Principles of Orchestration Part 8

* _Legend of Kitesh_ [[59]], Violas/Cellos] 8, doubled by ba.s.soons.

e) Violins and Violoncellos in octaves.

Used in very expressive pa.s.sages where the 'cellos have to play on the _A_ or _D_ strings. This method produces a more resonant tone than the preceding one; instances of it are frequent.

_Examples:_

No. 29. _Antar_ [[43]].--Vns I + Vns II/'Cellos] 8. _Cantabile_ of Eastern origin.

_Sheherazade_, 3rd movement [[H]].--Vns I/'Cellos] 8. _Cantabile mezzo-forte appa.s.sionato_ (cf. Ex. 1).

* No. 30. _Sheherazade_, 3rd movement, before [[P]]--Vns I/Vns II + 'Cellos] 8 and Vns I + II/'Cellos] 8. The first arrangement is rarely found.

_Pan Voyevoda_ [[134]], nocturne "Moonlight"--Vns I/'Cellos] 8.

_Cantabile_ melody given first to 'cellos alone (cf. Ex. 7).

_The May Night_, Act III [[B, C, D]]--Vns I + Vns II/'Cellos] 8.

A _forte_ melodic phrase.

f) Violoncellos and Double ba.s.ses in octaves.

The ba.s.s is usually constructed in this manner. Examples of it are to be found everywhere. Sometimes the double ba.s.s part is simplified in comparison with the 'cello part.

_Example:_

_Snegourotchka_ [[9]], Fairy Spring's _Aria_.

g) Violas and Double ba.s.ses in octaves.

This combination seldom arises and is only used when the 'cellos are otherwise employed.

_Example:_

No. 31. _Legend of Kitesh_ [[223]].

h) Parts progressing in octaves, each part doubled in unison. Melodies situated in the middle orchestral range may be allotted to 1st and 2nd Vns, in octaves with Violas and 'Cellos. This arrangement is constantly found, and produces a beautiful quality of tone, somewhat severe in character.

_Examples:_

_Snegourotchka_ [[58]], [[60]], [[65]] and [[68]]. The same melody, played twice _pianissimo_, not doubled, then twice (_mezzo-forte_ and _forte_), doubled in the wood-wind.

_Mlada_, Act II, the beginning of the Lithuanian dance. A lively _piano_ theme.

_Ivan the Terrible_, Act II [[28]].

_Note I._ It may be of use to point out that melodies lying in the extreme upper register, e.g. those exceeding the middle of the 5th octave, are generally doubled an octave below, whilst those situated in the extreme low register (below the middle of the 1st octave) are doubled an octave higher.

_Examples:_

_Sadko_ [[207]] (cf. Ex. 24).

_Note II._ Progression in octaves of divided strings _of the same kind_ is generally to be avoided:

Violas I 'Cellos I D. ba.s.ses I ]

Violas II, 'Cellos II, D. ba.s.ses II ] 8,

for, in such cases the parts are played on strings which do not correspond, and unity of tone is impaired. This, however, does not apply to violins.

_Note III._ The following distribution is occasionally found:

Violas + 'Cellos I ]

D. ba.s.ses + 'Cellos II ] 8.

Melody in double octaves.

a) Vns I] 8/Vns II/Violas] 8 or Vns I] 8/Vns II/'Cellos] 8 may be used for full _cantabile_ melodies extremely tense in character, and in _forte_ pa.s.sages for choice.

_Example:_

No. 32. _Antar_ [[65]].--Vns I] 8./Vns II/Violas + 'Cellos] 8.

b) Violas] 8/'Cellos/D. ba.s.ses] 8 or Vns I + II] 8/Violas + 'Cellos/D. ba.s.ses] 8 or Vns I + II + Violas] 8/'Cellos/D. ba.s.ses] 8 are employed when the low register of each instrument is brought into play, and also to suit phrases of a rough and severe character.

_Examples:_

_Legend of Kitesh_ [[66]], opening of the 2nd Act.

No. 33. _Snegourotchka_ [[215]]. Tumblers' dance.

_Note._ The lack of balance in the distribution:

Vns I + II +Violas ] 8

'Cellos ]

D. ba.s.ses ] 8

is not of any great importance, for, in such cases, the partial harmonics of one octave support the tone of the other, and _vice versa_.

Doubling in three and four octaves.

The distribution Vns I/Vns II/Violas/'Cellos/D. ba.s.ses] 8/8/8/8 is very seldom found, and as a rule, only when supported by wind instruments.