Principles of Orchestration Part 24

* _The Tsar's Bride_ [[179]] (cf. Ex. 243).

_Antar_ [[65]]--Alternation of notes in horns and wood-wind on trombone chords (cf. Ex. 32).

_General observations._ It is not always possible to secure proper balance in scoring for full wood-wind. For instance, in a succession of chords where the melodic position is constantly changing, distribution is subordinate to correct progression of parts. In practice, however, any inequality of tone may be counterbalanced by the following acoustic phenomenon: in every chord the parts in octaves strengthen one another, the harmonic sounds in the lowest register coinciding with and supporting those in the highest. In spite of this fact it rests entirely with the orchestrator to obtain the best possible balance of tone; in difficult cases this may be secured by judicious dynamic grading, marking the wood-wind one degree louder than the bra.s.s.

B. Combination of strings and wind.

1. We frequently meet with the combination of strings and wood-wind in the light of comparison of one timbre with another, either in long sustained notes, or _tremolando_ in the strings. Apart from the complete or partial doubling of the string quartet (two methods frequently used), the general and most natural arrangement is:

Fl./Ob. (Cl.) + Vns div.; Clar./f.a.g. + 'Cellos + Violas div., etc.

_Examples:_

* _Sadko_, Symphonic Tableau before [[4]], and [[4]], 9th bar.

* _Sheherazade_, 1st movement [[M]] 6 Vns soli + 2 Ob. (2 Fl.), Cl.

* _Antar_ [[7]]--String quartet _divisi_ + wood-wind (cf. Ex. 151).

* No. 171. _Antar_ [[57]]--Vns II, Violas div. + Fl., Horn (florid accompaniment in the Clar.).

* _Legend of Kitesh_ [[295]]--the same; rhythmic motion in the wind, sustained harmony in the strings (cf. Ex. 213).

2. Owing to the complete absence of any affinity in tone quality, the combination of strings with bra.s.s is seldom employed in juxtaposition, crossing, or enclosure of parts.

The first method may be used however when the harmony is formed by the strings _tremolando_, and the bra.s.s is employed in sustaining chords, also when the strings play short disconnected chords, _sforzando_.

Another possible exception may be mentioned; the splendid effect of horns doubled by divided violas or 'cellos.

_Examples:_

_Snegourotchka_ [[242]]--Full bra.s.s + strings _tremolando_ (cf. 1st Table of chords, Ex. 6).

* _Legend of Kitesh_, before [[240]]--the same (Horn, Trumpet +).

* _Sadko_, Opera, before [[34]]--Horn + Violas _div._, Trombones + 'Cellos _div._[16]

[Footnote 16: A splendid example of the combination of strings and bra.s.s may be found in the introduction to the 2nd scene of the 4th act of "_Khovanstchina_" by Moussorgsky, orchestrated by Rimsky-Korsakov. (Editor's note.)]

C. Combination of the three groups.

The combination of strings, wood-wind and bra.s.s instruments, set side by side, produces a full, round and firm tone.

_Examples:_

No. 172. _The Tsar's Bride_, before [[145]]--Ob., f.a.g. + Horns + Strings.

" " " final chord (cf. Table I of chords, Ex. 5).

* No. 173. _Sadko_, end of 1st tableau--short chords. Last chords of the 1st, 3rd and 7th tableaux (cf. Table I and III, Vol.

II, Ex. 9, 10, 18).

* No. 174. _The Christmas Night_ [[22]]--Wind + Bra.s.s _c. sord._ + _tremolo_ strings.

_Legend of Kitesh_ [[162]] (cf. Ex. 250).

_Snegourotchka_--end of opera, (cf. Table III in Vol. II, Ex. 17) and a host of other examples.

_General Observations._ Balance and correct distribution of tone is much more important in dealing with long sustained chords or those of rhythmic design; in the case of short, disconnected chords resonance is a minor consideration, but one which should not be entirely neglected.

I have endeavoured to outline the general principles to be followed, but I do not profess to deal with all the countless cases which may arise in the course of orchestration. I have given a few examples of well-sounding chords; for further information I advise the reader to study full scores with care, as this is the only method to acquire perfect knowledge of the distribution and doubling of various instruments.

Chapter IV.

COMPOSITION OF THE ORCHESTRA.

Different ways of orchestrating the same music.

There are times when the general tone, character and atmosphere of a pa.s.sage, or a given moment in an orchestral work point to one, and only one particular manner of scoring. The following simple example will serve for explanation. Take a short phrase where a flourish or fanfare call is given out above a _tremolando_ accompaniment, with or without change in harmony. There is no doubt that any orchestrator would a.s.sign the _tremolo_ to the strings and the fanfare to a trumpet, never _vice versa_. But taking this for granted, the composer or orchestrator may still be left in doubt. Is the fanfare flourish suitable to the range of a trumpet? Should it be written for two or three trumpets in unison, or doubled by other instruments? Can any of these methods be employed without damaging the musical meaning? These are questions which I shall endeavour to answer.

If the phrase is too low in register for the trumpets it should be given to the horns (instruments allied to the trumpet); if the phrase is too high it may be entrusted to the oboes and clarinets in unison, this combination possessing the closest resemblance to the trumpet tone both in character and power. The question whether one trumpet or two should be employed must be decided by the degree of power to be vested in the given pa.s.sage. If a big sonorous effect is required the instruments may be doubled, tripled, or even multiplied by four; in the opposite case one solo bra.s.s instrument, or two of the wood-wind will suffice (1 Ob. + 1 Cl.). The question whether the _tremolo_ in the strings should be supported by sustained harmony in the wood-wind depends upon the purpose in view. A composer realises his intentions beforehand, others who orchestrate his music can only proceed by conjecture. Should the composer desire to establish a strongly-marked difference between the harmonic basis and the melodic outline it is better not to employ wood-wind harmony, but to obtain proper balance of tone by carefully distributing his dynamic marks of expression, _pp_, _p_, _f_ and _ff_. If, on the contrary, the composer desires a full round tone as harmonic basis and less show of brilliance in the harmonic parts, the use of harmony in the wood-wind is to be recommended. The following may serve as a guide to the scoring of wood-wind chords: the harmonic basis should differ from the melody not only in fullness and intensity of tone, but also in colour. If the fanfare figure is allotted to the bra.s.s (trumpets or horns) the harmony should be given to the wood-wind; if the phrase is given to the wood-wind (oboes and clarinets) the harmony should be entrusted to the horns. To solve all these questions successfully a composer must have full knowledge of the purpose he has in view, and those who orchestrate his work should be permeated with his intentions. Here the question arises, what should those intentions be? This is a more difficult subject.

The aim of a composer is closely allied to the form of his work, to the aesthetic meaning of its every moment and phrase considered apart, and in relation to the composition as a whole. The choice of an orchestral scheme depends on the musical matter, the colouring of preceding and subsequent pa.s.sages. It is important to determine whether a given pa.s.sage is a complement to or a contrast with what goes before and comes after, whether it forms a climax or merely a step in the general march of musical thought. It would be impossible to examine all such possible types of relations.h.i.+p, or to consider the _role_ played by each pa.s.sage quoted in the present work. The reader is therefore advised not to pay too much attention to the examples given, but to study them and their bearing on the context in their proper place in the full scores. Nevertheless I shall touch upon a few of these points in the course of the following outline. To begin with, young and inexperienced composers do not always possess a clear idea of what they wish to do. They can improve in this direction by reading good scores and by repeatedly listening to an orchestra, provided they concentrate the mind to the fullest possible extent. The search after extravagant and daring effects in orchestration is quite a different thing from mere caprice; _the will to achieve is not sufficient; there are certain things which should not be achieved_.

The simplest musical ideas, melodic phrases in unison and octaves, or repeated throughout several octaves, chords, of which no single part has any melodic meaning are scored in various ways according to register, dynamic effect and the quality of expression or tone colour that may be desired. In many cases, one idea will be orchestrated in a different way every time it recurs. Later on I shall frequently touch upon this more complicated question.

_Examples:_

* _Snegourotchka_ [[58]]; [[65]] and before [[68]]--sustained note in unison.

There are fewer possible ways of scoring more complex musical ideas, harmonico-melodic phrases, polyphonic designs etc.; sometimes there are but two methods to be followed, for each of the primary elements in music, melody, harmony, and counterpoint possesses its own special requirements, regulating the choice of instruments and tone colour.

The most complicated musical ideas sometimes admit of only one manner of scoring, with a few hardly noticeable variations in detail. To the following example, very simple in structure I add an alternative method of scoring:

_Example:_

No. 175. _Vera Scheloga_, before [[35]]--a) actual orchestration, *b)--another method.

It is obvious that the method b) will produce satisfactory tone. But a 3rd and 4th way of scoring would be less successful, and a continuation of this process would soon lead to the ridiculous. For instance if the chords were given to the bra.s.s the whole pa.s.sage would sound heavy, and the soprano recitative in the low and middle register would be overpowered. If the _F_ sharp in the double ba.s.ses were played _arco_ by 'cellos and ba.s.ses together it would sound clumsy, if it were given to the ba.s.soons a comic effect would be produced, and if played by the bra.s.s it would sound rough and coa.r.s.e, etc.

The object of scoring the same musical phrase in different ways is to obtain variety either in tone colour or resonance. In each case the composer may resort to the inversion of the normal order of instruments, duplication of parts, or the two processes in combination. The first of these is not always feasible. In the preceding sections of the book I have tried to explain the characteristics of each instrument and the part which each group of instruments plays in the orchestra. Moreover many methods of doubling are to be avoided; these I have mentioned, while there are also some instruments which cannot be combined owing to the great difference in their peculiarities. Therefore, as regards the general composition of the orchestra, the student should be guided by the general principles laid down in the earlier stages of the present work.

The best means of orchestrating the same musical idea in various ways is by the adaptation of the musical matter. This can be done by the following operations: a) complete or partial transference into other octaves; b) repet.i.tion in a different key; c) extension of the whole range by the addition of octaves to the upper and lower parts; d) alteration of details (the most frequent method); e) variation of the general dynamic scheme, e.g. repeating a phrase _piano_, which has already been played _forte_.

These operations are always successful in producing variety of orchestral colour.