HARMONY.
General observations.
The art of orchestration demands a beautiful and well-balanced
distribution of chords forming the harmonic texture. Moreover,
transparence, accuracy and purity in the movement of each part are
essential conditions if satisfactory resonance is to be obtained. No
perfection in resonance can accrue from faulty progression of parts.
_Note._ There are people who consider orchestration simply
as the art of selecting instruments and tone qualities,
believing that if an orchestral score does not sound well,
it is entirely due to the choice of instruments and timbres.
But unsatisfactory resonance is often solely the outcome of
faulty handling of parts, and such a composition will
continue to sound badly whatever choice of instruments is
made. So, on the other hand, it often happens that a passage
in which the chords are properly distributed, and the
progression of parts correctly handled, will sound equally
well if played by strings, wood-wind or brass.
The composer should picture to himself the exact harmonic formation of
the piece he intends to orchestrate. If, in his rough sketch, there
exist any uncertainly as to the number or movement of harmonic parts,
he is advised to settle this at once. It is likewise essential for him
to form a clear idea as to the construction and musical elements of
the piece, and to realise the exact nature and limitations of the
themes, phrases and ideas he is going to employ. Every transition from
one order of harmonic writing to another, from four-part harmony to
three, or from five-part harmony to unison etc., must coincide with
the introduction of a new idea, a fresh theme or phrase; otherwise the
orchestrator will encounter many unforeseen and insurmountable
difficulties. For example, if, during a passage written in four parts
a chord in five-part harmony is introduced, a fresh instrument must
needs be added to play this particular fifth part, and this addition
may easily damage the resonance of the chord in question, and render
the resolution of a discord or the correct progression of parts
impossible.
Number of harmonic parts--Duplication.
In the very large majority of cases harmony is written in four parts;
this applies not only to single chords or a succession of them, but
also to the formation of the harmonic basis. Harmony which at first
sight appears to comprise 5, 6, 7 and 8 parts, is usually only four
part harmony with extra parts added. These additions are nothing more
than the duplication in the adjacent upper octave of one or more of
the three upper parts forming the original harmony, the bass being
doubled in the lower octave only. The following diagrams will explain
my meaning:
[Music: _A. Close part-writing._
Four part harmony.
Duplication of 1 part.
Duplication of 2 parts.
Duplication of 3 parts.]
[Music: _B. Widely-divided part-writing._
Four part harmony.
Duplication of 1 part.
Duplication of 2 parts.]
_Note._ In widely-spaced harmony only the soprano and alto
parts may be doubled in octaves. Duplicating the tenor part
is to be avoided, as close writing is thereby produced, and
doubling the bass part creates an effect of heaviness. The
bass part should never mix with the others:
Bad: [Music]
On account of the distance between the bass and the three other parts,
only partial duplication is possible.
Good: [Music]
_Note._ Notes in unison resulting from correct duplication
need not be avoided, for although the tone in such cases is
not absolutely uniform, the ear will be satisfied with the
correct progression of parts.
Consecutive octaves between the upper parts are not permissible:
Bad: [Music]
Consecutive fifths resulting from the duplication of the three upper
parts moving in chords of sixths are of no importance:
Good: [Music]
The bass of an inversion of the dominant chord should never be doubled
in any of the upper parts:
Good: [Music] Bad: [Music]
This applies also to other chords of the seventh and diminished
seventh:
Bad: [Music] Good: [Music]
The rules of harmony concerning sustained and pedal passages apply
with equal force to orchestral writing. As regards passing and
auxiliary notes, _échappées_, considerable licence is permitted in
rapid passages of different texture:
One texture: [Music]
A different one: [Music]
One texture: [Music]
A different one: [Music]
A certain figure and its essentials, in simplified form, may proceed
concurrently, as in the following example:
One texture: [Music]
A different one: [Music]
A third: [Music]
Upper and inner pedal notes are more effective on the orchestra than
in pianoforte or chamber music, owing to the greater variety of tone
colour:
[Music]
In Vol. II of the present work many examples of the above methods will
be found.
Distribution of notes in chords.
The normal order of sounds or the natural harmonic scale:
[Music]
may serve as a guide to the orchestral arrangement of chords. It will
be seen that the widely-spaced intervals lie in the lower part of the
scale, gradually becoming closer as the upper register is approached:
[Music]
The bass should rarely lie at a greater distance than an octave from
the part directly above it (tenor harmony). It is necessary to make
sure that the harmonic notes are not lacking in the upper parts:
To be avoided: [Music]
The use of sixths in the upper parts, and the practice of doubling the
upper note in octaves are sometimes effective methods:
[Music] [Music]
When correct progression increases the distance between the top and
bottom notes of the upper parts, this does not matter:
Good: [Music]
But it would be distinctly bad to fill in the second chord thus:
Not good: [Music]
Hence it follows that the distribution of intermediate parts is a
question of the greatest importance. Nothing is worse than writing
chords, the upper and lower parts of which are separated by wide,
empty intervals, especially in _forte_ passages; in _piano_ passages
such distribution may be possible. Progression in contrary motion, the
upper and lower parts diverging by degrees gives rise to the gradual
addition of extra parts occupying the middle register:
Schematic Example: [Music]
When the voices converge, the middle parts are eliminated one by one:
Schematic Example: [Music]
String harmony.
It is an incontrovertible rule that the resonance of different
harmonic parts must be equally balanced, but this balance will be less
noticeable in short sharp chords than in those which are connected and
sustained. Both these cases will be studied separately. In the first
case, in order to increase the number of harmonic parts, each
instrument in the string group may be provided with double notes or
chords of three and four notes. In the second case, the resources are
limited to double notes _unis_, or division of parts.
A. _Short chords._ Chords of three or four notes can only be executed
rapidly on the strings.
_Note._ It is true that the two upper notes of a chord can
be sustained and held a long time; this, however, involves
complications and will be considered later.
Short chords, _arco_, only sound well when played _forte_ (_sf_), and
when they can be supported by wind instruments. In the execution of
double notes and chords of three and four notes on the strings,
balance, perfect distribution of tone, and correct progression of
parts are of minor importance. What must be considered before
everything is the resonance of the chords themselves, and the degree
of ease with which they can be played. Those comprising notes on the
gut strings are the most powerful. Chords played on several strings
are usually assigned to 1st and 2nd violins and violas, the
different notes being divided between them according to ease in
execution and the demands of resonance. On account of its low register
the 'cello is rarely called upon to play chords on three or four
strings, and is usually allotted the lowest note of the chord in
company with the double bass. Chords on the latter instrument are even
more uncommon, but it may supply the octave on an uncovered string.
_Examples:_
No. 97. _Snegourotchka_ [[171]]; cf. also before [[140]] and before
[[200]].
* _Spanish Capriccio_, before [[V]] (cf. Ex. 67).
_Shéhérazade_, 2nd movement [[P]] (cf. Ex. 19.)
* No. 98. _Tsar Saltan_ [[135]]; cf. also [[141]] and before [[182]].
Isolated chords may be added to a melodic figure in the upper part,
accentuating, _sforzando_, certain rhythmical moments.
_Example:_
No. 99. _Snegourotchka_, before [[126]]; cf. also [[326]].
B. _Sustained and tremolando chords._ Chords sustained for a shorter
or longer period of time, or tremolando passages, often used as a
substitute, demand perfect balance of tone. Taking for granted that
the different members of the string group are equal in power, the
parts being written according to the usual order of register, (cf.
Chap. I), it is patent that a passage in close four-part harmony, with
the bass in octaves will also be uniformly resonant. When it is
necessary to introduce notes to fill up the empty middle register, the
upper parts being farther distant from the bass, doubled notes on the
violins or violas should be used, or on both instruments together. The
method of dividing strings, which is sometimes adopted, should be
avoided in such cases, as certain parts of the chord will be divided
and others will not; but, on the other hand, if a passage in six and
seven-part harmony be written entirely for strings divided in the same
manner, the balance of tone will be completely satisfactory, e.g.,
div. { Vns I/Vns I
div. { Vns II/Vns II
div. { Violas I/Violas II
If the harmony in the three upper parts, thus strengthened, is written
for divided strings, the 'cellos and basses, playing _non divisi_ will
prove a trifle heavy; their tone must therefore be eased, either by
marking the parts down or reducing the number of players.
In the case of sustained chords or _forte tremolando_ on two strings,
the progression of parts is not always according to rule, the
intervals chosen being those which are the easiest to play.
_Examples:_
No. 100. _The Christmas Night_ [[161]]--Full _divisi_.
No. 101. " " " [[210]]--Violas div./'Cellos div.} 4
part harmony.
No. 102. _Snegourotchka_ [[187-188]]--Four-part harmony, Vns I,
Vns II, Violas and Violoncellos.
" [[243]]--4 Solo 'cellos _divisi_.
_Shéhérazade_, 2nd movement, beginning.--4 D. bass soli div. (cf.
Ex. 40).
_The Tsar's Bride_ [[179]]--Chords on all strings (cf. Ex. 243).
No. 103. _Legend of Kitesh_ [[8]]--Harmonic basis in the strings.
" " " [[240]]--(Cf. Ex. 21).
" " " [[283]]--Harmonic basis in the strings
(cf. Ex. 2).
No. 104. _The Golden Cockerel_ [[4]]--Basis in the strings.
" " " [[125]]--Undulating rhythm in the
strings as harmonic basis (cf. Ex. 271).
In a _forte_ or _sfp_ chord, where one or two of the upper notes is
held, either sustained or _tremolando_, the balance of tone must still
be maintained, as in the following example:
[Music:
Vns I
VnII
Violas
D. basses]
Wood-wind harmony.
Before entering upon this section of the work I would remind the
reader of the general principles laid down in the beginning of the
chapter.
Harmonic texture, composed of plain chords or ornamental designs,
simple or contrapuntal in character, must possess a resonance equally
distributed throughout. This may be obtained by the following means:
1. Instruments forming chords must be used continuously in the same
way during a given passage, that is to say they must be doubled or not
throughout, except when one of the harmonic parts is to be made
prominent:
To be avoided: [Music]
2. The normal order of register must be followed, except in the case
of crossing or enclosure of parts, which will be discussed later on:
To be avoided: [Music]
3. Corresponding or adjacent registers should be made to coincide
except for certain colour effects:
To be avoided: [Music]
The second flute will sound too weak and the oboes too piercing.
4. Concords (octaves, thirds and sixths) and not discords (fifths,
fourths, seconds and sevenths), should be given to instruments of the
same kind or colour, except when discords are to be emphasised. This
rule should be specially observed in writing for the oboe with its
penetrating quality of tone:
To be avoided: [Music]
Four-part and three-part harmony.
Harmonic writing for the wood-wind may be considered from two points
of view: a) instruments in pairs, 2 Fl., 2 Ob., 2 Cl., 2 Fag.; and b)
instruments in three's, 3 Fl., 2 Ob., Eng. horn, 3 Cl., 2 Fag., C-fag.
A. _In pairs._ There are three ways of distribution: 1.
_Superposition_ or _overlaying_ (strictly following the normal order
of register), 2. _Crossing_, and 3. _Enclosure_ of parts. The last
two methods involve a certain disturbance of the natural order of
register:
[Music: Overlaying. Crossing. Enclosure.]
In choosing one of these three methods the following points must not
be forgotten: a) the register of a particular isolated chord; the soft
and weak register of an instrument should not be coupled with the
powerful and piercing range of another:
[Music:
Overlaying.
Oboe too
piercing.
Crossing.
Low notes
of the flute
too weak.
Enclosure.
Bassoon too
prominent.]
b) In a succession of chords the general progression of parts must be
considered; one tone quality should be devoted to the stationary and
another to the moving parts:
[Music]
When chords are in widely-divided four-part harmony notes may be
allotted in pairs to two different tone qualities, adhering to the
normal order of register:
Good: [Music] etc.
Any other distribution will result unquestionably in a grievous lack
of relationship between registers:
To be avoided: [Music] etc.
If one tone quality is to be enclosed, it must be between two
different timbres:
Good: [Music] etc.
It is possible to lend four distinct timbres to a chord in
widely-divided four-part harmony, though such a chord will possess no
uniformity in colour; but the higher the registers of the different
instruments are placed, the less perceptible becomes the space which
separates them:
[Music: Fairly good Better Still better]
The use of four different timbres in close four-part harmony is to be
avoided, as the respective registers will not correspond:
[Music: Bad Better Still slightly better]
_Note._ In _Mozart and Salieri_, which is only scored for 1
Fl., 1 Ob., 1 Cl. and 1 Fag., wood-wind chords in four-part
harmony are of necessity devoted to these four different
timbres.
The same rules apply to writing in three-part harmony, which is the
most customary form when it is a question of establishing a harmonic
basis, the lowest register of which is entrusted to another group of
instruments (strings _arco_ or _pizz._, for example). Chords in
three-part harmony are generally given to two instruments of one
timbre and a third instrument of another, but never to three different
timbres. Overlaying of parts is the best course to adopt:
[Music] etc.
The use of crossing and enclosure of parts (which in a way amount to
the same thing) must depend on the manner of their progression:
[Music: Enclosure]
B. _Wood-wind in three's._ Here the distribution of chords in close
three-part harmony is self-evident; any grouping of three instruments
of the same timbre is sure to sound well:
[Music]
also: [Music]
[Music]
Overlaying of parts is the best method to follow in writing close
four-part harmony; three instruments of the same timbre with a fourth
instrument of another. Crossing and enclosure of parts may also be
employed. Correspondence of timbres and the progression of remote
parts must be kept in mind:
[Music]
The method of using three instruments of the same timbre in
widely-divided three-part harmony is inferior:
[Music: Not good Better Better Not good Better Better]
But if the third instrument is of low register (Bass Fl., Eng. horn,
Bass cl., or C-fag.), the resonance will be satisfactory:
[Music]
In chords of four-part harmony, three instruments of the same timbre
should be combined with a fourth instrument of another:
[Music] etc.
Harmony in several parts.
In writing chords of 5, 6, 7 and 8 part-harmony, whether they are
independent, or constitute the harmonic basis, the student should
follow the principles outlined in the previous chapter, dealing with
the progression of wood-wind instruments in octaves. As the 5th,
6th, 7th and 8th notes are only duplications in octaves of
lower notes of the real harmony (in 4 parts), instruments should be
chosen which combine amongst themselves to give the best octaves. The
process of crossing and enclosure of parts may also be used.
A. Wood-wind in pairs (close distribution):
[Music]
In widely-divided harmony chords in several parts are to be avoided as
they will entail both close and extended writing:
[Music]
_Note._ In the majority of cases this distribution is
employed when the two upper harmonic parts have a special
melodic duty to perform--this question is discussed above.
B. Wood-wind in three's:
[Music]
[Music] etc.
Overlaying of parts is the most satisfactory method in dealing with
close three-part harmony. Crossing of parts is not so favourable, as
octaves will be produced contrary to the natural order of register:
[Music] Here the arrangement [Music] is bad.
Duplication of timbres.
A. If the wood-wind is in pairs it is a good plan to mix the doubled
timbres as much as possible:
[Music: Excellent],
also: [Music]
In chords of four-part harmony the classical method may be adopted:
[Music]
In this case, though the high _C_ in the flute is fairly powerful, the
resonance of the _G_ and _E_ in the oboes is softened by the
duplication of the 2nd flute and 1st clarinet, while the _C_ in
the 2nd clarinets (not doubled) is feeble in comparison with the
other notes. In any case the two extreme parts are the thinnest and
weakest in tone, the intermediate parts the fullest and strongest.
B. _Wood-wind in three's_ admit of perfectly balanced mixed timbres in
chords of three-part harmony:
[Music]
These timbres may even originate from three-fold duplication:
[Music]
Remarks.
1. Modern orchestrators do not allow any void in the intermediate
parts in writing close harmony; it was permitted to some extent by the
classics:
[Music]
These empty spaces create a bad effect especially in _forte_ passages.
For this reason widely-divided harmony, which is fundamentally based
on the extension of intervals, can be used but seldom and only in
_piano_ passages. Close writing is the more frequent form in all
harmony devoted to the wood-wind, _forte_ or _piano_.
2. As a general rule a chord of greatly extended range and in several
parts is distributed according to the order of the natural scale, with
wide intervals (octaves and sixths), in the bass part, lesser
intervals (fifths and fourths) in the middle, and close intervals
(3rds or 2nds) in the upper register:
[Music]
3. In many cases correct progression of parts demands that one of them
should be temporarily doubled. In such cases the ear is reconciled to
the brief overthrow of balance for the sake of a single part, and is
thankful for the logical accuracy of the progression. The following
example will illustrate my meaning:
[Music]
In the second bar of this example the _D_ is doubled in unison on
account of the proximity of the three upper parts to their
corresponding parts an octave lower. In the fourth bar the _F_ is
doubled in unison in both groups.
4. The formation of the harmonic basis, which is essentially in four
parts, does not by any means devolve upon the wood-wind alone. One of
the parts is often devoted to the strings, _arco_ or _pizz._ More
frequently the bass part is treated separately, the chords of greater
value in the three upper parts being allotted to the wood-wind. Then,
if the upper part is assigned to a group of strings, there remains
nothing for the wind except the sustained harmony in the two middle
parts. In the first case the three-part harmony in the wood-wind
should form an independent whole, receiving no assistance from the
bass; in this manner intervals of open fourths and fifths will be
obviated. In the second case it is desirable to provide the
intermediate parts with a moderately full tone, choosing no other
intervals except seconds, sevenths, thirds or sixths.
All that has been said with regard to the use of wood-wind in the
formation of harmony, and the division of simple and mixed timbres
applies with equal force to sustained chords, or harmonic progressions
interchanging rapidly with _staccato_ chords. In short chords,
separated by rests of some importance, the arrangement and division of
timbres is not so perceptible to the ear, and progression of parts
attracts less attention. It would be useless, nay, impossible to
examine the countless combinations of tone colour, all the varieties
of duplication and distribution of chords. It has been my aim to
denote the fundamental principles upon which to work, and to indicate
the general rules to be followed. Once having mastered these, if the
student devote a little time to the study of full scores, and listen
to them on the orchestra, he will soon learn when certain methods
should be used and when to adopt others. The pupil is advised,
generally, to write for wood-wind in its normal order of distribution,
to take heed that each particular chord is composed entirely either of
duplicated or non-duplicated parts, (except in certain cases resulting
from progression), to use the methods of crossing and enclosure of
timbres with full knowledge of what he is doing, and finally to
concentrate his attention on close part-writing.
_Examples of wood-wind harmony:_
a) Independent chords.
No. 105. _The Christmas Night_ [[148]]--Cl., 2 Fag.
No. 106. " " " beginning--Ob., Cl., Fag. (crossing
of parts).
_Snegourotchka_ [[16]]--2 Cl., Fag.
" [[79]], 5th bar.--2 Ob., 2 Fag. (cf. Ex. 136).
* No. 107. _Snegourotchka_ [[197]]--Picc., 2 Fl. (_tremolando_).
No. 108. " [[204]]--2 Fl., 2 Ob. (high register).
No. 109. _Shéhérazade_, beginning--Total wood-wind in different
distribution.
* _Russian Easter Fête_ [[A]]--3 Fl. _tremolando_ (cf. Ex. 176).
* _Tsar Saltan_ [[45]] Ob., 2 Fag.
No. 110. _Tsar Saltan_, before [[115]]--mixed timbres.
No. 111. " " [[115]], and other similar passages--very
sweet effect of wood-wind in three's.
" " [[177]]--2 Ob., 2 Fag.
_Sadko_, Symphonic Tableau [[9]]--Ob., 2 Cl., Fag.
* _Sadko_, Opera [[4]]--Eng. horn, 2 Cl.
" " before [[5]]--Total wood-wind.
No. 112. _Sadko_ [[72]]--Chords in three-part harmony; simple and
mixed timbres.
* No. 113. _The Tsar's Bride_ [[126]] Full wind.
* No. 114. _Legend of Kitesh_, before [[90]]--Enclosure of parts
(Ob. I in the high register).
No. 115. " " " before [[161]]--Wind and brass
alternately.
No. 116. " " " [[167]]--Full wind except oboe,
with chorus.
_Legend of Kitesh_ [[269]]--Fl., Cl., Fag.
* _The Golden Cockerel_ [[125]]--Various wind instruments, 4 part
harmony (cf. Ex. 271).
" " " [[218]]--Ob., Eng. horn, Fag., C-fag.; cf.
also [[254]].
No. 117. _The Golden Cockerel_, before [[236]]--Mixed timbre; 2 Fag.
form the bass.
b) Harmonic basis (sometimes joined by the horns).
_The May Night_, Act III [[L]]--2 Fag., Eng. horn (cf. Ex. 18).
_Antar_ [[68]]--3 Flutes.
_Snegourotchka_ [[20]]--2 Cl., high register.
" before [[50]]--2 Fl., Fag.
" [[187]]--2 Ob., 2 Fag.
" [[274]]--2 Cl., low register (cf. Ex. 9).
" [[283]]--Fl., Eng. horn, Cl., Fag. (cf. Ex. 26).
No. 118. _Snegourotchka_ [[292]]--Widely-divided harmony and
doubling of parts in the wind.
No. 119. " [[318-319]]--2 Flutes.
_Shéhérazade_, 2nd movement [[B]]--2 Cl., Fag. (sustained note in
the horn) (cf. Ex. 1).
_The Christmas Night_ [[1]]--3 Cl.
_Sadko_ [[1]]--Cl., Bass Cl., Fag., C-fag.
No. 120. _Sadko_ [[49]]--Ob., Cl., Horn, Fag.
" [[99]]--2 Cl. (cf. Ex. 289, 290).
No. 121. _Sadko_ [[144]]--Cl., Fag.
No. 122. " [[195-196]]--2 Cl., Bass Cl.
_The Tsar's Bride_ [[80]]--Cl., Fag.
" " " [[166]]--harmonic parts in motion, Fl. and
Cl. (cf. Ex. 22).
_Servilia_ [[59]]--Cl. (low. register), Fag.
* No. 123. _Kashtcheï the Immortal_ [[80]]--Ob., Fag. muted.
* No. 124. _Legend of Kitesh._ [[52]]--Fl., Fag.
" " " [[55]]--Fl., Ob. (cf. Ex. 197).
" " " [[68]]--Eng. horn, Fag., C-fag. (cf.
Ex. 199).
No. 124. " " " [[118]]--mixed timbre: 2 Ob., Eng.
horn and 3 Cl.
" " " [[136]]--harmonic parts in motion:
" " " before [[185]]--3 Fl. (low register)
and 2 Cl.
" " " [[223]]--Fl., Ob., Cl. (cf. Ex. 31).
* No. 125. " " " [[247]]--2 Cl., Bass Cl.
" " " [[273]]--Eng. horn, 2 Cl. and Bass
Cl., Fag.
* No. 126. " " " [[355]]--Eng. horn muted, Cl., 2 Fag.
* No. 127. _The Golden Cockerel_ [[3]]--Cl., Bass Cl., Fag., C-fag.
" " " [[40-41]] Bass Cl., Fag.; Fl., Cl.;
Cl., Bass Cl.
* No. 128. " " " [[156]]--harmonic parts in motion:
Fl. and Cl.
Harmony in the brass.
Here, as in the wood-wind, part writing should be of the close order
with no empty spaces in the intervals.
Four-part writing.
It is evident that the quartet of horns presents every facility for
four-part harmony, perfectly balanced in tone, without doubling the
bass in octaves:
[Music]
_Note._ In the diagrams of the present section the actual
sounds of horns and trumpets are given, as in a piano score,
for the sake of simplicity.
When it is found necessary to double the bass in octaves, the too
resonant trombone and tuba are seldom used, the duplication being
effected by the bassoon, as explained further on. The quartet of
trombones and tuba is not often employed in close four-part harmony;
the third trombone and the tuba usually form the bass in octaves, and
the three upper parts are generally allotted to the two remaining
trombones reinforced by a trumpet or two horns in unison, so as to
obtain a perfect balance of tone:
[Music]
I have often adopted the following combination of brass instruments,
and consider it eminently satisfactory: 2 horns and tuba to form the
bass in octaves, the three other parts given to the trombones:
[Music] (beautiful full resonance).
In the higher registers, four-part harmony, of which the two upper
parts are given to the trumpets, may be completed by two trombones or
four horns in pairs:
[Music]
When 3 trumpets are available the fourth part should be allotted to
one trombone, or two horns in unison:
[Music]
Enclosure of parts may be used in single chords:
[Music]
or in progression:
[Music]
Three-part writing.
The best combination is trombones, horns, or trumpets in three's. If
the instruments are mixed the number of horns should be doubled:
[Music] etc.
Writing in several parts.
When the whole group is used the number of horns should be doubled:
[Music] etc.
In seven, six, or five-part harmony certain instruments must be
omitted:
[Music]
[Music] etc.
Discords of the seventh or second are preferably entrusted to
instruments of different tone colour:
[Music]
When such chords are written for an orchestra which only includes two
trumpets, it is impossible for the horns to proceed in pairs. In such
cases the following arrangement may obtain, the horns being marked one
degree louder than the other instruments, to secure balance of tone:
[Music]
The same method should be followed whenever the use of horns in pairs
fails to produce satisfactory tone.
When chords of widely-divided harmony are distributed throughout
several harmonic registers, the register occupied by the horns need
not be doubled; the arrangement of the chord will resemble that of a
chorale written for double or triple choir. For example:
[Music]
Duplication in the brass.
Duplication in the brass group is most frequently effected by placing
a chord for horns side by side with the same chord written for
trumpets or trombones. The soft round quality of the horns intensifies
the tone, and moderates the penetrating timbre of the trumpets and
trombones:
[Music]
Similar juxtaposition of trumpets and trombones:
[Music]
is not so common, as this unites the two most powerful agents in the
group.
In handling an orchestra the brass is frequently employed to sustain
notes in two or three octaves; this sphere of activity must not be
ignored. The _tenuto_ is generally given to two trumpets, or to two or
four horns in the octave, (in double octaves). The octave is sometimes
formed by trumpets and horns acting together:
[Music]
The trombone with its ponderous tone rarely takes part in such
combinations. Sustained notes in double octaves are usually
apportioned thus:
[Music]
The imperfect balance arising from the duplication of the middle note
is compensated for by the mixture of timbres, which lends some unity
to the chord.
_Examples of harmony in the brass:_
a) Independent chords:
_Snegourotchka_ [[74]]--3 Trombones, 2 Horns.
" [[140]]--3 Trombones, 2 Horns. Chords in different
groups alternately (cf. Ex. 244).
" [[171]]--Full brass; further on 3 Trombones (cf. Ex. 97).
" [[255]]--4 Horns (stopped).
No. 129. _Snegourotchka_, before [[289]]--4 Horns.
" [[289]]--Full brass.
* _Sadko_, before [[9]]--Full brass (enclosure of parts).
No. 130. _Sadko_ [[175]]--Mixed timbres (juxtaposition) 3 Horns
+ 3 Trumpets.
" before [[338]]--Full brass except Tuba.
No. 131. " [[191-193]] (Full brass).
No. 132. _The Christmas Night_, before [[180]]--Full muted brass.
" " " [[181]]--4 Horns + 3 Trombones
+ Tuba (cf. Ex. 237).
* _The Tsar's Bride_ [[178]]--Strings and brass alternately (cf. Ex.
242).
* No. 133. _Tsar Saltan_ [[102]], 7th bar.--2 Trumpets, 2 Trombones
+ 4 Horns (juxtaposition).
" " [[230]]--Full brass, thickly scored (cf.
Table of chords No. II at the end of Vol. II,
Ex. 12).
* _Servilia_ [[154]]--Various brass instruments.
* _Legend of Kitesh_ [[130]]--3 Trumpets, Trombone and Tuba.
No. 134. _Legend of Kitesh_ [[199]]--Short chords (juxtaposition).
* No. 135. _The Golden Cockerel_ [[115]]--Horns, Trombones
(enclosure).
b) Harmonic basis:
No. 136. _Snegourotchka_ [[79]], 6th bar.--4 Horns.
" [[231]]--3 Trombones, soft and sweet (cf.
Ex. 8).
_Antar_ [[64-65]]--4 Horns; later 3 Trombones (cf. Ex. 32).
* _Shéhérazade_, 1st movement, [[A]], [[E]], [[H]], [[K]],
[[M]]--Harmonic bases of different power and timbre (cf. Ex. 192-195).
No. 137. _Servilia_ [[93]]--Full brass.
* No. 138. _Tsar Saltan_ [[127]]--4 muted Horns + 3 Trombones
and Tuba _con sord. pp._
" " before [[147]]--Full brass _ff_ (the 2 Oboes
and Eng. horn are of no particular importance).
* _Pan Voyevoda_ [[136]], 9th bar.--4 Horns, then Trombones, 2
Horns.
* No. 139. _Legend of Kitesh_ [[158]]--Trumpets, Trombones.
No. 140. " " " [[248]]--3 Trombones.
" " " before [[362]]--Full brass.
Harmony in combined groups.
A. Combination of wind and brass.
Wind and brass instruments may be combined by the method of placing a
chord in one timbre side by side with the same chord in another
timbre, or by any of the three methods already described: overlaying,
crossing and enclosure of parts.
1. _In unison (juxtaposition or contrast of tone qualities)._
This class of combination possesses the same features as combinations
in the melodic line (cf. Chap. II). Wood-wind reinforces the brass,
softens it and reduces its characteristic qualities. Arrangements such
as the following are possible:
2 Trumpets + 2 Fl.; 2 Trumpets + 2 Ob.; 2 Trumpets + 2 Cl.
3 Trumpets + 3 Fl.; 3 Trumpets + 3 Ob.; 3 Trumpets + 3 Cl.
Also
[Music] etc.
as well as:
2 Horns + 2 Fag.; 2 Horns + 2 Cl.;
3 Horns + 3 Fag.; 3 Horns + 3 Cl.; and:
2 Horns + 2 Fag. + 2 Cl. etc.
The combinations 3 Trombones + 3 Fag., or 3 Trombones + 3 Cl. are very
rare.
A chord scored for full brass doubled by the same chords scored for
full wood-wind (in pairs) produces a magnificent and uniform tone.
_Examples:_
_Snegourotchka_ [[315]]--2 Horns + 2 Cl. and 2 Horns + 2 Ob. (cf. Ex.
236).
No. 141. _The Tsar's Bride_ [[50]]--4 Horns + 2 Cl., 2 Fag.
No. 142. " " " [[142]]--Juxtaposition of full wind
and brass.
_Ivan the Terrible_, Act II [[30]]--Juxtaposition and enclosure (cf.
Table of chords II, Ex. 8).
No. 143. _The Christmas Night_ [[165]]--4 Horns + Fl., Cl., Fag.
* No. 144. _Sadko_, before [[79]]--Horn, Trumpet + doubled wood-wind.[15]
No. 145. " [[242]]--Full brass + Fl., Cl.
[Footnote 15: In the full score a misprint occurs in the clarinet
part; it is corrected in the example. (Editor's note.)]
_Legend of Kitesh_, beginning--Horn, Trombones + Cl., Fag. (cf. also
[[5]]--Ex. 249).
* No. 146. _Legend of Kitesh_ [[10]]--Eng. horn, 2 Cl., Fag. _legato_
+ 4 Horns non legato.
" " " [[324]]--Full brass + wind.
* No. 147. _The Golden Cockerel_ [[233]]--Trumpets + Ob./Horn + Cl.]
8.
Stopped or muted notes in trumpets and horns resemble the oboe and
Eng. horn in quality; the combination of these instruments produces a
magnificent tone.
_Examples:_
No. 148. _Russian Easter Fête_, p. 11.--Horn (+), Trumpets (low
register) + Ob., Cl.
* _The Christmas Night_, before [[154]]--Full muted brass + wind.
* No. 149. _Tsar Saltan_ [[129]]--2 Ob., Eng. horn, + 3 Trumpets
muted (3 Cl. at the bottom).
* No. 150. " " [[131]] 17th bar.--Same combination with
added horns.
* No. 151. _Antar_ [[7]]--Ob., Eng. horn, 2 Fag. + 4 Horns (+).
A beautiful dark tone is derived from the combination of middle notes
in stopped horns and deep notes in the clarinet:
[Music]
If bassoons are substituted for clarinets the effect loses part of its
character.
_Examples:_
* _Kashtcheï the Immortal_ [[29]], 11th bar,--2 Ob., 2 Cl. + 4 Horns (+).
" " " [[107]], 6th bar.--2 Cl., Fag. + 3 Horns (+).
* _The Christmas Night_, p. 249--Cl., Fag. + 3 Horns (+).
* _Mlada_, Act III [[19]]--3 Horns (+) + 3 Fag. and 3 Horns (+) + 3
Ob. (cf. Ex. 259).
2. _Overlaying (superposition), crossing, enclosure of parts._
It has already been stated that the bassoon and horn are the two
instruments best capable of reconciling the groups of wood-wind and
brass. Four-part harmony given to two bassoons and two horns,
especially in soft passages, yields a finely-balanced tone recalling
the effect of a quartet of horns, but possessing slightly greater
transparence. In _forte_ passages the horns overwhelm the bassoons,
and it is wiser to employ four horns alone. In the former case
crossing of parts is to be recommended for the purposes of blend, the
concords being given to the horns, the discords to the bassoons:
[Music] and not: [Music]
Bassoons may also be written inside the horns, but the inverse process
is not to be recommended:
[Music]
The same insetting of parts may be used for sustained trumpet notes in
octaves. In soft passages, thirds played in the low register of the
flutes, sometimes combined with clarinets, produce a beautiful
mysterious effect between trumpets in octaves. In a chain of
consecutive chords it is advisable to entrust the stationary parts to
the brass, the moving parts to the wood-wind.
Clarinets, on account of their tone quality should rarely be set
inside the horns, but, in the upper register, and in the higher
harmonic parts, a chord of four horns, (_piano_), may be completed by
clarinets as effectively as by oboes or flutes; the bassoon may then
double the base an octave below:
[Music]
Played _forte_, the horns are more powerful than the wood-wind;
balance may be established by doubling the upper harmonic parts:
[Music]
_Examples:_
a) Superposition.
* _Sadko_, Symphonic Tableau [[1]], [[9]]--Fl., Ob., Cl., Horn (basis).
" before [[14]]--2 Fl., Cl., Horns.
" final chord--Fl., Cl., Horn.
* _Antar_ [[22]]--Fl., Cl., Horns (basis).
No. 152. _Antar_ [[56]]--3 Fl., 4 Horns (basis).
* _Snegourotchka_ [[300]]--Full wind and horns.
* _Shéhérazade_--Final chords of 1st and 4th movements.
* _Russian Easter Fête_ [[D]]--Fl., Cl., Horn; later trumpets and
trombones in juxtaposition (cf. Ex. 248).
* No. 153. _The Christmas Night_ [[212]], 10th bar.--Wind and Horns;
trumpets and trombones added
later.
" " " [[215]] 3 Fl. + 3 Cl./3 Horns] 8.
* _Sadko_, Opera [[165]]--Juxtaposition and Superposition.
No. 154. _Sadko_ [[338]]--Same distribution.
No. 155. _Servilia_ [[73]] 3 Fl + 2 Ob., Cl./4 Horns.
* No. 156. _Legend of Kitesh_, before [[157]]--3 Flutes, 3 Trombones.
" " " final chord (cf. Table III of chords,
Ex. 15).
* _The Golden Cockerel_, before [[219]]--Mixed timbre of wood-wind, 4
Horns.
b) Crossing.
* _The Christmas Night_, before [[53]]--Horn, Fag.
" " " [[107]]--Clar., Horn, Fag.
* _Legend of Tsar Saltan_, before [[62]]--Horn, Fag.
* _The Golden Cockerel_ [[220]]--3 Trombones, 2 Fag., C-fag. (cf. Ex.
232).
* No. 157. _Antar_, before [[30]]--Wood-wind, Horns, then Trumpets.
c) Enclosure:
No. 158. _Ivan the Terrible_, Act I [[33]]--Flutes within horns; later
horns within bassoons.
No. 159. _Snegourotchka_ [[183]]--Trumpet/Fl., 2 Cl./Trumpet
* _Sadko_, symphonic tableau [[3]]--Cl. + Fag./4 Horns/Cl. + Fag.
* _Antar_ before [[37]]--Fag./2 Horns (+)/Cl.
* _Sadko_, Opera [[105]]--Harmonic basis; oboes within trumpets (cf.
Ex. 260).
* No. 160. _Sadko_, Opera, before [[155]]--Flutes within trumpets.
* _The Tsar's Bride_, end of Overture--Bassoons within horns (cf.
Table III of chords, Ex. 14).
* No. 161. _Tsar Saltan_ [[50]]--Trumpets within wood-wind doubled.
No. 162. " " [[59]]--Flutes within trumpets; clarinets
within horns.
* No. 163. _Legend of Kitesh_ [[82]]--Oboes and clarinets within
trumpets.
The relationship which has been shown to exist between stopped horns
and oboe or Eng. horn authorizes the simultaneous use of these
instruments in one and the same chord, played _p_ or _sfp_:
[Music]
_Examples:_
* _The Christmas Night_ [[75]]--3 Horns (+) + Oboe.
_The Tsar's Bride_ [[123]]--Ob., Eng. horn, Horn (+) (cf. Ex. 240).
* _Legend of Kitesh_ [[244]]--Cl., 2 Fl., + 2 Ob., Eng. horn, 3 Horn
(+).
* No. 164. _Legend of Kitesh_, before [[256]]--2 Ob., Eng. horn/3
Horns (+)] 8.
* Cf. also _Tsar Saltan_, before [[115]]--Horn (+)/2 Fl. + 2 Fag. (Ex.
110).
If trumpets and trombones take part in a chord, flutes, oboes and
clarinets are better used to form the harmonic part above the
trumpets. The following should be the arrangement:
[Music] etc.
[Music] etc.
_Examples:_
* _Sadko_, symphonic tableau [[20]].
* No. 165. _The May Night_, Act I [[Ee]]--3 Trombones, 2 Ob.
+ 2 Cl. + 2 Fag.
" " " p. 325.--Final chord, _C_ maj. (cf.
Table I of chords, Ex. 1).
* No. 166. _Snegourotchka_ [[198]]; cf. also [[200]] and before
[[210]].
* _Shéhérazade_, 1st movement [[E]], 2nd movement [[P]], 3rd
movement [[M]], 4th movement p. 203 (cf. Ex. 195, 19, 210, 77).
No. 167. _The Christmas Night_ [[205]]; cf. also [[161]], [[212]],
14th bar. (Ex. 100, 153).
* _Mlada_, end of Act I (cf. Chord Table II, Ex. 13). Act II [[20]].
No. 168-169. _Sadko_, Opera, before [[249]], [[302]]; cf. also Ex.
120.
No. 170. _Sadko_, Opera [[244]]--Chord of widely extended range;
bassoons at the limit of low compass.
" " [[142]], [[239]]; cf. also [[3]] (Ex. 86).
* _The Tsar's Bride_ [[179]] (cf. Ex. 243).
_Antar_ [[65]]--Alternation of notes in horns and wood-wind on
trombone chords (cf. Ex. 32).
_General observations._ It is not always possible to secure proper
balance in scoring for full wood-wind. For instance, in a succession
of chords where the melodic position is constantly changing,
distribution is subordinate to correct progression of parts. In
practice, however, any inequality of tone may be counterbalanced by
the following acoustic phenomenon: in every chord the parts in octaves
strengthen one another, the harmonic sounds in the lowest register
coinciding with and supporting those in the highest. In spite of this
fact it rests entirely with the orchestrator to obtain the best
possible balance of tone; in difficult cases this may be secured by
judicious dynamic grading, marking the wood-wind one degree louder
than the brass.
B. Combination of strings and wind.
1. We frequently meet with the combination of strings and wood-wind in
the light of comparison of one timbre with another, either in long
sustained notes, or _tremolando_ in the strings. Apart from the
complete or partial doubling of the string quartet (two methods
frequently used), the general and most natural arrangement is:
Fl./Ob. (Cl.) + Vns div.; Clar./Fag. + 'Cellos + Violas div., etc.
_Examples:_
* _Sadko_, Symphonic Tableau before [[4]], and [[4]], 9th bar.
* _Shéhérazade_, 1st movement [[M]] 6 Vns soli + 2 Ob. (2 Fl.),
Cl.
* _Antar_ [[7]]--String quartet _divisi_ + wood-wind (cf. Ex. 151).
* No. 171. _Antar_ [[57]]--Vns II, Violas div. + Fl., Horn (florid
accompaniment in the Clar.).
* _Legend of Kitesh_ [[295]]--the same; rhythmic motion in the wind,
sustained harmony in the strings (cf. Ex. 213).
2. Owing to the complete absence of any affinity in tone quality, the
combination of strings with brass is seldom employed in juxtaposition,
crossing, or enclosure of parts.
The first method may be used however when the harmony is formed by the
strings _tremolando_, and the brass is employed in sustaining chords,
also when the strings play short disconnected chords, _sforzando_.
Another possible exception may be mentioned; the splendid effect of
horns doubled by divided violas or 'cellos.
_Examples:_
_Snegourotchka_ [[242]]--Full brass + strings _tremolando_ (cf. 1st
Table of chords, Ex. 6).
* _Legend of Kitesh_, before [[240]]--the same (Horn, Trumpet +).
* _Sadko_, Opera, before [[34]]--Horn + Violas _div._, Trombones +
'Cellos _div._[16]
[Footnote 16: A splendid example of the combination of strings and
brass may be found in the introduction to the 2nd scene of the
4th act of "_Khovanstchina_" by Moussorgsky, orchestrated by
Rimsky-Korsakov. (Editor's note.)]
C. Combination of the three groups.
The combination of strings, wood-wind and brass instruments, set side
by side, produces a full, round and firm tone.
_Examples:_
No. 172. _The Tsar's Bride_, before [[145]]--Ob., Fag. + Horns
+ Strings.
" " " final chord (cf. Table I of chords,
Ex. 5).
* No. 173. _Sadko_, end of 1st tableau--short chords. Last chords
of the 1st, 3rd and 7th tableaux (cf. Table I and III, Vol.
II, Ex. 9, 10, 18).
* No. 174. _The Christmas Night_ [[22]]--Wind + Brass _c. sord._ +
_tremolo_ strings.
_Legend of Kitesh_ [[162]] (cf. Ex. 250).
_Snegourotchka_--end of opera, (cf. Table III in Vol. II, Ex. 17) and
a host of other examples.
_General Observations._ Balance and correct distribution of tone is
much more important in dealing with long sustained chords or those of
rhythmic design; in the case of short, disconnected chords resonance
is a minor consideration, but one which should not be entirely
neglected.
I have endeavoured to outline the general principles to be followed,
but I do not profess to deal with all the countless cases which may
arise in the course of orchestration. I have given a few examples of
well-sounding chords; for further information I advise the reader to
study full scores with care, as this is the only method to acquire
perfect knowledge of the distribution and doubling of various
instruments.