Principles
of Orchestration

List of Works

CONTENTS
VOLUME II

-VII-

Rimsky-Korsakov had been deeply focused on his work about orchestration for a long time. We have a thick notebook of about 200 pages in neat handwriting, from the years 1873-1874, which includes a monograph on acoustics, a classification of wind instruments, and a detailed description of how to construct and play various types of flute, oboe, clarinet, and horn.[1]

In his "Memoirs of My Musical Life" (1st edition, p. 120), the following passage appears: "I had planned to dedicate all my energy to compiling a complete treatise on orchestration. To achieve this, I created several rough drafts, jotting down explanatory notes detailing the techniques of different instruments. What I intended to present to the world on this topic was to include everything. Writing this treatise, or more accurately, the outline for it, consumed most of my time during the years 1873 and 1874. After reading the works of Tyndall and Helmholtz, I wrote an introduction to my work, in which I aimed to explain the laws of acoustics as they relate to the principles behind musical instrument construction. My manual was to start with a detailed list of instruments, classified in groups and organized in a table, including descriptions of the various systems currently in use. I hadn't yet considered the second part of the book, which was meant to focus on instruments used together. However, I soon realized that I had gone too far. With wind instruments in particular, the different systems were countless, and each manufacturer favored their own preferred theory. By adding a certain key, the maker granted their instrument the potential for a new trill, and-VIII- made some challenging passages easier to play than on another type of instrument."

There was no end to these complications. In the brass section, I found instruments with three, four, and five valves, and the mechanism varied depending on the brand. Clearly, I couldn't hope to cover such a wide range; plus, what good would such a book be for the student? A ton of detailed descriptions about the different systems, their pros and cons, would only confuse a reader eager to learn. Naturally, they would want to know which instrument to use, what it could do, and if they didn't get clear answers, they would just toss aside my lengthy work. Because of all this, my interest in the book gradually faded, and I eventually gave up on the task.

In 1891, Rimsky-Korsakov, now a well-respected artist and the composer of Snegourotchka, Mlada, and Shéhérazade, a master of orchestral technique he had been teaching for twenty years, returned to his handbook on instrumentation. It appears he made notes at different times from 1891 to 1893, during which he took a break from composing after the first performance of Mlada. These notes, occasionally mentioned in his Memoirs, are in three volumes of manuscript paper. They include the unfinished preface of 1891, a paragraph full of clear, thoughtful writing, which is reprinted in this book.[2]

As the author shares in his Memoirs (p. 297), the progress of his work was disrupted by various annoying events happening at that time. Unhappy with his rough draft, he got rid of most of it and once again put his project aside.

In 1894, he wrote The Christmas Night; this marked the start of his most productive period. He became completely absorbed in composing, planning a new opera as soon as he finished the one he was working on. It wasn't until 1905 that he turned his attention back to the orchestration treatise, as his musical output had been on hold through no fault of his own. Since 1891, the plan for the work had been completely revamped, as shown by the existing rough drafts. The author abandoned the idea of describing different instruments from a technical perspective and focused more on the importance of tone qualities and their various combinations.

Among the author's documents, several versions of the book have been discovered, each varying significantly in detail from the rest. Finally, in the summer of 1905, Rimsky-Korsakov finalized his plans and outlined the six chapters that make up the foundation of this volume. However, the work faced another delay, and the sketches were set aside once again. In his Memoirs, Rimsky-Korsakov attributes this to a lack of interest in the work and a general sense of exhaustion: "The treatise remained on hold. Initially, the format of the book wasn’t successful, and I was waiting for the production of Kitesh to provide some examples from that work" (p. 360).

Then came the autumn of 1906. The composer experienced another burst of creative energy; his opera, The Golden Cockerel, made rapid progress, keeping him busy all that winter and the following summer. When it was completed in the autumn of 1907, he turned his thoughts back to the treatise on orchestration. However, the work did not advance much. The author had doubts about the sufficiency of the plan he had chosen, and despite the pleas from his students and friends, he couldn't bring himself to tackle the latter part of the book. By the end of 1907, Rimsky-Korsakov was frequently unwell, which greatly affected his energy. He spent most of his time going through old notes and organizing examples. Around May 20th, he headed to his summer home in Lioubensk and, having just recovered from a third serious attack of pneumonia, began working on the first chapter of the treatise in its current, final form. This chapter was completed on June 7/20 at around 4 o'clock in the afternoon; that same night, the composer suffered a fourth attack that turned out to be fatal.

The honor fell to me to prepare this final work of Rimsky-Korsakov for publication. Now that Principles of Orchestration is in print, I feel it's important to say a few words about the key aspects of the book and the work required of me as the editor.

On the first point, I won’t say much. The reader will notice from the Contents that this work stands out from others, not just because of its musical examples, but especially due to the organized structure of the material. It’s arranged not by orchestral sections in groups (like Gevaert’s method, for example), but by each part of the musical whole, looked at individually. The orchestration of melodic and harmonic elements (Chapters II and III) gets particular focus, as does the general question of orchestration (Chapter IV). The last two chapters focus on operatic music, and the sixth serves as a supplement, having no direct connection to the earlier topics.

Rimsky-Korsakov changed the title of his book several times, and he never settled on a final choice. The title I’ve picked feels like the most fitting for the content, as it reflects "principles" in the truest sense. Some might hope to uncover the "secrets" of the great orchestrator, but as he points out in his preface, "to orchestrate is to create, and this is something that can’t be taught."

Yet, since invention in all art is closely linked to technique, this book may offer a lot to those studying instrumentation. Rimsky-Korsakov often emphasized that good orchestration means proper handling of parts. While the basic use of tone colors and their combinations can be taught, that's where the science of instruction stops. From these perspectives, this book will provide the student with nearly everything they need. The author's passing meant he couldn't address a few topics, including full polyphonic orchestration and the scoring of melodic and harmonic designs. However, these topics can be partly addressed by the principles outlined in Chapters II and III, and I prefer not to overwhelm the first edition of this book with extra content that can be added later if necessary. My first task was to prepare and expand on the sketches made by Rimsky-Korsakov in 1905; these create a cohesive summary throughout all six chapters. Chapter I was completed by the author; it is published as is, with only a few minor changes in style. Regarding the other five chapters, I have tried to stick closely to the original drafts and have only made a few adjustments in the order and a couple of essential additions. The sketches created between 1891 and 1893 were too scattered to be very useful, but, in fact, they correlated closely with the final version of the work.

The musical examples are much more significant. According to the original plan, as noted on the 1891 manuscript, they were to be drawn from the works of Glinka and Tchaikovsky; the works of Borodin and Glazounov were to be added later. The idea of selecting examples solely from his own pieces only gradually occurred to Rimsky-Korsakov. The reasons for this decision are partly explained in the unfinished preface of 1905, but other motivations can also be mentioned. If Rimsky-Korsakov had chosen examples from these four composers, he would have needed to account for their distinct and often strongly defined stylistic traits. This would have been a challenging task, and how could he justify excluding Western European composers, like Richard Wagner, whom Rimsky-Korsakov greatly admired? Moreover, he must have realized that his own compositions provided enough material to illustrate every possible scoring style, all rooted in one fundamental principle. This isn’t the place to critique his approach; Rimsky-Korsakov's "school" is presented here, and everyone can examine it for themselves. The brilliant, richly colored orchestration of Russian composers and the scoring techniques of the younger French musicians are largely developments of Rimsky-Korsakov's methods, who, in turn, regarded Glinka as his spiritual father.

The table of examples in the author’s papers was incomplete; some parts were poorly explained, while others weren't explained at all. The composer hadn't indicated which musical quotes should be included in the second volume or which examples were meant to show the study of the full score; moreover, there were no restrictions on how long the quotes could be. This all left the decision up to the editor. I chose the examples only after much uncertainty and hesitation, finding it hard to stick to those specified by the composer since every page of the master’s works is filled with suitable examples of this or that scoring technique.

I was guided by the following thoughts that aligned with the author’s own views: first, the examples should be as straightforward as possible to keep the student focused on the topic; second, one example should illustrate multiple sections of the book; and lastly, most of the quotes should be from those mentioned by the author. There are 214 in the second volume; the remaining 98 were added by me. They are taken, as much as possible, from Rimsky-Korsakov's dramatic music, since full scores of operas are less accessible than those of symphonic works.[3]

At the end of Vol. II, I've included three tables that demonstrate different methods for playing full chords; all my additions to the text are marked with asterisks. I believe that carefully studying the examples in the second volume will be extremely beneficial for the student without replacing the need to study other composers' scores. In general, this work should be studied alongside reading full scores overall.

A few words still need to be said about Rimsky-Korsakov's intention to point out the problematic sections in his orchestral works, as mentioned in his preface to the last edition. The composer often highlighted the educational value of such analyses. However, his goal was never fully met. It’s not my place to pick these examples, and I will only mention two that the composer identified himself: 1. The Legend of Tsar Saltan 220, 7th bar—the theme in the brass isn’t prominent enough since the trombones are tacet (a mistake that could easily be fixed); 2. The Golden Cockerel 233, bars 10-14, if the expression markings are followed in the brass, the counter-melody on the violas and cellos doubled by the woodwind will barely be heard. Example 75 can also be mentioned, which the note on page 63 in the text refers to. I will limit myself to these examples.

In conclusion, I want to express my heartfelt thanks to Madame Rimsky-Korsakov for trusting me with the task of editing this work, giving me the chance to honor the memory of a master who is held in such high regard.

St. Petersburg, December 1912.

MAX STEINBERG.

-1-

Our time, the post-Wagnerian era, is characterized by brilliance and creativity in orchestral color. Composers like Berlioz, Glinka, Liszt, Wagner, and contemporary French composers—Delibes, Bizet, and others—along with those from the new Russian school—Borodin, Balakirev, Glazounov, and Tchaikovsky—have taken this aspect of musical art to new heights. They have outshone their predecessors, Weber, Meyerbeer, and Mendelssohn, as colorists, although they still owe a debt to their genius for their own development. In writing this book, my main goal has been to present well-informed readers with the basic principles of modern orchestration from a perspective of brilliance and imagination, and I have allocated considerable space to exploring tonal resonance and orchestral combinations.

I've tried to show the student how to achieve a certain quality of tone, how to develop a consistent structure and necessary power. I’ve detailed the characteristics of specific melodic figures and designs unique to each instrument or orchestral group, and I’ve summarized these issues briefly and clearly into general principles. In short, I’ve aimed to provide the pupil with material that has been studied as thoroughly and carefully as possible. However, I don't claim to instruct him on how to apply this information artistically, nor to position my examples appropriately within the poetic language of music. Just like a manual on harmony, counterpoint, or form gives the student harmonic or polyphonic material, construction principles, formal arrangements, and sound technical methods but can't instill the talent for composition, a treatise on orchestration can demonstrate how to create a well-sounding chord-2- of a certain tone quality, evenly distributed, how to separate a melody from its harmonic context, the correct progression of parts, and solve similar problems, but it will never teach the art of poetic orchestration. Orchestrating is about creating, and that's something that can’t be taught.

It's a big mistake to say things like: this composer writes good scores, or that composition is well orchestrated, because orchestration is part of the very soul of the work. A piece is conceived with the orchestra in mind, and certain tones are inseparable from it in the creator's mind since its inception. Could you separate the essence of Wagner's music from its orchestration? That would be like saying a painting is well drawn in colors.

More than a few classical and modern composers haven’t been able to orchestrate with imagination and strength; the secret of color has remained beyond their creative ability. Does that mean these composers don’t know how to orchestrate? Many of them actually have a deeper understanding of the subject than just the colorist. Was Brahms clueless about orchestration? Yet, in none of his works do we see signs of brilliant tone or vivid imagination. The reality is that his thoughts didn’t focus on color; his mind simply didn’t demand it.

The power of subtle orchestration is a secret that's hard to convey, and the composer who holds this secret should appreciate it deeply and never reduce it to just a bunch of formulas memorized by rote.

Here, I can mention the situation of pieces arranged by others based on the composer’s rough notes. Anyone taking on this task should dive deeply into the composer’s spirit, try to understand their intentions, and express them in all their key aspects.

Though your own personality is secondary to someone else's, that kind of collaboration is still a creative process. On the flip side, arranging a piece not meant for the orchestra is a poor practice. Many musicians have made this mistake and continue to do so.[4] In any case, this represents the lowest level of instrumentation, similar to color photography, although the execution can be done well or poorly.

Regarding orchestration, I’ve been lucky to be part of a top-notch school, and I've gained a wide range of experience. First, I’ve had the chance to hear all my works performed by the fantastic orchestra of the St. Petersburg Opera. Second, after exploring various musical directions, I’ve arranged music for orchestras of different sizes, starting with simple groupings (my opera The May Night is scored for natural horns and trumpets) and progressing to more complex ensembles. Third, I conducted the choir of the Military Marine for several years, which allowed me to study wind instruments closely. Finally, I put together an orchestra of very young students and managed to teach them to play works by Beethoven, Mendelssohn, Glinka, and others quite competently. All of this has allowed me to present this work to the public as a product of extensive experience.

As a starting point, I establish the following basic principles:

I. In the orchestra, there’s no such thing as an ugly tone quality.

II. Orchestral writing should be easy to play; a composer's work has the best chance when the parts are well crafted.[5]

III. A piece should be composed for the actual size of the orchestra that will perform it, not for some imaginary group, as many composers continue to do, bringing in brass instruments in unusual keys that make the music unplayable because it isn’t performed in the key the composer intended.

It's tough to find a way to learn orchestration without a mentor. Generally, it's best to progress gradually from the simplest arrangements to the most complex ones.

The student will likely go through these phases: 1. the phase where he completely relies on percussion instruments, believing that all beautiful sound comes from this section of the orchestra—this is the earliest stage; 2. the period when he develops a love for the harp, using it in every possible chord; 3. the stage where he adores the woodwinds and horns, incorporating stopped notes with strings, either muted or pizzicato; 4. the more advanced stage, when he recognizes that the string section is the richest and most expressive of all. When the student is working alone, he should try to avoid the mistakes of the first three phases. The best approach is to study full scores and listen to an orchestra with the score in hand. But it can be tough to decide what music to study and listen to. Music from all ages, for sure, but especially that which is fairly modern. Fairly modern music will teach the student how to score—classical music will be of little help to him. Weber, Mendelssohn, Meyerbeer (The Prophet), Berlioz, Glinka, Wagner, Liszt, and modern French and Russian composers will be his best guides. It’s pointless for a Berlioz or a Gevaert to reference examples from Gluck’s works. The musical style is too outdated and strange to modern ears; such examples are no longer useful today. The same goes for Mozart and Haydn (the father of modern orchestration).

The massive figure of Beethoven stands out. His music is full of incredible bursts of orchestral creativity, but when you look closely, his technique is significantly less impressive than his monumental ideas. His use of trumpets, which rise above the rest of the orchestra, the tricky and awkward intervals he assigns to the horns, the unique characteristics of the string parts, and his often vibrant use of woodwinds—all these aspects will lead anyone studying Beethoven to encounter countless contradictions.

It’s a mistake to believe that beginners can’t find straightforward and educational examples in modern music, like that of Wagner and others. On the contrary, there are clearer and better examples among modern composers than in what’s considered classical music.

-5-

My goal in taking on this work is to shed light on the principles of modern orchestration from a perspective that's different from the usual one. I've applied these principles in orchestrating my own pieces, and I'd like to share some of my thoughts with young composers. To illustrate my ideas, I've included examples from my own compositions or noted them, aiming to sincerely demonstrate what works and what doesn’t. No one knows better than the author the purpose and motivations behind their work, and I find the common practice of explaining a composer’s intentions—often done by annotators—to be quite unsatisfactory. They tend to read too much into simple facts, attributing overly philosophical or excessively poetic meanings. Sometimes, the respect that great composers command leads to mediocre examples being cited as good; instances of carelessness or ignorance, easily explained by the limitations of current techniques, end up generating lengthy defenses or even unwarranted admiration for flawed passages.

This book is for those who have already studied instrumentation from Gevaert's excellent guide or any other well-known manual and have some knowledge of several orchestral scores.

I will only briefly mention technical issues like fingering, range, sound production, etc.[6]

The current work focuses on how instruments are combined in different groups and within the entire orchestra; the various ways to achieve volume and coherence; the division of parts; and the range of colors and expressions in scoring—all primarily from the perspective of dramatic music.

-6-

OVERALL REVIEW OF ORCHESTRAL GROUPS.

The following is the setup of the string quartet and the number of players needed in today's orchestras, whether in the theater or concert hall.

In larger orchestras, the number of first violins can range from 20 to even 24, with the other string instruments being increased accordingly. However, having so many strings tends to overpower the usual woodwind section, which means it needs extra support. Sometimes, orchestras have fewer than 8 first violins; this is a mistake because it completely disrupts the balance between strings and woodwinds. When composing for the orchestra, it’s better to work with a medium-sized group of strings. A larger orchestra will deliver a work more effectively; with a smaller one, the damage will be less severe.-7-

Whenever a group of strings is written for more than five parts—without considering double notes or chords—these parts can be expanded by splitting each one into two, three, four, or even more sections (divisi). Usually, one or more of the main parts is divided, like the first or second violins, violas, or cellos. The players are then arranged by desks, with numbers 1, 3, 5, etc., playing the upper part, and 2, 4, 6, etc., playing the lower; alternatively, the musician on the right side of each desk plays the top line, while the one on the left plays the bottom line. Dividing into threes is more challenging since the number of players in one group isn't always divisible by three, making it harder to achieve proper balance. Still, there are situations where the composer shouldn't hesitate to use this method of dividing the strings, leaving it to the conductor to ensure a balanced tone. It’s also helpful to indicate how the passage should be divided in the score; for example, Vns I, 1, 2, 3 desks, 6 'Cellos div. à 3, and so on. Dividing into four or more parts is uncommon, but can be effective in piano passages, as it significantly reduces the volume of sound from the string group.

String parts can be divided like this:

Possible combinations that are used less often include:

The reader will find all kinds of divisions in the musical examples presented in Vol. II. Where needed, some explanations about how to divide strings will follow shortly. I focus on this topic here to demonstrate how the typical composition of the string quartet can be changed.-8-

Stringed instruments can create more types of sounds than any other group in the orchestra. They transition from one expression to another more smoothly than other instruments, with an endless variety of shades. Different bowing techniques like legato, detached, staccato, spiccato, portamento, martellato, light staccato, saltando, as well as techniques that start at the nut and at the point, and (down bow and up bow), across all dynamic levels like fortissimo, pianissimo, crescendo, diminuendo, sforzando, and morendo—all of these belong to the natural expression of the string quartet.

The fact that these instruments can play double notes and full chords across three and four strings—not to mention splitting parts—makes them not only melodic but also harmonic in nature.[7]

From the perspective of activity and flexibility, the violin stands out among string instruments, followed in order by the viola, cello, and double bass. In practice, the extreme notes in the string quartet should be set as follows:

for violins: , for violas: ,

for cellos: , for double basses: .

Higher notes given in Table A should only be used carefully, meaning when they are of long duration, in tremolando, slow, flowing melodies, in sequences of scales that aren’t too fast, and in sections with repeated notes. Jumps should always be avoided.

A limit should be placed on the use of a high note on any of the three lower strings on violins, violas, and cellos. This note should be the one in the fourth position, either the octave note or the ninth of the open string.-9-

Nobility, warmth, and a consistent tone across the entire range are qualities that all string instruments share, making them fundamentally superior to instruments from other categories. Additionally, each string has its own unique character, which is hard to articulate in words. The top string on the violin (E) is bright in character, while the viola's top string (A) has a sharper quality and a slightly nasal sound; the highest string on the cello (A) is bright and has a "chest-voice" quality. The A and D strings on the violin and the D string on the violas and cellos are a bit sweeter and softer in tone than the others. The covered strings (G) on the violin (G and C), as well as on the viola and cello, are somewhat harsh. Generally speaking, the double bass has a rich resonance throughout, slightly duller on the two lower strings (E and A) and more vibrant on the upper strings (D and G).

The unique ability to link sounds, or a series of sounds, the vibration of plucked strings combined with their previously mentioned qualities—warmth and richness of tone—makes this group of instruments by far the best orchestral medium for expressing melody. At the same time, the part of their range that goes beyond the range of the human voice, such as notes on the violin that are higher than the highest note a soprano can sing, from

upwards, and notes on the double bass below the range of the bass voice, descending from

(written sound)

lose in expression and warmth of tone. Open strings are clearer and more powerful but less expressive than stopped strings.

Comparing the range of each string instrument with that of the human voice, we can assign: the violin to the soprano and contralto voices, plus a much higher range; the viola to the contralto and tenor voices, plus a much higher register; the cello to the tenor and bass voices, plus a higher register; and the double bass to the bass voice, plus a lower range.

The use of harmonics, the mute, and various special devices in bowing creates a significant difference in the resonance and tone quality of all these instruments.

Harmonics, often used today, significantly change the sound of a stringed instrument. They sound cold and clear in soft parts, cold and bright in loud parts, and allow for little expression, so they aren't a crucial part of orchestral music and are mainly used for decoration. Because they lack strong resonance, they should be used sparingly and not allowed to be overshadowed by other instruments. Generally, harmonics are used on sustained notes, tremolando, or occasionally for flashy effects; they're rarely included in very simple melodies. Due to a certain tonal similarity with the flute, they can be considered a kind of bridge between string and woodwind instruments.

Another radical change happens with the use of mutes. When muted, the clear, singing tone of the strings becomes dull in soft passages, turns into a slight hiss or whistle in loud ones, and the overall volume of sound is always significantly reduced.

The position of the bow on the string affects the resonance of an instrument. Playing the bow close to the bridge (sul ponticello), mainly used for tremolando, produces a metallic sound; playing on the fingerboard (sul tasto, flautando) creates a dull, muted effect.

The five sets of strings with the number of players mentioned above create a pretty balanced sound. If there's any extra strength, it’s probably from the first violins, as they need to be clearly heard because of their important role in the harmony. Additionally, it's common for all orchestras to have an extra row of first violins, and generally, they have a stronger tone than the second violins. The second violins, along with the violas, play a supporting role and aren't as prominent. The cellos and double basses are more clearly heard, and in most cases, they provide the bass in octaves.

In conclusion, it can be said that the string section, as a melodic element, can execute all kinds of passages, rapid and fragmented phrases of various types, whether diatonic or chromatic. It can sustain notes effortlessly, play chords of three and four notes, and adapt to a wide range of expressive shades. Easily divided into numerous parts, the string section in an orchestra can be seen as a harmonic element that is particularly rich in resources.

Apart from the different number of players, the string section, with its five main parts, stays the same, meeting the needs of any full orchestral score. In contrast, the woodwind section varies in both the number of parts and the sound it can produce, allowing the composer to decide as they see fit. The group can be divided into three general categories: woodwind instruments in pairs, in threes, and in fours (see table on page 13).

Arabic numerals indicate the number of players on each instrument; Roman numerals represent the parts (1st, 2nd, etc.). Instruments that don't need extra players and can be played by one of the performers instead of their usual instrument are shown in brackets. Generally, the first flute, first oboe, first clarinet, and first bassoon don't switch instruments; due to the significance of their parts, it's best for them not to change from one mouthpiece to another. The parts written for piccolo, bass flute, English horn, small clarinet, bass clarinet, and double bassoon are played by the second and third players in each group, who are more familiar with these particular instruments.-13-

The setup of the first ensemble can be changed by the permanent inclusion of a piccolo part. Occasionally, a composer will write for two piccolos or two English horns, etc., without raising the overall number of players needed (in groups of three or four).

Considering the instruments it includes, the string section offers a good variety of color and contrast in range, but this diversity in range and tone is subtle and not easily noticed. In contrast, the woodwind section stands out with its distinct differences in pitch and quality of flutes, oboes, clarinets, and bassoons. Generally, woodwind instruments are less versatile than -14- strings; they lack the energy and strength, and are less capable of conveying different shades of expression.

In each wind instrument, I have defined the scope of greatest expression, meaning the range in which the instrument is best able to achieve different tones, such as forte, piano, crescendo, diminuendo, sforzando, morendo, etc.—the register that allows for the most expressive playing in the true sense of the word. Outside this range, a wind instrument is more known for its richness of color rather than its expressiveness. I probably coined the term "scope of greatest expression". It doesn’t apply to the piccolo and double bassoon, which represent the two extremes of the orchestral range. They lack such a register and fall into the category of highly-colored but non-expressive instruments.

The four types of wind instruments—flutes, oboes, clarinets, and bassoons—can generally be seen as having equal power. However, this isn't true for instruments with specific roles: piccolo, bass flute, English horn, small clarinet, bass clarinet, and double bassoon. Each of these instruments has four registers: low, middle, high, and extremely high, each defined by distinct differences in quality and power. It’s challenging to pinpoint the exact boundaries of each register; adjacent registers almost mix together, making the transition from one to another barely noticeable. But when the instrument jumps from one register to another, the difference in power and tone quality is very obvious.

The four families of wind instruments can be split into two categories: a) instruments with a nasal quality and deep sound—oboes and bassoons (English horn and contrabassoon); and b) instruments with a "chest-voice" quality and bright sound—flutes and clarinets (piccolo, bass flute, small clarinet, bass clarinet).

These traits of color and sound—described in a very basic and simplistic way—are especially noticeable in the middle and upper ranges. The lower range of the oboes and bassoons is dense and harsh, yet still has a nasal quality; the very high notes are sharp, harsh, and brittle. The clear tone of the flutes and clarinets takes on a nasal and dark quality in the lower range; in the very high register, it becomes somewhat piercing.

-18-

Flutes and clarinets are the most versatile woodwind instruments (especially flutes), but when it comes to expressive power and subtlety in nuances, the clarinet takes the lead; this instrument can reduce its volume to just a whisper. The more nasal instruments, the oboe and bassoon, are less agile and flexible; this is due to their double reed design. However, because they need to perform all kinds of scales and fast passages like the flutes and clarinets, oboes and bassoons can be seen as melodic instruments in the true sense, but with a more cantabile and gentle character. In very fast passages, they often double the flutes, clarinets, or strings.

The four families are equally skilled at legato and staccato playing, and they can switch between the two in various ways. However, distinct and sharp staccato sections are better suited for the oboes and bassoons, while the flutes and clarinets are great at well-sustained legato phrases. Composite legato sections should be assigned to the first two instruments, and composite staccato sections to the latter pair, but these general guidelines shouldn't stop the orchestrator from trying the opposite approach.

In comparing the technical characteristics of the woodwinds, the following key differences should be noted:

a) The quick repetition of a single note using single tonguing is typical for all wind instruments; however, repeating a single note through double tonguing is only possible on the flute, which is a reedless instrument.

b) Because of its design, the clarinet isn't very good at making sudden jumps from one octave to another; these jumps are easier on flutes, oboes, and bassoons.-19-

c) Arpeggios and quick switching between two intervals legato sound good on flutes and clarinets, but not on oboes and bassoons.

Woodwind players can't handle very long sustained passages since they need to breathe; it's important to give them a break occasionally. This isn't needed for string players.

In the effort to describe the sound quality of each instrument typical of the four families, from a psychological perspective, I’m not afraid to make the following general comments that generally apply to the middle and upper ranges of each instrument:

a) Flute.—Cool in tone, especially great, in the major key, for melodies that are light and graceful; in the minor key, for subtle hints of fleeting sadness.

b) Oboe.—Simple and cheerful in the major key, moving and sorrowful in the minor key.

c) Clarinet.—Flexible and expressive, it works well in major keys for joyful or thoughtful melodies and bursts of laughter; in minor keys, it suits sad and reflective tunes or passionate and dramatic sections.

d) Bassoon.—In the major, there's a vibe of elderly mockery; a sad, sickly feel in the minor.

In the extreme ranges, these instruments give me the following impressions:

The following comments highlight the features, sound quality, and use of special instruments:

The piccolo and small clarinet mainly serve to expand the range of the regular flute and clarinet in the higher register. The bright, sharp sound of the piccolo in its highest range is incredibly strong, but it doesn't allow for more subtle expressions. The small clarinet at its highest notes is more piercing than the regular clarinet. The low and middle registers of the piccolo and small clarinet match those of the normal flute and clarinet, but their tone is so much weaker that they are not very useful in those areas. The double bassoon extends the range of the regular bassoon in the lower register. The traits of the bassoon's low range are further emphasized in the double bassoon's corresponding range, but its middle and upper registers are not nearly as helpful. The very low notes of the double bassoon are notably thick and dense, making them very powerful in piano passages.

The English horn, or alto oboe (oboe in F), has a sound similar to the regular oboe, with a soft, dreamy quality that is extremely sweet. In the lower range, it has a strong presence. The bass clarinet, while very much like the standard clarinet, has a darker tone in the lower register and lacks the bright quality in the higher notes; it doesn't convey cheerful emotions. The bass flute is an instrument that’s rarely used even now; it shares the same characteristics as the flute but has a cooler sound and is more crystalline in the mid and high ranges. These three instruments not only broaden the low ranges of their respective families but also have unique tonal qualities, and they are often featured in orchestras as solo instruments that stand out.

Recently, muting woodwinds has become trendy. This is done by putting a soft pad or a piece of rolled-up cloth into the bell of the instrument. Mutes dull the sound of oboes, English horns, and bassoons so much that these instruments can reach the extreme limit of pianissimo playing. Muting clarinets isn’t necessary since they can play softly enough without any extra help. No one has figured out how to mute flutes yet; discovering this would be a big help for the piccolo. The lowest notes on the bassoon,

and on the oboe and English horn

are impossible when the instruments are muted. Mutes don't affect the highest notes of wind instruments.

The setup of the brass instruments, similar to that of the woodwinds, isn't completely consistent and differs in various scores. The brass section can be categorized into three main classes that align with those of the woodwinds (in pairs, in threes, and in fours).-22-

The instructions are the same as in the previous table for woodwind instruments. It's clear that in all three categories, the arrangement can change according to the composer’s preferences. In music for the theater or concert hall, pages can be composed without using trumpets, trombones, or tuba, or a certain instrument might be added temporarily as an extra. In the table above, I have listed the most typical arrangements, which are the most common today.

Although they’re not as versatile as woodwinds, brass instruments enhance the impact of other orchestral groups with their powerful resonance. Trumpets, trombones, and tubas are about equal in strength; cornets aren’t quite as forceful; horns, in forte passages, are roughly half as strong, but in piano, they match the weight of other softly played brass instruments. To achieve an equal balance, the expression marks for horns should be one degree stronger than the rest of the brass; if the trumpets and trombones play pp, the horns should be marked p. Conversely, to maintain proper balance in forte passages, you need two horns for every trumpet or trombone.

Brass instruments are so similar in range and sound that it’s unnecessary to discuss register. Generally, the quality becomes brighter as you play higher notes, and vice versa, with a drop in tone. When played quietly (pp), the sound is sweet; when played loudly (ff), the tone is harsh and "crackling." Brass instruments can swell beautifully from pianissimo to fortissimo, and can also reduce the tone inversely, with the sf p effect being excellent.

The following comments about character and tone quality can be added:

a) 1. Trumpets (B♭-A). Clear and quite piercing in sound, exciting and uplifting in forte sections; in piano phrases, the high notes are rich and bright, while the low notes feel unsettling, as if hinting at danger.

2. Alto trumpet (in F). An instrument I invented myself, first used by me in the opera-ballet Mlada. In the lower range (notes 2 to 3 in the trumpet scale), it has a fuller, clearer, and finer sound. Two standard trumpets paired with an alto trumpet create a smoother and more balanced resonance than three standard trumpets. Pleased with the beauty and functionality of the alto trumpet, I have consistently included it in my later works, often combined with woodwinds in groups of three.

3. Small trumpet (in E♭-D). I invented this instrument and used it for the first time in Mlada to easily reach the very high-24- trumpet notes. It has a similar tone and range to the soprano cornet in a military band.

b) Cornets (in B♭-A). They have a tone quality similar to the trumpet, but softer and weaker. It's a beautiful instrument, though it's rarely used today in theater or concert halls. Skilled players can mimic the cornet tone on the trumpet, and vice versa.

c) Horn (in F). The sound of this instrument is soft, lyrical, and beautiful. In the lower range, it's dark and vibrant; rich and full in the higher range. The mid-range notes are similar to those of the bassoon, and the two instruments work well together. The horn, therefore, acts as a bridge between brass and woodwind instruments. Despite having valves, the horn has limited flexibility and seems to produce its sound in a slow and relaxed way.

d) Trombone. Dark and menacing in the low register, bright and victorious in the high range. The piano is rich but a bit heavy, while the forte is strong and resonant. Valve trombones are more agile than slide trombones, but the latter are definitely superior in terms of richness and balance of tone, especially since these instruments are rarely needed for fast passages due to their unique sound quality.

e) Tuba. It's thick and rough in quality, less distinct than the trombone, but it's valuable for the strength and beauty of its low notes. Similar to the double bass and double bassoon, the tuba is really useful for doubling the bass of its group an octave lower. Thanks to its valves, the tuba is quite flexible.

The group of brass instruments, while consistent in sound across its parts, isn’t quite as suited for expressive playing (in the exact sense of the word) as the woodwind group. Still, you can identify a range of great expression-26--25- in the middle registers. Alongside the piccolo and double bassoon, the small trumpet (E♭-D) and tuba aren’t capable of playing with much expression. All brass instruments can manage rapid and rhythmic note repetition through single tonguing, but double tonguing is only achievable on instruments with a small mouthpiece, like trumpets and cornets. These two can perform rapid tremolando without any trouble. The comments about breathing in the woodwind section also apply strongly to the brass.

The use of stopped notes and mutes changes the sound of brass instruments. Stopped notes can only be used on trumpets, cornets, and horns; the design of trombones and tubas prevents the hand from being placed in the bell. While mutes are used on all brass instruments in the orchestra, tubas seldom have them. Stopped and muted notes are similar in quality. On the trumpet, muting a note creates a better sound than stopping it.

In the horn, both methods are used; single notes are stopped in short phrases and muted in longer ones. I won’t go into detail about the differences between the two techniques, and I’ll let the reader learn for themselves and form their own opinion on its significance through personal experience. It’s enough to say that the tone is muted by both methods, sounding wild and "crackly" in forte sections, and tender and dull in piano. Resonance is greatly reduced, causing the instrument's silvery tone to fade and approach a sound similar to that of the oboe and English horn. Stopped notes (con sordino) are marked Understood! Please provide the text you'd like me to modernize. below the note, sometimes followed by , indicating a return to open sounds, senza sordini. When brass instruments are muted, they create a sense of distance.

When the standard orchestral string quartet (Violin I, Violin II, Violas, Cellos, Double Basses) plucks the strings with their fingers instead of using a bow, I see it as a new and distinct group with its own unique tone quality. Since it’s similar to how the harp produces sound, I think of it separately under the category of plucked strings.

Although it can produce a wide range of dynamics from ff to pp, pizzicato playing has a limited range of expression and is mainly used for color effects. On open strings, it sounds resonant and heavy; on stopped strings, it’s shorter and duller; and in higher positions, it tends to be a bit dry and harsh.

Table D on page 31 shows the range where pizzicato can be applied on each string instrument.

In the orchestra, pizzicato works in two different ways: a) on single notes, b) on double notes and chords. The fingers of the right hand when playing pizz. are not as quick as the bow; pizz. passages can never be played as fast as those performed arco. Additionally, the speed of pizzicato playing depends on the thickness of the strings; for example, on the double basses, it always has to be much slower than on the violins.

In pizzicato chords, it's best to steer clear of open strings since they create a brighter sound compared to covered strings. Four-note chords offer more freedom and stronger attack because there’s no risk of accidentally hitting the wrong note. Natural harmonics played pizz. create a lovely effect; however, the sound is weak, and they're mainly effective on the cello.

In the orchestra, the harp primarily serves as a harmonic or accompanying instrument. Most scores call for just one harp part, but lately, composers have begun writing for two or even three harps, which are sometimes combined into a single part.-28-

The unique role of the harp is in playing chords and the intricate patterns that emerge from them. Since each hand can play up to four notes at most, the notes in a chord should be written close together, with not too much space between the hands. Chords must always be played broken (arpeggiato); if the composer wants them played differently, they should indicate that (non arpeggiato). In the middle and lower octaves, the strings resonate slightly longer and fade out gradually. When changing harmonies, the player stops the strings' vibrations with their hands, but this method doesn't work well in quick modulations, leading to a jarring mix of chords. Therefore, faster musical patterns can only be played clearly and neatly in the upper register of the harp, where the strings are shorter and produce a sharper tone.

As a general rule, throughout the entire range of the harp:

only the notes from the first to the fourth octave are used; the extreme notes in both ranges may be used in special cases, and for doubling in octaves.

The harp is primarily a diatonic instrument, as all chromatic passages rely on the use of the pedals. Because of this, the harp isn't ideal for quick modulations, and the orchestrator should keep this in mind. However, this challenge can be overcome by using two harps in rotation.[10]

The technique called glissando is unique to the harp. Assuming that the reader knows how to use double-notched pedals to create different scales, it's important to note that glissando scales create a jarring mix of sounds because the strings vibrate for a long time. Therefore, as a purely musical effect, glissando can only be effectively used in the upper octaves, played softly (piano), where the string sounds are clear but not too sustained. Forte glissando scales, which involve the lower and middle strings, should only be used as decorative elements. Glissando passages in seventh and ninth chords, played enharmonically, are much more common, and since the earlier limitations don’t apply here, any dynamic shading of tone is achievable. Chords in harmonics can only have three notes played closely together, with two for the left hand and one for the right.

The gentle, lyrical quality of the harp fits every dynamic nuance, but it's never a very powerful instrument, so the orchestrator should handle it with care.

At least three, if not four harps playing together are needed to be heard over a full orchestra playing loudly. The faster a glissando passage is played, the louder it will sound. Harmonic notes on the harp are very charming but have little resonance and can only be played quite softly. Overall, the harp, like the string quartet's pizzicato, is more of a color instrument than one of expression.

Kettle drums, essential to every theater and concert orchestra, hold a key spot in the percussion instrument family. A pair of kettle drums (Timpani), in the tonic and dominant keys, was a must-have for orchestras up until Beethoven's time, but from the mid-19th century onward, there was a growing demand in Western Europe and Russia for the use of three or even four kettle drums throughout all or part of a piece. Although the pricey chromatic drum, which allows for instant tuning, is rarely found, most quality orchestras typically have three screw drums. This means that composers can confidently assume a skilled timpanist, with three kettle drums available, will be able to tune at least one of them during a longer pause.

The limits of possible change during Beethoven's time were seen to be:

In today's world, it's hard to determine the exact range of high notes in the kettle drums because it totally depends on the size and quality of the smallest one, of which there are various types. However, I recommend that the composer choose:

Kettle drums can produce every dynamic tone, from loud fortissimo to a barely heard pianissimo. In tremolando, they can carry out the most gradual crescendo, diminuendo, sfp, and morendo.

To mute the sound, a piece of cloth is usually laid on the drum's skin, as per the instruction: timpani coperti (muffled drums).

The use of a piano in the orchestra (aside from piano concertos) is mostly associated with the Russian school.[11] The purpose is twofold: the quality of sound, whether played alone or combined with-32- the harp, is meant to mimic a popular instrument, the guzli, (as seen in Glinka), or a gentle ringing of bells. When the piano is part of an orchestra, not as a solo instrument, an upright is preferred over a grand, but nowadays the piano is gradually being replaced by the celesta, which was first used by Tschaikovsky. In the celesta, small steel plates replace the strings, and the hammers striking them create a lovely sound, very similar to the glockenspiel. The celesta is only found in full orchestras; when it's not available, an upright piano should be used instead of the glockenspiel.

The glockenspiel (campanelli) can be made from steel bars or can be played with a keyboard. The first type is more satisfying and has better resonance. Using the glockenspiel is similar to using the celesta, but its tone is brighter and sharper. Large bells shaped like hollow discs or metal tubes,[12] or actual church bells of moderate size are more like theatrical props than orchestral instruments.

The xylophone is a type of harmonica made up of wooden strips or cylinders, played by striking them with two small hammers. It creates a loud, sharp clattering sound.

To finish this catalog of sounds, it’s important to mention the strings playing col legno, which means using the wood or back of the bow. The sound created is similar to a xylophone and improves in quality as more players join in.

A table is added showing the range of the celesta, glockenspiel and xylophone.

Instruments in this group, like the triangle, castanets, small bells, tambourine, switch or rod (Rute. Ger.), side or military drum, cymbals, bass drum, and Chinese gong, don’t contribute any harmonic or melodic elements to the orchestra and can only be seen as purely ornamental instruments. They lack any inherent-33- musical significance and are only mentioned in passing. The first three can be classified as high, the next four as medium, and the last two as low instruments. This classification can help guide their use alongside percussion instruments with definite sounds, playing in corresponding ranges.

In comparing the resonance of the different groups of sound-producing instruments, we come to the following approximate conclusions:

In the brass section, the most powerful instruments are the trumpets, trombones, and tuba. In loud sections, the horns are only half as strong, so 1 Trumpet = 1 Trombone = 1 Tuba = 2 Horns. Woodwind instruments, when playing loudly, are twice as weak as the horns, meaning 1 Horn = 2 Clarinets = 2 Oboes = 2 Flutes = 2 Bassoons. However, in soft sections, all wind instruments, whether wood or brass, have a fairly equal balance.

It's harder to compare the resonance between woodwinds and strings because it all depends on how many strings there are. However, in a medium-sized orchestra, you can generally assume that in piano passages, one section (like all 1st Violins or all 2nd Violins, etc.) has the same strength as one woodwind instrument (1st Violins = 1 Flute, etc.), and in forte passages, it corresponds to two woodwind instruments (1st Violins = 2 Flutes = 1 Oboe + 1 Clarinet, etc.).

It’s even harder to compare instruments with less sustaining power because there’s a lot of variation in how they produce and emit sound. The combined strength of groups with sustained resonance easily overpowers strings played pizzicato or with the wood of the bow, soft piano playing, or the celesta. When it comes to the glockenspiel, bells, and xylophone, their striking tone will easily dominate other groups when combined. The same goes for kettle drums with their ringing, resonant quality, as well as other supporting instruments.

The impact of one group's sound on another is clear when the groups are doubled; for example, when the woodwinds blend closely with the strings on one side and the brass on the other. The winds enhance the strings, making them sound fuller-34- and mellow out the brass. The strings don't mesh as well with the brass, and when the two groups are positioned next to each other, they are each too distinct. The mix of the three different sounds played together creates a rich, warm, and unified tone.

All or several wind instruments together will take the place of one section of additional strings:

One group of string instruments added to the woodwinds together creates a sweet, unified sound, with the woodwind tone still dominating; however, when one wind instrument is added to all or part of the strings playing together, it just makes the resonance of the strings thicker, causing the woodwind tone to be lost in the mix.

Muted strings don't blend well with woodwinds because their tones stay distinct and separate. Combining plucked strings and percussion with instruments that have sustained resonance leads to this: wind instruments, both wood and brass, enhance and clarify pizzicato strings, harp, kettle drums, and percussion in general, with the latter adding a nice relief to the tone of the woodwinds. Joining plucked strings and percussion with bowed instruments doesn't create as pleasing a mix, as both qualities are heard independently. The combination of plucked strings with just percussion is fantastic; they blend perfectly, and the resulting increase in resonance creates a wonderful effect.

The connection between string harmonics and the flute or piccolo creates a bridge between the two sections in the higher range of the orchestra. Additionally, the sound of the viola can be somewhat compared to the middle range of the bassoon and the lowest notes of the clarinet; thus, in the mid-orchestral range, a link is formed between the string quartet and the woodwinds.

The bassoon and horn act as a link between woodwinds and brass, with these two instruments being somewhat similar in character when played softly or at a medium volume; the flute, in its lower register, also reminds us of the soft trumpet sound. Stopped and muted notes in horns and trumpets have a quality similar to that of the oboe and English horn, and they blend quite well with the latter instrument.

To wrap up this overview of orchestral groups, I’d like to add a few comments that I believe are particularly important.

The main role in music is carried out by three groups of instruments that maintain a resonant sound, which represent the three basic elements: melody, harmony, and rhythm. Instruments with less sustaining power, while occasionally used alone, are mainly utilized for embellishment and texture; instruments that produce unclear sounds don’t contribute to melody or harmony; instead, their role is simply rhythmic.

By looking at the order of the six orchestral groups—strings, woodwinds, brass, plucked strings, percussion producing definite sounds, and those producing indefinite sounds—the reader can see the role each plays in orchestration in terms of color and expression. For expression, strings are at the forefront, while the expressive potential of the other groups decreases in that order, with color being the sole feature of the last group of percussion instruments.

The same principle applies when considering the overall effect in orchestration. We can listen to string instruments for an almost unlimited time without getting bored, so diverse are their qualities (just think of the many string quartets, suites, serenades, etc., written for strings alone). Adding even one section of strings can elevate a passage featuring wind instruments. However, the sound of wind instruments can quickly become tiresome; the same goes for plucked strings and all types of percussion, which should only be used sparingly in orchestral compositions.

It’s clear that consistently using compound timbres, whether in pairs or threes, takes away from the unique qualities of tone and results in a flat, neutral texture. In contrast, using simple, basic combinations allows for much greater diversity in color.

7 (20) June 1908.

-36-

TUNE.

Whether it's long or short, a simple theme or a melodic phrase, the melody should always stand out clearly from the accompaniment. This can be achieved either artificially or naturally; artificially, when tone quality isn't a concern, and the melody is highlighted through strong dynamic accents; naturally, by choosing and contrasting timbres, enhancing resonance through doubling, tripling, etc., or layering parts (cellos above the violas and violins, clarinets or oboes above the flutes, bassoons above the clarinets, etc.).

Melody planned in the higher registers is noticeable just because of its position, and to a lesser extent when it’s in the lower register. In the middle of the orchestral range, it’s not as prominent, and the techniques mentioned earlier come into play. These techniques can also be used for two-part melodies (in thirds and sixths) and for polyphonic writing.

Instances of melodic use of string instruments are countless. The reader will find many examples in this discussion. Except for the double basses—which have a dull tone and limited flexibility and are primarily used in unison or octaves with the cellos—each of the other string instruments, on their own, is capable of taking full responsibility for the melody.

Melody in the soprano-alto range and an extra-high pitch typically goes to the 1st Violins, sometimes to the 2nd Violins, or both playing together, creating a richer sound without sacrificing tone quality.

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The Tsar's Bride 84.[C]—Pianissimo melody (Violins I) with a troubled dramatic feel. The harmonic support comes from Violins II and Violas tremolando in the middle parts, while the Cellos provide the bass.

Antar, before 70.—A descending melodic phrase, Vns I with mutes softly.

No. 1. Shéhérazade 2nd movement B. A piano melody (Vns I) elegant in style.

Antar 12. A light, graceful melody with an Oriental style; a dance rhythm (Vns I con sord.), the mutes creating a soft, otherworldly tone.

No. 2. The Legend of the Invisible City of Kitesh 283.

No. 3. Spanish Capriccio J. Vns I in the upper register doubling the high register of the woodwind. Choice resonance.

Melody in the alto-tenor range and an even higher register is given to the violas. Cantabile melodies, however, are not as commonly written for violas as they are for violins and cellos, partly because the viola's tone is a bit nasal and better suited for short, distinctive phrases, and partly due to the smaller number of viola players in an orchestra. Melodies assigned to the violas are usually accompanied by other strings or woodwinds.

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No. 4. Pan Voyevoda, duet in Act II 145. A long cantabile melody in the violas, dolce, in unison with the mezzo soprano voice.

__A_TAG_PLACEHOLDER_0__ The Golden Cockerel 193.—Smooth cantabile.

No. 6. Sadko. Symphonic tableau 12.—Soft violas. A brief dance theme, piano in D♭ major. (The same theme in the English horn-38- in the 6th scene of the opera Sadko has a slightly more pronounced tone).

Cellos, covering the tenor-bass range + with an extra-high range, are more frequently given intense, passionate cantabile melodies rather than clear patterns or fast phrases. These melodies are typically played on the top string (A), which has a beautifully rich "chest" sound.

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Antar 56. Cantabile on the A string.

Antar 63. The same tune in D♭ major on the D string (doubled by the bassoons).

No. 7. Pan Voyevoda 134, nocturne, "Moonlight". A sweeping melody gentle and expressive, later played by the first violins an octave higher.

No. 8. Snegourotchka 231. At the fifth bar, a melody on the A string cantabile ed espressivo, mimicking the first clarinet.

__A_TAG_PLACEHOLDER_0__ Snegourotchka 274. Melodic phrase with flourishes.

Due to its range—basso profondo Below is a short piece of text (5 words or fewer). Modernize it into contemporary English if there's enough context, but do not add or omit any information. If context is insufficient, return it unchanged. Do not add commentary, and do not modify any placeholders. If you see placeholders of the form __A_TAG_PLACEHOLDER_x__, you must keep them exactly as-is so they can be replaced with links. an even lower range—and its muted resonance, the double bass is not very capable of broad cantabile phrases and can only play in unison or octaves with the cellos. In my own compositions, there isn’t any important phrase assigned to the double bass without the backing of cellos or bassoons.

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* No. 10. Legend of Kitesh 306. A double bass solo, initially accompanied by the double bassoon and later by the bassoon. This example showcases the uncommon use of the alto clef (in the last few notes).

* __A_TAG_PLACEHOLDER_0__ The Golden Cockerel 120.—D. basses + D. bassoons.-39-

a) Vns I I'm sorry, but there is no text provided for me to modernize. Please provide a short phrase for assistance. Vns II.—It's clear that this combination doesn't change the color; instead, it enhances the power and richness of the tone because of the larger number of players, which usually leads to the melody being doubled in certain areas of the woodwind section. The significant number of violins stops the woodwind from dominating, and the overall tone quality still resembles that of the string quartet, but it's enriched and amplified.

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No. 12. Shéhérazade, start of the third movement. Cantabile for Vnss I and II on the D string, then on the A.

The May Night, overture D. Fast piano melody, starting cantabile and later split into octaves.

with elaborate decoration.

__A_TAG_PLACEHOLDER_0__ The Golden Cockerel 170.—Vns I + II muted.

b) Violins Please provide the text you want me to modernize. Violas.—The mix of violins and violas doesn't have any special features, just like before. The violins are still the main focus, and the sound is rich and full.

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No. 14. Sadko 208.—Vns I Sure! Please provide the short piece of text you'd like me to modernize. II Understood. Please provide the text you would like me to modernize. Violas (G string). Soft cantabile melody pp, in unison with the altos and tenors of the chorus.

The Golden Cockerel 142.—Same combo.

c) Violas Understood. Please provide the text you would like me to modernize. 'Cellos.—Produces a rich, full sound, with the 'cello quality being the most prominent.

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No. 15. Snegourotchka 5.—Appearance of Spring. Violas Sure! Please provide the text you'd like me to modernize. 'Cellos Understood. Please provide the text you'd like modernized. English horn. The same melody, mezzo-forte cantabile as in Ex. 9; but in a brighter key, a third higher, its resonance is more vivid and intense. The addition of the English horn doesn't significantly change the overall sound; the 'cellos stand out above the others.

__A_TAG_PLACEHOLDER_0__ The Golden Cockerel 71. Violas + 'Cellos muted.-40-

d) Violins Understood. Please provide the text you'd like me to modernize. 'Cellos.—A combination similar to the previous one. The 'cello sound dominates, and the resonance is richer.

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No. 17. Snegourotchka 288. "Spring arrives at the lake." Vns I I'm ready to help. Please provide the text you'd like me to modernize. Vns II Understood! Please provide the text you would like me to modernize. 'Cellos + Eng. horn. The same cantabile as in Ex. 9, and 15. The Eng. horn blends into the musical texture, with the 'cellos providing the main color. Even more resonant.

No. 18. The May Night. Act III L. Chorus of Roussâlki. The blend of the solo cello with the violins adds a hint of the cello's tone to the violins.

e) Vns I Sure! Please provide the text you'd like me to modernize. II Sure! Please provide the text you'd like me to modernize. Violas + 'Cellos.—It's not possible to combine violins, violas, and 'cellos in unison except in the alto-tenor range; this method brings together the full resonance of the instruments into an ensemble with a complex quality, very tense and powerful in forte passages, and extremely full and rich in piano.

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__A_TAG_PLACEHOLDER_0__ Shéhérazade, 2nd movement P.—Lively phrase ff.

Mlada, Lithuanian dance, before 36.

Mlada, Act III. 40.—Cleopatra's dance. Cantabile enhanced in an eastern style.

f) Cellos Understood! Please provide the text to modernize. Double basses.—A mix with rich, full resonance, used sometimes for phrases in the very low register.

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__A_TAG_PLACEHOLDER_0__ Sadko 260.—A strong-willed figure, serious in character.

No. 21. Legend of Kitesh 240.—A pianissimo phrase, dark and eerie in nature.

a) Vns I and Vns II in octaves.

This is a very common technique used for all kinds of melodic figures, especially those in the very high range. It has already been noted that the E string loses richness of tone-41- the higher it goes from the limits of the soprano voice. Additionally, melodic figures in the very high range of the violins can become too detached from the rest of the ensemble unless they're played in octaves. Doubling in octaves ensures expression, richness of tone, and stability of timbre. You'll find many examples of violins playing in octaves, with a selection added below, mainly broad and expressive phrases.

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__A_TAG_PLACEHOLDER_0__ The Tsar's Bride 166. Cantabile, soft.

The Tsar's Bride 206. Cantabile, mezzo-piano; the lower part is in unison with the soprano voice.

Shéhérazade, 3rd movement J. Cantabile in G major; softly and singingly (the same as __A_TAG_PLACEHOLDER_0__).

No. 23. The Legend of Tsar Saltan 227. A melody with repeated notes, softly, expressively, and in a singing style.

Sadko, Symphonic tableau 12.

muted. A short dance phrase pianissimo, first played by the violas, then by the violins (cf. Ex. 6).

No. 24. Sadko, opera 207. Perhaps a one-of-a-kind example; violins playing at the very high end of the register.

*The Golden Cockerel 156.

* " " " 165.

* Antar, 1st movement 11.

* __A_TAG_PLACEHOLDER_0__ Ivan the Terrible, Act 3 63.

b) Violins divided into octaves.

First and second violins split into two parts and moving in octaves will reduce the melody's resonance because the number of players is cut in half, and this effect is especially noticeable in small orchestras. However, this method can be used from time to time when the strings are supported by the woodwinds and when the melody is in a high enough register.-42-

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Snegourotchka 166.—

mezzo-forte espressivo. Some parts of Coupava's song are double-tracked (Sopr.). One flute and one oboe play the melody together.

__A_TAG_PLACEHOLDER_0__ The Snow Maiden 283.—Chorus of Flowers—

Pianissimo cantabile in two octaves, progressing with the women’s chorus (Sopr. I), and introduced earlier by the English horn. The flute and all the 1st Violins except for two play in the lower octave, while only the two solo violins play in the upper. The solo desk will stand out enough due to the overall pianissimo.

c) Violins and Violas in octaves.

First and second violins playing in octaves along with the violas is a common technique, especially when the lower octave in the melody goes below the open G string on the violins.

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Snegourotchka 137, Act I finale. Fast tune, softly.

These two distributions aren't exactly the same. The first one should be used to achieve greater brightness in the upper part, while the second should be used to give the lower part a fuller and more cantabile quality.

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__A_TAG_PLACEHOLDER_0__ Sadko, before 181.—

Quick animated passage, strong, introducing repeated notes.

__A_TAG_PLACEHOLDER_0__ Snegourotchka 137, Act I finale—

Cantabile phrase, passed on to the flute and clarinet (cf. Ex. 8).

d) Violas and cellos in octaves.

Of special use when the violins are being used for something else.

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* Legend of Kitesh 59,

doubled by bassoons.

e) Violins and Cellos in octaves.

Used in very expressive sections where the cellos need to play on the A or D strings. This technique creates a fuller tone than the previous one; examples of it are common.-43-

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__A_TAG_PLACEHOLDER_0__ Antar 43.—

Cantabile from the East.

Shéhérazade, 3rd movement H.

Passionate mezzo-forte singing (cf. __A_TAG_PLACEHOLDER_0__).

* __A_TAG_PLACEHOLDER_0__ Shéhérazade, 3rd movement, before P—

The first arrangement is seldom seen.

Pan Voyevoda 134, nocturne "Moonlight"—

Cantabile melody presented first to the 'cellos alone (cf. Ex. 7).

The May Night, Act III B, C, D—

A strong melodic phrase.

f) Cellos and double basses in octaves.

The bass is typically built like this. You can find examples of it everywhere. Sometimes, the double bass part is simplified compared to the cello part.

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Snegourotchka 9, Fairy Spring's Aria.

g) Violas and double basses playing in octaves.

This combination rarely comes up and is only used when the cellos are engaged elsewhere.

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__A_TAG_PLACEHOLDER_0__ Legend of Kitesh 223.

h) Parts moving in octaves, each part played in unison. Melodies in the middle orchestral range can be assigned to 1st and 2nd Violins, in octaves with Violas and Cellos. This setup is commonly used and creates a beautiful tone quality that is somewhat serious in character.

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Snegourotchka 58, 60, 65 and 68. The same melody, played twice very softly, not doubled, then twice (moderately loud and loud), doubled in the woodwinds.-44-

Mlada, Act II, the start of the Lithuanian dance. A lively piano melody.

Ivan the Terrible, Act II 28.

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Sadko 207 (see __A_TAG_PLACEHOLDER_0__).

may be used for full cantabile melodies that are very tense in nature, and in forte sections when preferred.

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__A_TAG_PLACEHOLDER_0__ Antar 65.—

are used when the lower range of each instrument is played, and also to match phrases that are rough and intense.

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Legend of Kitesh 66, opening of the 2nd Act.

__A_TAG_PLACEHOLDER_0__ Snegourotchka 215. Tumblers' dance.-45-

The distribution

is very rarely found, and usually only when accompanied by wind instruments.

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The Legend of Kitesh 150 (allargando).

* Shéhérazade, 4th movement, starting at the 10th bar.

In assigning a melody in thirds to the strings, it's often important to use the same tone quality in both parts, but for a melody in sixths, different timbres can be used. When writing thirds doubled in octaves, you should use the first and second violins. Even though there are different numbers of players, the thirds will still sound balanced. The same setup can apply to the viola and cello sections, but it's not effective for a melody in sixths.

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* __A_TAG_PLACEHOLDER_0__ Legend of Kitesh 34—

* Legend of Kitesh 39—

Cf. also Legend of Kitesh 223:

Distribution in octaves, thirds, and sixths is typically controlled by the normal range of the respective instruments to prevent any suggestion of style that arises from an imbalance. However, some deviations from the established order can be allowed in special instances. For example, in the following instance of writing in sixths, the upper part is given to the cellos, while the lower part is assigned to the violins on the G string; this setup creates a tone quality that is distinctly original in character.

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__A_TAG_PLACEHOLDER_0__ Spanish Capriccio D—

* The choice of instruments for creating characteristic and expressive melodies depends on their unique qualities, which are discussed in detail in the foregoing chapter. Ultimately, this decision largely relies on the orchestrator's personal taste. This section of the work will highlight only the best techniques for using woodwinds in unison or octaves and for distributing a melody in thirds, sixths, and mixed intervals, focusing on resonance and tone quality. You can find examples of solo woodwinds in any score; here are some typical instances:

Examples of solo woodwind:

Piccolo: Serbian Fantasia C; __A_TAG_PLACEHOLDER_0__ Tsar Saltan 216; The Snow Maiden 54.

2. Flute: Antar 4; Servilia 80; Snegourotchka 79, 183; A Fairy Tale L; The Christmas Night 163; No. 37. Shéhérazade, 4th movement, before A (Fl. à 2 in the low register).

Flute (double tonguing): Pan Voyevoda 72; Shéhérazade, 4th movement, after V; No. 38. Ivan the Terrible, Act III, after 10.

3. Bass flute: __A_TAG_PLACEHOLDER_0__ Legend of Kitesh 44.

4. Oboe: No. 40. Shéhérazade, 2nd movement A; The May Night, Act III K.; No. 41. Snegourotchka 50; Snegourotchka 112, 239; The Tsar's Bride 108 (cf. Ex. 284), No. 42 and 43. The Golden Cockerel 57 and 97.

5. Eng. horn: Snegourotchka 97, 283 (cf. Ex. 26); No. 44. Spanish Capriccio E; No. 45. The Golden Cockerel 61.-47-

6. Small Clarinet: No. 46. Mlada, Act II 33; Mlada, Act III 37.

7. Clarinet: Serbian Fantasia G; Spanish Capriccio A; Snegourotchka 90, 99, 224, 227, 231 (cf. Ex. 8); The May Night, Act I, before X; Shéhérazade, 3rd movement D; A Fairy Tale M; The Tsar's Bride 50, 203; The Golden Cockerel 97 (lowest register, cf. Ex. 43).

8. Bass clarinet: __A_TAG_PLACEHOLDER_0__ and __A_TAG_PLACEHOLDER_1__. Snegourotchka 243 and 246-247.

9. Bassoon: Antar 59; No. 49. Vera Scheloga 36; Shéhérazade, 2nd movement, beginning (see Ex. 40); No. 50. The Golden Cockerel 249; No. 51. Mlada, Act III, after 29; see also Ex. 78.

10. Double bassoon: Legend of Kitesh, before 84, 289; cf. also Ex. 10 (D. bassoon I didn't receive a text to modernize. Please provide a short phrase, and I'll help you with it. D. bass solo).

The typical order of woodwind instruments that produces the most natural sound is as follows: Flutes, Oboes, Clarinets, Bassoons (the order used in orchestral full scores). Deviating from this natural order, for example, placing bassoons above clarinets and oboes, or flutes below oboes and clarinets, and especially below bassoons, results in an unnatural tone, which can be useful in certain situations to achieve specific effects. I wouldn't recommend that students use this approach too often.

The combination of two different woodwind instruments playing together produces the following tone qualities:

a) Flute + Oboe. The sound is richer than the flute's and sweeter than the oboe's. When played softly, the flute dominates the lower range, while the oboe shines in the higher register. Example: No. 52. Snegourotchka 113.

b) Flute Sure! Please provide the text you would like me to modernize. Clarinet. A tone that’s richer than the flute but less bright than the clarinet. The flute stands out in the lower range, while the clarinet shines in the higher range. Examples: No. 53. Legend of Kitesh 330; also 339 and 342.

c) Oboe Please provide the text you would like me to modernize. Clarinet. This combination has a richer sound than either instrument alone. The deep, nasal tone of the oboe comes through in the lower range, while the bright, "chest" sound of the clarinet shines in the higher range. Examples: Snegourotchka 19; No. 54. Snegourotchka-48- 115. See also Legend of Kitesh 68, 70, 84—2 Ob. + 3 Cl. (Ex. 199-201).

d) Flute Understood. Please provide the text you would like modernized. Oboe I'm ready to assist you! Please provide the text you want modernized. Clarinet. Very rich in sound. The flute leads in the low range, the oboe in the middle range, and the clarinet in the high range. Examples: Mlada, Act I 1; * Sadko 58 (2 Fl. + 2 Ob. Sure! Please provide the phrase you'd like me to modernize. Small Cl.).

e) Bassoon Below is a short piece of text (5 words or fewer). Please provide the text you'd like me to modernize. Clarinet. It has a rich sound. The dark tone of the clarinet stands out in the lower range, while the bassoon's weaker quality is noticeable in the higher notes. For example: Mlada, Act II, after 49.

Bassoon + Oboe, and

g) Bassoon + Flute.

The combinations f and g, as well as Bassoon Below is a short piece of text (5 words or fewer). Modernize it into contemporary English if there's enough context, but do not add or omit any information. If context is insufficient, return it unchanged. Do not add commentary, and do not modify any placeholders. If you see placeholders of the form __A_TAG_PLACEHOLDER_x__, you must keep them exactly as-is so they can be replaced with links. Clarinet Understood. Please provide the text you'd like me to modernize. Oboe and Bassoon Understood! Please provide the text you'd like me to modernize. Clarinet Below is a short piece of text (5 words or fewer). Modernize it into contemporary English if there's enough context, but do not add or omit any information. If context is insufficient, return it unchanged. Do not add commentary, and do not modify any placeholders. If you see placeholders of the form __A_TAG_PLACEHOLDER_x__, you must keep them exactly as-is so they can be replaced with links. Flute, are rarely found except in certain orchestral tutti, where they create more resonance without changing the overall sound. However, in these combinations, which are mostly limited to the range of the third octave, the low notes of the flute will dominate the lower third of this range, and the high notes of the bassoon will be prominent in the middle third. The clarinet, which is weaker in the middle range, will not be very noticeable in this specific combination.

h) Bassoon Got it! Please provide the text you'd like me to modernize. Clarinet Sure! Please provide the short piece of text you'd like me to modernize. Oboe Got it! Please provide the text you want me to modernize. Flute. This combination is also uncommon. The sound is rich and hard to describe. The tone of each instrument will be distinct from the others as described above. Examples: Russian Easter Fête, the beginning; No. 55. Snegourotchka 301; The May Night, Act III Qqq.

The process of combining two or more tones together to enhance the music's resonance, sweetness, and power comes with the downside of limiting the variety of color and expression. When different timbres mix, they lose their unique qualities. Therefore, these combinations should be approached with great caution. Phrases or melodies that require a range of expression should only be played on solo instruments with simple timbres. The same goes for pairing two instruments of the same type, like 2 flutes, 2 oboes, 2 clarinets, or 2 bassoons. The quality of tone remains individual and gains in power, but its expressive capacity will be reduced. An -49- instrument has more independence and freedom when played solo than when it's doubled. Doubling and mixed timbres are typically used more often in loud sections than in quiet ones, especially where the expression and color are broad rather than individualized or intimate.

When two woodwind instruments play the melody in octaves, the typical arrangement that creates a natural resonance is:

The combination of flute and bassoon in octaves is rare because the two instruments have very different ranges. When you go against the natural order—like putting the bassoon above the clarinet or oboe, or the clarinet above the oboe or flute—it creates an unnatural resonance due to the mix-up of registers, with the lower instrument playing in a high range and vice versa. This leads to a clear lack of proper relationship between the different sound qualities.

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__A_TAG_PLACEHOLDER_0__ Spanish Capriccio O—

__A_TAG_PLACEHOLDER_0__ The Snow Maiden 254—

* __A_TAG_PLACEHOLDER_0__ Shéhérazade, 3rd movement E—

Sadko 195—

Pan Voyevoda 132—

Tsar Saltan 39—

__A_TAG_PLACEHOLDER_0__ Vera Scheloga 30—

likewise any number of examples in the scores of various composers.

Using two instruments of the same color in octaves, like 2 flutes, 2 clarinets, or 2 bassoons, should not be completely avoided-50-, but it isn't recommended either, since the instruments will sound different when playing in various registers. However, this technique can work well when string instruments, whether played arco or pizzicato, double the two woodwind parts, especially in the mid-range. It's most effective for repeated notes or sustained passages.

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The May Night, Act I T

* Sadko, after 159—

Servilia, after 21—

Instruments from the same family playing in octaves, e.g.

always create a positive impact.

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The Snow Maiden 5—

The Tsar's Bride 133—

Tsar Saltan 216—

Sadko, after 59

Legend of Kitesh 240—

__A_TAG_PLACEHOLDER_0__ Mlada, Act 3, before 44—

As with string instruments, it's a good idea to double melodies in very high or low ranges in the woodwinds. For high melodies, use an octave lower; for low melodies, use an octave higher. This way, the piccolo is paired with the flute, oboe, or clarinet an octave lower, while the contrabassoon is paired with the bassoon, clarinet, or bass clarinet an octave higher.

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* Tsar Saltan 39—

* __A_TAG_PLACEHOLDER_0__ Mlada, Act II, Lithuanian dance 32—

-51-

Sadko 150—

* You can use different tones when doubling in octaves, and the previous comments still apply.

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Pan Voyevoda 134—

__A_TAG_PLACEHOLDER_0__ Servilia 168—

__A_TAG_PLACEHOLDER_0__ The Tsar's Bride 120—

Mlada, Act 3 41—

In these situations, the student should follow the rules mentioned above and should be careful not to disrupt the natural order:

Mixed timbres can also be used.

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__A_TAG_PLACEHOLDER_0__ Spanish Capriccio P—melody in 4 octaves:

The Tsar's Bride 141—melody in three octaves.

* Legend of Kitesh 212—

* __A_TAG_PLACEHOLDER_0__ Antar, (1st version) 3rd movement, the beginning—

also C, melody in 4 octaves (piccolo in the higher octaves).

* Mlada, Act III, after 42—

__A_TAG_PLACEHOLDER_0__ Shéhérazade, 3rd movement G—

Examples of melodies played in five octaves are very rare; in those instances, the strings are involved in the process.-52-

Melodic progression in thirds and sixths requires either two instruments of the same type (2 Fl., 2 Ob., 2 Cl., 2 Fag.) or instruments of different types arranged in the usual register order:

If this order is reversed, for example,

a strained and forced resonance is created. For progressions in thirds, the best method, considering equal tone, is to use pairs of the same type of instruments; for progressions in sixths, different types of instruments are more suitable, but both approaches are effective and beneficial. They can also be used for progressions in thirds and sixths, or mixed thirds, fifths, and sixths, as for example:

[__A_TAG_PLACEHOLDER_0__]

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Legend of Kitesh 24—different wind instruments one after another.

The May Night, Act 3 G—

Sadko 279-280—

No. 67. Spanish Capriccio, before V—various woodwinds in thirds and sixths.

Servilia 228—

The Golden Cockerel 232—

* Sadko 43—All woodwinds in succession, basic sounds.

When the doubled parts move in thirds or sixths, the following method is recommended:

In the case of tripling, the following arrangement can be used:

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* __A_TAG_PLACEHOLDER_0__ Christmas Night 187—

* Legend of Kitesh 202-203 different mixed tones.-53-

[__A_TAG_PLACEHOLDER_0__]

Besides the obvious distribution:

there are certain complicated methods that involve doubling:

The following is a complicated situation that's somewhat unclear:

__A_TAG_PLACEHOLDER_0__ Legend of Kitesh 35—

The natural scale, the only one that brass instruments could use before valves were invented, was:

[__A_TAG_PLACEHOLDER_0__]

singing in two-part harmony:

[__A_TAG_PLACEHOLDER_0__]

With the help of rhythm, these parts have led to a whole series of themes and phrases called fanfares, trumpet calls, or flourishes, best suited to the nature of brass instruments.

In today's music, thanks to the introduction of valves, this scale can now be played in all keys on any chromatic brass instrument, without needing to change the key. The addition of a few notes outside of the natural scale has expanded the possibilities for these flourishes and fanfares, giving them a greater variety of expression.

These phrases, whether performed solo or in two or three parts, are primarily assigned to the trumpets and horns, but they can also be played by the trombones. The bright, clear, ringing notes from the middle and upper range of the horns and trumpets are best suited for this kind of music.-54-

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Servilia 20—Trumpets.

Christmas Night 182—Horn, Trumpets.

Vera Scheloga, start of the Overture, and after 45—Horns, Trumpets.

Ivan the Terrible, Act III 3—Cornet.

Snegourotchka 155—Trumpets.

No. 70. Legend of Kitesh 65 and elsewhere.—3 Trumpets, 4 Horns.

Pan Voyevoda 191—2 Trombones, Trumpet.

* The Golden Cockerel 20—2 Horns and

After fanfare figures, the best melodies for brass quality are those with an unmodulated diatonic character, lively and triumphant in the major key, or dark and gloomy in the minor.

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__A_TAG_PLACEHOLDER_0__ Sadko 342—Trumpet.

Sadko, before 181—Trombones (see __A_TAG_PLACEHOLDER_0__).

__A_TAG_PLACEHOLDER_0__ The Snow Maiden 71—Trumpet.

Russian Easter Celebration M—Trombone.

Spanish Capriccio E—Different ways to play open and stopped notes on the horn (see Ex. 44).

Ivan the Terrible, Act II, before 17—Bass trumpet, and 3 Horns a little further on.

Mlada, Act II 33—Bass trumpet (see __A_TAG_PLACEHOLDER_0__).

The friendly and poetic sound of the horn in piano sections allows for more flexibility in selecting melodies and phrases that can be assigned to this instrument.

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The May Night, Overture 13.

Christmas Eve 1.

Snegourotchka 86.

Pan Voyevoda 37.

__A_TAG_PLACEHOLDER_0__ Antar 40.-55-

Melodies that use chromatic or enharmonic writing are much less fitting for brass instruments. However, these types of melodies can sometimes be given to brass, as seen in the music of Wagner and the modern Italian realists, who take this approach to extremes. Strong phrases in the form of a fanfare, even when they include chromatic notes, can sound exceptionally beautiful on brass.

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__A_TAG_PLACEHOLDER_0__ Shéhérazade, 2nd movement D.

As a general rule, brass instruments don't have the ability to convey passion or warmth. Phrases filled with these emotions come off as weak and bland when played on brass. The valuable qualities of this group are energetic power, whether free or restrained, along with simplicity and eloquence.

Since brass instruments naturally have a limited range of expression, similar instruments in the same group can be used solo or together. The combination of 3 trombones or 4 horns played in unison is commonly encountered and creates intense power and richness of sound.

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Snegourotchka 5—4 Horns (see __A_TAG_PLACEHOLDER_0__).

Snegourotchka 199—4 Horns and 2 Trumpets.

Sadko 175—1, 2, 3 Trumpets.

__A_TAG_PLACEHOLDER_0__ Sadko 305__A_TAG_PLACEHOLDER_1__—3 Trombones.

No. 76. The May Night, start of Act III—1, 2, 3, 4 Horns.

Legend of Kitesh, end of Act I—4 Horns (cf. Ex. 70).

__A_TAG_PLACEHOLDER_0__ Shéhérazade, 4th movement p. 204—3 Trombones.

Mlada; Lithuanian dance—6 horns (see __A_TAG_PLACEHOLDER_0__).-56-

Owing to the resonant power of the entire group, the equal and smooth tone between the deep, dark sounds and the bright quality of the higher notes, using brass instruments of the same type in octaves, thirds, or sixths always leads to good results. For the same reason, using different kinds of brass instruments, arranged by their normal order of register:

is also successful whether the instruments are doubled or not. Another possible method, although not as reliable, is to combine horns (above) with trombones, only in octaves:

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Sadko, before 120—

Sadko 5—

Snegourotchka 222—

Ivan the Terrible, Act III 10

The Golden Cockerel 125—

Cf. also Snegourotchka 325-326—

The combination of woodwind and brass instruments creates a rich resonance where the brass tone stands out. This resonance is naturally more powerful than that of each instrument played alone, but a bit sweeter than just the brass instrument by itself. The woodwind tone blends with the brass, softening and lightening it, similar to when two woodwind instruments of different timbres are combined. There are many examples of this doubling, especially in strong passages. The trumpet is the most commonly doubled instrument: Trumpet + Cl., Trumpet Sure, please provide the text you would like me to modernize. Ob., Trumpet + Fl., as well as Trumpet Below is a short piece of text (5 words or fewer). Modernize it into contemporary English if there's enough context, but do not add or omit any information. If context is insufficient, return it unchanged. Do not add commentary, and do not modify any placeholders. If you see placeholders of the form __A_TAG_PLACEHOLDER_x__, you must keep them exactly as-is so they can be replaced with links. + Cl. Below is a short piece of text (5 words or fewer). Modernize it into contemporary English if there's enough context, but do not add or omit any information. If context is insufficient, return it unchanged. Do not add commentary, and do not modify any placeholders. If you see placeholders of the form __A_TAG_PLACEHOLDER_x__, you must keep them exactly as-is so they can be replaced with links. Ob. Understood. Please provide the text to modernize. Fl.;-57- while the horn is less frequently doubled: Horn + Cl., Horn I'm ready for the text! Please provide it. Fag. Trombones and Tuba can also be doubled: Trombone Understood. Please provide the text for modernization. Fag., Tuba Understood! Please provide the text you would like me to modernize. Fag. Combining the English horn, bass clarinet, and double bassoon with the brass, in their respective ranges, shows the same characteristics.

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Legend of Kitesh 56—Trombone + English horn.

* Mlada, Act III, before 34—3 Trombones Understood. Please provide the text you want me to modernize. Bass cl.

As a general rule, adding a wind instrument to a brass instrument creates a smoother legato effect than when the brass plays alone.

Doubling the horns an octave higher with clarinets, oboes, or flutes often replaces the combination.

This is done to add a rich tone to the upper octave that the trumpet can't create. If only one horn is being used, the upper part goes to 2 clarinets, 2 oboes, or 2 flutes. However, if there are two horns playing the lower octave together, you’ll need three or four wind instruments above, especially in forte passages:

To double a trumpet in the upper octave, you need three or four wind instruments, but in the highest range, two flutes will do.

Woodwind instruments shouldn't be used to double a trombone an octave higher; trumpets are a better choice.

*Snegourotchka* 71—

* Legend of Tsar Saltan, before 180—

-58-

* It’s also worth noting the combination of wood and brass sounds progressing in octaves.

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Mlada, Act III, beginning of Scene III—

__A_TAG_PLACEHOLDER_0__ Mlada, Act III after 25—

__A_TAG_PLACEHOLDER_0__ Mlada, Act III, before 35—all together.

When you want to spread the melody across three or four octaves, it's hard to achieve a perfect balance of tone.

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* Shéhérazade, 4th movement, 15th bar after W—

* Legend of Tsar Saltan 228—

In starting this section of the work, I think it's important to establish the following fundamental rules that apply equally to melody, harmony, counterpoint, and polyphonic writing.

All combinations of strings and woodwinds are great; when a wind instrument plays in harmony with a string instrument, it enhances the resonance of the strings and boosts its sound, while the quality of the strings softens the woodwinds. In these combinations, the strings will stand out as long as both instruments have equal strength, like when violins pair with an oboe or a bassoon plays alongside cellos. If multiple wind instruments play together with one group of strings, the strings will get drowned out. Generally, all combinations improve the unique qualities of each instrument on its own, with woodwinds losing more than strings.

Doubling together.

The best and most natural combinations are between instruments that have the closest matching ranges:

Vns Understood. Please provide the text for modernization. Fl. (bass flute, piccolo), Vns Understood! Please provide the phrases you would like me to modernize. Oboe, Vns Understood! Please provide the text you would like me to modernize. Clarinet (small clarinet);

Violas + Oboe (Eng. horn), Violas + Clarinet, Violas + Bassoon.

Cellos + Cl. (Bass clarinet), Cellos + Fag.;-59-

D. basses No text provided for modernization. Bass cl., D. basses I'm ready to assist with the text you provide. Please share the phrases you want me to modernize. Fag.; D. basses I'm ready to assist with modernization. Please provide the text you would like me to work on. C-fag.

The purpose of these combinations is: a) to achieve a new tone with a specific color; b) to enhance the resonance of the strings; c) to soften the sound quality of the woodwinds.

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Snegourotchka 5—Cellos + Violas + English horn (cf. __A_TAG_PLACEHOLDER_0__).

28—Violas + Ob. + Eng. horn.

116—Vn s I + II + Ob. + Cl.

"288—Violin I + II + Cello + English horn (cf. __A_TAG_PLACEHOLDER_0__).

__A_TAG_PLACEHOLDER_0__ The May Night, Act III Bb—Violas + Clarinet.

__A_TAG_PLACEHOLDER_0__ Sadko 311—Vns + Ob.

__A_TAG_PLACEHOLDER_0__ " 77—Violas + English horn.

__A_TAG_PLACEHOLDER_0__ " 123—Violas + English horn.

Servilia 59—Vns G string + Fl.

Tsar Saltan 30—Vns I + II + 2 Cl.

__A_TAG_PLACEHOLDER_0__ Tsar Saltan 30, 10th bar.—'Cellos + Violas + 3 Cl. + Fag.

Tsar Saltan 156-159—Vns detached + Fl. legato.

The Tsar's Bride 10 Violas + Cellos + Bassoons.

Antar, 4th movement 63—'Cellos + 2 Oboes.

Shéhérazade, 3rd movement H—Violas + Oboe + English horn.

Parts doubled an octave.

Examples of strings in octaves doubled by woodwinds also in octaves are common and don't need special explanation; they are used according to the rules already established. Here are examples of melody arranged over 1, 2, 3, and 4 octaves:

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No. 85. Ivan the Terrible, start of Overture—

__A_TAG_PLACEHOLDER_0__ Sadko 3—

Sadko 166—

235—

The Tsar's Bride 14—

-60-

81—

"" " " 166—

In three to four octaves:

Servilia 93—

__A_TAG_PLACEHOLDER_0__ Kashtcheï 105—

Shéhérazade, 3rd movement M—

Examples of melody in thirds and sixths:

Servilia 44—

__A_TAG_PLACEHOLDER_0__ Servilia 111—Strings and woodwinds in thirds.

No. 89. " 125—the same combination, split into thirds and sixths.

Kashtchei 90—Same thing.

It’s important to focus more on situations where, out of two parts in octaves, only one is doubled. When this technique is used on a melody in the soprano range, it's preferable to let the woodwinds move in octaves, with the lower part only being doubled by one of the string sections;

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Tsar Saltan 102—

* __A_TAG_PLACEHOLDER_0__ Shéhérazade, 4th movement U—

In a situation where a melody in the lower range calls for a smooth, soft sound, the cellos and double basses should play in octaves, with the cellos accompanied by a bassoon, while the double basses stand alone:

Sometimes a composer has to use this method because of the very low range of the double bass, especially if a double bassoon isn’t part of their orchestral plan.[14]

-61-

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__A_TAG_PLACEHOLDER_0__ Tsar Saltan 92—

Due to the differences in the sound quality of string and brass instruments, playing these two groups together in unison can never create as harmonious a blend as that achieved by combining strings and woodwinds. When a brass and a string instrument play together, each can be heard distinctly. However, the instruments within each group that can blend most successfully are those whose ranges are the closest; Violin Understood! Please provide the text you'd like me to modernize. Trumpet; Viola + Horn;

(for strong dramatic effects).

The mix of horns and cellos, often used together, creates a beautifully blended, soft tone quality.

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Tsar Saltan 29—Vns I + II + Horn.

* __A_TAG_PLACEHOLDER_0__ The Golden Cockerel 98—Violas with mutes. + Horn.

The combination of members from all three groups together is more common, with the woodwinds providing a fuller and more balanced sound. Which group stands out in tone depends on how many instruments are used. The most natural combinations, and those most frequently used, are:

Such groupings are used for preference in loud sections or for a strong piano effect.

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No. __A_TAG_PLACEHOLDER_0__-__A_TAG_PLACEHOLDER_1__. Snegourotchka 218 and 219—Vns I + II + Cl. + -62-Horn and Vns I + II + Cl. + Trumpet.

Servilia 168—