Principles of Orchestration Part 11

_Examples:_

No. 64. _Spanish Capriccio_ [[P]]--melody in 4 octaves: Picc./2 Fl./2 Ob. + Cl./f.a.g.] 8/8/8.

_The Tsar's Bride_ [[141]]--melody in 3 octaves.

* _Legend of Kitesh_ [[212]]--2 Cl./Ba.s.s cl./D. ba.s.soon] 8/8.

* No. 65. _Antar_, (1st version) 3rd movement, the beginning--Picc. + 2 Fl./2 Ob. + 2 Cl./2 f.a.g.] 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. _Sheherazade_, 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 partic.i.p.ate 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 f.a.g.), or instruments of different colours in the normal order of register:

Fl. Fl. Ob. Cl. Ob. ]

Ob. Cl. Cl. f.a.g. f.a.g.] 3 (6).

If this order is inverted, e.g. Ob. Cl. f.a.g./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:

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_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 c.o.c.kerel_ [[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.

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Apart from the obvious distribution:

Fl. Ob.

Ob. or Cl., Cl. f.a.g.

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 bra.s.s.

The natural scale, the only one which bra.s.s instruments had at their disposal prior to the invention of valves was:

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giving, in two part harmony:

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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 bra.s.s instruments.

In modern music, thanks to the introduction of valves, this scale is now possible in all keys for every chromatic bra.s.s 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.