Principles of Orchestration Part 26

_Pan Voyevoda_ [[57]], [[186]], [[262]].

No. 212. _Ivan the Terrible_, Act II [[19]]; cf. also Act. III [[5]].

* No. 213-214. _Legend of Kitesh_ [[294]], [[312]] (compare).

* No. 215. _The Golden c.o.c.kerel_ [[116]]; cf. also [[82]] and [[84]].

* _Antar_ [[37]] (cf. Ex. 65).

_Tutti pizzicato._

The quartet of strings (_pizzicato_), reinforced occasionally by the harp and piano, may, in certain cases const.i.tute a particular kind of _tutti_, which can only attain any great degree of strength by support from the wood-wind. Without this support it is of medium power, though still fairly brilliant in quality.

_Examples:_

No. 216. _Snegourotchka_, before [[128]]; cf. also [[153]] and before [[305]].

* No. 217. _Russian Easter Fete_ [[K]]; cf. also [[U]] and [[V]].

* _Spanish Capriccio_ [[A]], [[C]], before [[S]], before [[P]]; cf.

also [[O]] (Ex. 56).

_Mlada_, Act II [[15]].

* _Sadko_: [[220]] (cf. Ex. 295).

* _Legend of Kitesh_ [[101]].

* No. 218. _The May Night_, Act I, The Mayor's Song--combination of strings, _arco_ and _pizz._

_Tutti_ in one, two and three parts.

It often happens that a moderately full orchestral _ensemble_ executes a pa.s.sage composed of one or two harmonic parts, in unison or in octaves. Such melodic phrases call for more or less simple orchestration with the usual doubling of parts, or, in ornamental writing, admit of contrast in tone colouring, occasionally with the addition of sustained notes.

_Examples:_

_Snegourotchka_, before [[152]], [[174]], [[176]].

_The Tsar's Bride_ [[120-121]] (cf. Ex. 63).

_The Golden c.o.c.kerel_ [[215]].

* No. 219-221. _Legend of Kitesh_ [[142]], [[144]], [[147]]--3 part _Tutti_, with different scoring.

* _Legend of Kitesh_ [[138]], [[139]]--_Tutti_ in one part.

_Soli_ in the strings.

Although, in any orchestral piece, numerous instances are to be found of melodies and phrases entrusted to a solo wind instrument (generally the first of each group, wood-wind or bra.s.s), solos for stringed instruments, on the other hand, are extremely rare. Whilst the 1st violin and 1st 'cello are fairly frequently used in this manner, the solo viola is seldom found, and a solo on the double ba.s.s is practically unknown. Phrases demanding particular individuality of expression are entrusted to solo instruments; likewise pa.s.sages that require extraordinary technique, beyond the scope of the orchestral rank and file. The comparatively weak tone of the solo instrument necessitates light, transparent accompaniment. Difficult virtuoso solos should not be written, as they attract too much attention to a particular instrument. Solo stringed instruments are also used when vigourous expression and technical facility are not required, but simply in order to obtain that singular difference in colour which exists between a solo stringed instrument and strings in unison. Two solo instruments can be coupled together, e.g. 2 _Violins soli_, etc.

and in very rare cases a quartet of solo strings may be employed.

_Examples:_

_Violin solo:_

No. 222-223. _Snegourotchka_ [[54]], [[275]].

_The May Night_, pp. 64-78.

_Mlada_, Act I [[52]]; Act III, before [[19]].

* _A Fairy Tale_ [[W]].

* _Sheherazade_, 1st movement [[C]], [[G]]; also the pa.s.sages at the start of each movement.

* _Spanish Capriccio_ [[H]], [[K]], [[R]], and the cadence on p. 38.

* No. 224. _Legend of Kitesh_ [[310]]--Vn. solo, on harmonic basis of strings _sul ponticello_ and wood-wind.

_Snegourotchka_ [[274]], [[279]]--2 Vns soli (cf. Ex. 9).

_Viola solo:_

No. 225. _Snegourotchka_ [[212]].

_Sadko_ [[137]].

* No. 226. _The Golden c.o.c.kerel_ [[163]]; cf. also [[174]], [[177]].

_Violoncello solo:_

_Snegourotchka_ [[187]] (cf. Ex. 102).

_The Christmas Night_, before [[29]], [[130]].

_Mlada_, Act III [[36]].

* _The Golden c.o.c.kerel_ [[177]], [[180]] (cf. Ex. 229).

_Double ba.s.s solo:_

* No. 227. _Mlada_, Act II [[10-12]]--a special instance where the first string is tuned down.