Principles of Orchestration Part 2

Table A. String group.

(These instruments give all chromatic intervals.)

Violin.

(I. II.)

Viola.

Violoncello.

Double ba.s.s.

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Black lines on each string denote the general range in orchestral writing, the dotted lines give the registers, low, medium, high, very high.

The five sets of strings with number of players given above produce a fairly even balance of tone. If there is any surplus of strength it must be on the side of the first violins, as they must be heard distinctly on account of the important part they play in the harmonic scheme. Besides this, an extra desk of first violins is usual in all orchestras, and as a general rule they possess a more powerful tone than second violins. The latter, with the violas, play a secondary part, and do not stand out so prominently. The 'cellos and double ba.s.ses are heard more distinctly, and in the majority of cases form the ba.s.s in octaves.

In conclusion it may be said that the group of strings, as a melodic element, is able to perform all manner of pa.s.sages, rapid and interrupted phrases of every description, diatonic or chromatic in character. Capable of sustaining notes without difficulty, of playing chords of three and four notes; adapted to the infinite variety of shades of expression, and easily divisible into numerous sundry parts, the string group in an orchestra may be considered as an harmonic element particularly rich in resource.

B. Wind instruments.

Wood-wind.

Apart from the varying number of players, the formation of the string group, with its five const.i.tuent parts remains constant, satisfying the demands of any orchestral full score. On the other hand the group of wood-wind instruments varies both as regards number of parts and the volume of tone at its command, and here the composer may choose at will. The group may be divided into three general cla.s.ses: wood-wind instruments in pair's, in three's and in four's, (see table on page 13).

Arabic numerals denote the number of players on each instrument; roman figures, the parts (1st, 2nd etc.). Instruments which do not require additional players, but are taken over by one or the other executant in place of his usual instrument, are enclosed in brackets.

As a rule the first flute, first oboe, first clarinet and first ba.s.soon never change instruments; considering the importance of their parts it is not advisable for them to turn from one mouth-piece to another. The parts written for piccolo, ba.s.s flute, English horn, small clarinet, ba.s.s clarinet and double ba.s.soon are taken by the second and third players in each group, who are more accustomed to using these instruments of a special nature.

---------------------+--------------------------+-------------------------+ Wood-wind Wood-wind Wood-wind in pair's in three's in four's ---------------------+--------------------------+-------------------------+ (II--Piccolo). (III--Piccolo). 1 Piccolo (IV). 2 Flutes I. II. 3 Flutes I. II. III. 3 Flutes I. II. III. (II--Ba.s.s flute). (III--Ba.s.s flute). 2 Oboes I. II. 2 Oboes I. II. 3 Oboes I. II. III. (II--Eng. horn). 1 Eng. horn (III). 1 Eng. horn (IV). (II--Small clarinet). (II--Small clarinet). 2 Clarinets I. II. 3 Clarinets I. II. III. 3 Clarinets I. II. III. (II--Ba.s.s clarinet). (III--Ba.s.s clarinet). 1 Ba.s.s clarinet (IV). 2 Ba.s.soons I. II. 2 Ba.s.soons I. II. 3 Ba.s.soons I. II. III. 1 Double ba.s.soon (III). 1 Double ba.s.soon (IV). ---------------------+--------------------------+-------------------------+

The formation of the first cla.s.s may be altered by the permanent addition of a piccolo part. Sometimes a composer writes for two piccolos or two Eng. horns etc. without increasing the original number of players required (in three's or four's).

_Note I._ Composers using the first cla.s.s in the course of a big work (oratorio, opera, symphony, etc.) may introduce special instruments, called _extras_, for a long or short period of time; each of these instruments involves an extra player not required throughout the entire work. Meyerbeer was fond of doing this, but other composers, Glinka for example, refrain from increasing the number of performers by employing _extras_ (Eng. horn part in _Rousslan_). Wagner uses all three cla.s.ses in the above table (in pair's: _Tannhauser_--in three's: _Tristan_--in four's: _The Ring_).

_Note II._ _Mlada_ is the only work of mine involving formation by four's. _Ivan the Terrible_, _Sadko_, _The Legend of Tsar Saltan_, _The Legend of the Invisible City of Kitesh_ and _The Golden c.o.c.kerel_ all belong to the second cla.s.s, and in my other works, wood-wind in pair's is used with a varying number of extras. _The Christmas Night_, with its two oboes, and two ba.s.soons, three flutes and three clarinets, forms an intermediate cla.s.s.

Considering the instruments it comprises, the string group offers a fair variety of colour, and contrast in compa.s.s, but this diversity of range and timbre is subtle and not easily discerned. In the wood-wind department, however, the difference in register and quality of flutes, oboes, clarinets and ba.s.soons is striking to a degree. As a rule, wood-wind instruments are less flexible than strings; they lack the vitality and power, and are less capable of different shade of expression.

In each wind instrument I have defined the _scope of greatest expression_, that is to say the range in which the instrument is best qualified to achieve the various grades of tone, (_forte_, _piano_, _cresc._, _dim._, _sforzando_, _morendo_, etc.)--the register which admits of the most _expressive_ playing, in the truest sense of the word. Outside this range, a wind instrument is more notable for richness of colour than for expression. I am probably the originator of the term "scope of greatest expression". It does not apply to the piccolo and double ba.s.soon which represent the two extremes of the orchestral compa.s.s. They do not possess such a register and belong to the body of highly-coloured but non-expressive instruments.

The four kinds of wind instruments: flutes, oboes, clarinets and ba.s.soons may be generally considered to be of equal power. The same cannot be said of instruments which fulfil a special purpose: piccolo, ba.s.s flute, Eng. horn, small clarinet, ba.s.s clarinet and double ba.s.soon. Each of these instruments has four registers: low, middle, high and extremely high, each of which is characterised by certain differences of quality and power. It is difficult to define the exact limits of each register; adjacent registers almost blend together and the pa.s.sage from one to another is scarcely noticeable. But when the instrument jumps from one register to another the difference in power and quality of tone is very striking.

The four families of wind instruments may be divided into two cla.s.ses: a) instruments of nasal quality and dark resonance--oboes and ba.s.soons (Eng. horn and double ba.s.soon); and b) instruments of "chest-voice"

quality and bright tone--flutes and clarinets (piccolo, ba.s.s flute, small clarinet, ba.s.s clarinet).

These characteristics of colour and resonance--expressed in too simple and rudimentary a form--are specially noticeable in the middle and upper registers. The lower register of the oboes and ba.s.soons is thick and rough, yet still nasal in quality; the very high compa.s.s is shrill, hard and dry. The clear resonance of the flutes and clarinets acquires something nasal and dark in the lower compa.s.s; in the very high register it becomes somewhat piercing.

Note to Table B.

In the following Table B the top note in each register serves as the bottom note in the next, as the limits to each register are not defined absolutely. The note _G_ fixes the register of flutes and oboes, _C_ for the clarinets and ba.s.soons. In the very high compa.s.s those notes are only given which can really be used; anything higher and not printed as actual notes are either too difficult to produce or of no artistic value. The number of sounds obtainable in the highest compa.s.s is indefinite, and depends, partly on the quality of the instrument itself, partly on the position and application of the lips. The signs [music symbol: decrescendo] [music symbol: crescendo] are not to be mistaken for _crescendo_ and _diminuendo_; they indicate how the resonance of an instrument increases or diminishes in relation to the characteristic quality of its timbre. The scope of greatest expression for each typical instrument is marked thus, [symbol: horizontal bracket] under the notes; the range is the same in each instrument of the same type.

Table B. Wind group.

These instruments give all chromatic intervals.

Piccolo.

Flute.

Ba.s.s Flute Alto Fl. _F_, _G_).

Oboe.

English Horn (Cor anglais, alto oboe _F_).

Small Clarinet (_E[flat]-D_).

Clarinet (_B[flat]-A_).

Ba.s.s Clarinet (_B[flat]-A_).

Ba.s.soon (f.a.gotto).

Double ba.s.soon (Contra-f.a.gotto).

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_Note._ It is a difficult matter to define tone quality in words; we must encroach upon the domain of sight, feeling, and even taste. Though borrowed from these senses, I have no doubt as to the appropriateness of my comparisons, but, as a general rule definitions drawn from other sources are too elementary to be applied to music. No condemnatory meaning however should be attached to my descriptions, for in using the terms thick, piercing, shrill, dry, etc. my object is to express _artistic_ fitness in words, rather than material exact.i.tude. Instrumental sounds which have no musical meaning are cla.s.sed by me in the category of _useless sounds_, and I refer to them as such, giving my reasons.

With the exception of these, the reader is advised to consider all other orchestral timbres beautiful from an artistic point of view, although it is necessary, at times, to put them to other uses.

Further on, a table of wind instruments is appended, outlining the approximate limit of range, defining different qualities of tone and indicating the scope of greatest expression (the piccolo and double ba.s.soon excepted).

Flutes and clarinets are the most flexible wood-wind instruments (the flutes in particular), but for expressive power and subtlety in _nuances_ the clarinet supersedes them; this instrument can reduce volume of tone to a mere breath. The nasal instruments, oboe and ba.s.soon, are less mobile and supple; this is accounted for by their double reed, but, having to effect all sorts of scales and rapid pa.s.sages in common with the flutes and clarinets, oboes and ba.s.soons may be considered melodic instruments in the real sense of the word, only of a more _cantabile_ and peaceful character. In very quick pa.s.sages they often double the flutes, clarinets or strings.

The four families are equally capable of _legato_ and _staccato_ playing and changing from one to the other in different ways, but distinct and penetrating _staccato_ pa.s.sages are better suited to the oboes and ba.s.soons, while the flutes and clarinets excel in well-sustained _legato_ phrases. Composite _legato_ pa.s.sages should be allotted to the first two instruments, composite _staccato_ pa.s.sages to the latter pair, but these general directions should not deter the orchestrator from adopting the opposite plan.

In comparing the technical individualities of the wood-wind the following fundamental differences should be noted:

a) The rapid repet.i.tion of a single note by single tonguing is common to all wind instruments; repet.i.tion of a single note by means of double tonguing is only possible on the flute, a reedless instrument.

b) On account of its construction the clarinet is not well adapted to sudden leaps from one octave to another; these skips are easier on flutes, oboes and ba.s.soons.

c) _Arpeggios_ and rapid alternation of two intervals _legato_ sound well on flutes and clarinets, but not on oboes and ba.s.soons.