments
of the
methods
of
Rimsky-Korsakov, who,
in
turn,
looked upon Glinka
as his spiritual father.
The
table of
examples found among the author's papers was
farat
from complete; some portions were badly explained, others, notall.
The composer had not mentioned which musical quotationsto
were were
be printed
in
the second volume, and whichthefull
exampleslimitleft
to indicate the study of
score, further,
no
was
fixed to the length of quotation.editor's discretion.I
All this
wasto
therefore
to the
selected the examples only afterit
much doubtin
and
hesitation, finding
difficult tp
keep
those stipulated by the
composer, as every page
of the fnaster's
works abound
appro-
priate instances of this or thatI
method
of scoring.
was guided bythe
thethe
following
considerationsin
which agreedfirst
with
opinions
of
author himself:
the
place theto distract
examples should be as simple as possible, so as not
XII
the student's attention from the point under discussion; secondly,it
was necessary
that
one example should serve
to illustrate several
sections of the book, and lastly, the majority of quotations should be
those mentioned by the author. These amount to 214, in the second
volume; the remaining 98 were added by me. They are drawn, as
far
as possible, from Rimsky-Korsakov's dramatic music, since operaticfull-scores are less accessible than those of
symphonic works.diffe-
At the end of Vol.rent
II
I
have added three tables showingchords;all
ways
of scoring full
my
additions to the text are
marked withuse
asterisks.
I
consider that the careful study of the
examples contained
in the
second volume
will
be
of the greatest
to the student without replacing the
need
for the study of other
composers' scores.
Broadly speaking, the present work shouldoffull
be studied together with the reading
scores in general.
A
few words remain
to
be said regarding Rimsky-Korsakov's
intention to point out the faulty passages in his orchestral works,
an intention expressed
in
his
preface to the last edition.
The
composernations.
often referred to the instructional value of such examiIt
His purpose however was never achieved.
is
not for
me
to select these
examples, and
1
shall only1.
mention two which wereof
pointed out by the composer himself:22071ii
The Legend
Tsar Saltan
bar the theme233
in the (a
brass
is
not sufficiently prominenteasilyrectified);2.
the
trombones being,
tacet
mistake14,if
The
Golden Cockerel observedin
bars 10the the
the
marks
of expression are
the
brass,
counter- melody
on the violas andhardly
violoncellos
doubled
by
wood-windmyself
will
be heard.63,
Example 75 mayIn conclusion
also be mentioned, toI
which the note on pageto these
in the text, refers.I
will confine
examples.
Rimsky-Korsakovthis
work, thereby
my deep gratitude to Madame for having entrusted me with the task of editing providing me with the opportunity of performing adesire to express
duty sacred to theSt. Petersburgh,
memory
of a master, held so deeply in reverence.
December
1912.
MAXIMILIAN STEINBERG.
Extract from the Author's Preface (1891).Our epoch,Liszt,
the post-Wagnerian age,
is
the age of brilliahce
and
imaginative quality in orchestral tone colouring.
Berlioz, Glinka,
Wagner,thoseof
modernthe
french
composers
others;
new
russian
Delibes, school Borodin,to
Bizet
and
Balakirev,
Glazounov and Tschaikovskyarttoits
have
brought
this side of
musical
zenith;
they have eclipsed, as colourists, their prede-
cessors,
Weber, Meyerbeer and Mendelssohn,
whose genius,In writing
nevertheless, they are indebted for theirthis
ownof
progress.
book
my
chief
aim has been
to
provide the well-informed
reader with the fundamental principles
modern
orchestrationI
from the standpoint
of
brilliance
and imagination, and
have
devoted considerable space toorchestral combination.1
the study of tonal resonance and
have
tried toto
showtheto
the student
how
to obtain a certain quality
of tone,I
how
acquire uniformity of structure and requisite power.characterof
have specifiedpeculiar
certain
melodic
figures
andand
designs
each
instrument
or
orchestralto
group,
reduced these questions briefly and clearlyin shortI
general principles;with matter and
have endeavouredcarefully
to furnish the pupil
material asthelessI
and minutely studied asto instruct
possible.
Never-
do not claim
him asto
to
how such
information
should be put to
artistio
use,
nor
establishof
my
examples
in
their rightful place in the poetic
language
music.
For, just as
a handbook of harmony, counterpoint, or form presents the studentwith
harmonic or polyphonic matter,
principles
of
construction,
formal arrangement, and sound technical methods, but will never
endow him with
the
talent
for
composition, so a treatise on orto
chestration can demonstrate
how
produce a well-sounding chord1
of
2
distributed,
certain
tone-quality,its
uniformlysetting,
how
to
detach
a
melody from
harmonic
correct progression of parts,
and solve
all
such problems, but
will
never be ableis
to teach the
art of poetic orchestration.is
To
orchestrate
to create,
and
this
something which cannot be taught.It
is
a great mistake to say: this composer scores well,is
or, that
composition
well orchestrated, for orchestration
is
part of the
very soul of the work.orchestra,
A work
is
thought out in terms of theit
certain tone-colours being inseparable from
in
the
mind
of
its
creator and native toof
it
from the hour
of
its
birth.
Could the essencetration?
Wagner's music be divorced fromis
its
orches-
One might
as well say that a picture
well
drawn
in colours.
More than onecolour
classical
and modern composer has lacked thethe
capacity to orchestrate with imagination and power; the secret of
has remained
outside
range
of
his
creative faculty.to orchesof
Doestrate?
it
follow that these composers do not
know how
Many among them have hadmerecolourist.in
-greater
knowledge
the
subject than thetration?
Was Brahmshis
ignorant of orchesfind evidence of
And
yet,
nowhere
works do we
brilliant tone or picturesque fancy.
The
truth is that his thoughtsit.
did not turn towards colour; his
mind did not exactthis secret
The powermit,
of subtle orchestration is
a secret impossible to trans-
and the composer who possesses and never debaseit
should value
it
highly,
to
the level of a
mere
collection of
formulae learned by heart.
Here
I
may mention
the case of
works scored by others fromcomposer,
the composer's rough directions.
He who undertakes such workinto the spirit of thein all their essential
should enter as deeply as hetry to realise his intentions,
may
and develop them
features.
Though
one's
ownis
personality be subordinate to that of another,
such orchestration
nevertheless creative work.
But on the otheris
hand, to score a composition never intended for the orchestra,
an undesirable
practice.it.
Many musicians have madeIn
this
mistakein-
and
persist
in
(1)
any case
this is the
lowest form of
(1)
In the
margin
of the
MS. a question mark
is
added here.(Editor's note.)
process
3
my good
strumentation, akin to colour photography, though of course the
may be
well or badly done.it
to
As regards orchestration a first-rate school, andIn
has been
fortune to belong
I
have acquired tha most varied exhave had the opportunityofSt.
perience.all
the
first
place
I
hearingPeters-
my works
performed by the excellent orchestra of theSecondly,I
burgh Opera.
having experienced
leanings
towardssizes,
different directions,
have scored for orchestras of different
beginning with simple combinations (my opera Theis
May
Night
written for natural horns
and trumpets), and ending with theI
most advanced.
In the third place,
conducted the choir of the
Military Marine for several years and
was
therefore able to studyof
wind-instruments.pupils,
Finally
I
formed an orchestra
very young
and succeededof
in teaching
them
to play, quite competently,etc.
the
works
Beethoven, Mendelssohn, Glinka,to
All
this
has
enabled
me
present this
work
to
the public as the result of
long experience.
As aI.
starling-point
I
lay
downis
the following fundamental axioms:
In the orchestra thereOrchestral
no such thing _^as ugly quality of tone.be
II.
writing should
easy
to
play;
a
composer's
work standsIII.
the best chance
when
the parts are well written. (1)
A
work should be writtenit,
for the size of orchestra that is to
performpersist
not for
some imaginary body,is
as
many composersit
in
doing,
introducing brass instruments in unusual keysimpracticable becauseis
upon which the musicin theIt
not played
key the composer intends.difficult
is
to
devise any method of learning orchestration
without
a master.
As a general
rule
it
is
best to advance by
degrees from the simplest scoring to the most complicated.
The student
will
probably pass through the following phases:faith in
1.
the
phase during which he puts his entire
percussion instru-
has well expressed the various degrees of excellence in which he divides into three classes: 1. When the orchestra sounds well, playing from sight; magnificent, after a few rehearsals. 2. When effects cannot be brought off except with the greatest care and attention on the part(1)
A. Glazounov
scoring-,
of conductor
and players.in
3.
When
the orchestra never sounds well.is
Evi-
dently the chief aim
Orchestration
to
obtain the
first of
these results.1*
(Author's note.)
branchof the orchestra
4
2.
ments, believing that beauty of sound emanates entirely from this
this is the earliest stage;it
the period
when hechord;
acquires a passion for the harp, usingthe stage during
in every possible
3.
which he adores the wood-wind and
horns, using stopped notes in conjunction with strings, muted orpizzicato;4.
the
more advancedis
period,
when he has cometryis
to
recognise that the string groupofall.
the richest and most expressiveto
Whenof
the studentfirst
works alone he must
avoid the
pitfalls
the
three phases.
The
best planin
to study full-
scores,cultto
and
listen to
an orchestra, score
hand.
But
it
is
diffi-
decide what music should be studied and heard.
Music
of
all
ages, certainly, but, principally, that
which
is fairly
modern.
Fairly
modern musicwill
will teach the student
how
to
score
classicalLiszt,
music
prove of negative value to him.
Weber, Mendelssohn,andprove his best
Meyerbeer (The Prophet), Berlioz, Glinka, Wagner,
modern French and Russian composersguides.It
these
will
is
useless for a Berlioz or a Gevaert to quote examplesof Gluck.
from the works
The musical idiomsaid of Mozart
is
too old-fashioned
and strangetoday.of
to
modern
ears;
such examples are of no further use
The same may beorchestration).
and
of
Haydn
(the father
modern
Thehis
gigantic
figure
of
Beethoven
stands
apart.
His
music
abounds
in countless
leonine leaps of orchestral imagination, butindetail,
technique,
viewed
remains much
inferior
to
his
titanic
conception.
His use of the trumpets, standing out above
the rest of the orchestra, the difficult and
unhappy
intervals
he
gives to the horns, the distinctive features of the string parts andhis
often
highly- coloured
employment
of theof
wood-wind, theseto
features will
combine causing the studentin
Beethoven
stumble
upon a thousand and one pointsIt
contradiction.
is
a mistake
to
think that the beginner will light upon no simplein
and
instructive
examples
modern music,
in that of
Wagner andto
others.
On
the contrary,
clearer,
and better examples arein
bethe
found
amongst modern composers than
what
is
called
range of classical music.
5
Extract from the Preface to the last edition.My aimmodernin
undertakingin
this
work
is
to reveal the principles of
orchestration
a
somewhat
differentI
light
than
that
usually brought to bear upon the subject.principles in orchestrating
have followed theseto
my ownor
works, and, wishingI
impart
somefrom
of
myto
ideas to
young composers,given
have quoted examplesto
my own
compositions,
referencesis
them,
en-
deavouringis
show,
in all sincerity,
what
successful and
what
not.
No one can know
except the author himself the purposeof
and motives which governed him during the compositioncertain
a
work, and the practice of explaining the intentions
of a
composer, so prevalent amongst annotators, however reverent anddiscreet,
appears
to
me
far
from
satisfactory.
They
will attributeto a plain
a too closely philosophic, or excessively poetic
meaning
and simplegood;
fact.
Sometimes the respect which great composers'will
names command
cause inferior
examples
to
be quoted as
casfco of carelessness
or ignorance, easily explained by thegive rise to whole pages of
imperfections of current technique,
laborious exposition, in defence, or even in admiration of a faulty
passage.
This book
is
written for those
who havetreatise,
already studied instru-
mentation from Gevaert's excellent
or any other well-knownof a
manual, andtralI
who have some knowledge
number
of orches-
scores.shall therefore only just touch
on such technical questions asetc.
fingering, range, emission of
sound
(1)
The present work deals with
the combination of instruments in
separate groups and in the entire orchestral scheme; the different
means
of
producing strength of tone and unity of structure; the
sub-division of parts; variety of colour and expression in scoring,
the(1)
whole, principally from the standpoint of dramatic music.
A
short review of these various questions forms the
first
chapter of the
book.
(Editor's note.)
Chapter
1.
GENERAL REVIEW OF ORCHESTRAL GROUPS.
A. Stringed Instruments.The following is the formation of the number of players required in present daytheatre or concert-room.string
quartet
and the
orchestras, either in the
Whenever a grouppartsof
7
is
strings
written
for
more than
five
without
taking double notes or chords fnto consideration
these parts
may be
increased by dividing each one into two, three
and four
sections, or evenis
more
(divisi).
Generally, one or
more
of the principal parts
split up, the first
or second violins, violas1,
or violoncellos. The players are then divided by desks, numbers3, 5 etc. playing the upper part,
and
2, 4,
6
etc.,
the lower; or
else the musicianline,
on the right-handleft
of
each desk plays the topDividing by threesis is
the
one on the
the bottom line.of playersin
less
easy, as the
number
one group
not always
divisible
by
three,
and hence the
difficulty
of obtaining proper
balance.
Nevertheless there are cases where the composer should
not hesitate to employ this method of dividing the strings, leavingit
to
thetoI,
conductor to ensure equality of tone.
It
is
always asthe score;
well
mark howmoreparts
the
passagediv.
is
to
be divided
in
Vnias
1, 2,
3 desks, 6 'Cellosis
a 3, and so on.
Division into
four andit
rare, but
may be
used
in
piano passages,of strings.parts are very
greatly reducesIn
volume
of tone in the
group
Note.
small orchestras passages sub-divided into
many
hard
to realise,
and the
effect obtained is
never the one required.
String parts
may be.
divided thus:div.
^
rVni I I Vni II
div.div.
(VnillI
/Violas
div.
'Cellos div. f'Ce
^
Violas div.
^ I 'Cellos div.
^
I
D. basses
div.
Possible combinations less frequently used are:
fVn^I^I
div.'
rVnillI
div.
f
Violas div.
Violas div.It
'Cellos div.
^ I D. basses div.Still
Note.isis
is
evident that the tone quality in b and e will be similar.
b
preferable since the
number
of
Vni
II
(14
10
practically the same, the respective r61es of
8 and Violas (12 4) the two groups are more closely6)
allied,
and from thefirst,
fact that
second
violins generally sit nearer to the violas
than the
thereby guaranteeing greater unity in power and execution.will
The readerto the
findII.
all
manner
of
divisions
in
the musical
examples given
in Vol.
Where
necessary,
some
explanation asI
method
of dividing strings will follow inin order to
due course.
dwell
on the subject hereof the string quartet
show how
the usual composition
may be
altered.
Stringed instruments possess
8
of
more ways
producing sound thanbetter than
any other orchestral group.being of an
They can pass,
other
instruments from one shade of expression to another, the varietiesinfinite
number.
Species of bowing such as legato,
detached, staccato, spiccato, portamento, martellato, light staccato,saltando, attack at the nut
and
at the point,
nn Hall this
and V V V (downbelongsto the
bow and up
bow), in every degree of tone, fortissimo, pianissimo,
crescendo, diminuendo, sforzando,
morendo
natural realm of the string quartet.
The
fact
that thesefull
instruments are capable of playing double
notes and
chords across three and four stringsparts
to
say nothing
of sub-division of
renders(1).
them not only melodic but alsoandthe violin
harmonic
in
characterpointof
Fromcome
the
view of
activity
flexibility
takes pride of place
among
stringed instruments, then, in order,In jyactice the notes of
the viola, 'cello
and double bass.
extreme
limit in the string quartet
should be fixed as follows:
for violins:
(fe
,
for violas:
^^
u.
for 'cellos:
V'
,
for
double basses:
Higher notes giventhatis
in
Table A, should only be used with caution,
to
say
whenin
they are of long value, in tremolando, slow,
flowing
melodies,
not
too
rapid sequence of scales,
and
in
passages of repeated notes.Note.In
Skips should always be avoided.
quick passages for stringed instruments long chromatic figures
are never suitable; they are difficult to play and sound indistinct and muddled.
Such passages are better
allotted to the
wood-wind.
A
limit
should be set to the use of a high note on any one of
the three lower strings
on
violins,
violas
and
'cellos.
This note
should be the one
in
the fourth position, either the octave note
or the ninth of the open string.
(1) To give a list of easy three and four-note chords, or to explain the different methods of bowing does not come within the scope of the present book.
Nobility,
warmth, and equality
of
tone from one end of the scale tostringed instruments, and renderFurther,
the other are qualities
common
to all
themeachin
essentially superior to instruments of other groups.
string has a distinctive character of its
own,
difficult to define
words. The top string on the violin (E)
is brilliant in
character,
that of the viola
(A)
is
more
biting in quality
and
slightly nasal;
the highest string on the 'cello
(A)
is
bright and
possesses
a
"chest-voice" timbre.
Thethe
A
and
D
strings
on the
violin
and the
D
stringin
on the violas andtone
'cellos
are
somewhat sweeter andare rather harsh. Speak-
weakerviolin
than
others.
Covered strings (G)y on the'cello
(G and C), on the viola andthe
ing generally,
double bass
is
equally
resonant throughout,
slightly duller on the two lower strings (E and A), and more
penetrating on the upper onesNote.
(D and G).
Except
in the
case of pedal notes, the double bass rarely plays anmoving- in octaves or in unison with the 'cellos, or elseis
independentheard by
part, usually
doubling the bassoons. The quality of the double bass toneitself
therefore seldom
and the character
of its different strings is not so noticeable.
The
rare ability to connect sounds, or a series of sounds, theof
vibrationqualities
stopped strings
combined withof
their
above-namedthis
warmth"limits
and
nobility
tone
renderse. g.
group ofof
instruments far and away the best orchestralexpression.
medium
melodic
At the same time, that portion of their range situatedof
beyond thehigher than
the
human
voice,
notes on the violin
the
extreme top note of the soprano voice, from
upwards, and notes on the double bass below the range of thebass voice, descending from(written sound)
lose in expression
and warmth
of tone.
Open
strings are clearer
and more powerful but
less expressive than stopped strings.
Comparing the rangethe
of
each stringed instrument with that ofassign: to the violin, the soprano
human
voice,
we may
and
contralto voice plus atralto
10
higher register; to the'cello,
much
higher range; to the viola, the con-
and tenor voice plus a
much
the tenor and bass voices plus a higher register; to the doublebass, the bass voice plus a lower range.
The use
of
harmonics, the mute, and some special devices indifference in the resonance
bowing produce great
and tone
quality
of all these instruments.
Harmonics, frequently used
to day, alter the
timbre of a stringedin
instrument to a very appreciable extent.softlittle
Cold and transparent
passages, cold and brilliant in loud ones, and offering but
chance
for expression, they
form no fundamental part of orfor
chestral writing,their
and are used simply
ornament.
Owing
to
lack of resonant
power they should be used
sparingly, and,
when employed, should never be overpowered byAs aorrule
other instruments.
harmonics are employed on sustained notes, tremolando.,
here
and there
for brilliant
effects;
they are rarely used in
extremely simple melodies.the flute they
Owing
to a certain tonal affinity
with
may be
said to form a kind of link between string
and wood-wind instruments.Another radical changeis
effected
by the use
of mutes.
Whensoft
muted, the clear, singing tone of the strings becomes dull in
passages, turns to a slight hiss or whistle in loud ones, and the
volume
of tone is
always greatly reduced.
Theof
position of the
bow on
the string will affect the resonance
an instrument.
Playing with the
bow
close to the bridge (sul
ponticello),
chiefly used
tremolando, producer a metallic sound;dull,
playing on the finger-board (sul tasto, flautando) creates aveiled effect.Note.or
wood
Another absolutely different sound results from playing with the back of the bow {col legno). This produces a sound like a xylophone orIt
a hollow pizzicato.sustaining power.
is
discussed under the heading of instruments of
little
Theplusof
five
setsfairly
of
strings with
numberof
of players givenIf
above
produce a
evenit
balance
tone.
thereof
is
any surviolins,
strength
must
be
on
the
side
theof
first
as
they
must be heard
distinctly
on account
thethis,
important
part they play in the
harmonic scheme.inall
Besides
an extra
desk of
first
violins is usual
orchestras,
and as a general
11
rule
12
violins.
theylatter,
possess
a
more powerful tone than seconda
Thestand
with the violas, play soprominently.
secondary
part,
and do not
out
The
'cellos
and double basses areform the bass
heard morein octaves. In
distinctly,
and
in the majority of cases
conclusion
it-
may be
said that the group of strings, as aall
ipelodic element,
is
able to perform
manner
of passages, rapid
and interrupted phrasesin
of every description, diatonic or chromaticdifficulty,
character.
Capable of sustaining notes withoutto
of
playing
chords of three and four notes; adapted
the infinite
variety of shades of expression,
and
easily divisible into
numerousconsidered
sundry parts, the string group
in
an orchestra
may be
as an harmonic element particularly rich in resource.
B.
Wind'
instruments.
Wood-wind.constituent parts remains constant, satisfull
Apart from the varying number of players, the formation of thestring group, withits five
fying
the
demandsof
of
any orchestral
score.
On
the other
hand the group
number
of parts
wood-wind instruments varies both as regards and the volume of tone at its command, and hereat will.
the composer
may choose
The group may be divided13).
into
three general classes:
wood-wind instrumentson page
in pair's, in three's
and
in four's, (see table
Arabic numerals denote the number of players on each instru-
ment; roman figures, the parts
(isl,
2^
etc.).
Instruments which
do not require additional
players, but are taken over
by one or theand
other executant in place of his usual instrument, are enclosed inbrackets.
As a
rule the first flute, first oboe,
first
clarinet
first
bassoon never change instruments; considering the importance oftheir partsto another.it
is
not advisable for them to turn from one mouthpieceparts written for piccolo, bassflute,
The
English horn,
small clarinet, bass clarinet and double bassoon are taken by the
second andto
third players in
each group,
who
are
more accustomed
using these instruments of a special nature.
Wood-wind
13
strings;differentIn
14
they lack the vitality and power, and are less capable of
shade
of expression.I
each wind instrumentthat is to
have defined the scope of
greatestis
expression,
say the range in which the instrument
best qualified to achieve the various grades of tone, {forte, piano,cresc,of
dim., sforzando, morendo, etc.) the registerplaying,in
which admitsfor richness
the most expressive
the truest sense of the word.is
Outside this range, a wind instrumentof
more notable
colour than for expression.
I
am
probably the originator ofIt
the term "scope of greatest expression".
does not apply
to the
piccolo and double bassoon which represent the two extremes ofthe orchestral compass.
They do not possess such a
register
and
belongments.
to
the
bodyof
of highly-coloured but non-expressive
instru-
The four kindsbassoons
wind instruments:
flutes,
oboes, clarinets and
may beba^s
generally considered to be of equal power.
The
same cannot bepiccolo,
said of instruments
which
fulfil
a special purpose:
flute,
Eng. horn, small
clarinet,
bass clarinet and
double bassoon.
Each
of these instruments
has four registers: low,is
middle, high and extremely high, each of which
characteriseddefine
by certain differences of quality and power.together and the passage from one to another
It
is difficult to
the exact limits of each register; adjacent registers almost blendis
scarcely noticeable.
But
when
the
instrument jumps from one register to another the
difference in
power andfamiliesa)
quality of tone is very striking.
The
four
of
wind
instruments
may be
divided
into
two classes:
instruments of nasal quality and dark resonancein-
oboes and bassoons (Eng. horn and double bassoon); and b)strumentsof
"chest-voice"
quality
and bright tone and resonance
flutes
andin
clarinets (piccolo, bass flute, small clarinet, bass clarinet).
These characteristicsthe middle and
of
colour
expressed
too simple and rudimentary a form
are
specially noticeable inregister of the
upperthickis
registers.
The lowerstill
oboes
and bassoons
is
and rough, yetshrill,
nasal in quality; the
very high compassof the flutes
hard and dry.
The
clear resonancein the
and
clarinets acquiresin
something nasal and darkit
lower compass;piercing.
the very high register
becomes somewhat
Note to Table B.In the following
Table
B
the top note in each register serves as the bottom note
The note and bassoons. In the very high compass those notes are only given which can really be used; anything higher and not printed as actual notes are either too difficult to produce or of no artistic value. The number of sounds obtainable in the highest compass is indefinite, and depends, partly on the quality of the instrument itself, partly on theposition and application of the lips. The signs r== =:: are not to be mistaken for crescendo and diminuendo; they indicate how the resonance of an instrument increases or diminishes in relation to the characteristic quality of its timbre. The scope of greatest expression for each typical instrument is marked thus, under the notes the range is the same in each instrument of the same type.in the next, as the limits to
each register are not defined absolutely.
G
fixes the register of flutes
and oboes, C
for the clarinets
I
1
;
3 Oc
GO
18
Note. It is a difficult matter to define tone quality in words; we must encroach upon the domain of sight, feeling, and even taste. Though borrowed from these senses, I have no doubt as to the appropriateness of my comparisons, but, as a general rule definitions drawn from other sources are too elementaryto to
be applied
to music.
No condemnatory meaning however should be attached
my
descriptions, for in using the terms thick, piercing, shrill, dry, etc.is
my
object
to
express artistic fitness
in
words, rather than material exactitude.
Instrumental sounds which have no musical meaning are classed by me in the category of useless sounds, and I refer Jo them as such, giving my reasons. With the exception of these, the reader is advised to consider all other orchestral
timbres beautiful from antimes, to put
artistic point of
view, although
it
is
necessary, at
them
to other uses.is
Further on, a table of wind instruments
limit of range, defining different qualities of
appended, outlining the approximate tone and indicating the scope of
greatest expression (the piccolo and double bassoon excepted).
Flutes and clarinets are the(theinflutes
most
flexible
wood-wind instruments
in
particular),
but for expressivetfiis
power and
subtlety
nuances the clarinet supersedes them;of toneto
instrument can reduce
volumeby
a mereless
breath.
The nasal instruments, oboethisis
and bassoon, aretheir
mobile and supple;having
accounted for
double
reed, but,
to effect all sorts of scales
and
rapid
passages in
and bassoonsIn very quick
common with the flutes and clarinets, oboes may be considered melodic instruments in the realmorecantabile and peaceful character.flutes, clarinets
sense of the word, only of a
passages they often double thefamilies are
or strings.
Theplaying
four
equally
capableto
of
legato
and staccato
and
changing from one
the other in different ways,
but distinct and penetrating staccato passages are better suited to the
oboes and bassoons, while thesustainedlegato
flutes
and
clarinets excel in well-
phrases.
Composite
legato
passagesstacca'.o
should be
allotted to the firstto
two instruments, composite
passages
the latter
pair, but these general directions should not deter
the orchestrator from adopting the opposite plan.In
comparing the technical
indivitualities of the
wood-wind the
following fundamental differences should be noted:a)n*in'
The rapidto all
repetition of a single note by single tonguingrepitition of a single noteflute,
is
com-
wind instruments;is
by means
double tonguingb)
only possible on the
a reedless instrument.is
On
account of
its
construction the clarinetto
not well adapted
to
sudden leaps from one octave
another;
these
skips
are
easier
on
flutes,
oboes and bassoons.
c)
19
on oboes and bassoons.care must beto time.
Arpeggios and rapid alternation of two intervals legato sound
well on flutes
and
clarinets, but not
Wood-windpassages,
players
cannot manage extremely long sustained
as
they
are
compelled
to
take breath;rest
taken therefore to give them ais
little
from time
This
unnecessary in the case of string players.In the
endeavour
to characterise the
timbre of each instrumentI
typical of the
four families, from a psychological point of view,
do not
hesitate to
make
the following general remarks which apply
generally to the middle and upper registers of each instrument:a) Flute.
Coldoflight
in quality, specially suitable, in the
major key,
to to
melodies
and graceful character;
in
the minor key,
slight touches of transient sorrow.
b)
Oboe.
Artless
and gay
in
the major, pathetic and sad in
the minor.c) Clarinet.
Pliable
and expressive,
suitable, in the major, toto outbursts of
melodies of a joyful or contemplative character, ormirth; in the minor, to sad
and
reflective
melodies or impassioned
and dramatic passages.d) Bassoon.
In
the major, an atmosphere of senile mockery;
a sad, ailing quality in the minor.In the
extreme registers these instruments convey the following
impressions to
my
mind:
Lowa)
register
Very high
register
Flute
Dull, cold
Brilliant
b)c)
OboeClarinetRinging,
WildthreateningSinister
Hard, dryPiercingTense.
d)
BassoonIt
no mood or frame of mind, whether it be joyful or sadj mocking or distressed can be aroused by one single isolated timbre; it dep^ds more upon the general melodic line, the harmony, rhythm, and dynamic shades of expression, upon the whole formation of a given piece of music. The choice of instruments and timbre to be adopted depends on the position which m< lody and harmony occupy in the seven-octave scale of the orchestra; for example, a melody of light character in the tenor register could not be given to the flutes, or a sad, plaintive phrase in the high soprano register confided to the bassoons. But the ease with which tone colour can be adapted to expression must not be forgotten, and in the first of these two cases it may be conceded that the mocking character of the bassoon could easily and quite naturally assume a light-hearted aspect, andNote.is
true that
meditative or
lively,
careless or reflective,
2*
20
in the second case, that the slightly melancholy timbre of the flute is somewhat related to the feeling of sorrow and distress with which the passage is The case of a melody coinciding in character with the into be permeated. strument on which it is played is of special importance, as the effect produced There are also moments when a composer's cannot fail to be successful. artistic feeling prompts him to employ instruments, the character of which is at variance with the written melody (for eccentric, grotesque effects, etc.).
The following remarks illustrate the employment of special instruments:The dutyregister.
characteristics, timbre,
and
of
theof
piccolo and sm^ll clarinetthe ordinary flute and
is,
principally, toin
extend the range
clarinet
the highits
Theis
whistling, piercing quality of the piccolo in
highestitself
compass
extraordinarily powerful,
but does not lend
to
more moderate shades of expression. The small clarinet in its highest register is more penetrating than the ordinary clarinetThe low and middle rangebut the toneregions.is
of
the
piccolo
and smallflute
clarinetclarinet,
correspond to the same registerso
in the
normal
and
much weakerregister.still
that
it
is of little
service in those
Tlie double bassoonin the
extends the range of the ordinary
bassoon
low
The
characteristics of the bassoon'sin
low compass arerangeof the
further accentuated
the corresponding
double bassoon, but the middle and upper registers
of the latter are
by no means so
useful.
The very deepand densein
notes ofquality,
the double bassoon
are remarkably thick
very powerful in piano passages.Note.
Nowadays, when theto
limits of the orchestral scale are considerably
extended (upsimilarly,
the high
C
of the 7*h octave,
and downis
to
the low C, 16
ft.
contra octave), the piccolo forms an indispensable constituent of the wind-group;it
is
recognised that the double bassoon
capable of supplyingfor colour
valuable assistance.effects.
The small
clarinet is rarely
employed and only
The English horn, orto
alto
oboe (oboelow
in
F)
is
similar in toneits
the
ordinary oboe,
the listless,In the
dreamy
quality ofit
timbre pene-
being sweettrating.
in the extreme. clarinet,
register
is
fairly
The bassis
though strongly resembling the ordinary
clarinet,
of
darker colour in the low register and lacks thein
silveiy
quality
the upper notes;flute is
it
is
incapable of joyful ex-
pression.it
The bassthe
an instrument seldom used even today;butit
possesses
same
features as the flute,
is
colder in
colour,
21
Thesetheir
and
crystalline
in
the middle and high regions.
three particular instruments, apart from extending the low registersof the instruments to
which they belong, haveand are
own
distinctive
peculiarities of timbre,
often used in the orchestra, as solo
instruments, clearly exposed.Note.
Of the
six
special instruments referred to above, the piccolo and
double bassoon were the first to be used in the orchestra; the latter, however, was neglected after Beethoven's death and did not reappear until towards the
The Eng. horn and bass clarinet were employed initially the same century by Berlioz, Meyerbeer, and others, and for some time retained their position as extras, to become, later on, permanent orchestral factors, first in the theatre, then in the concert room. Very few attempts have been made to introduce the small clarinet into theendof the 191!l century.first
during the
half of
orchestra (Berlioz etc.); this instrument together with the bass flute is used in my opera-ballet Mlada (1892), and also in my most recent compositions.
The Christmas Night, and Sadko; the bass flute will also be found in The Legend of the Invisible City of Kitesh, and in the revised version of "Ivan theTerrible".
Of
late years the habit ofis
muting the wood-wind has come
into
fashion. This
done by
inserting a soft pad, or a piece of roUed-
up cloth into the bell of the instrument.
Mutes deaden the toneit is
of
oboes, Eng. horns, and bassoons to such an extent thatfor
possible
these instruments
to
attain
the
extreme limit
of
pianissimo
playing.
The muting
of clarinets isartificial
unnecessary, as they can play
quite softly
enough without
means.
Is
has not yet been
discoveredgreat
how
to
mute the
flutes;
such a discovery would render
service to
the piccolo.
The lowest note on the bassoon.
and on the oboe and Eng. horn
are impossibleeffect in the
when
the instruments are muted.
Mutes have no
highest register of wind instruments.
Brass.The formation of the group of brass instruments, like that of the wood-wind is not absolutely uniform, and varies ih different scores.The brass group may be dividedpondingfour's).
into three general classes corres(in
to
those of
the
wood-wind
pair's,
in three's,
and
in
22
Group corresponding to the wood- windin pair's
passages,the
23
sameforce;
strength; cornets have not quite the
horns, in fortethey havesoftly.
are
about one
half
as
strong,
but piano,
same weight as
other brass
instruments played
To
obtain an equal balance, therefore, the
marks
of expression in the
horns should be one degree stronger thanif
in the rest of the brass;
the
trumpetsp.
and trombones play pp,the
the
horns should be
markedforte
On
other hand,
to
obtain a proper balance into
passages,
two horns are needed
one trumpet or one
trombone.
Brass instruments are so similar in range and timbre that theis
discussion of register
unnecessary.
As a generalis
rule quality
becomes morevice versa,
brilliant as the
higher register
approached, and
with a decrease in tone.is
sweet; played // the tone
hard and "crackling".for swelling
Played pp the resonance is Brass instru-
ments possess a remarkable capacityto fortissimo,
from pianissimo
and reducing the tone
inversely, the sf
= p
effect
being excellent.
The following remarks asbe added:a)1.
to
character and tone quality
mayin
Trumpets (B\>tone,stirring
A).
Clearinfull
andforte
fairly
penetratingin
and rousing
passages;silvery, the
piano
phrases the high notes are
and
low notes
troubled, as though threatening danger.2.
Alto trumpetfirst
(in F).
Aninto
instrument of
my ownit
invention,In
used
by
me
the opera
ballet
Mlada.
the
deep register (notes 2afuller,
3
in the
trumpet scale)
possesses
clearer,alto
and
finer tone.
Two
ordinary trumpets
with
an
trumpet produce greater smoothness andSatis-
equality in resonance than three ordinary trumpets.fied withI
the beauty and usefulness of the alto trumpet,it
have consistently written for
in
my
later
works, com-
bined with wood-wind
in three's.alto
Note. To obviate the difficulty of using: the and some concert rooms, I have not broughtits
trumpet
in
ordinary theatres
into play the last four notes of
lowest register or their neighbouring chromatics; by this
means
the alto
trumpet part3.
may be
played by an ordinary trumpet in Bl> or A.(in
Small trumpetfor
E\>D).in
Invented byto
me
and usedvery
the
first
time
Mlada
realise
the
high
trumpet notes withoutthe instrumenttary band.Note.is
24
In
difficulty.
tonality
and range
similar to the soprano cornet in a mili-
The small trumpet, {B\^
A)
sounding an octave higher than the
ordinary trumpet has not yet appeared in musical literature.
b)
Cornets (m B\>to
A).
Possessing a quality of tone similarIt
the trumpet, but softer and weaker.rarely
is
a beautifultheatre or
instrument thoughconcert room.
employed today
in
Expert players can imitate the cornet tonevice versa. of this instrument is soft, poetical,
on the trumpet, andc)
Hornand
(in F).
The toneInfull
full
of beauty.
the lower registerin the upper.
it
is
dark and
brilliant;
round and
The middle notes
resemble those of the bassoon and the two instrumentsblend well together.
The horn,
therefore, serves as a linkIn spite of
between the brass and wood-wind.the horn has butlittle
valvesto pro-
mobility and would
seem
duced)
its
tone in a languid and lazy manner.
Trombone.brilliantis
Dark and threateningin the
in the deepest register,
and triumphant
high compass.
The piano
full
but somewhat heavy, the forte powerful and sono-
rous.
Valve trombones are more mobile than slide trombut thelatter
bones,
are
certainly
to
be preferred as
regards nobility and equality of sound, the more so fromthefact
that
these- instruments
are
rarely
required
to
perform quick passages, owingtheir tone.e)
to the special character of
Tuba. Thick and rough
in quality, less characteristic
than
the trombone, but valuable for the strength and beautyofits
low
notes.is
Like
the
double bass
and double
bassoon, the tuba
eminently useful for doubling, anit
octave lower, the bass of the group to which
belongs.
Thanks
to its valves, the tuba is fairly flexible.
The groupthroughoutits
of brass
instruments, though uniform in resonanceis
constituent -parts,
not so well adapted to expressive
playing (in the exact sense of the word) as the wood-wind group.Nevertheless, a scope of greatest expression
may be
distinguished
25
O u
a 3Uoa E
uCO(1>
>
'So
o
-
x:
H
in the
26
the piccolo and double
middleit
registers.
In
company withof
bassoonto
is
not given to the small trumpet (E\j(
D)Theis
and tubarapid and
play with
any great amount
expression.
rhythmical repitition of a note by single tonguingall
possible to
members
of the brass,
but double tonguing can only be donecornets.diffi-
on instruments with a small mouth-piece, trumpets and
These two instruments can execute rapid tremolando withoutculty.
The remarks onof
breathing, in the section devoted to theto the brass.
wood-wind, apply with equal force
The usebrass tone.
stopped
notes
and mutes
alters
the character of
Stopped notes can only be employed on trumpets,the shapeof
cornets and horns;the
trombones and tubas preventsthe bell.
hand from being insertedall
into
Though mutes
are
applied indiscriminately to
brass instruments in the orchestra,
tubas rarely posses them.in quality.
Stopped and muted notes are similar
On
the trumpet, muting a note produces a better toneit.
than stoppingIn the
horn both methods are employed; single notes are stopped
in short phrases,
muted
in longer ones.
I
do not propose
to describe
the difference between the two operations in detail, and will leavethe reader to acquire the
knowledge
for himself,
and
to
form an
opinion as toSufficientto
its
importance from his ownis
personal observation.
say that the tone
deadened by both methods,in forte passages,
assuming a wild "crackling" characterdull in piano.
tender and
Resonance
is
greatly reduced, the silvery tone of the
instrument to lost and a timbre resembling that of the oboe and
Eng. horn-f-
is
approached. Stopped notes (con sordino) are marked
underneath the note, sometimes followed by
0
denoting the
resumption of open sounds, senza sordini. Brass instruments,muted, produce aneffect of distance.
when
C.
Instruments of
little
sustaining power.
Plucked strings.When'Cellos,
the usual orchestral string quartet (Vni
I,
Vni
II,
Violas,thjC
D. basses) does notit
make
use of the bow, but plucksto
strings with the finger,
becomes
my mind
a
new and
inde-
pendent group withits
27
AssociatedI
own
particular quality of tone.
with the harp, which produces sound in a similar manner,siderit
con-
separatelyIn this
under the heading
of
plucked
strings.
Note.
plucked with a
be used
in
group may be classed the gmids, zither, balalaika; instruments such as the domra, (1) the mandoline etc., all of which may an orchestra, but have no place in the scope of the present book.quill,
Pizzicato.
Although capable of every degree of power fromcato playing has but small
// tois
pp, pizzi-
range
of expression,it
and
used chiefly
as a colour effect
On open
strings
is
resonant and heavy, onit
stopped strings shorter and duller; in the high positions
is
rather
dry and hard.
Table
D
on page 31 indicates the range
in
which pizzicato maytwo
be used on each stringed instrument.In
the orchestra, pizzicato
comes
into operation in
distinct
ways: a) on single notes, b) on double notes and chords.fingers of the rightpizz.
Thebow;
hand playing
pizz. are far less agile than the
passages therefore can never be performed as quickly as those
played arco.
Moreover, the speed of pizzicato playing depends upon
the thickness of the strings;it
on the double basses,violins.
for instance,
must always be much slower than on theIn
pizzicato
chords
it
is
better to
avoid open strings, which
produce a morefourthere
brilliant
tone than of covered strings.
Chordsattack,
of
notesis
allow
oi
greater
freedom and vigour
of
as
no danger
of accidentally touching a
wrong
note.
Naturalis
harmonics played
pizz. create a
charming
effect; the
tone
weak
however, and they are chiefly successful on the violoncello.
Harp.In
the
orchestra,
the
harp
is
almost entirely an harmonic orof
accompanying instrument.one harporpart,
The majority
scores
require
only
but in recent times composers have written for twoharps, which
even
three
are sometimes compressed into the
one part
(1)
A
russian instrument which, like the balalaika,
is
better
known abroad.
(Translator's note.)
28
Note. Full orchestras should include three or even four harps. My operas Sadko, The Legend of the Invisible City of Kitesh, and The Golden Cockerel are designed for t\yo harps, Mlada for three.
The
special function of the harp lies in the execution of chords,florid
and the
figures springing from
them.
As only four notes
at the most can be played by each hand, the notes of a chord
should be written close together, with not too great a space be-
tween one hand and the(arpeggiato);notifyit
other.
The chords must always be brokenotherwise
should
the
composer wishIn
he should
(non arpeggiato).
the middle and lower octaves the
resonancedually.In
of the strings is slightly prolonged,
and dies away gra-
changes
of
harmony
the player stops the vibration of
the strings with his hands, but, in quick modulations, thisis
method
not feasible, and the mixture of one chord with another produceseffect.It
a discordant
follows that
more
or less rapid figures can
only be realised clearly and neatly in the upper register of *he harp,
where the
strings are shorterrule, in the
and harder
in tone.
As a general
whole range
of the harp:
8
bassafirst to
only the notes of the
the fourth octave are used; the extremein special
notes in both compasses
may be employed
circumstances,
and
for doubling in octaves.is
The harp
essentially a diatonic instrument, since all chromatic
passages depend on the manipulation of the pedals.the harp does not lendtrator is advised toitself to
For
this
reason
rapid modulation, and the orches-
bear
this fact in
mind. But the
difficulty
may
be obviated by using two harpsNote.I
alternately. (1)
would remind the reader that the harp is not capable of double flats. For this reason, certain modulations from one key to another one, adjacent to it can only be accomplished enharmonically. For instance, the transition from C flat, G flat or D flat, major to their minor subdominant chords or keys is not possible owing to double flats. It is thereforesharps or double(I)
A
chromatic harp
without
pedals
has
now been
invented in France
(Lyon's system), on which the most abrupt modulations are possible.(Translator's note.)
necessarymajor.to
29
keys of B,it
start
enharmonically from theof
F
sharp or
C
sharp,
Similarly,
on account
double sharps,
is
impossible to change from
A
sharp,
DB
sharp orflat,
G
sharp, minor to their respective dominant major chordsflat,
or keys;
E
flat
and A
minor must be the starting-points.
Thealone.
technical operation
known
as glissando
is
peculiar to the harp
Taking
for granted
that the reader is conversant with the
methodspedals,it
of acquiring different scaleswill
by means
of
double-notched
be
sufficient to
remarkand
that glissando scalesto
producetime the
a
discordant
medleyto
of
sound owing
the length
of
stringseffect,
continue
vibrate,
therefore,
as a
purely musical
glissando can only be used in the upper octaves, quite piano,of
where the soundprolonged.
the strings
is
sufficienty
clear,
yet not too
Forte glissando scales, entailing the use of the lowerstrings are only permissible as embellishments.in
and middle
Glis-
sando passagesobtained, are
chords of the seventh and ninth, enharmonicallyas the above reservationsis
much more common, and
do not apply, every dynamic shade of toneharmonics can only consist
possible.
Chords
in
of three notes written close together^
two
for the left
hand and one
for the right.
The tender
poetic quality of theit
harp
is
adapted
to every dy-
namic shade, butAt least three,
is
never a very powerful instrument, and theit
orchestrator should treatif
with respect.
not
four
harpsfullis
in
unison
are
necessary,forte.
if
they are to be heard against a
orchestra playingit
The
more
rapidly a glissando passage
played, the louder
will
sound.
Harmonic notes on
the harp have great
charm but
little
resonance,
and are only possible played
quite softly.is
Speaking generally, the
harp, like the string quartet, pizzicato,
more an instrument
of
colour than expression.
Percussion instruments producing determinate sounds, keyed instruments.Kettle-drums.Kettle-drums, indispensable to every theatre and concert orchestra
occupy the most important placements.
in the
group
of percussion instru-
A
pair of kettle-drums (Timpani), in the tonic and domito,
nant keys, was the necessary attribute of an orchestra up
and
:
tury onward, in western Europe
30
in Russia,
including Beethoven's* time, but, from, the middle of the WJl cen-
and
an ever-increasing
need was
felt
for the presence of three or even four kettle-drums,If
during the whole course or part of a work.
the expensive
chromatic drum, permitting instant tuningin the majority ofrally to
is
rarely
met
with,
still,
good orchestras, three screw drums are genebe found. The composer can therefore tdke it for grantedtimpanist, having three kettle-drums at his
that a
good
command,
will
be able to tune at least one of them during a pause of
some
length.
Thedered
limitsto be:
of possible
change
in
Beethoven's time was consi-
(chromaticatly)
(cVw*^'^*'^
Bigkettle-drura
4|;
^.^it
^"to
Smallkettle-drum:.
4yP
In
these days
is
difficult
define the precise extent of high
compassandbutI
in the kettle-drums, as this of
depends
entirely
on the size
quality of the smallest one,
which there are many kinds,
advise the composer to select:CcMomaV.caV^
^madefor
Note.ballet
A
magnificent kettle-drum of very small size wasthis
my
opera-
Mlada;
instrument gave the Z)> of the
fourtii octave.
Kettle-drums are capable of every dynamic shade of tone, from
thundering fortissimo to a barely perceptible pianissimo.
In tre-
molando they can execute the most gradual crescendo, diminuendOythe sfp and morendo.
To deaden
the sound, a piece of cloth
is
generally placed on
the skin of the drum, according to the instruction: timpani coperti(muffled drums).
Piano and Celesta.The useis
of a piano in the orchestra (apart
from pianoforte con(1).
certos) belongs almost entirely to the russian school
The object
two-fold:
the quality of tone, either alone, or combined with
(1)
Rimsky-Korsakov's opera Sadko and Moussorgsky's Boris Godounov(Translator's note.)
are particularly interesting in this respect.
31
Table D.Pizzicato.
Violin.
Viola.
Violoncello.
Double bass.
^
The black notes are dry and hard, without resonance, and should only beused when doubled with the wood-wind.
*
Table E.
Glockenspiel, celesta, xylophone.
Glockenspiel(with keyboard!.
Glockenspiel(ordinary).
Celesta.
Xylophone.
)
This note
is often
missing.
that of the harp, is
32
popular instrument, the guzli,
made
to imitate a
(as in Glinka), or a soft peal of bells.
When
the piano forms partis
of
an orchestra, not as a solo instrument, an uprightpianoit
preferable
to a grand, but today the
is
gradually being superseded byIn the celesta, small steel
the celesta,
first
used by Tschaikovsky.
plates take the place of strings,
and the hammers
falling
on them
produce a delightful sound, very similar to the glockenspiel.celestait
The
is
only found in
full
orchestras;
when
it
is
not available
should be replaced by an upright piano, and not the glockenspiel.
Glockenspiel, Bells, Xylophone.
The
glockenspiel
(campanelli)
may be madetypeis
of steel
bars, or
played with a keyboard.
Theits
first
theof
more
satisfactoryis
and posesses greater resonance.similartrating.
The useis
the glockenspielbrilliant
to
the celesta,in the
but
toneof
more
and pene(1),
Big bells
shape
hollow discs or metal tubes
or real church bells of moderate size
may be
considered more as
theatrical properties than orchestral instruments.
The xylophone
is
a species of harmonica composed of strips orlittle
cylinders of wood, struck with twoclattering sound, both powerful
hammers.
It
produces a
and piercing.
To completethe bow.
this
catalogue of sounds mention should be
made
of the strings playing col legno, that is with the
wood
or back of
The sound produced
is
similar to the xylophone, andis
gains in quality as the number of players
increased.
Aspiel
table is
appended showing the range
of 'the celesta, glocken-
and xylophone.
Percussion instruments producing indefinite sounds.Instruments in this group, such as triangle, castanets,little
bells,
tambourine, switch or rod {Rule. Gen), side or military drum, cymbals, bass
drum, and Chinese gong do not take any harmonic orin
melodic part
the
orchestra,
and can only be considered as
ornamental instruments pure and simple.(1) Recently, bells
They have no
intrinsic
have been made
of
suspended metal plates possessing the(Editor's note.)
rare quality of a fairly pure tone, and which are sufficiently portable to be used
on
the concert platform.
-
33
Thefirst
musical meaning, and are just mentioned by the way.three m^ay be considered as high, the four following as
medium^
and theto
last
two as deep instruments.
This
may
serve as a guide
their
use with percussion instruments of determinate sounds,
playing in corresponding registers.
Comparison
resonance in orchestral groups and combination of different tone qualities.ofof the respective
In
comparing the resonance
gr
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