MELODY.
Whether it be long or short, a simple theme or a melodic phrase,
melody should always stand out in relief from the accompaniment. This
may be done by artificial or natural means; artificially, when the
question of tone quality does not come into consideration, and the
melody is detached by means of strongly accentuated dynamic shades;
naturally, by selection and contrast of timbres, strengthening of
resonance by doubling, tripling, etc., or crossing of parts
(violoncellos above the violas and violins, clarinets or oboes above
the flutes, bassoons above the clarinets etc.).
Melody planned in the upper parts stands out from the very fact of
position alone, and likewise, to a less degree when it is situated in
the low register. In the middle of the orchestral range it is not so
prominent and the methods referred to above come into operation. They
may also be employed for two part melody (in thirds and sixths) and
for polyphonic writing.
Melody in stringed instruments.
Instances of the melodic use of stringed instruments are innumerable.
The reader will find many examples in the present treatise. With the
exception of the double basses,--dull in tone and of little
flexibility, chiefly employed in unison or in octaves with the
violoncellos,--each of the other stringed instruments, taken
independently, is qualified to assume full responsibility for the
melodic line.
a) Violins.
Melody in the soprano-alto register and an extra-high compass usually
falls to the lot of the 1st Violins, sometimes to the 2nd
Violins or to both in unison, a process which produces fuller
resonance without impairing quality of tone.
_Examples:_
_The Tsar's Bride_ [[84]].[C]--_Pianissimo_ melody (Vns I) of a
troubled dramatic character. Harmonic accompaniment (Vns II and
Violas _tremolando_--middle parts; the Violoncellos forming the bass).
[Footnote C: The present volume is divided into two parts, text (pp.
1-152) and musical examples (pp. 1-333). The first page of the second
part lists the standard full-score editions of Rimsky-Korsakov's works
that are referred to throughout the book. These references to specific
passages are always indicated by boxed numbers or boxed letters
corresponding to the ones marking the sub-divisions of the particular
score. On the other hand, references in the text to the 312 musical
examples in the second part of the book are always indicated as "No.
1," "No. 2," etc. Thus, "_The Tsar's Bride_ [[84]]" indicates that the
reader should look at section [[84]] of the score of _The Tsar's
Bride_ as published by Belaieff in Leipzig, the music of which is not
reprinted here; whereas "No. 1. _Shéhérazade_ 2nd movement [[B]]"
indicates that the reader should look at the first musical example in
the second part of the present book, which comes from the section
marked [[B]] in the second movement of the score of _Shéhérazade_ as
published by Belaieff.]
_Antar_, before [[70]].--Descending melodic phrase, Vns I _con
sordini piano_.
No. 1. _Shéhérazade_ 2nd movement [[B]]. A _piano_ melody (Vns
I) graceful in character.
_Antar_ [[12]]. Light graceful melody, oriental in style; a dance
measure (Vns I _con sord._), the mutes producing a dull ethereal
quality of 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 wood-wind. Choice resonance.
b) Violas.
Melody in the alto-tenor register and a still higher compass is
assigned to the violas. _Cantabile_ melodies however are not so
frequently written for violas as for violins and 'cellos, partly
because the viola tone is slightly nasal in quality and better fitted
for short characteristic phrases, partly because the number of viola
players in an orchestra is smaller. Melodies confided to the violas
are generally doubled by other strings or by the wood-wind.
_Examples:_
No. 4. _Pan Voyevoda_, duet in Act II [[145]]. A long _cantabile_
melody in the violas, _dolce_, in unison with the _mezzo soprano_
voice.
No. 5. _The Golden Cockerel_ [[193]].--Flowing _cantabile_.
No. 6. _Sadko._ Symphonic tableau [[12]].--Muted violas. A short dance
theme, _piano_ in _D[flat]_ major. (The same theme in Eng. horn in the
6th scene of the opera _Sadko_ is slightly more penetrating in
tone).
c) Violoncellos.
Violoncellos, representing the tenor-bass range + an extra-high
compass are more often entrusted with tense passionate _cantabile_
melody than with distinctive figures or rapid phrases. Such melodies
are usually laid out for the top string (_A_) which possesses a
wonderfully rich "chest" quality.
_Examples:_
_Antar_ [[56]]. _Cantabile_ on the _A_ string.
_Antar_ [[63]]. The same melody in _D[flat]_ maj. on the _D_ string
(doubled by the bassoons).
No. 7. _Pan Voyevoda_ [[134]], nocturne, "Moonlight". A broad melody
_dolce ed espressivo_, afterwards doubled by the first violins an
octave higher.
No. 8. _Snegourotchka_ [[231]]. At the fifth bar, a melody on the _A_
string _cantabile ed espressivo_, imitating the first clarinet.
No. 9. _Snegourotchka_ [[274]]. Melodic phrase with embellishments.
d) Double basses.
Owing to its register--_basso profondo_ + a still lower compass,--and
its muffled resonance, the double bass is little capable of broad
_cantabile_ phrases and only in unison or in octaves with the 'cellos.
In my own compositions there is no phrase of any importance given to
the double bass without the support of 'cellos or bassoons.
_Examples:_
* No. 10. _Legend of Kitesh_ [[306]]. Double bass solo, doubled first
by the double bassoon, later by the bassoon. This example affords an
instance of the rare use of the alto clef (in the last few notes).
* No. 11. _The Golden Cockerel_ [[120]].--D. basses + D. bassoons.
Grouping in unison.
a) Vns I + Vns II.--It goes without saying that this combination
entails no alteration in colour; it gains in power and richness of
tone by reason of the increased number of players, and is usually
attended by doubling of the melody in some departments of the
wood-wind. The large number of violins prevents the wood-wind
predominating, and the tone quality remains that of the string
quartet, enriched and amplified.
_Examples:_
No. 12. _Shéhérazade_, beginning of the third movement. _Cantabile_
for Vns I and II on the _D_ string, then on the _A_.
_The May Night_, overture [[D]]. Quick _piano_ melody, beginning
_cantabile_ and divided later in octaves (Vns I/Vns II] 8) with
florid embellishment.
No. 13. _The Golden Cockerel_ [[170]].--Vns I + II muted.
b) Violins + Violas.--The combination of violins and violas presents
no special characteristics, as in the preceding case. The violins
remain predominant, and the resonance is rich and full.
_Examples:_
No. 14. _Sadko_ [[208]].--Vns I + II + Violas (_G_ string). Quiet
_cantabile_ melody _pp_, in unison with the altos and tenors of the
chorus.
The _Golden Cockerel_ [[142]].--Same combination.
c) Violas + 'Cellos.--Produces a rich full resonance, the 'cello
quality predominating.
_Examples:_
No. 15. _Snegourotchka_ [[5]].--Apparition of Spring. Violas + 'Cellos
+ Eng. horn. The same melody, _mezzo-forte cantabile_ as in Ex. 9; but
in a brighter key, a third higher, its resonance is more brilliant and
tense. The addition of the Eng. horn makes no essential difference to
the compound tone; the 'cellos stand out above the rest.
No. 16. _The Golden Cockerel_ [[71]]. Violas + 'Cellos muted.
d) Violins + 'Cellos.--A combination similar to the preceding one. The
'cello tone prevails and the resonance is fuller.
_Examples:_
No. 17. _Snegourotchka_ [[288]]. "Spring descends upon the lake".
Vns I + Vns II + 'Cellos + Eng. horn. The same _cantabile_ as in
Ex. 9, and 15. The Eng. horn is absorbed in the musical texture, the
principal colour being that of the 'cellos. Still more powerful in
resonance.
No. 18. _The May Night._ Act III [[L]]. Chorus of _Roussâlki_. The
combination of the solo 'cello with the violins gives the latter a
touch of the 'cello timbre.
e) Vns I + II + Violas + 'Cellos.--Combining violins, violas and
'cellos in unison is not possible except in the alto-tenor register;
this process unites the full resonance of the instruments into an
_ensemble_ of complex quality, very tense and powerful in _forte_
passages, extremely full and rich in _piano_.
_Examples:_
No. 19. _Shéhérazade_, 2nd movement [[P]].--Energetic phrase _ff_.
_Mlada_, Lithuanian dance, before [[36]].
_Mlada_, Act III. [[40]].--Cleopatra's dance. _Cantabile_ embellished
in oriental fashion.
f) Violoncellos + D. basses.--A combination of rich full resonance,
used occasionally for phrases in the very low register.
_Examples:_
No. 20. _Sadko_ [[260]].--A persistent _forte_ figure, severe in
character.
No. 21. _Legend of Kitesh_ [[240]].--A _pianissimo_ phrase, sinister
and horrible in character.
Stringed instruments doubling in octaves.
a) Vns I and Vns II in octaves.
This is a very common process used for all kinds of melodic figures,
in particular those in the very high register. It has already been
stated that the _E_ string diminishes in fulness of tone the higher
it ascends from the limits of the soprano voice. Moreover, melodic
figures in the very high register of the violins become too isolated
from the rest of the _ensemble_ unless doubled in octaves. Such
doubling secures expression, fulness of tone and firmness of timbre.
The reader will find numerous examples of violins in octaves; a few
are added below, chiefly broad and expressive phrases.
_Examples:_
No. 22. _The Tsar's Bride_ [[166]]. _Cantabile, piano._
_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;
_dolce_ and _cantabile_ (the same as Ex. 12).
No. 23. _The Legend of Tsar Saltan_ [[227]]. Melody with reiterated
notes, _dolce, espress. e cantabile_.
_Sadko_, Symphonic tableau [[12]]. Vns I/Vns II] 8 muted. A short
dance phrase _pianissimo_, given first to the violas, then to the
violins (cf. Ex. 6).
No. 24. _Sadko_, opera [[207]]. Perhaps an unique example of its kind;
violins playing in the very extremity of the high register.
_Note._ This passage is difficult but nevertheless quite
playable. One or two desks of the 1st Violins are
sufficient to double the melody in the upper octave, all the
other 1st Violins can play the octave below. In this way
the piercing quality of the highest notes will be
diminished, the melody will acquire a clearer and more
pleasant sound, and the expressive tone quality of the lower
octave will be strengthened.
* _The Golden Cockerel_ [[156]].
* " " " [[165]].
* _Antar_, 1st movement [[11]].
* No. 25. _Ivan the Terrible_, Act III [[63]].
b) Violins _divisi_ in octaves.
First and second violins divided in two parts and progressing in
octaves will deprive the melody of resonance, since the number of
players is diminished by half, the consequences being specially
noticeable in small orchestras. Nevertheless the method can be used
occasionally when the strings are doubled by the wood-wind, and when
the melody falls in a sufficiently high register.
_Examples:_
_Snegourotchka_ [[166]].--Vns I/Vns II] 8 _mezzo-forte
espressivo_. Partial doubling of Coupava's song (Sopr.). One flute and
one oboe double the melody.
No. 26. _Snegourotchka_ [[283]].--Chorus of Flowers--2 Vns
soli/Vns I + Fl. I] 8. _Pianissimo cantabile_ in two octaves,
progressing with the women's chorus (Sopr. I), and given out earlier
by the Eng. horn. The flute and all the 1st Violins except two play
in the lower octave, the two solo violins, only, in the upper. The
solo desk will be sufficiently prominent owing to the general
_pianissimo_.
c) Violins and Violas in octaves.
First and second Violins progressing with the Violas in octaves is a
common method, especially when the lower octave in the melody happens
to go below the open _G_ string on the violins.
1. Vns (I or II)/Violas] 8.
_Example:_
_Snegourotchka_ [[137]], finale of Act I. Quick melody, _piano_.
2. Vns I + II/Violas] 8 and 3. Vns I/Vns II + Violas] 8.
These two distributions are not exactly the same. The first should be
used to obtain greater brilliance in the upper part, the second to
give the lower part a fuller and more _cantabile_ quality.
_Examples:_
No. 27. _Sadko_, before [[181]].--Vns I + II/Violas] 8. Quick
animated passage, _forte_, introducing reiterated notes.
No. 28. _Snegourotchka_ [[137]], finale to Act I--Vns I/Vns II +
Violas] 8. _Cantabile_ phrase, transmitted to the flute and clarinet
(cf. Ex. 8).
d) Violas and Violoncellos in octaves.
Of special use when the Violins are otherwise employed.
_Example:_
* _Legend of Kitesh_ [[59]], Violas/Cellos] 8, doubled by bassoons.
e) Violins and Violoncellos in octaves.
Used in very expressive passages where the 'cellos have to play on the
_A_ or _D_ strings. This method produces a more resonant tone than the
preceding one; instances of it are frequent.
_Examples:_
No. 29. _Antar_ [[43]].--Vns I + Vns II/'Cellos] 8. _Cantabile_
of Eastern origin.
_Shéhérazade_, 3rd movement [[H]].--Vns I/'Cellos] 8. _Cantabile
mezzo-forte appassionato_ (cf. Ex. 1).
* No. 30. _Shéhérazade_, 3rd movement, before [[P]]--Vns
I/Vns II + 'Cellos] 8 and Vns I + II/'Cellos] 8. The first
arrangement is rarely found.
_Pan Voyevoda_ [[134]], nocturne "Moonlight"--Vns I/'Cellos] 8.
_Cantabile_ melody given first to 'cellos alone (cf. Ex. 7).
_The May Night_, Act III [[B, C, D]]--Vns I + Vns II/'Cellos] 8.
A _forte_ melodic phrase.
f) Violoncellos and Double basses in octaves.
The bass is usually constructed in this manner. Examples of it are to
be found everywhere. Sometimes the double bass part is simplified in
comparison with the 'cello part.
_Example:_
_Snegourotchka_ [[9]], Fairy Spring's _Aria_.
g) Violas and Double basses in octaves.
This combination seldom arises and is only used when the 'cellos are
otherwise employed.
_Example:_
No. 31. _Legend of Kitesh_ [[223]].
h) Parts progressing in octaves, each part doubled in unison. Melodies
situated in the middle orchestral range may be allotted to 1st and
2nd Vns, in octaves with Violas and 'Cellos. This arrangement is
constantly found, and produces a beautiful quality of tone, somewhat
severe in character.
_Examples:_
_Snegourotchka_ [[58]], [[60]], [[65]] and [[68]]. The same melody,
played twice _pianissimo_, not doubled, then twice (_mezzo-forte_ and
_forte_), doubled in the wood-wind.
_Mlada_, Act II, the beginning of the Lithuanian dance. A lively
_piano_ theme.
_Ivan the Terrible_, Act II [[28]].
_Note I._ It may be of use to point out that melodies lying
in the extreme upper register, e.g. those exceeding the
middle of the 5th octave, are generally doubled an octave
below, whilst those situated in the extreme low register
(below the middle of the 1st octave) are doubled an
octave higher.
_Examples:_
_Sadko_ [[207]] (cf. Ex. 24).
_Note II._ Progression in octaves of divided strings _of the
same kind_ is generally to be avoided:
Violas I 'Cellos I D. basses I ]
Violas II, 'Cellos II, D. basses II ] 8,
for, in such cases the parts are played on strings which do
not correspond, and unity of tone is impaired. This,
however, does not apply to violins.
_Note III._ The following distribution is occasionally
found:
Violas + 'Cellos I ]
D. basses + 'Cellos II ] 8.
Melody in double octaves.
a) Vns I] 8/Vns II/Violas] 8 or Vns I] 8/Vns II/'Cellos] 8
may be used for full _cantabile_ melodies extremely tense in
character, and in _forte_ passages for choice.
_Example:_
No. 32. _Antar_ [[65]].--Vns I] 8./Vns II/Violas + 'Cellos] 8.
b) Violas] 8/'Cellos/D. basses] 8 or Vns I + II] 8/Violas +
'Cellos/D. basses] 8 or Vns I + II + Violas] 8/'Cellos/D. basses] 8
are employed when the low register of each instrument is brought into
play, and also to suit phrases of a rough and severe character.
_Examples:_
_Legend of Kitesh_ [[66]], opening of the 2nd Act.
No. 33. _Snegourotchka_ [[215]]. Tumblers' dance.
_Note._ The lack of balance in the distribution:
Vns I + II +Violas ] 8
'Cellos ]
D. basses ] 8
is not of any great importance, for, in such cases, the
partial harmonics of one octave support the tone of the
other, and _vice versa_.
Doubling in three and four octaves.
The distribution Vns I/Vns II/Violas/'Cellos/D. basses] 8/8/8/8
is very seldom found, and as a rule, only when supported by wind
instruments.
_Examples:_
_The Legend of Kitesh_ [[150]] (_allargando_).
* _Shéhérazade_, 4th movement, commencing at the 10th bar.
Vns I ]
Vns II ]
Violas + 'Cellos ] 8.
D. basses ]
Melody in thirds and sixths.
In confiding a melody in thirds to the strings it is frequently
necessary to use the same quality of tone in both parts, but in the
case of a melody in sixths different timbres may be employed. In
writing thirds doubled in octaves, the first and second violins should
be used. In spite of the difference in the quantity of players, the
thirds will not sound unequal. The same arrangement may obtain in the
viola and 'cello groups, but it is useless in the case of melody in
sixths.
_Examples:_
* No. 34. _Legend of Kitesh_ [[34]]--Vns I _div._) 3/Vns II
_div._) 3] 8.
* _Legend of Kitesh_ [[39]]--Vns I/Violas] 6.
Cf. also _Legend of Kitesh_ [[223]]: Vns I/Vns II} 3/Vns
I/Vns II} 3] 8 (Ex. 31).
Distribution in octaves, thirds, and sixths is usually regulated by
the normal register of the respective instruments, so as to avoid any
suggestion of mannerism resulting from the disturbance of balance. But
such a departure from the recognised order may be permitted in special
cases. For instance, in the following example of writing in sixths the
upper part is allotted to the 'cellos, the lower part to the violins
on the _G_ string; this arrangement produces a quality of tone
distinctly original in character.
_Example:_
No. 35. _Spanish Capriccio_ [[D]]--'Cellos/Vns I + II] 6.
Melody in the wood-wind.
* The choice of instruments for characteristic and expressive melody
is based on their distinctive qualities, discussed minutely in the
foregoing chapter. To a large extent the question is left to the
orchestrator's own personal taste. Only the best methods of using the
wood-wind in unison or octaves, and distributing a melody in thirds,
sixths and mixed intervals, from the standpoint of resonance and tone
quality will be indicated in this section of the work. Examples of the
use of solo wood-wind are to be found in any score; the following are
typical instances:
_Examples of solo wood-wind:_
1. _Piccolo: Serbian Fantasia_ [[C]]; No. 36. _Tsar Saltan_ [[216]];
_Snegourotchka_ [[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_: No. 39. _Legend of Kitesh_ [[44]].
4. _Oboe_: No. 40. _Shéhérazade_, 2nd movement [[A]]; _The May
Night_, Act III [[Kk]]; 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]].
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_: No. 47 and 48. _Snegourotchka_ [[243]] and
[[246-247]].
9. _Bassoon: Antar_ [[59]]; No. 49. _Vera Scheloga_ [[36]];
_Shéhérazade_, 2nd movement, beginning (cf. Ex. 40); No. 50. _The
Golden Cockerel_ [[249]]; No. 51. _Mlada_, Act III, after [[29]]; cf.
also Ex. 78.
10. _Double bassoon: Legend of Kitesh_, before [[84]], [[289]]; cf.
also Ex. 10 (D. bassoon + D. bass solo).
The normal order of wood-wind instruments and that which produces the
most natural resonance is the following: _Flutes_, _Oboes_,
_Clarinets_, _Bassoons_ (the order used in orchestral full scores).
Departure from this natural order, e.g. placing bassoons above
clarinets and oboes, or flutes below oboes and clarinets, and
especially below the bassoons, creates a far-fetched, unnatural tone,
useful, however, in certain cases to attain certain special effects. I
do not advise the student to make too free a use of this proceeding.
Combination in unison.
The combination of two different wood-wind instruments in unison
yields the following tone qualities:
a) _Flute + Oboe._ A quality fuller than that of the flute, sweeter
than that of the oboe. Played softly, the flute will predominate in
the low, the oboe in the upper register. Example: No. 52.
_Snegourotchka_ [[113]].
b) _Flute + Clarinet._ A quality fuller than that of the flute, duller
than that of the clarinet. The flute will predominate in the lower,
the clarinet in the higher register. Examples: No. 53. _Legend of
Kitesh_ [[330]]; also [[339]] and [[342]].
c) _Oboe + Clarinet._ A fuller quality than that of either instrument
heard separately. The dark, nasal tone of the oboe will prevail in the
low register, the bright, "chest" quality of the clarinet in the high
compass. Examples: _Snegourotchka_ [[19]]; No. 54. _Snegourotchka_
[[115]]. Cf. also _Legend of Kitesh_ [[68]], [[70]], [[84]]--2 Ob. + 3
Cl. (Ex. 199-201).
d) _Flute + Oboe + Clarinet._ Very full in quality. The flute
predominates in the low register, the oboe in the middle, and the
clarinet in the high compass. Examples: _Mlada_, Act I [[1]]; *
_Sadko_ [[58]] (2 Fl. + 2 Ob. + Small Cl.).
e) _Bassoon + Clarinet._ Very full quality. The gloomy character of
the clarinet prevails in the lower register, the sickly quality of the
bassoon in the higher. Example: _Mlada_, Act II, after [[49]].
f) _Bassoon + Oboe_, and
g) _Bassoon + Flute._
The combinations _f_ and _g_, as well as _Bassoon + Clarinet + Oboe_,
and _Bassoon + Clarinet + Flute_ are very seldom found except in
certain orchestral _tutti_, where they produce increased resonance
without creating a fresh atmosphere. But in such combinations, the
range of which is practically restricted to the limits of the third
octave, the low notes of the flute will predominate in the lower third
of this register, and the high notes of the bassoon in the middle
third. The clarinet, weak in the middle compass will not stand out
prominently in this particular combination.
h) _Bassoon + Clarinet + Oboe + Flute._ This combination is equally
rare. The colour is rich, and difficult to define in words. The tone
of each instrument will be separated from the others more or less in
the manner detailed above. Examples: _Russian Easter Fête_, the
beginning; No. 55. _Snegourotchka_ [[301]]; _The May Night_, Act III
[[Qqq]].
The process of combining two or more qualities of tone in unison,
while endowing the music with greater resonance, sweetness and power,
possesses the disadvantage of restricting the variety of colour and
expression. Individual timbres lose their characteristics when
associated with others. Hence such combinations should be handled with
extreme care. Phrases or melodies demanding diversity of expression
alone should be entrusted to solo instruments of simple timbres. The
same applies to the coupling of two instruments of the same kind, such
as 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. The quality of tone
will lose nothing of its individuality, and will gain in power, but
its capacity for expression will be diminished accordingly. An
instrument enjoys greater independence and freedom when used as a solo
than when it is doubled. The use of doubling and mixed timbres is
naturally more frequent in loud passages than in soft ones, also where
expression and colour is broad rather than individual or intimate in
character.
I cannot refrain from mentioning how greatly I dislike the
method of duplicating all the wood-wind, in order to balance
a group of strings, reinforced out of all reason, to suit
the ever-growing dimensions of concert halls. I am convinced
that, artistically speaking, a limit should be set to the
size of both concert room and orchestra. The music performed
at these super-concerts must be specially composed on a plan
of its own--a subject which cannot be considered here.
Combination in octaves.
When the melody is entrusted to two wood-wind instruments in octaves,
the usual arrangement producing natural resonance is:
8 [Fl. Fl. Fl. Ob. Ob. Cl.
[Ob. Cl. Fag. Cl. Fag. Fag.] 8.
The combination of flute and bassoon in octaves is rare on account of
the widely separated registers of the two instruments. Deviation from
the natural order, such as placing the bassoon above the clarinet or
oboe, the clarinet above the oboe or flute etc., creates an unnatural
resonance occasioned by the confusion of registers, the instrument of
lower compass playing in its high register and _vice versa_. The lack
of proper relationship between the different tone qualities then
becomes apparent.
_Examples:_
No. 56. _Spanish Capriccio_ [[O]]--Fl./Ob.] 8.
No. 57. _Snegourotchka_ [[254]]--Fl./Eng. horn] 8.
* No. 58. _Shéhérazade_, 3rd movement [[E]]--Fl./Cl.] 8.
_Sadko_ [[195]]--Fl./Eng. horn] 8.
_Pan Voyevoda_ [[132]]--Fl./Cl.] 8.
_Tsar Saltan_ [[39]]--Cl./Fag.] 8.
No. 59. _Vera Scheloga_ [[30]]--Cl./Fag.] 8, likewise any number of
examples in the scores of various composers.
The use of two instruments of the same colour in octaves, e.g. 2
flutes, 2 clarinets or 2 bassoons etc., if not exactly to be avoided
is certainly not to be recommended, as the instruments, playing in
different registers will not correspond one with the other.
Nevertheless this method may be safely employed when stringed
instruments, _arco_ or _pizzicato_ double the two members of the
wood-wind, and especially in the middle compass. The process is most
satisfactory for repeated notes or sustained passages.
_Examples:_
_The May Night_, Act I [[T]]--Cl. I/Cl. II] 8.
* _Sadko_, after [[159]]--Ob. I/Ob. II] 3, doubled by _pizz._ strings.
* _Servilia_, after [[21]]--Fag. I/Fag. II] 8 + _pizz._ strings.
Instruments of the same branch playing in octaves, e.g.
8 [Fag. Cl. Ob. Small cl. Flute Picc.]
[C-Fag. Cl. basso Eng. horn Clar. Alto Fl. Fl. ] 8
always produce a good effect.
_Examples:_
_Snegourotchka_ [[5]]--Picc./Fl.] 8 (cf. Ex. 15).
_The Tsar's Bride_ [[133]]--Picc./Fl.] 8.
_Tsar Saltan_ [[216]]--Picc./Fl.] 8 (cf. Ex. 36).
_Sadko_, after [[59]] Small cl./Cl.] 8.
_Legend of Kitesh_ [[240]]--Fag./C-Fag.] 8 (cf. Ex. 21).
No 60. _Mlada_, Act III, before [[44]]--Ob./Eng. horn] 8.
As in the strings, so in the wood-wind it is advisable to double in
octaves any melody situated in the extremely high or low compass; an
octave lower in the first case, an octave higher in the second. Thus
the piccolo will be doubled by the flute, oboe or clarinet an octave
lower; the double bassoon will be doubled by bassoon, clarinet or bass
clarinet an octave higher.
8 [Picc. Picc. Picc.]
[Fl. Ob. Cl. ] 8.
8 [Fag. Bass cl. Cl. Cl. Fag. Fag. ]
[C-Fag. Fag. Fag. Bass cl. Fag. Bass cl.] 8.
_Examples:_
* _Tsar Saltan_ [[39]]--Picc./Ob.] 8.
* No. 61. _Mlada_, Act II, Lithuanian dance [[32]]--Picc./Small cl.]
8.
_Sadko_ [[150]]--Picc./Small cl.] 8.
* Mixed qualities of tone may be employed in doubling in octaves, the
above remarks still holding good.
_Examples:_
_Pan Voyevoda_ [[134]]--Cl. + Ob./Cl. + Eng. horn] 8 (cf. Ex. 7).
No. 62. _Servilia_ [[168]]--2 Fl. + Ob./2 Cl. + Eng. horn] 8.
No. 63. _The Tsar's Bride_ [[120]]--3 Fl. + Ob./2 Cl. + Fag. + Eng.
horn] 8.
_Mlada_, Act III [[41]]--Fl. + Bass fl./Cl. + Bass cl.] 8.
Doubling in two, three and four octaves.
In such cases the student should follow the above-mentioned rules, and
should take care not to infringe the natural order:
Fl. Ob. Fl. Fl. ] 8
In 3 octaves: Ob. Cl. Cl. Ob. ]
Cl. Fag. Fag. Fag.] 8.
Fl. ] 8
In 4 octaves: Ob. ]
Cl. ] 8
Fag.] 8.
Mixed timbres may also be employed.
_Examples:_
No. 64. _Spanish Capriccio_ [[P]]--melody in 4 octaves:
Picc./2 Fl./2 Ob. + Cl./Fag.] 8/8/8.
_The Tsar's Bride_ [[141]]--melody in 3 octaves.
* _Legend of Kitesh_ [[212]]--2 Cl./Bass cl./D. bassoon] 8/8.
* No. 65. _Antar_, (1st version) 3rd movement, the
beginning--Picc. + 2 Fl./2 Ob. + 2 Cl./2 Fag.] 8/8; also [[C]], melody
in 4 octaves (piccolo in the upper octaves).
* _Mlada_, Act III, after [[42]]--Fl./Ob./Eng. horn] 8/8.
No. 66. _Shéhérazade_, 3rd movement [[G]]--Picc./Cl. I/Cl. II] 8/8.
Examples of melody doubled in five octaves are extremely rare; in such
cases the strings participate in the process.
Melody in thirds and sixths.
Melodic progression in thirds and sixths demands either two
instruments of the same colour (2 Fl., 2 Ob., 2 Cl., 2 Fag.), or
instruments of different colours in the normal order of register:
Fl. Fl. Ob. Cl. Ob. ]
Ob. Cl. Cl. Fag. Fag.] 3 (6).
If this order is inverted, e.g. Ob. Cl. Fag./Fl. Fl. Cl.] 3 (6), a
strained and forced resonance is created. For progressions in thirds,
the best method, from the standpoint of equality in tone is to use
instruments of the same kind in pairs; for progressions in sixths
instruments of different kinds are more suitable, but both courses are
good and useful. They may also be employed for progressions in thirds
and sixths, or thirds, fifths and sixths mixed, as for example:
[Music]
_Examples:_
_Legend of Kitesh_ [[24]]--different wind instruments in turn.
_The May Night_, Act III [[G]]--Cl./Cl.] 3.
_Sadko_ [[279-280]]--Fl./Fl.] 3 (6).
No. 67. _Spanish Capriccio_, before [[V]]--various wood-wind in thirds
and sixths.
_Servilia_ [[228]]--Fl./Fl.] 3 and Cl./Cl.] 3.
_The Golden Cockerel_ [[232]]--2 Fl./2 Ob.] 6.
* _Sadko_ [[43]]--All wood-wind in turn, simple timbres.
When the doubled parts progress in thirds or sixths, the following
method is advisable:
Fl. + Ob. ] Fl. + Cl.
Fl. + Ob. ] 3 (6) or Fl. + Cl. ] 3 (6) etc., as well as:
Fl. + Ob. ] Ob. + Fl. ]
Fl. + Cl. ] 3 (6) or Fl. + Cl. ] 3 (6) etc.
In the case of tripling the following arrangement may be adopted:
Fl. + Ob. + Cl. ] Ob. + 2 Fl. ]
Fl. + Ob. + Cl. ] 3 (6) or Ob. + 2 Cl. ] 3 (6) etc.
_Examples:_
* No. 68. _The Christmas Night_ [[187]]--Ob. + Cl./Ob. + Cl.] 3.
* _Legend of Kitesh_ [[202-203]] different mixed timbres.
Thirds and sixths together.
[Music]
Apart from the obvious distribution:
Fl. Ob.
Ob. or Cl.,
Cl. Fag.
there are certain complicated methods which involve doubling:
Upper part. Ob. + Fl.
Middle " Fl. + Cl.
Lower " Ob. + Cl.
The following is a complex instance somewhat vague in character:
No. 69. Legend of Kitesh [[35]]--Ob./Ob./Cl. + Cl. and Fl./Fl./Ob. +
Ob.
Melody in the brass.
The natural scale, the only one which brass instruments had at their
disposal prior to the invention of valves was:
[Music]
giving, in two part harmony:
[Music]
With the help of rhythm, these component parts have given rise to a
whole series of themes and phrases named fanfares, trumpet calls or
flourishes, best adapted to the character of brass instruments.
In modern music, thanks to the introduction of valves, this scale is
now possible in all keys for every chromatic brass instrument, without
it being necessary to change the key, and the addition of a few notes
foreign to the natural scale has enriched the possibilities of these
flourishes and fanfares, and endowed them with greater variety of
expression.
These phrases, either as solos, or in two or three parts, fall
specially to the lot of the trumpets and horns, but they may also be
given to the trombones. The full, clear, ringing notes of the middle
and upper register of horns and trumpets are best suited to figures of
this description.
_Examples:_
_Servilia_ [[20]]--Trumpets.
_The Christmas Night_ [[182]]--Horn, Trumpets.
_Vera Scheloga_, beginning of Overture, and after [[45]]--Horn,
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 Trumpets/Horns] 8 (cf.
further on).
After fanfare figures, those melodies best suited to the brass quality
are those of an unmodulated diatonic character, rousing and triumphant
in the major key, dark and gloomy in the minor.
_Examples:_
No. 71. _Sadko_ [[342]]--Trumpet.
_Sadko_, before [[181]]--Trombones (cf. Ex. 27).
No. 72. _Snegourotchka_ [[71]]--Trumpet.
_Russian Easter Fête_ [[M]]--Trombone.
_Spanish Capriccio_ [[E]]--Alternative use in the horn of open and
stopped notes (cf. Ex. 44).
_Ivan the Terrible_, Act II, before [[17]]--Bass trumpet, and 3 Horns
a little further on.
_Mlada_, Act II [[33]]--Bass trumpet (cf. Ex. 46).
The genial and poetic tone of the horn in _piano_ passages affords
greater scope in the choice of melodies and phrases that may be
entrusted to this instrument.
_Examples:_
_The May Night_, Overture [[13]].
_The Christmas Night_ [[1]].
_Snegourotchka_ [[86]].
_Pan Voyevoda_ [[37]].
No. 73. _Antar_ [[40]].
Melodies involving chromatic or enharmonic writing are much less
suitable to the character of brass instruments. Nevertheless such
melodies may sometimes be allotted to the brass, as in the music of
Wagner, and the modern Italian realists, who, however, carry the
proceeding to extremes. Vigourous phrases in the form of a fanfare,
although introducing chromatic notes sound singularly beautiful on the
brass.
_Example:_
No. 74. _Shéhérazade_, 2nd movement [[D]].
As a general rule, brass instruments lack the capacity to express
passion or geniality. Phrases charged with these sentiments become
sickly and insipid when confided to the brass. Energetic power, free
or restrained, simplicity and eloquence constitute the valuable
qualities of this group.
Brass in unison, in octaves, thirds and sixths.
As, from its very nature, the brass is not called upon to realise a
wide range of expression, kindred instruments of one group may be
employed _solo_, as well as in unison. The combination of 3 trombones
or 4 horns in unison is frequently met with, and produces extreme
power and resonance of tone.
_Examples:_
_Snegourotchka_ [[5]]--4 Horns (cf. Ex. 15).
_Snegourotchka_ [[199]]--4 Horns and 2 Trumpets.
_Sadko_ [[175]]--1, 2, 3 Trumpets.
No. 75. _Sadko_ [[305]][13]--3 Trombones.
[Footnote 13: The composer has emended the score in the following
manner: from the fifth to the ninth bar after [[305]], and also from
the fifth to the ninth bar after [[306]], the three clarinets play in
unison, the trumpet being marked _forte_ instead of _fortissimo_; in
the example, the first of these passages is corrected according to the
composer's alteration. (Editor's note.)]
No. 76. _The May Night_, beginning of Act III--1, 2, 3, 4 Horns.
_Legend of Kitesh_, end of Act I--4 Horns (cf. Ex. 70).
No. 77. _Shéhérazade_, 4th movement p. 204--3 Trombones.
_Mlada_; Lithuanian dance--6 Horns (cf. Ex. 61).
Owing to the resonant power of the entire group, the equality and even
gradation of tone between the dark colour of the deep compass and the
bright quality of the upper register, the use of brass instruments of
the same kind in octaves, thirds or sixths invariably leads to
satisfactory results. For the same reason the employment of brass
instruments of different kinds, arranged according to normal order of
register:
Trumpet Trumpet Trombone 2 Trombones 2 Trumpets 2 Horns
2 Horns Trombone Tuba Trombone + Tuba 2 Trombones Tuba
is likewise successful whether the instruments are doubled or not.
Another possible method, though not so reliable, is to combine horns
(above) with trombones, exclusively in octaves:
2 Horns ] 4 Horns ]
1 Trombone] 8 or 2 Trombones] 8.
_Examples:_
_Sadko_, before [[120]]--Trumpet/Trumpet] 8.
_Sadko_ [[5]]--2 Trumpets/4 Horns] 8.
_Snegourotchka_ [[222]]--2 Trombones/Trombone + Tuba] 8.
_Ivan the Terrible_, Act III [[10]] 1 Trombone + Trumpet/2 Trombones]
8 (cf. Ex. 38)
_The Golden Cockerel_ [[125]]--Trumpet/Trombone] 8.
Cf. also _Snegourotchka_ [[325-326]]--Trombone/Trombone] 8 (Ex. 95).
Melody in different groups of instruments combined together.
A. Combination of wind and brass in unison.
The combination of a wood-wind and brass instrument produces a complex
resonance in which the tone of the brass predominates. This resonance
is naturally more powerful than that of each instrument taken
separately, but slightly sweeter than the brass instrument alone. The
tone of the wood-wind blends with that of the brass, softens and
rarefies it, as in the process of combining two wood-wind instruments
of different colour. Instances of such doubling are fairly numerous,
especially in _forte_ passages. The trumpet is the instrument most
frequently doubled: Trumpet + Cl., Trumpet + Ob., Trumpet + Fl., as
well as Trumpet + Cl. + Ob. + Fl.; the horn, less often: Horn + Cl.,
Horn + Fag. Trombones and Tuba may also be doubled: Trombone + Fag.,
Tuba + Fag. Combining the Eng. horn, bass clarinet and double bassoon
with the brass, in corresponding registers, presents the same
characteristics.
_Examples:_
_Legend of Kitesh_ [[56]]--Trombone + Eng. horn.
* _Mlada_, Act III, before [[34]]--3 Trombones + Bass cl.
As a rule, the addition of a wind to a brass instrument yields a finer
legato effect than when the latter instrument plays alone.
B. Combination of wind and brass in octaves.
Doubling the horns in octaves by clarinets, oboes or flutes often
replaces the combination
1 Trumpet ]
1 Horn (or 2 Horns) ] 8.
This is done when it is a question of introducing a rich tone into the
upper octave which the trumpet is not capable of imparting. If a
single horn is used, the upper part is allotted to 2 clarinets, 2
oboes, or 2 flutes. But if there are two horns playing the lower
octave in unison, three or four wind instruments will be necessary
above, especially in _forte_ passages:
8 [2 Ob. or 2 Cl. or 2 Fl.
[1 Horn
as well as
1 Ob. + 1 Cl.] 2 Fl. + 2 Cl.]
1 Horn ] 8; 2 Horns ] 8.
To double a trumpet in the upper octave three or four wind instruments
are required, but in the top register two flutes will suffice.
[Music] [Music]
Wood-wind instruments should not be used to double a trombone in the
octave above; trumpets are more suitable.
Examples of doubling in octaves:
* _Snegourotchka_ [[71]]--Ob. + Cl./Horn] 8.
* _Legend of Tsar Saltan_, before [[180]]--Ob. + Cl./Ob. + Cl.]
6/Horn/Horn] 6] 8.
* Mention should also be made of mixed timbres (wood and brass) in
progression in octaves.
_Examples:_
_Mlada_, Act III, beginning of Scene III--Trombone + Bass cl./Tuba +
C-fag.] 8.
No. 78. _Mlada_, Act III after [[25]]--2 Cl. + 2 Horns + Trombone/Bass
cl. + 2 Horns + Trombone] 8 (low register).
No. 79. _Mlada_, Act III, before [[35]]--general unison.
When it is desired to distribute the melody over three or four
octaves, it is difficult to achieve perfect balance of tone.
_Examples:_
* _Shéhérazade_, 4th movement, 15th bar after [[W]]--Picc./2 Fl.
+ 2 Ob./2 Trumpets] 8/8.
* _Legend of Tsar Saltan_ [[228]]--Picc./2 Fl. + 2 Ob./Trumpet + Eng.
horn] 8/8.
C. Combination of strings and wind.
In commencing this section of the work I consider it necessary to lay
down the following fundamental rules which apply equally to melody,
harmony, counterpoint and polyphonic writing.
All combinations of strings and wood-wind are good; a wind instrument
progressing in unison with a stringed instrument increases the
resonance of the latter and amplifies its tone, while the quality of
the strings softens that of the wood-wind. In such combinations the
strings will predominate provided that the two instruments are of
equal power, e.g. when violins are coupled with an oboe, a bassoon
with the 'cellos. If several wind instruments play in unison with one
group of strings, the latter will be overpowered. As a rule all
combinations refine the characteristics of each instrument taken
separately, the wood-wind losing more than the strings.
_Doubling in unison._
The best and most natural combinations are between instruments whose
registers correspond the nearest:
Vns + Fl. (Bass fl., picc.), Vns + Ob., Vns + Cl. (small Cl.);
Violas + Ob. (Eng. horn), Violas + Cl., Violas + Fag.
'Cellos + Cl. (Bass cl.), 'Cellos + Fag.;
D. basses + Bass cl., D. basses + Fag.; D. basses + C-fag.
The object of these combinations is: a) to obtain a new timbre of
definite colour; b) to strengthen the resonance of the strings; c) to
soften the quality of the wood-wind.
_Examples:_
_Snegourotchka_ [[5]]--'Cellos + Violas + Eng. horn (cf. Ex. 15).
" [[28]]--Violas + Ob. + Eng. horn.
" [[116]]--Vns I + II + Ob. + Cl.
" [[288]]--Vns I + II + 'Cellos + Eng. horn (cf. Ex. 17).
No. 80. _The May Night_, Act III [[Bb]]--Violas + Cl.
No. 81. _Sadko_ [[311]]--Vns + Ob.
No. 82. " [[77]]--Violas + Eng. horn.
No. 83. " [[123]]--Violas + Eng. horn.
_Servilia_ [[59]]--Vns _G_ string + Fl.
_Tsar Saltan_ [[30]]--Vns I + II + 2 Cl.
No. 84. _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 + Fag.
_Antar_, 4th movement [[63]]--'Cellos + 2 Fag.
_Shéhérazade_, 3rd movement [[H]]--Violas + Ob. + Eng. horn.
_Parts doubled in octaves._
Examples of strings in octaves doubled by wood-wind also in octaves
are numerous, and do not require special description; they are used
according to the rules already laid down. The following are examples
of melody distributed over 1, 2, 3 and 4 octaves:
_Examples:_
No. 85. _Ivan the Terrible_, beginning of Overture--Vns I + II + 2
Cl./Violas + 'Cellos + 2 Fag.] 8.
No. 86. _Sadko_ [[3]]--'Cellos + Bass cl./D. basses + C-fag.] 8.
_Sadko_ [[166]]--'Cellos + Fag./D. basses + C-fag.] 8.
" [[235]]--Violas + 2 Cl./'Cellos + D. basses + 2 Fag.] 8.
_The Tsar's Bride_ [[14]]--'Cellos + Fag./D. basses + Fag.] 8.
_The Tsar's Bride_ [[81]]--Vns I/Vns II div. + Fl./+ Ob.] 8.
" " " [[166]]--Vns I + Fl./Vns II + Ob.] 8 (cf. Ex. 22).
In three and four octaves:
_Servilia_ [[93]]--Vns + 3 Fl./Violas + 2 Ob./'Cellos + 2 Fag.]
8/8.
No. 87. _Kashtcheï_ [[105]]--Vns I + Picc./Vns II + Fl. +
Ob./Violas + 'Cellos + 2 Cl. + Eng. horn + Fag.] 8/8.
_Shéhérazade_, 3rd movement [[M]]--Vns I + Fl./Vns II +
Ob./'Cellos + Engl. horn] 8/8.
_Examples of melody in thirds and sixths:_
_Servilia_ [[44]]--Fl. + Ob. + Cl. + Vns/Fl. + Ob. + Cl. + Vns
div.] 3.
No. 88. _Servilia_ [[111]]--Strings and wood-wind in thirds.
No. 89. " [[125]]--same combination, in thirds and sixths.
_Kashtcheï_ [[90]]--The same.
It is necessary to pay more attention to cases where, of the two parts
in octaves, only one is doubled. When this method is applied to a
melody in the soprano register it is better to allow the wood-wind to
progress in octaves, the lower part only being doubled by one of the
string groups; Picc./Fl. + Vns] 8. Fl./Ob. (Cl.) + Vns] 8.
_Examples:_
_Tsar Saltan_ [[102]]--2 Fl. + Picc./Vns I + II + Ob.] 8 (cf. Ex.
133).
* No. 90. _Shéhérazade_, 4th movement [[U]]--2 Cl./'Cellos + 2
Horns] 8.
In the case of a melody in the low register demanding a sweet soft
tone, the violoncellos and double basses should be made to progress in
octaves, the former doubled by a bassoon, the latter not doubled at
all: 'Cellos + Fag./D. basses] 8. Sometimes a composer is obliged to
use this method on account of the very low register of the double
bass, especially if a double bassoon is not included in his orchestral
scheme.[14]
[Footnote 14: The process of doubling strings and wood-wind in
octaves: Fl./Vns] 8, Ob./'Cellos] 8, etc. often used by the
classics to obtain balance of tone, is not to be recommended, as the
tone quality of the two groups is so widely different. As a result of
the ever-increasing tendency to profusion of colour, this method has
recently come into fashion again, notably among the younger French
composers. (Editor's note.)]
_Example:_
No. 91. _Tsar Saltan_ [[92]]--Violas + Fag./'Cellos + Fag./D. basses]
8/8.
D. Combination of strings and brass.
Owing to the dissimilarity between the quality of string and brass
tone, the combination of these two groups in unison can never yield
such a perfect blend as that produced by the union of strings and
wood-wind. When a brass and a stringed instrument progress in unison,
each can be heard separately, but the instruments in each group which
can be combined with the greatest amount of success are those whose
respective registers correspond the most nearly; Violin + Trumpet;
Viola + Horn; 'Cellos/D. basses + Trombones/Tuba (for heavy massive
effects).
The combination of horns and 'cellos, frequently employed, produces a
beautifully blended, soft quality of tone.
_Examples:_
_Tsar Saltan_ [[29]]--Vns I + II + Horn.
* No. 92. _The Golden Cockerel_ [[98]]--Violas _con sord._ + Horn.
E. Combination of the three groups.
The combination of members of the three groups in unison is more
common, the presence of the wood-wind imparting a fuller and more
evenly blended tone. The question as to which group will predominate
in timbre depends upon the number of instruments employed. The most
natural combinations, and those most generally in use are: Vns +
Ob. (Fr., Cl.) + Trumpet; Violas (or 'Cellos) + Cl. (Eng. horn) +
Horn; 'Cellos/D. basses + 2 Fag. + 3 Trombones + Tuba.
Such groupings are used for preference in loud passages or for a heavy
_piano_ effect.
_Examples:_
No. 93-94. _Snegourotchka_ [[218]] and [[219]]--Vns I + II + Cl. +
Horn and Vns I + II + Cl. + Trumpet.
_Servilia_ [[168]]--Violas + Trombones/'Cellos + Trombone + Bass
Cl./D. basses + Tuba + Fag.] 8/8 (cf. Ex. 62).
No. 95. _Snegourotchka_ [[325]]--'Cellos + Violas + Fag. + Trombone/D.
basses + Fag. + Tuba] 8.
_Pan Voyevoda_ [[224]]--Vns + Fag. + Horn + Vn. + Cl. + Trumpet.
(Stopped notes in the brass.)
* _Mlada_, Act III, after [[23]]--Violas + 2 Cl. + Bass trumpet.
* No. 96. _Ivan the Terrible_, Act III, before [[66]]--Bass Cl. + Horn
/D. basses + C-fag. + Tuba] 8.
* _Ivan the Terrible_, Overture, 4th bar after [[9]]--Violas +
'Cellos + Eng. horn + 2 Cl. + Bass Cl. + 2 Fag. + 4 Horns. (The melody
simplified in the horns.)