Principles of Orchestration Part 15

The combination of members of the three groups in unison is more common, the presence of the wood-wind imparting a fuller and more evenly blended tone. The question as to which group will predominate in timbre depends upon the number of instruments employed. The most natural combinations, and those most generally in use are: Vns + Ob. (Fr., Cl.) + Trumpet; Violas (or 'Cellos) + Cl. (Eng. horn) + Horn; 'Cellos/D. ba.s.ses + 2 f.a.g. + 3 Trombones + Tuba.

Such groupings are used for preference in loud pa.s.sages or for a heavy _piano_ effect.

_Examples:_

No. 93-94. _Snegourotchka_ [[218]] and [[219]]--Vns I + II + Cl. + Horn and Vns I + II + Cl. + Trumpet.

_Servilia_ [[168]]--Violas + Trombones/'Cellos + Trombone + Ba.s.s Cl./D. ba.s.ses + Tuba + f.a.g.] 8/8 (cf. Ex. 62).

No. 95. _Snegourotchka_ [[325]]--'Cellos + Violas + f.a.g. + Trombone/D.

ba.s.ses + f.a.g. + Tuba] 8.

_Pan Voyevoda_ [[224]]--Vns + f.a.g. + Horn + Vn. + Cl. + Trumpet.

(Stopped notes in the bra.s.s.)

* _Mlada_, Act III, after [[23]]--Violas + 2 Cl. + Ba.s.s trumpet.

* No. 96. _Ivan the Terrible_, Act III, before [[66]]--Ba.s.s Cl. + Horn /D. ba.s.ses + C-f.a.g. + Tuba] 8.

* _Ivan the Terrible_, Overture, 4th bar after [[9]]--Violas + 'Cellos + Eng. horn + 2 Cl. + Ba.s.s Cl. + 2 f.a.g. + 4 Horns. (The melody simplified in the horns.)

Chapter III.

HARMONY.

General observations.

The art of orchestration demands a beautiful and well-balanced distribution of chords forming the harmonic texture. Moreover, transparence, accuracy and purity in the movement of each part are essential conditions if satisfactory resonance is to be obtained. No perfection in resonance can accrue from faulty progression of parts.

_Note._ There are people who consider orchestration simply as the art of selecting instruments and tone qualities, believing that if an orchestral score does not sound well, it is entirely due to the choice of instruments and timbres.

But unsatisfactory resonance is often solely the outcome of faulty handling of parts, and such a composition will continue to sound badly whatever choice of instruments is made. So, on the other hand, it often happens that a pa.s.sage in which the chords are properly distributed, and the progression of parts correctly handled, will sound equally well if played by strings, wood-wind or bra.s.s.

The composer should picture to himself the exact harmonic formation of the piece he intends to orchestrate. If, in his rough sketch, there exist any uncertainly as to the number or movement of harmonic parts, he is advised to settle this at once. It is likewise essential for him to form a clear idea as to the construction and musical elements of the piece, and to realise the exact nature and limitations of the themes, phrases and ideas he is going to employ. Every transition from one order of harmonic writing to another, from four-part harmony to three, or from five-part harmony to unison etc., must coincide with the introduction of a new idea, a fresh theme or phrase; otherwise the orchestrator will encounter many unforeseen and insurmountable difficulties. For example, if, during a pa.s.sage written in four parts a chord in five-part harmony is introduced, a fresh instrument must needs be added to play this particular fifth part, and this addition may easily damage the resonance of the chord in question, and render the resolution of a discord or the correct progression of parts impossible.

Number of harmonic parts--Duplication.

In the very large majority of cases harmony is written in four parts; this applies not only to single chords or a succession of them, but also to the formation of the harmonic basis. Harmony which at first sight appears to comprise 5, 6, 7 and 8 parts, is usually only four part harmony with extra parts added. These additions are nothing more than the duplication in the adjacent upper octave of one or more of the three upper parts forming the original harmony, the ba.s.s being doubled in the lower octave only. The following diagrams will explain my meaning:

[Music: _A. Close part-writing._

Four part harmony.

Duplication of 1 part.

Duplication of 2 parts.

Duplication of 3 parts.]

[Music: _B. Widely-divided part-writing._

Four part harmony.

Duplication of 1 part.

Duplication of 2 parts.]

_Note._ In widely-s.p.a.ced harmony only the soprano and alto parts may be doubled in octaves. Duplicating the tenor part is to be avoided, as close writing is thereby produced, and doubling the ba.s.s part creates an effect of heaviness. The ba.s.s part should never mix with the others:

Bad: [Music]

On account of the distance between the ba.s.s and the three other parts, only partial duplication is possible.

Good: [Music]

_Note._ Notes in unison resulting from correct duplication need not be avoided, for although the tone in such cases is not absolutely uniform, the ear will be satisfied with the correct progression of parts.

Consecutive octaves between the upper parts are not permissible:

Bad: [Music]

Consecutive fifths resulting from the duplication of the three upper parts moving in chords of sixths are of no importance:

Good: [Music]

The ba.s.s of an inversion of the dominant chord should never be doubled in any of the upper parts:

Good: [Music] Bad: [Music]

This applies also to other chords of the seventh and diminished seventh:

Bad: [Music] Good: [Music]

The rules of harmony concerning sustained and pedal pa.s.sages apply with equal force to orchestral writing. As regards pa.s.sing and auxiliary notes, _echappees_, considerable licence is permitted in rapid pa.s.sages of different texture:

One texture: [Music]

A different one: [Music]

One texture: [Music]

A different one: [Music]

A certain figure and its essentials, in simplified form, may proceed concurrently, as in the following example:

One texture: [Music]

A different one: [Music]

A third: [Music]