Principles of Orchestration Part 25

_Examples:_

No. 176, 177. _Russian Easter Fete_ [[A]] and [[C]].

_The Christmas Night_ [[158]] and [[179]].

No. 178-181. _The Tsar's Bride_, Overture: beginning, [[1]], [[2]], [[7]].

_Sadko_ [[99-101]] and [[305-307]] (cf. Ex. 289, 290, and 75).

No. 182-186. _Tsar Saltan_ [[14]], [[17]], [[26]], [[28]], [[34]].

No. 187-189. " " [[181]], [[246]], [[220]].

* No. 190-191. _Ivan the Terrible_, Overture [[5]] and [[12]].

_Spanish Capriccio_--compare 1st and 3rd movement.

* No. 192-195. _Sheherazade_, 1st movement--beginning of the _allegro_ [[A]], [[E]], [[M]].

" 3rd movement--beginning [[A]], [[I]].

" 3rd " [[E]], [[G]], [[O]].

* No. 196-198. _Legend of Kitesh_ [[55]], [[56]], [[62]].

* No. 199-201. " " " [[68]], [[70]], [[84]].

(Cf. also Ex. 213, 214. _Legend of Kitesh_ [[294]] and [[312]].)

* No. 202-203. _The Golden c.o.c.kerel_ [[229]], [[233]].

The process of scoring the same or similar ideas in different ways is the source of numerous musical operations, _crescendo_, _diminuendo_, interchange of tone qualities, variation of tone colour etc., and incidentally throws new light upon the fundamental composition of the orchestra.

Full _Tutti_.

The word _tutti_ generally means the simultaneous use of all instruments, but the word "all" is used relatively, and it must not be inferred that every single instrument must necessarily be employed to form a _tutti_. In order to simplify the following ill.u.s.trations I will divide the word into two cla.s.ses, _full tutti_ and _partial tutti_,--independently of whether the orchestra is constructed in pairs, in three's, or a larger number of instruments. I call _full tutti_ the combination of all melodic groups, strings, wind, and bra.s.s. By _partial tutti_ I mean pa.s.sages in which the bra.s.s group only takes part, whether two horns or two trumpets partic.i.p.ate alone, or whether two horns are combined with one or three trombones, without tuba, trumpets, or the two remaining horns, etc.:

[4 Horns, 2 Horns 2 Horns ]

[... or 2 Trumpets, or ... etc. ]

[... ... 3 Trombones].

In both species of _tutti_ full wood-wind may be employed or not, according to the register and musical context of the pa.s.sage. For instance, in the extreme high register it may be essential to include the piccolo; in the low register flutes will be unnecessary, and yet the pa.s.sage can still be called _tutti_. The inclusion of kettle-drums, harp, and other instruments of little sustaining power, as of the percussion in general, does not come under discussion.

The variety of orchestral operations increases with the number of instruments forming a _tutti_, in fact, so great does it become that it is impossible to consider all combinations. I can only give a few examples of full and partial _tutti_, and leave the reader to draw his own conclusions. Some of these examples fall under the double heading of full and partial _tutti_, and the student is reminded that the _tutti_ is used essentially in _forte_ and _fortissimo_, rarely in _pianissimo_ and _piano_ pa.s.sages.

_Examples:_

_Snegourotchka_ [[61]] and [[62]]--Partial and full _Tutti_.

" [[231]] Partial _Tutti_, without the trumpets (cf. Ex. 8).

No. 204. _Snegourotchka_ [[216]]--Full _Tutti_.

" [[325-326]]--Full _Tutti_ and chorus (cf. Ex. 8).

_Sadko_ [[3]], [[223]], [[239]]--Full _Tutti_ (cf. Ex. 86).

No. 205-206. _Sadko_ [[173]], [[177]]--Full _Tutti_ with chorus, differently scored.

No. 207-208. _The Christmas Night_ [[184]] and [[186]]--Full _Tutti_, orchestrated in different ways, with and without chorus.

* _The Tsar's Bride_, Overture [[1]], [[2]], [[7]]--Full and partial _Tutti_ (cf. Ex. 179-181).

* " " " [[141]]--Full _Tutti_.

* " " " [[177]]-- " "

_Pan Voyevoda_ [[186]] and [[188]] Full _Tutti_.

* _Antar_ [[65]]--(cf. Ex. 32).

* No. 209. _Sheherazade_, 3rd movement [[M]]; cf. also 1st movement [[A]], [[E]], [[H]]; 2nd movement [[K]], [[P]], [[R]]; 3rd movement [[G]], [[O]]; 4th movement [[G]], [[P]], [[W]] and further on to [[Y]] (No. 193, 194, 19, 66, 77).

* _Spanish Capriccio_ [[B]], [[F]], [[J]], [[P]], [[V]], [[X-Z]] (cf.

Ex. 3).

* _Russian Easter Fete_ [[F]], [[J]], before [[L]], [[Y]], up to the end.

* _3rd Symphony_, 1st movement [[D]], [[R-T]], [[X]]; 2nd movement [[A]], [[E]]; 4th movement [[A]], [[H]], [[S]].

* _Sadko_, Symphonic tableau [[20-24]].

* _Mlada_, Act III [[12]] (cf. Ex. 258).

* For examples of _Tutti_ chords, see special Tables at the end of Vol. II.

_Tutti_ in the wind.

In many cases the wood-wind and bra.s.s groups can form a _tutti_ by themselves for periods of varying length. Sometimes this is effected by the wood-wind alone, but more frequently with the support of horns.

At other times the horns are found alone without the wood-wind, and, lastly, a _tutti_ may be comprised of instruments of each group in varying numbers. The addition of kettle-drums and the rest of the percussion is quite common and const.i.tutes what the Germans call "Janitscharenmusik", or Turkish infantry music. Violoncellos and double ba.s.ses playing more or less important _pizz._ notes are often added to wood-wind instruments (_tutti_), likewise the remainder of the strings and the harps; this process renders the sustained notes in the wood-wind more distinct. _Tutti_ pa.s.sages in wood-wind and horns do not produce any great amount of power in _forte_ pa.s.sages, but, on the other hand _tutti_ in the bra.s.s groups alone may attain an extraordinary volume of tone. In the following examples the formation of pedal notes by strings or wood-wind in no way alters the general character of the _Tutti_:

_Examples:_

No. 210-211. _Snegourotchka_ [[149]], [[151]] (compare).

_Tsar Saltan_ [[14]], [[17]], [[26]] (cf. Ex. 182-184).