Principles of Orchestration Part 13

_Snegourotchka_ [[222]]--2 Trombones/Trombone + Tuba] 8.

_Ivan the Terrible_, Act III [[10]] 1 Trombone + Trumpet/2 Trombones]

8 (cf. Ex. 38)

_The Golden c.o.c.kerel_ [[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 bra.s.s in unison.

The combination of a wood-wind and bra.s.s instrument produces a complex resonance in which the tone of the bra.s.s predominates. This resonance is naturally more powerful than that of each instrument taken separately, but slightly sweeter than the bra.s.s instrument alone. The tone of the wood-wind blends with that of the bra.s.s, 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_ pa.s.sages. 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 + f.a.g. Trombones and Tuba may also be doubled: Trombone + f.a.g., Tuba + f.a.g. Combining the Eng. horn, ba.s.s clarinet and double ba.s.soon with the bra.s.s, in corresponding registers, presents the same characteristics.

_Examples:_

_Legend of Kitesh_ [[56]]--Trombone + Eng. horn.

* _Mlada_, Act III, before [[34]]--3 Trombones + Ba.s.s cl.

As a rule, the addition of a wind to a bra.s.s instrument yields a finer legato effect than when the latter instrument plays alone.

B. Combination of wind and bra.s.s 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_ pa.s.sages:

8 [2 Ob. or 2 Cl. or 2 Fl.

[1 Horn

as well as

1 Ob. + 1 Cl.] 2 Fl. + 2 Cl.]

1 Horn ] 8; 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.

[Music] [Music]

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/Horn/Horn] 6] 8.

* Mention should also be made of mixed timbres (wood and bra.s.s) in progression in octaves.

_Examples:_

_Mlada_, Act III, beginning of Scene III--Trombone + Ba.s.s cl./Tuba + C-f.a.g.] 8.

No. 78. _Mlada_, Act III after [[25]]--2 Cl. + 2 Horns + Trombone/Ba.s.s 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:_

* _Sheherazade_, 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 ba.s.soon 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. (Ba.s.s fl., picc.), Vns + Ob., Vns + Cl. (small Cl.); Violas + Ob. (Eng. horn), Violas + Cl., Violas + f.a.g.

'Cellos + Cl. (Ba.s.s cl.), 'Cellos + f.a.g.; D. ba.s.ses + Ba.s.s cl., D. ba.s.ses + f.a.g.; D. ba.s.ses + C-f.a.g.

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.