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 NICOLAS RIMSKY-KORSAKOW

PRINCIPLES
OF

ORCHESTRATION
WITH MUSICAL EXAMPLES DRAWN FROM HIS OWN WORKS

EDITED BY

MAXIMILIAN STEINBERG

ENGLISH TRANSLATION BY

EDWARD AGATE

E. F. KALMUS ORCHESTRA SCORES, INC.

209 WEST 57th STREET
NEW YORK, N. Y.

Printed in U. S. A.

MUSIC LIBRARY
UNIVERSITY or COUi^^CTlCUT
STORRS, C0.*4N^CriCUT
rc\T
no
 CONTENTS
page
Editor's Preface VII— XII
Extract from the Author's preface (1891) 1

Extract from the Preface to the last edition 5

T'hapter I. — General review of orchestral groups

A. String-ed instruments 6
B. Wind instruments:
Wood-wind 12
Brass 21
C. Instruments of little sustaining power:
Plucked strings 26
Pizzicato 27
Harp 27
Percussion instruments producing determinate sounds, keyed
instruments
Kettle-drums , , 29
Piano and Celesta 30
Glockenspiel, Bells, Xylophone 32
Percussion instruments producing indefinite sounds 32
Comparison of resonance in orchestral groups, and combination 33
of different tone qualities

Chapter II. — Melody

Melody in stringed instruments 36
Grouping in unison 39
Stringed instruments doubling in octaves 40
Melody in double octaves 44
«4 Doubling and four octaves
in three 45
fX Melody in thirds and sixths 45
Melody in the wood-wind 46
~"^
Combination in unison 47
Combination in octaves 49
Doubling in two, three and foiir octaves 51
Melody in thirds and sixths 52
Thirds and sixths together 53
Melody in the brass 53
'^ Brass in unison, in octaves, thirds and sixths ....... 55
IV
page
Melody in different groups of instruments combined together . 56
A. Combination of wind and brass in unison 56
B. Combination of wind and brass in octaves 57
C. Combination of strings and wind 58
D. Combination of strings and brass 61
E. Combination of the three groups 61

Chapter 111. — Harmony

General observations 63
Number harmonic parts
of —
Duplication 64
Distribution of notes in chords 67
Stringharmony 69
Wood-wind harmony 71
Four-part and three-part harmony 72
Harmony in several parts 76
Duplication of timbres 77
Remarks 78
Harmony in the brass 82
Four-part writing 82
Three-part writing 84
Writing in several parts 84
Duplication in the brass 85
Harmony in combined groups 88
A. Combination of wind and brass . . . . 88
1. In unison 88
2. Overlaying, crossing, enclosure of parts 90
B. Combination of strings and wind 94
C. Combination of the three groups 95

Chapter IV. — Composition of the orchestra

Different ways of orchestrating the same music 97
Full Tutu 101
Tutti in the wind 103
Tuiti pizzicato 103
Tutti in one, two and three parts 104
Soli in the strings 104
Limits of orchestral range 106
Transference of passages and phrases 107
Chords of different tone quality used alternately 108
Amplification and elimination of tone qualities 109
Repetition of phrases, imitation, echo 110
Sforzando-piano and piano- sforzando chords HI
Method of emphasising certain notes and chords Ill
Crescendo and diminuendo 112
Diverging and converging progressions 113
Tone quality as a harmonic force. Harmonic basis 114
Artificial effects 116
Use of percussion instruments for rhythm and colour .... 117
Economy in orchestral colour 118
 V
page
Chapter V. — Combination of the human voice with orchestra.
The Stage band
Orchestral accompaniment of solo voices 119
General remarks 119
Transparence of accompaniment. Harmony 120
Doubling voices in the orchestra 122
Recitative and declamation 125
Orchestral accompaniment of the chorus 126
Solo voice with chorus 128
Instruments on the stage and in the wings 129

Chapter VI (Supplementary) — Voices

Technical terms 132
Soloists 133
Range and register 133
Vocalisation 134
Vowels 136
Flexibility 137
Colour and character of voices 137
Voices in combination 139
Duet 139
Trio, quartet etc 139
Chorus 142
Range and register 142
Melody 144
A. Mixed chorus 145
Chorus, in unison 145
Progression in octaves 145
Voices divisi; harmonic use of the mixed chorus 146
B. Men's chorus and Women's chorus 148
 ST0RI»»

Editor's Preface.

Rimsky-Korsakov had long been engrossed in his treatise on

orchestration. We have in our possession a thick note book of
some 200 pages in fine hand writing, dating from the years
1873—1874, containing a monograph on the question of acoustics,

a classification of wind instruments and a detailed description of

the construction and fingering of the different kinds of flute, the
oboe, clarinet and horn. (1)

In his "Memoirs of my musical life" (li* edition, p. 120) the

following passage occurs: "1 had planned to devote all my energies
to the compilation of a full treatise on orchestration. To this end
I made several rough copies, jotting down explanatory notes detailing
the technique of different instruments. What intended to present to
1

the world on this subject, was to include everything. The writing

of this treatise, or, to be more exact, the sketch for it took up
most of my time in the years 1873 and 1874. After reading the
works of Tyndall and Helmholtz, 1 framed an introduction to my
work, in which I endeavoured to expound the laws of acoustics

as applied to the principles governing the construction of musical

instruments. My manual was to begin with a detailed list of

instruments, classified in groups and tabulated, including a de-

scription of the various systems in use at the present day. I had
not yet thought of the second part of the book which was to be
devoted to instruments in combination. But 1 soon realised that

I had gone too far. With wind instruments in particular, the

different systems were innumerable, and each manufacturer favoured
his own pet theory. By the addition of a certain key the maker
endowed his instrument with the possibility of a new trill, and

(I) This manuscript was gfiven to me by Alexander Glazounov; if a Rimsky-

Korsakov museum is ever founded it will be placed there.
VIII

made s^nic difficult passages more playable than on an instrument

of another kind. *

There was no end to such complications. In the brass, I found

instruments with three, four, and five valves, the mechanism
varying according to the make. Obviously, I could not hope to
cover so large a field; besides, of What value would such a
treatise be to the student? Such a mass of detailed description of
the various systems, their advantages and drawbacks, could not
but fail to confuse the reader only too eager to learn. Naturally he
would wish to know what instrument to employ, the extent of its

capabilities etc., and getting no satisfactory information he would

throw my massive work aside. For these reasons my interest in

the book gradually waned, and finally I gave up the task."

In 1891 Rimsky-Korsakov, now an artist of standing, the com-

poser of Snegourotchka, Mlada, and Sheherazade, a master of

the orchestral technique he had been teaching for twenty years,

returned to his handbook on instrumentation. He would seem to

have made notes at different times from 1891 to 1893, during

which period, after the first performance of Mlada, he gave up
composition for a while. These notes, occasionally referred to
in his Memoirs, are in three volumes of manuscript-paper. They
contain the unfinished preface of 1891, a paragraph full of clear,

thoughtful writing, and reprinted in this book. (1)

As" the author tells us in his Memoirs (p. 297), the progress of
his work was hampered by certain troublesome events which
were happening at the time. Dissatisfied with his rough draft, he
destroyed the greater part of it, and once more abandoned his task.

In 1894 he composed The Christmas Night; this was the

beginning of his most fertile period. He became entirely engrossed

in composition, making plans for a fresh opera as soon as the

one in hand was completed. It was not until 1905 that his

thoughts returned to the treatise on orchestration, his musical

output remaining in abeyance through no fault of his own. Since
1891 the plan of the work had been entirely remodelled, as
proved by the rough drafts still extant. The author had given up
the idea of describing different instruments from their technical

(1) This preface had already been published in his Notes and Articles on
Music (St. Petersburgh, 1911).
 IX

standpoint, and was more anxious to dwell upon the value of

tone qualities and their various combinations.

Among the author's papers several forms of the book have been
found, each widely differing in detail from the other. At last, in

the summer of 1905 Kimsky-Korsakov brought his plans to a

head, and outlined the six chapters which form the foundation of
the present volume. But the work suffered a further interruption,
and the sketches were once more laid aside. In his Memoirs,
Rimsky-Korsakov explains the fact by lack of interest in the work
and a general feeling of weariness: "The treatise remained in

abeyance. To start with, the form of the book was not a success,
and I awaited the production of Kitesh, in order to give some
examples from that work" (p. 360).
Then came the autumn of 1906. The composer experienced
another rush of creative energy; his opera. The Golden Cockerel
made rapid strides, and kept him busy all that winter and the
following summer. When it was finished, in the autumn of 1907,

his thoughts reverted to the treatise on orchestration. But the

work made little progress. The author had his doubts as to the

adequacy of the plan he had adopted, and, in spite of the entreaties

of his pupils and friends, he could not bring himself to broach

the latter part of the book. Towards the end of 1907 Rimsky-
Korsakov was constantly ailing in health, and this materially
affected his energy. He spent the greater part of his time reading
old notes and classifying examples. About the 20*li of May he
set out for his summer residence in Lioubensk, and having just
recovered from a third severe attack of inflammation of the lungs,

began to work on the first chapter of the treatise in its present,

final form. This chapter was finished on June 7/20, about 4 o'clock
in the afternoon; the same night, the composer was seized with a
fourth attack which proved fatal.

The honour fell on me to prepare this last work of Rimsky-

Korsakov for publication. Now that Principles of Orchestration
has appeared in print I think it necessary to devote a few words
to the essential features of the book, and to the labour imposed
upon me in my capacity as editor.
On the first point I will say but little. The reader will observe
from the Contents that the work differs from others, not merely by
reaston of its musical examples, but more especially in the systematic
arrangement of material, not according to orchestral division in
groups (the method adopted by Gevaert for instance), but accord-

ing to each constituent of the musical whole, considered separately.

The orchestration of melodic and harmonic elements (Chapters II

and III) receives special attention, as does the question of orches-

tration in general (Chapter IV). The last two chapters are devoted
to operatic music, and the sixth takes a supplementary form,
having no direct bearing on the previous matter.
Rimsky-Korsakov altered the title of his book several times, and
his final choice was never made. The title I have selected seems
to me to be the one most suitable to the contents of the work, "prin-
ciples" in the truest sense of the word. Some may expect to find
the "secrets" of the great orchestrator disclosed; but, as he himself
reminds us in his preface, "to orchestrate is to create, and this is

something which cannot be taught."

Yet, as invention, in all art, is closely allied to technique, this

book may reveal much to the student of instrumentation. Rimsky-

Korsakov has often repeated the axiom that good orchestration
means proper handling of parts. The simple use of tone-colours

and their combinations may also be taught, but there the science of

instruction ends. From these standpoints the present book will

furnish the pupil with nearly everything he requires. The author's

death prevented him from discussing a few questions, amongst

which I would include full polyphonic orchestration and the

scoring of melodic and harmonic designs. But these questions

can be partly solved by the principles laid down in Chapters II

and III, and I have no wish to overcrowd the first edition of this

book with extra matter which can be added later, if it is found

to be necessary. I had first of all to prepare and amplify the
sketches made by Rimsky-Korsakov in 1905; these form a connected
summary throughout the whole six chapters. Chapter I was com-
pleted by the author; it is published as it stands, save for a few

unimportant alterations in style. As regards the other five chap-

ters, I have tried to keep to the original drafts as far as possible,

and have only made a few changes in the order, and one or two
indispensable additions. The sketches made between 1891 and
1893 were too disconnected to be of much use, but, in point
 XI

of fact, they corresponded very closely to the final form of

the work.
The musical examples are of greater importance. According to

the original scheme, as noted on the 1891 MS., they were to be

drawn from the works of Glinka and Tschaikovsky; those of

Borodin and Glazounov were to be added later. The idea of

choosing examples solely from his own works only came to

Rimsky-Korsakov by degrees. The reasons for this decision are

partly explained in the unfinished preface of 1905, but other
motives may be mentioned. If Rimsky-Korsakov had chosen his

examples from the works of these four composers, he would have

had to give some account of their individual, and often strongly
marked peculiarities of style. This would have been a difficult

undertaking, and then, how to justify the exclusion of West-Eu-

ropean composers, Richard Wagner, for example, whose orches-
tration Rimsky-Korsakov so greatly admired? Besides, the latter
could hardly fail to realise that his own compositions afforded
sufficient material to illustrate every conceivable manner of scoring,

examples emanating frorfl one great general principle. This is not

the place to criticise his method; RimsT^y-Korsakov's "school" is

here displayed, each may examine it for himself. The brilliant,

highly-coloured orchestration of Russian composers, and the scoring

of the younger French musicians are largely dev^opments of the

methods of Rimsky-Korsakov, who, in turn, looked upon Glinka

as his spiritual father.
The table of examples found among the author's papers was far

from complete; some portions were badly explained, others, not at

all. The composer had not mentioned which musical quotations

were to be printed in the second volume, and which examples
were to indicate the study of the full score, further, no limit was
fixed to the length of quotation. All this was therefore left to the

editor's discretion. I selected the examples only after much doubt

and hesitation, finding it difficult tp keep to those stipulated by the
composer, as every page of the fnaster's works abound in appro-
priate instances of this or that method of scoring.

I was guided by the following considerations which agreed

with the opinions of the author himself: in the first place the
examples should be as simple as possible, so as not to distract
XII

the student's attention from the point under discussion; secondly,

it was necessary that one example should serve to illustrate several

sections of the book, and lastly, the majority of quotations should be

those mentioned by the author. These amount to 214, in the second
volume; the remaining 98 were added by me. They are drawn, as far

as possible, from Rimsky-Korsakov's dramatic music, since operatic

full-scores are less accessible than those of symphonic works.
At the end of Vol. II I have added three tables showing diffe-

rent ways of scoring full chords; all my additions to the text are
marked with asterisks. I consider that the careful study of the
examples contained in the second volume will be of the greatest

use to the student without replacing the need for the study of other

composers' scores. Broadly speaking, the present work should

be studied together with the reading of full scores in general.
A few words remain to be said regarding Rimsky-Korsakov's
intention to point out the faulty passages in his orchestral works,
an intention expressed in his preface to the last edition. The
composer often referred to the instructional value of such exami-

nations. His purpose however was never achieved. It is not for me

to select these examples, and 1 shall only mention two which were
pointed out by the composer himself: 1. The Legend of Tsar Saltan
220 71ii bar— the theme in the brass is not sufficiently prominent
the trombones being tacet (a mistake easily rectified); 2. The
Golden Cockerel 233 , bars 10 — 14, if the marks of expression are

observed in the brass, the counter- melody on the violas and

violoncellos doubled by the wood-wind will hardly be heard.
Example 75 may also be mentioned, to which the note on page 63,
in the text, refers. I will confine myself to these examples.
In conclusion I desire to express my deep gratitude to Madame
Rimsky-Korsakov for having entrusted me with the task of editing

this work, thereby providing me with the opportunity of performing a

duty sacred to the memory of a master, held so deeply in reverence.

St. Petersburgh, December 1912.

MAXIMILIAN STEINBERG.
 Extract from the Author's Preface (1891).

Our epoch, the post-Wagnerian age, is the age of brilliahce and

imaginative quality in orchestral tone colouring. Berlioz, Glinka,

Liszt, Wagner, modern french composers — Delibes, Bizet and

others; those of the new russian school — Borodin, Balakirev,

Glazounov and Tschaikovsky — have brought this side of musical

art to its zenith; they have eclipsed, as colourists, their prede-
cessors, Weber, Meyerbeer and Mendelssohn, to whose genius,
nevertheless, they are indebted for their own progress. In writing

this book my chief aim has been to provide the well-informed

reader with the fundamental principles of modern orchestration

from the standpoint of brilliance and imagination, and I have

devoted considerable space to the study of tonal resonance and
orchestral combination.
1 have tried to show the student how to obtain a certain quality

of tone, how to acquire uniformity of structure and requisite power.

I have specified the character of certain melodic figures and
designs peculiar to each instrument or orchestral group, and
reduced these questions briefly and clearly to general principles;
in short I have endeavoured to furnish the pupil with matter and
material as carefully and minutely studied as possible. Never-
theless I do not claim to instruct him as to how such information
should be put to artistio use, nor to establish my examples in

their rightful place in the poetic language of music. For, just as

a handbook of harmony, counterpoint, or form presents the student

with harmonic or polyphonic matter, principles of construction,

formal arrangement, and sound technical methods, but will never

endow him with the talent for composition, so a treatise on or-
chestration can demonstrate how to produce a well-sounding chord
1
 — 2 —
of certain tone-quality, uniformly distributed, how to detach a
melody from its harmonic setting, correct progression of parts,

and solve all such problems, but will never be able to teach the

art of poetic orchestration. To orchestrate is to create, and this

is something which cannot be taught.

It is a great mistake to say: this composer scores well, or, that

composition is well orchestrated, for orchestration is part of the

very soul of the work. A work is thought out in terms of the
orchestra, certain tone-colours being inseparable from it in the
mind of its creator and native to it from the hour of its birth.

Could the essence of Wagner's music be divorced from its orches-

tration? One might as well say that a picture is well drawn in colours.

More than one classical and modern composer has lacked the
capacity to orchestrate with imagination and power; the secret of
colour has remained outside the range of his creative faculty.

Does it follow that these composers do not know how to orches-

trate? Many among them have had -greater knowledge of the

subject than the mere colourist. Was Brahms ignorant of orches-
tration? And yet, nowhere in his works do we find evidence of

brilliant tone or picturesque fancy. The truth is that his thoughts

did not turn towards colour; his mind did not exact it.

The power of subtle orchestration is a secret impossible to trans-

mit, and the composer who possesses this secret should value it

highly, and never debase it to the level of a mere collection of

formulae learned by heart.

Here I may mention the case of works scored by others from
the composer's rough directions. He who undertakes such work
should enter as deeply as he may into the spirit of the composer,
try to realise his intentions, and develop them in all their essential

features.

Though one's own personality be subordinate to that of another,

such orchestration is nevertheless creative work. But on the other
hand, to score a composition never intended for the orchestra, is

an undesirable practice. Many musicians have made this mistake

and persist in it. (1) In any case this is the lowest form of in-

(1) In the margin of the MS. a question mark is added here.

(Editor's note.)
 — 3 —
strumentation, akin to colour photography, though of course the
process may be well or badly done.
As regards orchestration it has been my good fortune to belong

to a first-rate school, and I have acquired tha most varied ex-

perience. In the first place I have had the opportunity of hearing
all my works performed by the excellent orchestra of the St. Peters-

burgh Opera. Secondly, having experienced leanings towards

different directions, I have scored for orchestras of different sizes,

beginning with simple combinations (my opera The May Night

is written for natural horns and trumpets), and ending with the
most advanced. In the third place, I conducted the choir of the
Military Marine for several years and was therefore able to study

wind-instruments. Finally I formed an orchestra of very young

pupils, and succeeded in teaching them to play, quite competently,

the works of Beethoven, Mendelssohn, Glinka, etc. All this has

enabled me to present this work to the public as the result of
long experience.
As a starling-point I lay down the following fundamental axioms:

I. In the orchestra there is no such thing _^as ugly quality of tone.

II. Orchestral writing should be easy to play; a composer's
work stands the best chance when the parts are well written. (1)
III. A work should be written for the size of orchestra that is to

perform it, not for some imaginary body, as many composers

persist in doing, introducing brass instruments in unusual keys
upon which the music is impracticable because it is not played
in the key the composer intends.
It is difficult to devise any method of learning orchestration
without a master. As a general rule it is best to advance by
degrees from the simplest scoring to the most complicated.
The student will probably pass through the following phases: 1. the
phase during which he puts his entire faith in percussion instru-

(1) A. Glazounov
has well expressed the various degrees of excellence in
scoring-, which he divides into three classes: 1. When the orchestra sounds
well, playing from sight; magnificent, after a few rehearsals. 2. When effects
cannot be brought off except with the greatest care and attention on the part
of conductor and players. 3. When the orchestra never sounds well. Evi-
dently the chief aim in Orchestration is to obtain the first of these results.
(Author's note.)
1*
 — 4 —
ments, believing that beauty of sound emanates entirely from this
branch of the orchestra — this is the earliest stage; 2. the period

when he acquires a passion for the harp, using it in every possible

chord; 3. the stage during which he adores the wood-wind and

horns, using stopped notes in conjunction with strings, muted or
pizzicato; 4. the more advanced period, when he has come to

recognise that the string group is the richest and most expressive
of all. When the student works alone he must try to avoid the
pitfalls of the first three phases. The best plan is to study full-

scores, and listen to an orchestra, score in hand. But it is diffi-

cult to decide what music should be studied and heard. Music

of all ages, certainly, but, principally, that which is fairly modern.
Fairly modern music will teach the student how to score — classical
music will prove of negative value to him. Weber, Mendelssohn,
Meyerbeer (The Prophet), Berlioz, Glinka, Wagner, Liszt, and
modern French and Russian composers — these will prove his best
guides. It is useless for a Berlioz or a Gevaert to quote examples
from the works of Gluck. The musical idiom is too old-fashioned
and strange to modern ears; such examples are of no further use
today. The same may be said of Mozart and of Haydn (the father

of modern orchestration).

The gigantic figure of Beethoven stands apart. His music

abounds in countless leonine leaps of orchestral imagination, but
his technique, viewed in detail, remains much inferior to his
titanic conception. His use of the trumpets, standing out above
the rest of the orchestra, the difficult and unhappy intervals he
gives to the horns, the distinctive features of the string parts and
his often highly- coloured employment of the wood-wind,— these
features will combine causing the student of Beethoven to stumble
upon a thousand and one points in contradiction.
It is a mistake to think that the beginner will light upon no simple
and instructive examples in modern music, in that of Wagner and
others. On the contrary, clearer, and better examples are to be
found amongst modern composers than in what is called the
range of classical music.
 — 5 —
Extract from the Preface to the last edition.

My aim in undertaking this work is to reveal the principles of

modern orchestration in a somewhat different light than that

usually brought to bear upon the subject. I have followed these

principles in orchestrating my own works, and, wishing to impart
some of my ideas to young composers, I have quoted examples
from my own compositions, or given references to them, en-
deavouring to show, in all sincerity, what is successful and what
is not. No one can know except the author himself the purpose
and motives which governed him during the composition of a
certain work, and the practice of explaining the intentions of a

composer, so prevalent amongst annotators, however reverent and

discreet, appears to me far from satisfactory. They will attribute

a too closely philosophic, or excessively poetic meaning to a plain

and simple fact. Sometimes the respect which great composers'

names command will cause inferior examples to be quoted as
good; casfco of carelessness or ignorance, easily explained by the
imperfections of current technique, give rise to whole pages of
laborious exposition, in defence, or even in admiration of a faulty
passage.
This book is written for those who have already studied instru-
mentation from Gevaert's excellent treatise, or any other well-known
manual, and who have some knowledge of a number of orches-

tral scores.

I shall therefore only just touch on such technical questions as

fingering, range, emission of sound etc. (1)

The present work deals with the combination of instruments in

separate groups and in the entire orchestral scheme; the different
means of producing strength of tone and unity of structure; the
sub-division of parts; variety of colour and expression in scoring,
—the whole, principally from the standpoint of dramatic music.

(1) A short review of these various questions forms the first chapter of the
book. (Editor's note.)
 Chapter 1.

GENERAL REVIEW OF ORCHESTRAL GROUPS.

A. Stringed Instruments.
The following is the formation of the string quartet and the
number of players required in present day orchestras, either in the

theatre or concert-room.
 —

— 7 —
Whenever a group of strings is written for more than five

parts —without taking double notes or chords fnto consideration

these parts may be increased by dividing each one into two, three
and four sections, or even more (divisi). Generally, one or more
of the principal parts is split up, the first or second violins, violas
or violoncellos. The players are then divided by desks, numbers 1,

3, 5 etc. playing the upper part, and 2, 4, 6 etc., the lower; or

else the musician on the right-hand of each desk plays the top
line, the one on the left the bottom line. Dividing by threes is

less easy, as the number of players in one group is not always

divisible by three, and hence the difficulty of obtaining proper

balance. Nevertheless there are cases where the composer should

not hesitate to employ this method of dividing the strings, leaving
it to the conductor to ensure equality of tone. It is always as
well to mark how the passage is to be divided in the score;
Vni I, 1, 2, 3 desks, 6 'Cellos div. a 3, and so on. Division into
four and more parts is rare, but may be used in piano passages,
as it greatly reduces volume of tone in the group of strings.

Note. In small orchestras passages sub-divided into many parts are very
hard to realise, and the effect obtained is never the one required.

String parts may be divided thus:

rVni I div. . (Vnill div. /Violas div. f'Ce

'Cellos div.
^ I Vni II div. ^ I Violas div. ^ I 'Cellos div. ^ I D. basses div.

Possible combinations less frequently used are:

fVn^I div. rVnill div. f Violas div.

^ Violas div. ^ I D. basses div.
I '
I 'Cellos div.

Note. It is evident that the tone quality in b and e will be similar. Still b
is preferable since the number of Vni II (14 — 10 — and Violas (12
6) 8 4) — —
is practically the same, the respective r61es of the two groups are more closely
allied, and from the fact that second violins generally sit nearer to the violas
than the first, thereby guaranteeing greater unity in power and execution.

The reader will find all manner of divisions in the musical

examples given in Vol. II. Where necessary, some explanation as

to the method of dividing strings will follow in due course. I dwell
on the subject here in order to show how the usual composition
of the string quartet may be altered.
 — 8 —
Stringed instruments possess more ways of producing sound than
any other orchestral group. They can pass, better than other
instruments from one shade of expression to another, the varieties
being of an infinite number. Species of bowing such as legato,
detached, staccato, spiccato, portamento, martellato, light staccato,
saltando, attack at the nut and at the point, nn H and V V V (down
bow and up bow), in every degree of tone, fortissimo, pianissimo,
crescendo, diminuendo, sforzando, morendo — all this belongs to the

natural realm of the string quartet.

The fact that these instruments are capable of playing double
notes and full chords across three and four strings — to say nothing
of sub-division of parts — renders them not only melodic but also
harmonic in character (1).

From the point of view of activity and flexibility the violin

takes pride of place among stringed instruments, then, in order,

come the viola, 'cello and double bass. In jyactice the notes of

extreme limit in the string quartet should be fixed as follows:

for violins: (fe , for violas: ^

u.

for 'cellos: V' , for double basses: ^

Higher notes given in Table A, should only be used with caution,
that is to say when they are of long value, in tremolando, slow,
flowing melodies, in not too rapid sequence of scales, and in

passages of repeated notes. Skips should always be avoided.

Note. In quick passages for stringed instruments long chromatic figures

are never suitable; they are difficult to play and sound indistinct and muddled.
Such passages are better allotted to the wood-wind.

A limit should be set to the use of a high note on any one of

the three lower strings on violins, violas and 'cellos. This note
should be the one in the fourth position, either the octave note
or the ninth of the open string.

(1) To give a list of easy three and four-note chords, or to explain the different
methods of bowing does not come within the scope of the present book.
 Nobility, warmth, and equality of tone from one end of the scale to

the other are qualities common to all stringed instruments, and render

them essentially superior to instruments of other groups. Further,

each string has a distinctive character of its own, difficult to define

in words. The top string on the violin (E) is brilliant in character,

that of the viola (A) is more biting in quality and slightly nasal;

the highest string on the 'cello (A) is bright and possesses a

"chest-voice" timbre. The A and D strings on the violin and the
D string on the violas and 'cellos are somewhat sweeter and
weaker in tone than the others. Covered strings (G)y on the
violin (G and C), on the viola and 'cello are rather harsh. Speak-

ing generally, the double bass is equally resonant throughout,

slightly duller on the two lower strings (E and A), and more

penetrating on the upper ones (D and G).

Note. Except in the case of pedal notes, the double bass rarely plays an
independent part, usually moving- in octaves or in unison with the 'cellos, or else
doubling the bassoons. The quality of the double bass tone is therefore seldom
heard by itself and the character of its different strings is not so noticeable.

The rare ability to connect sounds, or a series of sounds, the

vibration of stopped strings combined with their above-named
qualities — warmth and nobility of tone — renders this group of
instruments far and away the best orchestral medium of melodic
expression. At the same time, that portion of their range situated
beyond the "limits of the human voice, e. g. notes on the violin
higher than the extreme top note of the soprano voice, from

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

(written sound)

lose in expression and warmth of tone. Open strings are clearer

and more powerful but less expressive than stopped strings.

Comparing the range of each stringed instrument with that of

the human voice, we may assign: to the violin, the soprano and
 — 10 —
contralto voice plus a much higher range; to the viola, the con-
tralto and tenor voice plus a much higher register; to the 'cello,

the tenor and bass voices plus a higher register; to the double
bass, the bass voice plus a lower range.
The use of harmonics, the mute, and some special devices in
bowing produce great difference in the resonance and tone quality

of all these instruments.

Harmonics, frequently used to day, alter the timbre of a stringed

instrument to a very appreciable extent. Cold and transparent in

soft passages, cold and brilliant in loud ones, and offering but
little chance for expression, they form no fundamental part of or-
chestral writing, and are used simply for ornament. Owing to

their lack of resonant power they should be used sparingly, and,

when employed, should never be overpowered by other instruments.
As a rule harmonics are employed on sustained notes, tremolando.,
or here and there for brilliant effects; they are rarely used in
extremely simple melodies. Owing to a certain tonal affinity with
the flute they may be said to form a kind of link between string
and wood-wind instruments.
Another radical change is effected by the use of mutes. When
muted, the clear, singing tone of the strings becomes dull in soft

passages, turns to a slight hiss or whistle in loud ones, and the

volume of tone is always greatly reduced.
The position of the bow on the string will affect the resonance
of an instrument. Playing with the bow close to the bridge (sul
ponticello), chiefly used tremolando, producer a metallic sound;
playing on the finger-board (sul tasto, flautando) creates a dull,

veiled effect.

Note. Another absolutely different sound results from playing with the back
or wood of the bow {col legno). This produces a sound like a xylophone or
a hollow pizzicato. It is discussed under the heading of instruments of little

sustaining power.

The five sets of strings with number of players given above

produce a fairly even balance of tone. If there is any sur-
plus 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
 11 —

•
 — 12 —
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 basses are
heard more distinctly, and in the majority of cases form the bass
in octaves.

In conclusion it- may be said that the group of strings, as a

ipelodic element, is able to perform all manner of passages, 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 constituent parts remains constant, satis-
fying 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 classes: 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 instru-

ment; roman figures, the parts (isl, 2^ 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

bassoon never change instruments; considering the importance of

their parts it is not advisable for them to turn from one mouthpiece
to another. The parts written for piccolo, bass flute, English horn,
small clarinet, bass clarinet and double bassoon are taken by the
second and third players in each group, who are more accustomed
to using these instruments of a special nature.
 — 13

Wood-wind
 — 14 —
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 bassoon which represent the two extremes of

the orchestral compass. They do not possess such a register and
belong to the body of highly-coloured but non-expressive instru-

ments.
The four kinds of wind instruments: flutes, oboes, clarinets and
bassoons may be generally considered to be of equal power. The
same cannot be said of instruments which fulfil a special purpose:
piccolo, ba^s flute, Eng. horn, small clarinet, bass clarinet and
double bassoon. 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 passage 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 classes: a) instruments of nasal quality and dark resonance—

oboes and bassoons (Eng. horn and double bassoon); and b) in-

struments of "chest-voice" quality and bright tone — flutes and

clarinets (piccolo, bass flute, small clarinet, bass 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 bassoons is thick and rough, yet still nasal in quality; the
very high compass is shrill, hard and dry. The clear resonance
of the flutes and clarinets acquires something nasal and dark in the

lower compass; 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 The note
each register are not defined absolutely.
G fixes the register of flutes and oboes, C and bassoons. In
for the clarinets
the very high compass 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
compass is indefinite, and depends, partly on the quality of the instrument
itself, partly on theposition and application of the lips. The signs r==— =:: —
are not to be mistaken for crescendo and diminuendo; they indicate how the
resonance of an instrument increases or diminishes in relation to the characte-
ristic quality of its timbre. The scope of greatest expression for each typical

instrument is marked thus, I under the notes the range is the same
1 ;

in each instrument of the same type.

3
O

GO
 — 18 —
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 exactitude.
Instrumental sounds which have no musical meaning are classed by me in the
category of useless sounds, and I refer Jo 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 bassoon 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; tfiis instrument can reduce

volume of tone to a mere breath. The nasal instruments, oboe
and bassoon, are less mobile and supple; this is accounted for
by their double reed, but, having to effect all sorts of scales and
rapid passages in common with the flutes and clarinets, oboes
and bassoons may be considered melodic instruments in the real
sense of the word, only of a more cantabile and peaceful character.

In very quick passages 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 passages are better suited to the
oboes and bassoons, while the flutes and clarinets excel in well-

sustained legato phrases. Composite legato passages should be

allotted to the first two instruments, composite stacca'.o passages
to the latter pair, but these general directions should not deter

the orchestrator from adopting the opposite plan.

In comparing the technical indivitualities of the wood-wind the
following fundamental differences should be noted:
a) The rapid repetition of a single note by single tonguing is com-
•n*in to all wind instruments; repitition of a single note by means
'
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 bassoons.
 — 19 —
c) Arpeggios and rapid alternation of two intervals legato sound
well on flutes and clarinets, but not on oboes and bassoons.
Wood-wind players cannot manage extremely long sustained
passages, as they are compelled to take breath; care must be
taken therefore to give them a little rest from time to time. This
is unnecessary in the case of string players.
In the endeavour to characterise the timbre of each instrument
typical of the four families, from a psychological point of view, I

do not hesitate to make the following general remarks which apply

generally to the middle and upper registers of each instrument:
a) Flute. — Cold in quality, specially suitable, in the major key, to

melodies of light and graceful character; in the minor key, to

slight touches of transient sorrow.

b) Oboe. — Artless and gay in the major, pathetic and sad in

the minor.
c) Clarinet. — Pliable and expressive, suitable, in the major, to

melodies of a joyful or contemplative character, or to outbursts of

mirth; in the minor, to sad and reflective melodies or impassioned

and dramatic passages.
d) Bassoon. — In the major, an atmosphere of senile mockery;
a sad, ailing quality in the minor.
In the extreme registers these instruments convey the following
impressions to my mind:
Low register Very high register
a) Flute— Dull, cold Brilliant

b) Oboe— Wild Hard, dry

c) Clarinet— Ringing, threatening Piercing
d) Bassoon— Sinister Tense.

Note. It is no mood or frame of mind, whether it be joyful or sadj

true that
meditative or lively, mocking or distressed can be aroused
careless or reflective,
by one single isolated timbre; it dep^ds more upon the general melodic line,
the harmony, rhythm, and dynamic shades of expression, upon the whole for-
mation of a given piece of music. The choice of instruments and timbre to
be adopted depends on the position which m< lody and harmony occupy in the
seven-octave scale of the orchestra; for example, a melody of light character
in the tenor register could not be given to the flutes, or a sad, plaintive phrase
in the high soprano register confided to the bassoons. But the ease with which
tone colour can be adapted to expression must not be forgotten, and in the
first of these two cases it may be conceded that the mocking character of the

bassoon could easily and quite naturally assume a light-hearted aspect, and
2*
 — 20 —
in the second case, that the slightly melancholy timbre of the flute is some-
what related to the feeling of sorrow and distress with which the passage is
to be permeated. The case of a melody coinciding in character with the in-
strument on which it is played is of special importance, as the effect produced
cannot fail to be successful. There are also moments when a composer's
artistic feeling prompts him to employ instruments, the character of which is

at variance with the written melody (for eccentric, grotesque effects, etc.).

The following remarks illustrate the characteristics, timbre, and

employment of special instruments:
The duty of the piccolo and sm^ll clarinet is, principally, to

extend the range of the ordinary flute and clarinet in the high
register. The whistling, piercing quality of the piccolo in its highest
compass is extraordinarily powerful, but does not lend itself to

more moderate shades of expression. The small clarinet in its

highest register is more penetrating than the ordinary clarinet
The low and middle range of the piccolo and small clarinet

correspond to the same register in the normal flute and clarinet,

but the tone is so much weaker that it is of little service in those

regions. Tlie double bassoon extends the range of the ordinary
bassoon in the low register. The characteristics of the bassoon's
low compass are still further accentuated in the corresponding
range of the double bassoon, but the middle and upper registers
of the latter are by no means so useful. The very deep notes of
the double bassoon are remarkably thick and dense in quality,

very powerful in piano passages.

Note. Nowadays, when the limits of the orchestral scale are considerably
extended (up to the high C of the 7*h octave, and down to the low C, 16 ft.

contra octave), the piccolo forms an indispensable constituent of the wind-group;

similarly, it is recognised that the double bassoon is capable of supplying
valuable assistance. The small clarinet is rarely employed and only for colour
effects.

The English horn, or alto oboe (oboe in F) is similar in tone

to the ordinary oboe, the listless, dreamy quality of its timbre
being sweet in the extreme. In the low register it is fairly pene-
trating. The bass clarinet, though strongly resembling the ordinary
clarinet, is of darker colour in the low register and lacks the
silveiy quality in the upper notes; it is incapable of joyful ex-
pression. The bass flute is an instrument seldom used even today;
it possesses the same features as the flute, but it is colder in
 — 21 —
colour, and crystalline in the middle and high regions. These
three particular instruments, apart from extending the low registers
of the instruments to which they belong, have their own distinctive

peculiarities of timbre, and are often used in the orchestra, as solo

instruments, clearly exposed.

Note. Of the six special instruments referred to above, the piccolo and
double bassoon were the first to be used in the orchestra; the latter, however,
was neglected after Beethoven's death and did not reappear until towards the
end The Eng. horn and bass clarinet were employed initially
of the 191!l century.

during the first the same century by Berlioz, Meyerbeer, and others,
half of

and for some time retained their position as extras, to become, later on,
permanent orchestral factors, first in the theatre, then in the concert room.
Very few attempts have been made to introduce the small clarinet into the
orchestra (Berlioz etc.); this instrument together with the bass flute is used
in my opera-ballet Mlada (1892), and also in my most recent compositions.
The Christmas Night, and Sadko; the bass flute will also be found in The
Legend of the Invisible City of Kitesh, and in the revised version of "Ivan the
Terrible".

Of late years the habit of muting the wood-wind has come into

fashion. This is done by inserting a soft pad, or a piece of roUed-

up cloth into the bell of the instrument. Mutes deaden the tone of

oboes, Eng. horns, and bassoons to such an extent that it is possible

for these instruments to attain the extreme limit of pianissimo

playing. The muting of clarinets is unnecessary, as they can play
quite softly enough without artificial means. Is has not yet been
discovered how to mute the flutes; such a discovery would render
great service to the piccolo. The lowest note on the bassoon.

and on the oboe and Eng. horn

are impossible when the instruments are muted. Mutes have no

effect in the highest register of wind instruments.

Brass.
The formation of the group of brass instruments, like that of the
wood-wind is not absolutely uniform, and varies ih different scores.
The brass group may be divided into three general classes corres-

ponding to those of the wood-wind (in pair's, in three's, and in

four's).
 22

Group corresponding
to the wood- wind
in pair's
 — 23 —
strength; cornets have not quite the same force; horns, in forte
passages, are about one half as strong, but piano, they have
the same weight as other brass instruments played softly. To
obtain an equal balance, therefore, the marks of expression in the

horns should be one degree stronger than in the rest of the brass;

if the trumpets and trombones play pp, the horns should be

marked p. On the other hand, to obtain a proper balance in

forte passages, two horns are needed to one trumpet or one

trombone. «
Brass instruments are so similar in range and timbre that the
discussion of register is unnecessary. As a general rule quality

becomes more brilliant as the higher register is approached, and

vice versa, with a decrease in tone. Played pp the resonance is
sweet; played // the tone is hard and "crackling". Brass instru-
ments possess a remarkable capacity for swelling from pianissimo
to fortissimo, and reducing the tone inversely, the sf =— p effect

being excellent.
The following remarks as to character and tone quality may
be added:
a) 1. Trumpets (B\> — A). Clear and fairly penetrating in

tone, stirring and rousing in forte passages; in piano

phrases the high notes are full and silvery, the low notes
troubled, as though threatening danger.

2. Alto trumpet (in F). An instrument of my own invention,

first used by me in the opera — ballet Mlada. In the

deep register (notes 2 to 3 in the trumpet scale) it possesses

a fuller, clearer, and finer tone. Two ordinary trumpets
with an alto trumpet produce greater smoothness and
equality in resonance than three ordinary trumpets. Satis-

fied with the beauty and usefulness of the alto trumpet,

I have consistently written for it in my later works, com-
bined with wood-wind in three's.

Note. To obviate the difficulty of using: the alto trumpet in ordinary theatres
and some concert rooms, I have not brought into play the last four notes of
its lowest register or their neighbouring chromatics; by this means the alto
trumpet part may be played by an ordinary trumpet in Bl> or A.

3. Small trumpet (in E\>—D). Invented by me and used

for the first time in Mlada to realise the very high
 — 24 —
trumpet notes without difficulty. In tonality and range
the instrument is similar to the soprano cornet in a mili-

tary band.

Note. The small trumpet, {B\^ — A) sounding an octave higher than the
ordinary trumpet has not yet appeared in musical literature.

b) Cornets (m B\> — A). Possessing a quality of tone similar

to the trumpet, but softer and weaker. It is a beautiful
instrument though rarely employed today in theatre or

concert room. Expert players can imitate the cornet tone

on the trumpet, and vice versa.

c) Horn (in F). The tone of this instrument is soft, poetical,

and full of beauty. In the lower register it is dark and

brilliant; round and full in the upper. The middle notes
resemble those of the bassoon and the two instruments
blend well together. The horn, therefore, serves as a link

between the brass and wood-wind. In spite of valves

the horn has but little mobility and would seem to pro-

duce its tone in a languid and lazy manner.

d) Trombone. Dark and threatening in the deepest register,

brilliant and triumphant in the high compass. The piano

is full but somewhat heavy, the forte powerful and sono-
rous. Valve trombones are more mobile than slide trom-
bones, but the latter are certainly to be preferred as
regards nobility and equality of sound, the more so from
the fact that these- instruments are rarely required to

perform quick passages, owing to the special character of

their tone.

e) Tuba. Thick and rough in quality, less characteristic than

the trombone, but valuable for the strength and beauty
of its low notes. Like the double bass and double
bassoon, the tuba is eminently useful for doubling, an
octave lower, the bass of the group to which it belongs.
Thanks to its valves, the tuba is fairly flexible.

The group of brass instruments, though uniform in resonance

throughout its constituent -parts, is not so well adapted to expressive
playing (in the exact sense of the word) as the wood-wind group.
Nevertheless, a scope of greatest expression may be distinguished
 25 —

a
3
O a
u
U E
o

u
CO (1>
>
'So

o -

x:
H
 — 26 —
in the middle registers. In company with the piccolo and double

bassoon it is not given to the small trumpet (E\j( — D) and tuba

to play with any great amount of expression. The rapid and
rhythmical repitition of a note by single tonguing is possible to

all members of the brass, but double tonguing can only be done
on instruments with a small mouth-piece, trumpets and cornets.

These two instruments can execute rapid tremolando without diffi-

culty. The remarks on breathing, in the section devoted to the

wood-wind, apply with equal force to the brass.

The use of stopped notes and mutes alters the character of

brass tone. Stopped notes can only be employed on trumpets,

cornets and horns; the shape of trombones and tubas prevents
the hand from being inserted into the bell. Though mutes are
applied indiscriminately to all brass instruments in the orchestra,
tubas rarely posses them. Stopped and muted notes are similar
in quality. On the trumpet, muting a note produces a better tone
than stopping it.

In the horn both methods are employed; single notes are stopped
in short phrases, muted in longer ones. I do not propose to describe

the difference between the two operations in detail, and will leave
the reader to acquire the knowledge for himself, and to form an
opinion as to its importance from his own personal observation.
Sufficient to say that the tone is deadened by both methods,
assuming a wild "crackling" character in forte passages, tender and
dull in piano. Resonance is greatly reduced, the silvery tone of the
instrument to lost and a timbre resembling that of the oboe and
Eng. horn is approached. Stopped notes (con sordino) are marked

-f- underneath the note, sometimes followed by 0» denoting the

resumption of open sounds, senza sordini. Brass instruments, when
muted, produce an effect of distance.

C. Instruments of little sustaining power.

Plucked strings.
When the usual orchestral string quartet (Vni I, Vni II, Violas,

'Cellos, D. basses) does not make use of the bow, but plucks thjC

strings with the finger, it becomes to my mind a new and inde-

 — 27 —
pendent group with its own particular quality of tone. Associated
with the harp, which produces sound in a similar manner, I con-
sider it separately- under the heading of plucked strings.

Note. In this group may be classed the gmids, zither, balalaika; instruments
plucked with a quill,such as the domra, (1) the mandoline etc., all of which may
be used in an orchestra, but have no place in the scope of the present book.

Pizzicato.

Although capable of every degree of power from // to pp, pizzi-

cato playing has but small range of expression, and is used chiefly
as a colour effect On open strings it is resonant and heavy, on
stopped strings shorter and duller; in the high positions it is rather
dry and hard.
Table D on page 31 indicates the range in which pizzicato may
be used on each stringed instrument.
In the orchestra, pizzicato comes into operation in two distinct

ways: a) on single notes, b) on double notes and chords. The

fingers of the right hand playing pizz. are far less agile than the bow;
pizz. passages therefore can never be performed as quickly as those
played arco. Moreover, the speed of pizzicato playing depends upon
the thickness of the strings; on the double basses, for instance,

it must always be much slower than on the violins.

In pizzicato chords it is better to avoid open strings, which

produce a more brilliant tone than of covered strings. Chords of

four notes allow oi greater freedom and vigour of attack, as

there is no danger of accidentally touching a wrong note. Natural
harmonics played pizz. create a charming effect; the tone is weak
however, and they are chiefly successful on the violoncello.

Harp.
In the orchestra, the harp is almost entirely an harmonic or
accompanying instrument. The majority of scores require only
one harp part, but in recent times composers have written for two
or even three harps, which are sometimes compressed into the
one part

(1) A russian instrument which, like the balalaika, is better known abroad.
(Translator's note.)
 — 28 —
Note. Full orchestras should include three or even four harps. My operas
Sadko, The Legend of the Invisible City of Kitesh, and The Golden Cockerel
are designed for t\yo harps, Mlada for three.

The special function of the harp lies in the execution of chords,

and the florid figures springing from them. As only four notes
at the most can be played by each hand, the notes of a chord

should be written close together, with not too great a space be-
tween one hand and the other. The chords must always be broken
(arpeggiato); should the composer wish otherwise he should
notify it (non arpeggiato). In the middle and lower octaves the

resonance of the strings is slightly prolonged, and dies away gra-

dually. In changes of harmony the player stops the vibration of
the strings with his hands, but, in quick modulations, this method
is not feasible, and the mixture of one chord with another produces
a discordant effect. It follows that more or less rapid figures can
only be realised clearly and neatly in the upper register of *he harp,
where the strings are shorter and harder in tone.

As a general rule, in the whole range of the harp:

8 bassa

only the notes of the first to the fourth octave are used; the extreme
notes in both compasses may be employed in special circumstances,
and for doubling in octaves.

The harp is essentially a diatonic instrument, since all chromatic

passages depend on the manipulation of the pedals. For this reason
the harp does not lend itself to rapid modulation, and the orches-
trator is advised to bear this fact in mind. But the difficulty may
be obviated by using two harps alternately. (1)

Note. would remind the reader that the harp is not capable of double
I

sharps or double flats. For this reason, certain modulations from one key to
another one, adjacent to it can only be accomplished enharmonically. For
instance, the transition from C flat, G flat or D flat, major to their minor sub-
dominant chords or keys is not possible owing to double flats. It is therefore

(I) A chromatic harp without pedals has now been invented in France
(Lyon's system), on which the most abrupt modulations are possible.
(Translator's note.)
 — 29 —
necessary to start enharmonically from the keys of B, F sharp or C sharp,
major. Similarly, on account of double sharps, it is impossible to change from
A sharp, D sharp or G sharp, minor to their respective dominant major chords
or keys; B flat, E flat and A flat, minor must be the starting-points.

The technical operation known as glissando is peculiar to the harp

alone. Taking for granted that the reader is conversant with the

methods of acquiring different scales by means of double-notched

pedals, it will be sufficient to remark that glissando scales produce
a discordant medley of sound owing to the length of time the
strings continue to vibrate, and therefore, as a purely musical
effect, glissando can only be used in the upper octaves, quite piano,
where the sound of the strings is sufficienty clear, yet not too

prolonged. Forte glissando scales, entailing the use of the lower

and middle strings are only permissible as embellishments. Glis-

sando passages in chords of the seventh and ninth, enharmonically

obtained, are much more common, and as the above reservations
do not apply, every dynamic shade of tone is possible. Chords in

harmonics can only consist of three notes written close together^

two for the left hand and one for the right.

The tender poetic quality of the harp is adapted to every dy-

namic shade, but it is never a very powerful instrument, and the

orchestrator should treat it with respect.
At least three, if not four harps in unison are necessary, if

they are to be heard against a full orchestra playing forte. The

more rapidly a glissando passage is played, the louder it will sound.
Harmonic notes on the harp have great charm but little resonance,
and are only possible played quite softly. Speaking generally, the
harp, like the string quartet, pizzicato, is more an instrument of

colour than expression.

Percussion instruments producing determinate

sounds, keyed instruments.

Kettle-drums.
Kettle-drums, indispensable to every theatre and concert orchestra
occupy the most important place in the group of percussion instru-

ments. A pair of kettle-drums (Timpani), in the tonic and domi-

nant keys, was the necessary attribute of an orchestra up to, and
 :

— 30 —
including Beethoven's* time, but, from, the middle of the WJl cen-
tury onward, in western Europe and in Russia, an ever-increasing
need was felt for the presence of three or even four kettle-drums,

during the whole course or part of a work. If the expensive

chromatic drum, permitting instant tuning is rarely met with, still,

in the majority of good orchestras, three screw drums are gene-

rally to be found. The composer can therefore tdke it for granted
that a good timpanist, having three kettle-drums at his command, will

be able to tune at least one of them during a pause of some length.

The limits of possible change in Beethoven's time was consi-

dered to be:

(chromaticatly) (cV»w»*^'^*'^
Big 4|; Small 4y
kettle-drura ^.^ — ^" kettle-drum: .
P

In these days it is difficult to define the precise extent of high

compass in the kettle-drums, as this depends entirely on the size
and quality of the smallest one, of which there are many kinds,
but I advise the composer to select:

CcMomaV.ca«V^

^
Note. A magnificent kettle-drum of very small size was made for my opera-
ballet Mlada; this instrument gave the Z)> of the fourtii octave.

Kettle-drums are capable of every dynamic shade of tone, from

thundering fortissimo to a barely perceptible pianissimo. In tre-

molando they can execute the most gradual crescendo, diminuendOy

the sfp and morendo.
To deaden the sound, a piece of cloth is generally placed on
the skin of the drum, according to the instruction: timpani coperti
(muffled drums).

Piano and Celesta.

The use of a piano in the orchestra (apart from pianoforte con-
certos) belongs almost entirely to the russian school (1). The object
is two-fold: the quality of tone, either alone, or combined with

(1) Rimsky-Korsakov's opera Sadko and Moussorgsky's Boris Godounov

are particularly interesting in this respect. (Translator's note.)
 — 31 —

Table D.
Pizzicato.

Violin.

Viola.

Violoncello.

Double bass. ^
The black notes are dry and hard, without resonance, and should only be
used when doubled with the wood-wind.

* Table E.
Glockenspiel, celesta, xylophone.

Glockenspiel
(with keyboard!.

Glockenspiel
(ordinary).

Celesta.

Xylophone.

•) This note is often missing.

 — 32 —
that of the harp, is made to imitate a popular instrument, the guzli,
(as in Glinka), or a soft peal of bells. When the piano forms part
of an orchestra, not as a solo instrument, an upright is preferable
to a grand, but today the piano it is gradually being superseded by
the celesta, first used by Tschaikovsky. In the celesta, small steel

plates take the place of strings, and the hammers falling on them
produce a delightful sound, very similar to the glockenspiel. The
celesta is only found in full orchestras; when it is not available
it should be replaced by an upright piano, and not the glockenspiel.

Glockenspiel, Bells, Xylophone.

The glockenspiel (campanelli) may be made of steel bars, or
played with a keyboard. The first type is the more satisfactory

and posesses greater resonance. The use of the glockenspiel is

similar to the celesta, but its tone is more brilliant and pene-
trating. Big bells in the shape of hollow discs or metal tubes (1),

or real church bells of moderate size may be considered more as

theatrical properties than orchestral instruments.

The xylophone is a species of harmonica composed of strips or

cylinders of wood, struck with two little hammers. It produces a
clattering sound, both powerful and piercing.
To complete this catalogue of sounds mention should be made
of the strings playing col legno, that is with the wood or back of
the bow. The sound produced is similar to the xylophone, and
gains in quality as the number of players is increased.
A table is appended showing the range of 'the celesta, glocken-

spiel and xylophone.

Percussion instruments producing indefinite

sounds.
Instruments in this group, such as triangle, castanets, little bells,

tambourine, switch or rod {Rule. Gen), side or military drum, cym-

bals, bass drum, and Chinese gong do not take any harmonic or
melodic part in the orchestra, and can only be considered as
ornamental instruments pure and simple. They have no intrinsic

(1) Recently, bells have been made of suspended metal plates possessing the
rare quality of a fairly pure tone, and which are sufficiently portable to be used
on the concert platform. (Editor's note.)
 - 33 -
musical meaning, and are just mentioned by the way. The first

three m^ay be considered as high, the four following as medium^

and the last two as deep instruments. This may serve as a guide
to their use with percussion instruments of determinate sounds,
playing in corresponding registers.

Comparison resonance in orchestral groups and

of
combination of different tone qualities.
In comparing the resonance of the respective groups of sound-
sustaining instruments we arrive at the following approximate con-

clusions:
In the most resonant group, the brass, the strongest instruments
are the trumpets, trombones and tuba. In loud passages the horns
are only one-half as strong, 1 Trumpet = 1 Trombone = 1 Tuba
= 2 Horns. Wood-wind instruments, in prte passages, are twice
as weak as the horns, 1 Horn = 2 Clarinets = 2 Oboes = 2 Flutes
= 2 Bassoons; but, in piano passages, all wind-instruments, wood
or brass are of fairly equal balance.
more difficult to establish a comparison in resonance between
It is

wood-wind and strings, as everything depends on the number of the

latter, but, in an orchestra of medium formation, it may be taken for
granted that in piano passages, the whole of one department {all

151 Violins or all 2!ii Violins etc.) is equivalent in strength to one wind
instrument, (Violins I = 1 Flute etc.), and, in jorte passages, to two
wind instruments, (Violins I = 2 Flutes = 1 Oboe + 1 Clarinet, etc.).

It is still harder to form a comparison with instruments of little

sustaining power, for too great a diversity in production and emission

of sound exists. The combined force of groups of sustained resonance
easily overpowers the strings played pizz. or col legno, the piano
played softly, or the celesta. As regards the glockenspiel, bells, and
xylophone, their emphatic tone will easily prevail over other groups in
combination. The same may be said of the kettle-drums with their
ringing, resounding quality, and also of other subsidiary instruments.

The influence of the timbre of one group on another is noticeable

when the groups are doubled; for instance, when the wood-wind
timbre is closely allied to the strings on the one hand, and to the

brass on the other. Re-inforcing both, the wind thickens the strings
 34

and softens the brass. The strings do not blend so well with the
brass, and when the two groups are placed side by side, each is

heard too distinctly. The combination of the three different timbres

in unison produces a rich, mellow and coherent tone.
All, or several wind instruments in combination will absorb one
department of. added strings:

2 Fl. +2 Ob. + Vni I,

or: 2 Ob. +2 CI. + Violas,

or: 2 CI." 4- 2 Fag. 4- 'Cellos.

One department of strings added to the wood-wind in unison

produces a sweet coherent q^uality, the wood-wind timbre still

predominating; but the addition of one wind instrument to all or

part of the strings in unison, only thickens the resonance of the
latter, the wood-wind timbre being lost in the process:

Vni I + Vni II -f 1 Ob.,

or: Violas + 'Cellos + 1 CI.

or: 'Cellos -j- D. basses + 1 F^g-

Muted strings do not combine so well with wood-wind, as the

two tone qualities remain distinct and separate. Uniting plucked
strings and percussion with instruments of sustained resonance
results in the following: wind instruments, wood and brass, strengthen

and clarify pizzicato strings, harp, kettle-drums and percussion

generally, the latter lending a touch of relief to the tone of the
wood-wind. Uniting plucked strings and percussion with bowed
instruments does not produce such a satisfactory blend, both qualities
being heard independently. The combination of plucked strings
with percussion alone, is excellent; the two blend perfectly, and the
consequent increase in resonance yields an admirable effect.

The relationship which exists between string harmonics and the

flute or piccolo constitutes a link between the two groups in the
upper range of the orchestra. Moreover, the timbre of the viola
may be vaguely compared to the middle register of the bassoon
and the lowest compass of the clarinet; hence, in the medium
orchestral range, a point of contact is established between the
quartet of strings and the wood-wind.
The bassoon and horn provide the connection between wood-
wind and brass, these two instruments being somewhat analogous

^
 - 35 —
in character when played piano or mezzo- forte; the flute also, in its

lowest register, recalls the pianissimo trumpet tone. Stopped

and muted notes in horns and trumpets are similar in quality to

the oboe and Eng. horn, and blend tolerably well with the latter
instrument.
Concluding this survey of orchestral groups I add a few remarks
which seem to me of special importance.

The principal part in music is undertaken by three instrumental

groups of sustained resonance, representing the three primary ele-
ments, melody, harmony and rhythm. Instruments of little sustaining
power, though sometimes used independently, are chiefly employed
for ornament and colour; instruments producing indeterminate sounds
play no melodic or harmonic part, their functions being purely
rhythmical.
By glancing at the order in which the six orchestral groups are
placed, strings, wood-wind, brass, plucked strings, percussion pro-
ducing definite, and those producing indefinite sounds, the reader

will be able to determine the part played by each in the art of

orchestration, from the secondary standpoint of colour and expression.

As regards expression, the strings come first, and the expressive
capacity of the other groups diminishes in the above order, colour
being the only attribute of the last group of percussion instruments.

The same order obtains from the standpoint of general effect in

orchestration. We can listen to strings for an almost indefinite
period of time without getting tired, so varied are their characteristics
{vide the number of string quartets, suites, serenades etc. written

for strings alone). The addition of a single group of strings will

add lustre to a passage for wind instruments. On the other hand,
the quality of wind instruments soon becomes wearisome; the same
may be said of plucked strings, and also percussion of every kind

which should only be employed at reasonable intervals in orchestral

composition.
It cannot be denied that the constant use of compound timbres,
in pair's, in three's etc. eliminates characteristics of tone, and pro-
duces a dull, neutral texture, whereas the employment of simple,

elementary combinations gives infinitely greater scope for variety

'" '=°"'"-
7 (20) June 1908.
 Chapter II.

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 (violon-
cellos 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 in-

numerable. The reader will find many examples in the pre-

sent 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 in-

struments, taken independently, is qualified to assume full respon-

sibility for the melodic line.
 — 37 —
a) Violins.

Melody in the soprano-alto register and an extra-high compass

usually falls to the lot of the 151 Violins, sometimes to the 2ni Vio-

lins or to both in unison, a process which produces fuller re-

sonance without impairing quality of tone.

Examples:

The Tsar's Bride [84j. — Pianissimo melody (Vnil) of a troubled,

dramatic character. Harmonic accompaniment (Vn?-!! and Vio-

las tremolando — middle parts; the Violincellos forming the bass).
Antar, before 70 . — Descending melodic phrase, Vn^I con sor-
dini piano.
No. 1. Sheherazade 2iil movement B . A piano melody (Vnil)
graceful in character.
Antar 12 . Light graceful melody, oriental in style; a dance
measure (Vnil con sord.), the mutes producing a dull ethereal
quality of tone.

No. 2. The Legend of the Invisible City of Kiiesh [283

No. 3. Spanish Capriccio [T\. Vni 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 be-
cause 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 vio-

las 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\> major. (The same theme in Eng. horn
 — 38 —
in the 6i!i ^ene 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 me-

lodies 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 Dl> 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 Melodic phrase with embellishments.

[274J.

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 im-

portance 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.
 — 39 —
Grouping in unison.

a) Vnil -j- Vnill. — 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. Sfieherazade, beginning of the third movement, Cantabile

for Vnil and I! on the D string, then on the A.
The May Night, overture D . Quick piano melody, beginning
cantabile and divided later in octaves
(vnsn]^) with florid em-
bellishment.
No. 13. The Golden Cockerel no .
— Vnil + II muted

b) Violins -j- 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 [2O8J.

— Vnil + + Violas II (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 |T]. — Apparition of Spring. Violas -[-

'Cellos 4" 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 differer'ce to the compound tone; the 'cellos stand out
above the rest.

No. 16. The Golden Cockerel [t^. Violas + 'Cellos muted.

\
 40

d) Violins -)- 'Cellos. —A combination similar to the preceding

one. The 'cello tone prevails and the resonance is fuller.

Examples:
Nr. 17. Snegourotchka |288| . "Spring descends upon the lake."
Vni. 1 + Vni- 11 + 'Cellos -f 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 [T]. Chorus of Roussdlki.
The combination of the solo 'cello with the violins gives the latter
a touch of the 'cello timbre.

e) Vn5- 1 -j- H -|- Violas -f- '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 passa-
ges, extremely full and rich in piano.

Examples:
No. 19. Sheherazade, 2ni movement P .
— Energetic phrase //.

Mlada, Lithuanian dance, before [adj.

Mlada, Act. III. 40 .

— Cleopatra's dance. Cantabile embellished
in oriental fashion.

f) Violoncellos -|- E^- basses. — A combination of rich full reso-

nance, used occasionally for nhrases 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 charaqter.

Stringed instruments doubling in octaves.

a) Vnil and Vn^-ll in octaves.

This is a very common process used for all k.nds of melodic

figures, in particular those in the very high register. It has al-

ready been stated that the £. string diminishes in fulness of tone

 — 41 —
the higher it ascends from the limits of the soprano voice. More-
over, 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.
Sheherazade, 3^ movement [T[. Cantabile in G major; dolce and
cantabile (the same as Ex. 12).
No. 23. The Legend of Tsar Saltan \221j. Melody with reite-

rated notes, dolce, espress. e cantabile.

Sadko, Symphonic tableau 12 .

yUf-iJ]
8 muted, A short dance
phrase pianissimo, given first to the violas, thei; 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 Isl Violins are sufficient to double the melody in the upper octave,
all the other 151 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, 1-^ 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.
 — 42 —
Examples.
Snegourotchka \^. — vns'iij
^ mezzo-forte espressivo. Partial

doubling of Coupava's song (Sopr.). One flute and one oboe double
the melody.
No. 26. Snegourotchka [^. — Chorus of Flowers — vn\""-f fi i] ^•
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 l^i Violins except two play in the lower octave, the
two solo violins, only, in the upper. The solo desk will be suffi-
ciently 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.
. VniOorlin,,^•
^' Violas J

Example:
Snegourotchka [TaT] , finale of Act 1. Quick melody, piano.
ry Vni I + in -, Vnl I 1 „
2- Violas J^
^"^ 3- Vnlll + ViolasJ^-
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 [TsT]. — yfjj^'s^
"] 8. Quick animated
passage, forte, introducing reiterated notes.
No. 28. Snegourotchka [Ta?], finale to Act I — vSl n + vioiasj
^•

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 [so],
cSios] ^' ^^^^^^^ ^y bassoons.

e) Violins and Violoncellos in octaves.

Used in very expressive passages where the 'cellos have to play

on the .4 or D strings. This method produces a more resonant
tone than the preceding one; instances of it are frequent.
 — 43 —
Examples:

No. 29. ^nfar [43]. -y^"|l/^+V"^"]8. Cantabile of Eastern

origin.

Sheherazade, S'-^ movement [hI. — X."^,' ] 8.

•CellosJ
Cantabile mezzo-
forte appassionato (cf. Ex. 1).

* No. 30. Shererazade, 3'A movement, before [p] — ^[]J ,J ^ -cenos] ^

and ^liios '] 8- The first arrangement is rarely found.

Pan Voyevoda |i34| , nocturne "Moonlight" — ^q'^I^^

8. Canta-
bile melody given first to 'cellos alone (cf. Ex. 7).

The Mcy Night, Act III |b,c,d] — ^0^,0+^"-"] 8- A forte me-

lodic 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 151 and 22^ Vni, in octaves with Violas and 'Cellos. This arrange-
ment is constantly found, and produces a beautiful quality of tone,
somewhat severe in character.

Examples:

Snegoarotchka\^, feol, [65] and [is]. The same melody, played

twice pianissimo, not doubled, then twice (mezzo-forte and forte),
doubled in the wood-wind.
 ~ 44 —
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

5t!L octave, are generally doubled an octave below, whilst those

situated in the extreme low register (below the middle of the
l2l octave) are doubled an octave higher.

Examples:
Sadko [207j (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 11 <j

Violas ir' 'Cellos H '

D. basses IlJ ^'

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 IlJ
°'

Melody in double octaves.

Vns I]Vni I ] 8
8
a) Vni in a or vni. °
nig may be used for full cantabile melodies
ViolasJ ° 'CellosJ

extremely tense in character, and in forte passages for choice.

Example:
Vni
No. 32. Antar 65 — Vni I

11
] 8.

Violas + 'CellosJ ^*

Violas] 8 Vns
] 8 Vni I
I + II
II + + Violas
b) 'Cellos 1 8 or Violas 'Cellos] g or 'Cellos+
D. bassesj D. basses J D. basses
are employed when the low register of each instrument in brought
into play, and also to suit phrases of a rough and severe character.

Examples:
Legend of Kitesh 66 , opening of the 2iii Act.

No. 33. Snegourotchka [2j5j. Tumblers' dance.

 8 ,

— 45 —
Note. The lack of balance in the distribution:
Vni I +11 + Violas] 8
'Cellos 1
g
D. basses J

is not of any great importance, for, in such cases, the partial har-

monics of one octave support the tone of the other, and vice versa.

Doubling in three and four octaves.

Vni 1 1

Vnlll 18
The distribution violas \ „ is very seldom found, and as a rule,
^
'Cellos I

D. basses J
8

only when supported by wind instruments.

Examples:

The Legend of Kitesh 150 (allargando)

*
Sheherazade, 4i!i movement, commercing at the lO'iibar.
Vnil 1
Vns II
^
\ °*
Violas +
'Cellos \
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 g- Vn|,}

^Jv.)^ ^j g

* Legend of Kitesh
_ Vni
ViolasJ
I
"i
•

Vns
IS n
Vni
liii /
Cf. also Legend of Kitesh 223 8 (Ex. 31).
Vns 1
\ , -^
Vni II ;

Distribution in octaves, thirds, and sixths is usually regulated by

the normal register of the respective instruments, so as to avoid
 .

46 —
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-
'Cellos 1
No. 35. Spanish Capriccio Vnil + IlJ^-

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 reso-

nance 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 No. 36. Tsar Saltan 216

Snegourotchka [54] .

2. Flute: Antar [T|; Servilia 80 Snegourotchka 79 183

Fairy Tale [l]; The Cht^stmas Night 163 No. 37. Sheherazade,
4^ movement, before [ajn(F/. a 2 in the low register).

F/ufe (double tonguing): Pan Voyevoda 72 ; Sheherazade, 4ln move-

ment, after |T]; No. 38. Ivan the Terrible, Act III, after 10

3. Bass flute: No. 39. Legend of Kitesh [44].

4. Oboe: No. 40. Sheherazade, 2ii^ movement [a]; The May Nighty
Act HI Kk ; No. 41. Snegourotchka [so]; Snegourotchka 112 239

The Tsar's Bride [m\ (cf. Ex. 284), No. 42 and 43. The Golden
Cockerel 57 and [97" .

5. Eng.horn: Snegourotchkaf^, [283 (cf. Ex. 26); No. 44. Spanish

Capriccio No. 45. The Golden Cockerel 61
 — 47

6. Small Clarinet: No. 46. Mlada, Act II [33]; M/flda, Act III [37].

7. Clarinet: Serbian Fantasia [g]; Spanish. Capriccio [a]; 5ne-

gourotchka [90], [99], [224], [227], [231] (cf. Ex. 8); T/i^ May Night,

Act I, before x ; Sheherazade, 3i^ movement D ; >^ Ffliry To/e

[m]; T/ie Tsar's 5nd^ |^, 203 The Golden Cockerel 97 (lowest

register, cf. Ex. 43).

8. Bass clarinet: No. 47 and 48. Snegourotchka 243 and [246- 2'47

9. Bassoon: Antar [59]; No. 49. Vera Scheloga [36]; Sheherazade,

2n^ 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). De-

parture 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 |TT3~|.

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 1 330 1; also 339

 — 48 —
lis] . Cf. also Legend of Kitesh [os], [to], [iT] — 2 Ob. +3 CI.

(Ex. 199—201).
d) Flute + Oboe + Clarinet. Very full in quality. The flute pre-

dominates in the low register, the oboe in the middle, and the
clarinet in the high compass. Examples: Mlada, Act I [T]; * Sadko
[58] (2 Fl. + 2 Ob. -f Small CI.).

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 -f- Oboe, and

g) Bassoon + Flute.
The combinations / 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 -j- Flute. This combination is equally \

rare. The colour is rich, and difficult to define in words. The j

tone of each instrument will be separated from the others more

or less in the manner detailed above. Examples: Russian Easter
Fite, the beginning; No. 55. Snegourotchka |30i| ;
The May Night,
Act III Oqq
The process of combining two or more qualities of tone is unison,

while endowing the music with greaterresonance,sweetness and power,

possesses the disadvantage of restricting the variety of colour and ex-
pression. Individual timbres lose their characteristics when associated
with others. Hence such combinations should be handled with
extreme care. Phrases or melodies demanding diversity of ex-
pression 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
 «

— 49 —
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 jlhe method of dupli-
cating 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:

«rFl. Fl. PI. Ob. Ob. CI. la^•

°LOb. CI. Fag. CI. Fag. Fag.J
The combination of flute and bassoon in octaves is fare 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] — q^J
8.

No. 57. Snegourotchka \2m\ — ^n^^homj^-

*No. 58. Sheherazade, 3i^ movement [e] — ^]-] 8.

5arf/^^[l!3-Eng.horn]8-
Pan Voyevoda [T£] — ^[-J
8.

ci. -I
Tsar Saltan 39
Fag.J
No. 59. Vera Scheloga [ao] — pig.]^' 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

 — 50 —
is certainly not to be recommended, as the instruments, playing
in different registers will not correspond one with the other. Ne-
vertheless this method may be safely employed when stringed in-
struments, 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| — g;,}] 8.

* Sadko, after [T59] — gj; ,[]

3, doubled by pizz. strings.

* Servilia, after [21] — ^^|; jj]

8 -f pizz. strings.

Instruments of the same branch playing in octaves, e. g.

fFag. CI. Ob. Small cl. Flute Picc.1 „

f.
®
LC-Fag. Cl. basso Eng. horn Clar. Alto Fl. Fl. J
always produce a good effect.

Examples:

Snegourotchka \^ — pj'^'''] 8 (cf. Ex. 15).

The Tsar's Bride [Tii] — ^j"'] 8.

Tsar Saltan [2T6] — ^j|=''-] 8 (cf. Ex. 36).

S^^" ^i-]
Sadko, after [59]

Legend of Kitesh [240] — c%g] ^ (cf- Ex. 21).

No 60. Mlada, Act III, before [44] - ^^-^ j^^ J 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.
a fPicc. Pice. Picc.1 ^
°Lf1. Ob. Cl. J®-
^ [Fag. Bass cl. CI. Cl. Fagr. Fag. ~|
^
Lc-Fag-. Fag. Fag. Bass cl. Fag. Bass cl.J

Examples.
* Tsar Saltan 39 ~ Pice"! «
Ob. J
^•

*No. 61. Mlada, Act II, Lithuanian dance [iFI — Small ^jf^:, ,1 8
cl.J
 I 8
:

— 51 —
Sadko[i50\-^^^%,^,]8.
* Mixed qualities of tone may be employed in doubling in oc-
taves, the above remarks still holding good.

Examples

Pan Voyevoda [T34] -g j] ^„'^. horn] ^ (cf. Ex. 7).

No. 62. Servilia [m] - + f^^_ ,^^ 8.

\ g; J
No. 63. The Tsar's Bride [120] - ^ Fi-
+ Ob^^ ^^^
^ ^^^ J8
.M/arf., ActIII0-S:i^rssci.]^

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. Fi. Fl. 18
In 3 octaves: Ob. ci. Ci. Ob.
Cl. Fag-. Fag. Fag.J°'
Fl. ]8
In 4 octaves: ^l]8
Fag.] 8.

Mixed timbres may also be employed.

Examples:

No. 64. Spanish Capriccio [p] — melody in 4 octaves:

Pice. 1
2 Fl. i „
*
2 Ob. + C1.J
8.
Fag. J

The Tsar's Bride [l4i — ; melody in 3 octaves.

2 Gl.
*
]8
Legend of Kitesh 212 Bass cl. 1

D. bassoonJ °
*No. 65. Antar, (l5i version) 3:^ movement, the beginning —
Pice. +2F1.]8
2 Ob. -4- 2
2 Fag.'
Cl.] „
J8;
also
'
—
C , melody in 4 octaves (piccolo in the upper

octaves).
Fl.
18
*Mlada, Act III, after 42
^^
Eng. horn)
Pice.] 8
No. 66. Sheherazade, 3i^ movement —Q —
'

'
Ci. 1^
Cl. Ill
8-

Examples of melody doubled in five octaves are extremely rare;

in such cases the strings participate in the process.
4'
 2 1

52 —
Melody in thirds and sixths.

Melodic progression in thirds and sixths demands either two

instruments of the same colour (2 Fl., 2 Ob., 2 CI., 2 Fag.), or

instruments of different colours in the normal order of register:

FI. Fl. Ob. Cl. Ob. 1
3 (6).
Ob. CI. Cl. Fag. Fag.J

If this order is inverted, e. g. p,^' p,'; q.^'] 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 instru-

ments of the same kind in pairs; for progressions in sixths in-

struments of different kinds are more suitable, but both courses

are good and useful. They may also be employed for progressions

and and sixths mixed, as for

^
in thirds sixths, or thirds, fifths

example:
ei

Examples:
Legend of Kitesh 24 different wind instruments in turn.

The May Night, Act III [g\ — g;] 3.

SadkO 1
79-280 — ^[;]
3 (6).

No. 67. Spanish Capriccio, before various wood-wind in

thirds and sixths.

Servilia [228] — ^];]

3 and
^j;]
3.

The Golden Cockerel [232] — \ ^'^ J

6.

SadkO 43 All wood-wind in turn, simple timbres.

When the doubled parts progress in thirds or sixths, the
following method is advisable:

R+obJ ^ °'" ^' ""^^ ^'•

^^) f1: t G1-] ^ ^^^ ^*''"

+ Ob.] ,
Fl. (f. „, Ob. + F1.1 ^ ,.. .

In the case of tripling the following arrangement may be adopted:

Fl. + Ob. + C1.1 3 ... Ob. +2 Fl.-] ...
Fl. + Ob. + Cl.J ^ ^^' ^^
Ob. +2 Cl.J
"^ ^^' ^^'^'

Examples:
* No. 68. The Christmas Night [Tst] — gj; + g[;]
3.

* Legend mixed timbres.

of Kitesh different
[202-203J
 — 53 —
Thirds and sixths together.
Apart from the obvious dis-
tribution:

j FFfPiiFfF F Fl.
Ob. or
Ob.
CI. , there are certain
CI. Fag.
complicated methods which involve doubling:
Upper part. Ob. + FI.
Middle „ Fl. +C1.
Lower „ Ob. + CI.

The following is a complex instance somewhat vague in cha-

racter:
,—, Ob. PU
No. 69. Legend
^ of
'
Kitesh \35\
I —— '
Ob.
ci.
+ Ci. and Fl.
Ob.
+0b.

Melody in the brass^

The natural scale, the only one which brass instruments had
at their disposal prior to the invention of valves was:
to ("' '^
2 3* 5 e « » :i
i^ «^>

-
-
-
T5
^^
giving, in two part harmony:

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 insfruments.

In modern music, thanks tp 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 possi-
bilities 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, ringing notes of the middle and upper
clear,

register of horns and trumpets are best suited to figures of this

description.
 :

— 54 —
Examples:
Scrvilia 20 — Trumpets.
The Christinas Night[^ — Horn, Trumpets.
Verra Scheloga, be^nnning of Overture, and after [45] — Horn,
Trumpets.
Ivan the Terrible, Act III [T| — Cornet.

Snegoiirotchka [T55] ^- Trumpets.

No. 70. Legend of Kitesh [^s] an-d elsewhere. — 3 Trumpets,

4 Horns.
Pan Voyevoda 191 — 2 Trombones, Trumpet.
* The Golden Cockerel 20 2 Horns and J{Z^^^^] ^ (^f. fur-

ther 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 Fete M - Trombone.

Spanish Capriccio Alternative use in the horn of open
and stopped notes (cf. Ex. 44).
Jvan the Terrible, Act II, before [It] 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 [T3].

The Christmas Night |T| .

Snegourotchka 86

Pan Voyevoda 37

No. 73. Antar 40

 — S5 —
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. Vigonrous phrases in the form
of a fanfare, although introducing chromatic notes sound singu-
larly beautiful on the brass.

Example:
No. 74. Sheherazade, 22i movement D
As a general rule, brass instruments lack the capacity to express
passion or geniality. Phrases charged with these sentiments be-
come 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
[J]
— 4 Horns (cf. Ex. 15).

Snegourotchka 199 — 4 Horns and 2 Trumpets.

Sadko 175 — 1, 2, 3 Trumpets.
No. 75. Sadko [aosj (1) — 3 Trombones.
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. Sheherazade, 411i movement p. 204 — 3 Trombones.
Mlada; Lithuanian dance — 6 Horns (cf. Ex. 61).

(1) The composer has emen ded 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 altoration. (Editor's note.)
 — 56 —
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 -f- 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 ] e nr ^ Horns 1 ^
1 Trombone] ° "' 2 Trombones]

Examples:

Sadko, before {m} - t™-p=;]

«.

Snegourotchka \^ - ^Trllte + Tuba] «

Ivan the Terrible, Act 111 [To] '
^^^S^j;^
+ ^^™''='] 8 (cf. Ex, 38

The Golden Cockerel [T26] - '\\lZt,V

Cf. also Snegourotchka |32S-^26| — TromboneJ
Trombone!
' (E"- ^^)-

Melody in different groups of instruments

combined togethier.

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 instru-
ment taken separately, but slightly sweeter than the brass instru-
ment 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 jorte passages. The
trumpet is the instrument most frequently doubled: Trumpet -|- CI.,

Trumpet + Ob., Trumpet -f Fl., as well as Trumpet -r CI. + Ob. + Fl.;

 — 57 —
the horn, less often: CI., Horn
Horn + Fag. Trombones and Tuba+
may also be doubled: Trombone -|- Fag., Tuba -f Fag. Combining
the Eng. horn, bass clarinet and double bassoon with the brass, in

corresponding registers, presents the same characteristics.

Examples:
Legend of Kitesh — Trombone + Eng. horn.
[56j
*
Mlada, Act III, before — 3 Trombones + Bass
[34] 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 "I «
°'
1 Horn (or 2 Horns)J
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 it there are two horns playing the lower
octave in unison, three or four wind instruments will be necessarj'
above, especially in forte passages:
rz Ob. or 2 Cl. or 2 Fl.
^ Ll Horn ^^ ^®"
j
^^
1 Ob. + 1 Cl.l g. 2 Fl. +
"• 2 Horns
2 Cl.-|
g
^'
1 Horn J J

To double a trumpet in the upper octave three or four wind instru-

ments are required, but in the top register two flutes will suffice.

2F1. 2 Fl.

^^^P"-
Ob
^
Trumpet. Trumpet.

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 \n\ - Zrit^'']^-

*
Legend of Tsar Saltan, before [18O — Y.^.J
Horn ^N
8.

Horn
 — 58 —
* Mention should also be made of mixed timbres (wood and brass)
in progression in octaves.

Examples:
Mlada, Act III, beginning of Scene III - xibaTci^^'' ''] ^•

No. 78. Mlada, Act III, after [25] - ISstV'rH^t +7^X00] «

(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:
Pice.

——
1 fi
*
Sheherazade, 4± movement, 15lli bar after fwl 2 Fi. +
2 Ob.j ^
2 Trumpets J 8.
'

'

Pice.
* Legend of Tsar Saltan 228 — 2Fi. + 2 0b. ] 8

Trumpet + Eng. horn \

J
°

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 in-
creases 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 over-
powered. 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:

Vni-f FI. (Bass fl., pice), Vni+Ob., Vni-hCl. (small CI.);

Violas 4- Ob. (Eng. horn), Violas + CI., Violas + Fag.
'Cellos + CI. (Bass cl.), 'Cellos + Fag.;
 :

59

D. basses -\- Bass cl., D. basses + Fag.; D. basses -f- 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 -f Violas + Eng. horn (cf. Ex. 15).

28J
— Violas -f Ob. + Eng. horn,
[m] - Vni 1
-f + Ob. +
II Cl.

Vni I + + 'Cellos + Eng. horn

II (cf. Ex. 17).

No. 80. The May Night, Act III Bb Violas -f Cl.

No. 81. Sadko — Vni+Ob.

No. 82. — Violas + Eng. horn.
No. 83. — Violas Eng. horn.
-j-

Servilia
 „

— 60 —
The Tsar's Bride [sT] — ^J|,j div. ']:^i,]B.

166 vSn|Sb.]Mcf.Ex.22).
In three and four octaves:

Servilia 93— Vns ++ Ob. Violas 2

3
i
'Cellos 4- 2 Fag.J
Fl. 1 c

8-

la
No. 87. Kashtchei — Vnl
vm 105 + Ob.
I

ii
-f-

-V
Pice.
Fi.
\^
Violas + 'Cellos + 2 Cl. + Eng. horn + Fag.J 8.

Vnl + Fl.
M — Vm + Ob.
18 I

Shihirazade, 3^ movement — ii
{
'Cellos + Engl, hornj 8.
'
'

Examples of melody in thirds and sixths:

s.m/,a0-^';+8S:tg::tvSH»-
No. 88. Servilia |ni| — Strings and wood-wind in thirds.

No. 89. „ 1
126 1
— same combination, in thirds and sixths.

Kashtchei 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;
p^+YnJ^- Ob. (Ci.) + Vn J ^•

Examples:

Tsar Saltan [m\ — v^i'i +7i + Ob.] ^ (^f- ^^- 1^)-

*No.90. Shdhirazade, 4«i movement [u] - ?ceiios + 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:

^*^
Sometimes a composer is
d ^"as^ses ] ^'
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. (1)

(1) The process of doubling strings and wood-wind in octaves: y,' 8,

^' ^^^'^ otten used by the classics to obtain balance of tone, is not
Cellos
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.)
 — 61 —
Example:
Violas + Fa,g. g
No. 91. Tsar Saltan 92 — 'Cellos
1

+ Fag.] ^•
D. Basses 1

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; ^^^^^,^^ + jibf °"'' (^^r

heavy massive effects).

The combination of horns and 'cellos, frequently employed, pro-

duces a beautifully blended, soft quality of tone.

Examples:

Tsar Saltan 29 — Vnil + + Horn. II

* No. 92. The Golden Cockerel — Violas 98 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: Vni-[- Ob. (Fr., CI.) -f- Trumpet; Violas (or 'Cellos) + CI.

(Eng. horn) + Horn; D.talses + 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 [2T9] — Vni I + +

II CI.

+ Horn and Vni I + II -}- CI. + Trumpet.

 — 62 —
+ Trombones
Violas g 1

Servilia 168 + Trombone + Bass

'Cellos Ex. i2). Cl.J (cf.
D, basses + Tuba + Fag. 8 J

'Cellos + Violas + Fag. + Trombone

No. 95. Snegourotchka 325 D. basses -|- Fag. Tuba
-f-

Pan Voyevoda [224] - Vni+ Fag. + Horn + Vn. + CI. -j Trum-

pet. (Stopped notes in the brass.)
Mlada, Act III, after 23 Violas +2 CI. -|- Bass trumpet
*No.96. Ivan the Terrible, Act III, before [66]
—
Bass CI. + Horn 1 ,,

D. basses + G-fag. + TubaJ

* Ivan the Terrible, Overture, 41!i bar after [T] — Violas -\- 'Cellos

+ Eng. horn +2 CI. + Bass CI. +2 Fag. + 4 Horns. (The melody

simplified in the horns.)
 Chapter III.

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 outcome of faulty handling of
often solely the
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 uncertainty 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 con-

struction 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 orchestra-
tor will encounter many unforeseen and insurmountable difficul-
 — 64 —
ties. 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 tour 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:

A. Close part writing

Four part harmony. Duplication of 1 part.

Duplication of 2 parts. Duplication of 3 parts.

*^ ft
# ^ n
&
I

"
I
TT
t s ^ ft
^
xr

B. Widely-divided part-writing.
Pour part harmony. Duplication of 1 part. Duplication of 2 parts.

A> <> i
 65 —

ms i
Bad:

On account of the distance between the bass and the three other
parts, only partial dupHcation is possible.

Good:
g
[t ;;"i ^m
^ 4 ^=^ '

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:
:^

Consecutive fifths resulting from the duplication of the three

upper parts moving in chords of sixths are of no importance:

Good:

The bass of an inversion of the dominant chord should never

be doubled in any of the upper parts:

Good:
m t^z
-o^
^ ~w
Bad:
^ §..
Se-
S
m
XT
m XT
4 4
3 8

This applies also to other chords of the seventh and diminished

seventh:
 — 66

:^
Bad:
# ^ Good:
# S
S m
The rules of harmony cpncerning sustained and pedal passages
apply with equal force to 'orchestral writing. As regards passing
and auxiliary notes, ecliappees, considerable licence is permitted
in rapid passages of different texture:

One textuce:
II
rrrrrifrr
A different one:

One
texture:

A different
one:

A certain figure and its essentials^ in simplified form, may

proceed concurrently, as in the following example:

One texture:

A different one:
^
A third:
^
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:

» -w
 — 67 —
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:

'A
': i'.

<
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:

* 3fe
=S=

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:

m ran Sz ^
=&: S=
To be avoided:

The use of sixths in the upper parts, and the practice of

doubling the upper note in octaves are sometimes effective methods:

^
=S:
8=

Oy : "
t\
— f
 — 68 —
When correct progression increases the distance between the

top and bottom notes of the upper parts, this does not matter:

Good:
i^w4
g
But it would be distinctly bad to fill in the second chord this:

,(>ta

^ SIE
B=^
Not good:
-k^
S
Hence it follows that the distribution of intermediate parts is a
question of the greatest importance. Nothing is worse than wriiing
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:

i ,1
i j i
-
jj
i f ff

Schematic
Example:
t
TT
m
C2

il m
When the voices converge, the middle parts are eliminated one
by one:

? i
y
^^ -§r
Schematic
Example:
f. f
 — 69 —
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 sepa-
rately. 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 aniSy 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 isi and 2^ 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[^; cf. also before [ho] and before [200] .

* Spanish Capriccio, before [V] (cf. Ex. 67).

Sheherazade, 2^ movement \V\ (cf. Ex. 19.)

*No. 98. Tsar Saltan [Tis]; cf. also |

i4i |
and before 182
 — 70 —
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.,

H5v
<Hv.
/Vnil
(vnil
Hi„ /VnsII
^•^•\Vnill
.. /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 i6i — Full divisi

No. 101. „ „ „ [210] -Vi°jf^^3^;;;:} 4 part harmony

 ^
— 71 —
No. 102. Snegourotchka |i 87— 188| — Four-part harmony, Vn?. I,

Vni II, Violas and Violoncellos.

„ [243] — 4 Solo 'cellos divisi.

Sheherazade, 2^ 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 - Harmonic basis in the strings.

240 — Ex. (cf. 21).

„ „ „ [283J
— Harmonic basis in the strings

(cf. Ex. 2).

No. 104. The Golden Cockerel

\J]
— Basis the in strings.

„ „ „
— Undulating rhythm
[T25] 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:

Vnil
*
J fr
Vnill
$
Violas
^ ^ P
¥p^
f^

D. basses
w ^ sfp

sfp
f

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 must possess a resonance equally

in character,

distributed throughout. This may be obtained by the following means:

 — 72 —
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:
2 Fi
;i Ob \
To be avoided: :|::^ciar.4- ^„ j r^"^"" ^ ''1 2 01
2 Fag

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:

^ ^^
i^
To be avoided: »i^Ig" "

3. Corresponding or adjacent registers should be made to co-

incide except for certain colour effects:

^1fi .

The second flute will sound loo weak and

To be avoided: (ft>Q^ro 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 tc be empha-
sised. This rule should be specially observed in writing for the
oboe with its penetrating quality of tone:

To be avoided: "^*^
y
ffi
Ci.[^
o^^
-

Four-part and three-part harmony.

Harmonic writing for the wood-wind may be considered from
two points of view: a) instruments in pairs, 2F1., 2 0b., 2 CI., 2 Fag.;

and b) instruments in three's, 3 Fl., 2 Ob., Eng. horn, 3 CI., 2 Fag.,

C-fag.

A. In pairs. There are three ways of distribution: 1. Super-

position or overlaying (strictly following the normal order of register),
 — 73 —
2. Crossing, and 3. Enclosure of parts. The last two methods
involve a certain disturbance of the natural order of register:

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:

Overlaying. Crossing. Enclosure.

^fr^
Oboe too Low notes Bassoon too
piercing of the flute prominent,
too weak

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:

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: etc.
^par-

Any other distribution will result unquestionably in a grievous

lack of relationship between registers:

To be avoided: etc.
 — 74 —
If one tone quality is to be enclosed, it must be between two
different timbres:

It
Good:

is
i
Fl.

•/Fag- »•
FnnjT":^
Ob.

Fag
o
^CF m
possible to lend four distinct timbres to a chord in widely-
etc.

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: .

Fl.^
Fl. -»
Fl Ob.n
i Ub
Cl-
.

Fag. TJ
o
^ L'l.
Ka £•.•»•
o
(Jl.o

Fairlygood 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:

Fae/*^
 75 —
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:
Enclosure ;

-Q^
^ef=m^ m ^^ .T^§ ij 8 l l
u. [
^^Oh
^^
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:

§]3F1.
S ¥05;
§] » Clai
il^'-'^st'l fr

Fl.picc.

^^
;]2 Fl. CI. pice.

fe ^s^Gj;
also:
m ^s^¥f;
Fl.c-alto Cor.ingl.

'^
'«.:::; j i
&j^!!^!
C-fag-.

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:

«-Fag FaF^

The method of using three instruments of the same timbre in

widely-divided three-part harmony is inferior:

^« Fl
Sil-:
3 Fl
5P6¥^ " Ob.
m =3=^^
CI.

;]aF a g.
o-i
-»^
"Fa{-.
3 C I.

Not good Better Better Not good Better Better

 :

76 —
But if the third instrument is of low register (Bass Fl., Eng.
horn, Bass cl., or C-fag.), the resonance will be satisfactory:

3^ *y Cl
3=eC
basbu "
31] a Kgg.
o
Crfag.
^^
* Coringl.
3:*:Bz
Fl. t%alt

In chords of four-part harmony, three instruments of th^ same

timbre should be combined with a fourth instrument of another:

5 Cor. ingl.
^ :]^^--^-
«> (Jl-basGO
«• C-fag-.
II

o
:] \ i Cl.
i

Cl-ba^«o- $^
^ la Ob.
Uor. ing-l
etc.

•» Cl

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 5% 6111, 711i and 811i 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):

In widely-divided harmony chords in several parts are to be

avoided as they will entail both close and extended writing:

Note. In the majority of cases this distribution is employed when the t>vo

upper harmonic parts have a special melodic duty to perform — this question
is discussed above.
 — 77

B. Wood-wind in three's:

m bl a
3 Fl

cji. II r
Q13 Ob
8
o'
Corittfri^
.

Fa^.

3 Fl.

^m ifm^
*^Cor.ingl.
3F1
im H CI.
a« ] a Ob.

CI. basso
LSSO etc.
<» Cor, ingl.
* >:«>-aff.[g' Gh Myaff.
33 j 2 Fag. l\-\
ocibasso" z=:
C- fag. C-faff.

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:

(mayag.r*€ ^Gf Here the arrangement

I j^ •CTClar.
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:

2F1.
2 ..^0^-2
J^ob.cnRiviu. |«ot>ioi'^^^]|n^nri]>i}l|
| ^

Excellent

^2F1
also: =mm»-ObT i»-Ffc=E^^3=3=0^
•[^^jal^ag- 2Cl.[--]2Fag.

In chords of four-part harmony the classical method may be

adopted:
.2 0b.
llifej
:s:cf;
 — 78 —
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 2^ flute and 1^1 clarinet, while the C in the

2^ 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:

i ^
3FI.30b.,
3F1.3C1.

m] I
3 0b.3Cl.

[jiin
SOb.SFaR-.

1f» m
3Faff 3C1.

These timbres may even originate from three-fold duplication;

30b.3Cl.3Fag-
^ffi ^^^F=^^
/' I

3Fl.30b.3Cl.
^^
^^
Remarks.
1. Modern orchestrators do not allow any void in the inter-
mediate parts in writing close harmony; it was permitted to some
extent by the classics:

a. &. i
* jt

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 inter-

nals (3nli or 211^) in the upper register:

 — 79 —
c*. Fl.picc.

M 3 Fi
§]j;o^ M 2 Fl.
s^es; ^JfCf
B3 2F1
!.} Ob .

* Co r-inR'T^ ^5^
'3 3 Faff
' ffi «-Gi, ,

^ayn I^] a Koff.

(c.
[

Xf C.-fag-.

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 meanings

i
m sx
iS: t*»*»h i
m ^ itnn^
^
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 remairls 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
 .

— 80 —
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 pro-
gression 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 parti-

cular chord is composed entirely either of duplicated or non-dupli-

cated 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 [hs] — CI., 2 Fag.
No. 106. „ „ „ beginning — Ob., CI. Fag. (cross-
ing of parts).
Snegourotchka \^ —2 CI., Fag.

5«Lbar. — 2
79 2 Fag. Ex. Ob., (cf. 136).

*No. 107. Snegourotchka [T^ — Pice, 2 (tremolando) Fl.

No. 108. „
— 2 2 Ob. (high[2041 Fl., register).

No. 109. Shdherazade, beginning — Total wood-wind in different

distribution.
* Russian Easter Fite [a] —3 Fl. tremolando (cf. Ex. 176).
* Tsar Saltan Fag.
[45] Ob., 2

No. 110. Tsar Saltan, before lis — mixed timbres

No. 111. „ „ 115 , and other similar passages — very
sweet effect of wood-wind in three's.

„ [nT] - 2 Ob., 2 Fag.

 81

Sadko, Symphonic Tableau [T] — Ob., 2 CI., Fag.

* Sadko, Opera [T] — Eng. horn, 2 CI.

„ , before [T] — 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 Kitesfi, before 90 — Enclosure of parts

(Ob. I in the high register),

No. 115. before 161 — Wind and brass
alternately.

No. 116. [T67] — Full wind except oboe,

with chorus.
Legend of Kitesh [269] — Fl., CI., 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 [235] — Mixed timbre;

2 Fag. form the bass,
b) Harmonic basis (sometimes joined by the horns).

The May Night, Act III [T] — 2 Fag., Eng. horn (cf. Ex. 18).

Antar 68 3 Flutes.
Snegourotchka — 2 CI., high register,
before [so] — 2 Fl., Fag.
[Tst] - 2 Ob., 2 Fag.

274 2 CI., low register (cf. Ex. 9).

283 Fl., Eng. horn, CI., Fag. (cf. Ex. 26).

No. 118. Snegourotchka |292| — Widely-divided harmony and

doubling of parts in the wind.
No. 119. „ [3 18-31 9 1
— 2 Flutes.

Shihirazade, 2i^ movement [T] —2 CI., Fag. (sustained note in

the horn) (cf. Ex. 1).

The Christmas Night [T] — 3 CI.

Sadko \T\ — CI., Bass cl., Fag., C-fag.

No. 120. Sadko [49] — Ob., Cl., Horn, Fag.

n —2 Cl. (cf. Ex. 289, 290).

 — 82 —
No. 121. Sadko [ni] — CI., Fag.

No. 122. 195-196] — 2 CI., Bass cl.

The Tsar's Bride 80 CI., Fag.

166 harmonic parts in motion, Fl. and

Cl. (cf. Ex. 22.

Servilia 59 — Cl. (low. register), Fag.

* No. 123. Kashiche'i 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 — niixed timbre: 2 Ob., Eng.

horn and 3 Cl.
136 — harmonic parts in motion:
before — 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, CI., 2 Fag.
* No. 127. The Golden Cockerel — Bass Cl., 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:
 83

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:

g 2Corni (ITr-ba)

Tuba •» Tuba or ^. Tuba

I have often adopted the following combination of brass instru-

ments, and consider it eminently satisfactory: 2 horns and tuba to
form the bass in octaves, the three other parts given to the trombones:

3 Tr-bni
m zsrt
** '-i Uorin
(beautiful full resonance).

Tuba

In the higher registers, four-part harmony, of which the two upper

parts are given to the trumpets, may be completed by two trom-
bones or four horns in pairs:

»3^TI^.b0
-ni
 i

84

or in progression:

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:
. ^ rt-. 2 Cor „
ff^qg
paXnib ni y
.

^4Coi
a Tr-b e
^
[
2 Cor.
etc.

Writing in several parts.

When the whole group is used' the number of horns should be

doubled:

-
g Tr-be -

[ ^ j » l''--bo C
» !JTp.boC» Hl '<' »V- W^^
I ,] 4 C orTii — 4 Corn U]4 Co m i
** 2 CornT

etc.
— 1.3Tr-bni
3E i ^TftrbfH-
333
rT| .'^
Tr-bm _af"U-Tfe}HH|

Tub.i ^ Tuba Tuba «» Tuba

In seven, six, or five-part harmony certain instruments must

be omitted:

1 Tp-bn ti
A T p . be =a^r-bc "o -a-t^^»fm
^m 4 Co r ni \\]

llTr.bni 3 Tp-bf Hr^l-^H

rf l>-t>m

m l^

«»• Tuba «- Tuba « Tuba

a Tr-hc- Ji
— ti
]
U Tp.b S^
«>1 , .,
.»—
.

^ ITorni
etc.
T '-hn
^ n
*^
1 i >-biio ffi
«
1 ?

Tuba
i i

Tuba

Discords of the seventh or second are preferably entrusted to

instruments of different tone colour:

 — 85 —

i m ;* rp- b o TITf-lio [8
L-TT
— 4Corni
"J

3 Tr-bni 4Corni 3Tr.bD»( Bl

Tuba Tuba

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:

t
15Tp.bc

J
mg.]4Lorn=T^
f—
2 Tr-bni
§i^ I "^
Tuba/-

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 through-
out several harmonic registers, the register occupied by the horns
need not be doubled; the arrangement of the chord will re-

semble that of a chorale written for double or triple choir. For

example:

Tuba zPJ
Tuba

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 tor

trumpets or trombones. The soft round quality of the horns inten-

sifies the tone, and moderates the penetrating timbre of the trum-
pets and trombones:
 — 86 —
^i
—T ^TTT 4 Cop. a T r-b *'

i a Tr-b ^m a Uior. Tu b a * ;"tU'!;'[85]»1^^-

i

Similar juxtaposition of trumpets and trombones:

3Tr-be wm a Tr-bni

is not so common, as this unites tiie two most powerful agents

in the group.
In handling an orchestra the brass is frequently employed to sus-

tain 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:

2Tr-he 2 Corni 4 Corni 1 Tr-ba

fe wry
«»-2Cor"rr

The trombone with its ponderous tone rarely takes part in such
combinations. Sustained notes in double octaves are usually

apportioned thus:

=°^Tf;
U'lVbo

it^OPMI

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 [j^J
—3 Trombones, 2 Horns.

[140] — 3 Trombones, 2 Horns. Chords in different

groups alternately (cf. Ex. 244).

„ |i7i
I
— Full brass; further on 3Trombones (cf.Ex.97).

255 1
—4 Horns (stopped).
 — 87 —
No. 129. Snegourotchka, before 28^ —4 Horns.
289 — Full brass.

*Sadko, before [T] — brass (enclosure

Full of parts).

No. 130. Sadko |i75| — Mixed timbres (juxtaposition) 3 Horns

+ 3 Trpmpets.
„ before [aas] — Full brass except Tuba.

No. 131. 191 — 193 (Full brass).

No. 132. The Christmas Night, before \m\ — 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 7'-lL bar. — 2 Trumpets, 2 Trom-
bones -(- 4 Horns (juxtaposition).
— Full brass, thicHly 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 (en-
closure),
b) Harmonic basis:

No. 136. Snegourotchka [t?], 6t!i bar. — 4 Horns.

„ 231 — 3 Trombones, soft and sweet (cf.

Ex. 8).
Antar 64-65 4 Horns; later 3 Trombones (cf. Ex. 32).

H
 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 combi-

nations in the melodic line (cf. Chap. II). Wood-wind reinforces
the brass, softens it and reduces its characteristic qualities. Arrange-
ments such as the following are possible:
2 Trumpets +2 Fl.; 2 Trumpets +2 Ob. 2 Trumpets +2 CI.

3 Trumpets +3 Fl.; 3 Trumpets +3 Ob. 3 Trumpets -f 3 CI.

Also
2 Fl

i etc.
2 Tr.be
S !S C'orni -

as well as:
+ 2 Fag.;
2 Horns 2 Horns +2 CI.;

3 Horns + 3 Fag.; 3 Horns + 3 CI.; and:

2 Horns -f 2 Fag. + 2 CI. etc.

The combination 3 Trombones -|- 3 Fag., or 3 Trombones -{- 3 CI.

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 CI. and 2 Horns-f 2 Ob. (cf.

Ex. 236).
No. 141. The Tsar's Bride 50 — 4 Horns + 2 CI., 2 Fag.

No. 142. „ 142 — Juxtaposition of full wind

and brass.

Ivan the Terrible, Act II [sol — Juxtaposition and enclosure (cf.

Table of chords II, Ex. 8).

No. 143. The Christmas Night [Tas] — 4 Horns -|- Fl., CI., Fag.
 — 89 -
* No. 144. Sadko, before [79] — Horn, Trumpet -[- doubled wood-
wind (1).

No. 145. „ [242] — Full brass + F1., CI.

Legend of Kitesh, beginning — Horn, Trombones -f CI., Fag. (cf.

also [5] — Ex. 24^).

No. 146. Legend of Kitesh |_ioJ — Eng. horn, 2 Fag. CI., legato

+ 4 Horns non legato.

324 — Full brass wind. -|-

*No. 147. The Golden Cockerel [2^ - Horn + ct "^^^ ^^

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 Fete, p. 11. — Horn (-t). Trumpets (low
register) + Ob., CI.
*
The Christmas Night, before [T54] — Full muted brass -|- wind.
*No. 149. Tsar Saltan [129] — 2 Ob., Eng. horn, + 3 Trumpets
muted (3 CI. at the bottom).
*No. 150. „ „ [TaT], 171I1 bar. — Same combination with
added horns.
* No. 151. Antar \T\ — 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:

+
^ .'Jl'oi-.[^g] iJClar.

If bassoons are substituted for clarinets the effect loses part of

its character.
Examples :
*Kashtchei the /m/wr/a/ — 2 Ob., 2 + 4 Horns
[29], 11 lH bar. CI. (+).

— 2 Fag. + 3 Horns
107 ,
6ili bar. CI., (+).

The Christmas Night, 249 —

p. Fag. + 3 Horns CI., (+).
* Mlada, Act III |_i9j— 3 Horns + 3 Fag. and 3 Horns +
{+) (+)
3 Ob. (cf. Ex. 259).

(1) In the full score a misprint occurs in the clarinet part; it is corrected
in the example. (Editor's note.)
 — 90

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:
2Fngrsi
and not: S ^J
^^'^''•-

Bassoons may also be written inside the horns, but the inverse
process is not to be recommended:

2Cor.rqQ.i2 Faff

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 beauti-
ful 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 har-
monic 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:

^ 3 Clar. ou 3 Olx
ott 3 Fli

$ S
4 Corni

m
Played forte, the horns are more powerful than the wood-wind;
balance may be established by doubling the upper harmonic parts:
 1

91

2 Ob

Fag-

Examples:
a) Superposition.

* Sadko, Symphonic Tableau [[] Fl., Ob., ,

— CI., Horn (basis).

before [u] —
2 Fi., CI., Horns,
final chord — Fl., CI., Horn.
* Antar |^2]
— Fl., CI., Horns (basis).

No. 152. Antar [se] —3 Fl., 4 Horns (basis).

* Snegourotchka |30o| — Full wind and horns.

* Sheherazade — Final chords of liL and 4^-^ movements.
* Russian Easter Fete [jT] — Fl., CI., Horn; later trumpets and
trombones in juxtaposition (cf. Ex. 248).
* No. 153. The Christmas Night [2i2] , lOiH bar. — Wind and Horns;
trumpets and trombones added
later.
3 FI.+ 3 CI.
215 ],.
3 Horns
* Sadko, Opera 1 165 — Juxtaposition ana Superposition.

No. 154. Sadko [ass] — Same distribution.

' "• +„2„0^;. O-

No. 155. Servilia \n\

*No. 156. Legend of Kitesh, before 157 —3 Flutes, 3 Trombones.

„ „ „ final chord (cf. Table III of chords,

Ex. 15).
*TheGolden Cockerel, before |2i9| - Mixed timbre of wood-wind,
4 Horns.

b) Crossing.

* The Christmas Night, before [si] — Horn., Fag.

„ [Tot] — Clar., Horn., Fag.

* Legend Horn., Fag.
of Tsar Saltan, before 62
* The Golden Cockerel 220 — 3 Trombones, 2 Fag., C-fag.
(cf. Ex. 232).
* No. 157 Antar, before [io] — Wood-wind, Horns, then Trumpets.
 92 —
c) Enclosure:

No. 158. Ivan the Terrible, Act I 33 .

— Flutes within horns; later
horns within bassoons.

No. 159. Snegourotchka [Tsa] — Trumpet Fl., 2 CI.

Trumpet
+ CI.
— 4 Horns Fagr.
*Sadko, symphonic tableau
CI. + Fag.
Fag.
* Antar before 37 — 2 Horns (+)
CI.

*Sadko, Opera 105 — Harmonic basis; oboes within, trumpets

(cf. Ex. 260).

* No. 160. Sadko, Opera, before [T55] — Flutes within trumpets.
*
The Tsar's Bride, end of Overture — Bassoons within horns
(cf. Table Jll of chords, Ex. 14).

*Nr. 161. Tsar Saltan so — Trumpets within wood-wind doubled.

No. 162. „ „ [59] — Flutes within trumpets; clarinets

within horns.
*Nr. 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:

rflii Ob.
i ^P f Uo r ooH^

Examples:
* The Christmas Night [ts] — 3 Horns (+) + Oboe.
The Tsar's Bride 123 Ob., Eng. horn, Horn (+) (cf. Ex. 240).
* Legend of Kitesh 244 — CI., 2 Fl., + 2 Ob., Eng. horn, 3 Horn (+).
2 Ob., Eng. horn 1 „
*Nr. 164. Legend of Kitesh, before [255] °'
3 Horns (+) J
*Cf.also Tsar Saltan, before [TIs] — 2FL'^2Vag. C^^- l^^)-

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:
— 93
 — 94 — 1

No. 170. Sadko, Opera 244 1 1

— Chord of widely extended range;
bassoons at the limit of low compass.
[T42] , [239] ; cf. also [3] (Ex. 86).

The Tsar's Bride [T79] (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 suc-

cession of chords where the melodic position is constantly chang-

ing, distribution is subordinate to correct progression of parts.

In practice, however, any inequaHty 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 r.nd 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:

Ob.(Ci.) + Vnidiv.; ^[^J;

+ 'Cellos -f Violas div., etc.

Examples:
* Sadko, Symphonic lableau before [T], andjT], 9*-l? bar.
* Sheherazade, l5i movement M 6 Vni soli -[- 2 Ob. (2 Fl.), CI.

* Antar |T] — String quartet divisi + wood-wind (cf. Ex. 151).

* No. 171. Antar [sTl — Vni II, Violas div. + Fl., Horn (florid

accompanifnent in the Clar.).

* Legeu:' of Kitesh 295 — the same; rhythmic motion in the
wind, sustained harmony in the strings (cf. Rx. 213).
 — 95 —
2. Owing to the complete absence of any affinity in tone quality,
the combination of strings with brass is seldom employed in juxta-
position, 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
[242J
— Full brass + strings fr^/no/and(?(cf.l5L Table
of chords, Ex. 6).

Legend of Kitesfi, before 240— the same (Horn, Trumpet +).

*Sadko, Opera, before [34] — Horn + Violas Trombones div., -f-
'Cellos div. (1).

C. Combination of the three groups.

The combination wood-wind and brass instruments,
of strings,

set side by side, produces a full, round and firm tone.

Examples:

No. 172. The Tsar's Bride, before [hsJ — Ob., Fag. + Horns
+ Strmgs.
„ „ „ final chord (cf. Table I of chords,

Ex. 5).

*No. 173. Sadko, end of I2i tableau — short chords. Last chords
of the 151, 31^ and 711i tableaux (cf. Table I and III, Vol. II, Ex. 9,
10, 18).

*No. 174. The Christmas Night

[22J
— W^ind + Brass csord. -\-

tremolo strings.
Legend of Kitesh [mj (cf. Ex. 250).
Snegourotchka — end of opera, (cf. Table III in Vol. II, Ex. 17)
and a host of other examples.

(1) A splendid example of the combination of strings and brass may be

found in the introduction to the 2jl^ scene of the 411l act of " Khovanstchina"
by Moussorgsky, orchestrated by Rimsky-Korsakov. (Editor's note.)
 — 96 —
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.

 Chapter IV.
COMPOSITION OF THE ORCHESTRA.

Different ways of orchestrating the same music.

There are times when the general tone, character and atmo-
sphere of a passage, or a given moment in an orchestral work point
to one, and only one particular manner of scoring. The following
simple example will serve for explanation. Take a short phrase
where a flourish or fanfare call is given out above a tremolando
accompaniment, with or without change in harmony. There is no
doubt that any orchestrator would assign the tremolo to the strings

and the fanfare to a trumpet, never vice versa. But taking this for

granted, the composer or orchestrator may still be left in doubt.

Is the fanfare flourish suitable to the range of a trumpet? Should
it be written for two or three trumpets in unison, or doubled by
other instruments? Can any of these methods be employed without
damaging the musical meaning? These are questions which I shall
endeavour to answer.
If the phrase is too low in register for the trumpets it should
be given to the horns (instruments allied to the trumpet); if the
phrase is too high it may be entrusted to the oboes and clarinets
in unison, this combination possessing the closest resemblance
to the trumpet tone both in character and power. The question
whether one trumpet or two should be employed must be decided
by the degree of power to be vested in the given passage. If a
big sonorous effect is required the instruments may be doubled,
tripled, or even multiplied by four; in the opposite case one solo
brass instrument, or two of the wood-wind will suffice Ob. -f 1 CI.).
(1

The question whether the tremolo in the strings should be supported

 — 98 —
by sustained harmony in tiie wood-wind depends upon the purpose

in view. A composer realises his intentions beforehand, others

who orchestrate his music can only proceed by conjecture. Should
the composer desire to establish a strongly-marked difference between
the harmonic basis and the melodic outline it is better not to
employ wood-wind harmony, but to obtain proper balance of tone
by carefully distributing his dynamic marks of expression, pp, p,
f and //. If, on the contrary, the composer desires a full round
tone as harmonic basis and less show of brilliance in the harmonic
parts, the use of harmony in the wood-wind is to be recommended.
The following may serve as a guide to the scoring of wood-wind
chords: the harmonic basis should differ from the melody not only
in fullness and intensity of tone, but also in colour. If the fanfare
figure is allotted to the brass (trumpets or horns) the harmony should
be given to the wood-wind; if the phrase is given to the wood-wind
(oboes and clarinets) the harmony should be entrusted to the horns.
To solve all these questions successfully a composer must have full

knowledge of the purpose he has in view, and those who orchestrate

his work should be permeated with his intentions. Here the question
arises, what should those intentions be? This is a more difficult

subject.

The aim of a composer is closely allied to the form of his

work, to the aesthetic meaning of its every moment and phrase
considered apart, and in relation to the composition as a whole.
The choice of an orchestral scheme depends on the musical matter,
the colouring of preceding and subsequent passages. It is im-
portant to determine whether a given passage is a complement
to or a contrast with what goes before and comes after, whether
it forms a climax or merely a step in the general march of musical
thought. It would be impossible to examine all such possible
types of relationship, or to consider the role played by each passage
quoted in the present work. The reader is therefore advised not
to pay too much attention to the examples given, but to study them
and their bearing on the context in their proper place in the full

scores. Nevertheless I shall touch upon a few of these points in

the course of the following outline. To begin with, young and
inexperienced composers do not always possess a clear idea of
what they wish to do. They can improve in this direction by reading
 :

— 99 —
good scores and by repeatedly listening to an orchestra, provided
they concentrate the mind to the fullest possible extent. The search
after extravagant and daring effects in orchesfration is quite a
different thing from mere caprice; the will to achieve is not sufficient;

there are certain things which should not be achieved.

The simplest musical ideas, melodic phrases in unison and

octaves, or repeated throughout several octaves, chords, of which
no single part has any melodic meaning are scored in various
ways according to register, dynamic effect and the quality of
expression or tone colour that may be desired. In many cases,
one idea will be orchestrated in way every time it
a different
recurs. Later on I shall frequently touch upon this more compli-
cated question.

Examples:
* Snegourotchka 58 ; 65 and before [as] — sustained note in unison.

There are fewer possible ways of scoring more complex musical

ideas, harmonico-melodic phrases, polyphonic designs etc.; sometimes
there are but two methods to be followed, for each of the primary
elements in music, melody, harmony, and counterpoint possesses
its own special requirements, regulating the choice of instruments
and tone colour. The most complicated musical ideas sometimes
admit of only one manner of scoring, with a few hardly noticeable
variations in detail. To the following example, very simple in
structure 1 add an alternative method of scoring:

Example
No. 175. Vera Scheloga, before |^ — a) actual orchestration,

*b) — another method.

It is obvious that the method b) will produce satisfactory tone.

But a 31^ and 4ili way of scoring would be less succes'sfui, and a
continuation of this process would soon lead to the ridiculous. For
instance if the chords were given to the brass the whole passage
would sound neavy, and the soprano recitative in the low and
middle register would be overpowered. If the F sharp in the
•7*
 100

double basses were played arco by 'cellos and basses together it

would sound clumsy, if it were given to the bassoons a comic

effect would be produced, and if played by the brass it would

sound rough and coarse, etc. . . .

The object of scoring the same musical phrase in different ways

is to obtain variety either in tone colour or resonance. In each
case the composer may resort to the inversion of the normal order
of instruments, duplication of parts, or the two processes in com-
bination. The first of these is not always feasible. In the preceding
sections of the book I have tried to explain the characteristics of

each instrument and the part which each group of instruments

plays in the orchestra. Moreover many methods of doubling are to

be avoided; these I have mentioned, while there are also some

instruments which cannot be combined owing to the great difference
in their peculiarities. Therefore, as regards the general composition
of the orchestra, the student should be guided by the general
principles laid down in the earlier stages of the present work.
The best means of orchestrating the same musical idea in various
ways is by the adaptation of the musical matter. This can be
done by the following operations: a) complete or partial trans-

ference into other octaves; b) repetition in a different key; c) extension

of the whole range by the addition of octaves to the upper and
lower parts; d) alteration of details (the most frequent method);
e) variation of the general dynamic scheme, e. g. repeating a phrase
piano, which has already been played forte.
These operations are always successful in producing variety of
orchestral colour.

Examples.

No. 176, 177. Russian Easter Fete and [c],

The Christmas Nighty 158 and 179
^

No. 178—181. The Tsar's Bride, Overture: beginning, |T|,p2~|,[T[.

Sadko 99-101 and 305—307 (cf. Ex. 289, 290, and 75).

No. 182—186. Tsar Saltan 14 17

'0,
No. 187—189 181
 .

— 101

*No. 192 — 195. Sheherazade, 1- movement — beginning of the

fl//£gro[A],|T], [m].

„ 31^ movement — beginning |T]. [T]

*No. 196—198. Legend of Kitesh 55 56 62

* No. 199-201 ,
68 70 84

(Cf. also Ex. 213, 214. Legend of Kitesh 294 and 312 .)

*No. 202— 203. The Golden Cockerel 229 233

The process of scoring the same or similar ideas in different

ways is the source of numerous musical operations, crescendo, dimi-
nuendo, interchange of tone qualities, variation of tone colour etc.,

and incidentally throws new light upon the fundamental composition

of the orchestra.

Full Tutti.

The word tutti generally means the simultaneous use of all

instruments, but the word "all" is used relatively, and it must not
be inferred that every single instrument must necessarily be employed
to form a tutti. In order to siinpHfy the following illustrations
I will divide the word into two classes, full tutti and partial tutti^

— independently of whether the orchestra is constructed in pairs,

in three's, or a larger number of instrumentSv I call full tutti the

combination of all melodic groups, strings, wind, and brass. By

partial tutti I mean passages in which the brass group only takes
part, whether two horns or two trumpets participate alone, or
whether two horns are combined with one or three trombones,
without tuba, trumpets, or the two remaining horns, etc.:

r4 Horns, 2 Horns 2 Horns -i

.... or 2 Trumpets, or etc. .

"-.... 3 Trombones J

In both species of tutti full wood-wind may be employed or not,

according to the register and musical context of the passage. For

instance, in the extreme high register it may be essential to include

the piccolo; in the low register flutes will be unnecessary, and yet
the passage can still be called tutti. The inclusion of kettle-drums,
harp, and other instruments of little sustaining power, as of the
percussion in general, does not come under discussion.
 102 —
The variety of orchestral operations increases with the number
of instruments forming a tutti, in fact, so great does it become
that it is impossible to consider all combinations. 1 can only give
a few examples of full and partial tutti, and leave the reader to

draw his own conclusions. Some of these examples fall under the
double heading of full and partial tutti, and the student is reminded
that the tutti, is used essentially in forte and fortissimo, rarely in

pianissimo and piano passages.

Examples:
Snegourotchka^^ and 62] — Partial and full Tufli,

231 Partial Tutti, without the trumpets (cf. Ex. 8).

No. 204. Snegourotchka [JFa] — Full Tutti.

125^6] — Full Tutti and chorus (cf. Ex.8).

Sadko |1], [223], 239 Full Tutti (cf. Ex. 86).

No. 205—206. Sadko 173 177 — Full Tutti with chorus, diffe-

rently scored.

-No. 207—208. The Christmas Night [m\ and [m] — Full Tutti,

orchestrated in different ways, with and without chorus.

* The Tsar's Bride, Overture [T| , [2] ,
[T| — Full and partial Tutti

(cf. Ex. 179—181).

141 Full Tutti.

177

Pan Voyevoda 186 and 188 Full Tutti.

*Antar 65 — (cf. Ex. 32).

* No. 209. Sheherazade, 3il movement [m]; cf. also 1^1 movement
[a], [e], [h]; 2si movement [k], [p], [r]; 3i^ movement [g],

[o] ;
41I1 movement \g\, [p], [w] and farther on to [T| (No. 193,
194, 19, 66, 77).
* Spanish Capriccio[B\, 0, 0, 0, 0' [x^ (cf. Ex. 3).
* Russian Easter Fete [f] [T| before [T], [y], up to the end.
, ,

*j!^ Symphony, lH movement [p], |

R— T |
,
[x] ;
2ii^ movement
[a] , [¥] 4'A movement [a]
;
,
\~h

* Sadko, Symphonic tableau 20—24

*Mlada, Act 111 [12] (cf. Ex. 258).
* For examples of Tutti chords, see special Tables at the end of Vol. II.
 — 103 —
Tuiii in the wind.

In many cases the wood-wind and brass groups can form a tutti

by themselves for periods of varying length. Sometimes this is

effected by the wood-wind alone, but n.ore frequently with the

support of horns. At other times the horns are found alone without
the wood-wind, and, lastly, a tutti may be comprised of instruments

of each group in varying numbers. The addition of kettle-drums

and the rest of the percussion is quite common and constitutes what
the Germans call "Janitscharenmusik", or Turkish infantry music.
Violoncellos and double basses playing more or less impor-
tant pizz. notes are often added to wood-wind instruments (tutti),

likewise the remainder of the strings and the harps; this process
renders the sustained notes in the wood-wind more distinct. Tutti
passages in wood-wind and horns do not produce any great amount of

power in jorte passages, but, on the other hand tutti in the brass

groups alone may attain an extraordinary volume of tone. In the

following examples the formation of pedal notes by strings or wood-

wind in no way alters the general character of the Tutti:

Examples:

No. 210— 211. Snegourotclika 149 ,

I5i (compare)

Tsar Saltan 14 , 17 , 26 (cf. Ex. 182—184)

Pan Voyevoda [57], [Tse], [262] .

No. 212. Ivan the Terrible, Act II [lo]; cf. also Act. Ill [T].
* No. 213— 214. Legend of Kitesh [294], [3T2] (compare).
* No. 2 15. The Golden Cockerel [He]; cf. also |^ and [sT].

* Antar Ex. 65).

[37] (cf.

TuUi pizzicato.
The quartet of strings (pizzicato), reinforced occasionally by
the harp and piano, may, in certain cases constitute a particular
kind of tutti, which can only attain any great degree of strength

by support from the wood-wind. Without this support it is of medium

power, though still fairly brilliant in quality.
 104

Examples:

No. 2 16. Snegourotchka,hefor& 128 cf. also 153 and before 305
* No. 217. Russian Easter Fete ; cf. also [u] and |T|.
*
Spanish Caphccio[A], [c], before [s], before [p]; cf.also o
(Ex. 56).

Mlada, Act II [Ts].

'

Sadko 220 (cf. Ex. 295).

*
Legend of Kitesh [Toi].
*
No. 218. Tlie May Night, Act i, The Mayor's Song combi"
nation of strings, arco and pizz.

Tutti in one, two and three parts.

It often happens that a moderately full orchestral ensemble exe-

cutes a passage composed of one or two harmonic parts, in unison

or in octaves. Such melodic phrases call for more or less simple
orchestration with the usual doubling of parts, or, in ornamental
writing, admit of contrast in tone colouring, occasionally with the
addition of sustained notes.

Examples:

Snegourotchka, before \\^_ 174 , [176].

The Tsar's Bride 120—121 (cf. Ex. 63).

The Golden Cockerel 215

* No. 219—221. Legend of Kitesh 142 144 147 3 part

Tutti, with different scoring.
Legend of Kitesh [Tas], |i39| — Tutti in one part

Soli in the strings.

Although, in any orchestral piece, numerous instances are to be
found of melodies and phrases entrusted to a solo wind instrument
(generally the first of each group, wood-wind or brass), solos for
stringed instruments, on the other hand, are extremely rare. Whilst
the 1^ violin and I5i 'cello are fairly frequently used in this manner,
the solo viola ist seldom found, and a solo on the double bass is

practically unknown. Phrases demanding particular individuality

 105 —
of expression are entrusted to solo instrumenta; likewise passages

that require extraordinary technique, beyond the scope of the

orchestral rank and file. The comparatively weak tone of the solo

instrument necessitates light, transparent accompaniment. Difficult

virtuoso solos should not be written, as they attract too much atten-

tion to a particular instrument. Solo stringed instruments are also

used when vigourous expression and technical facility are not
required, but simply in order to obtain that singular difference in
colour which exists between a solo stringed instrument and strings
in unison. Two solo instruments can be coupled together, e. g.
2 Violins soli, etc. and in very rare cases a quartet of solo strings

may be employed.

Examples .

Violin solo:

No. 222—223. Snegourotchka 54 275

The May Night, pp. 64—78.

Mlada, Act I 52 ; Act III, before 19

*A Fairy Tale |w|.

* Sheherazade, 12i movement also the passages at the

start of each movement.

* Spanish Capriccio and the cadence on p. 38.

* No. 224. Legend of Kitesh 310 - Vn. solo, on harmonic basis

of strings sul ponticello and wood-wind.

Snegourotchka 274 ,279—2 Vni soli (cf. Ex. 9)

Viola solo:

No. 225. Snegourotchka 212

Sadko 137

* No. 226. The Golden Cockerel 163 ; cf. also 174 , 177|.

Violoncello solo.

Snegourotchka [Tst] (cf. Ex. 102)

The Christmas Night, before 29

Mlada, Act III 36

* The Golden Cockerel [Ttt], [Tso] (cf. Ex. 229)

 :

— 106 —
Double bass solo.

• No. 227. Mlada, Act II |To-i^ a special instance where the

first string is tuned down.

Solo quartet:

The Christmas Night 222 Vn., Viola, 'Cello, D. bass.

* No. 228. Tsar Saltan 248 Vn. I, Vn. II, Viola, 'Cello.

*The case of a solo stringed instrument doubled by the wood-

wind in unison must not be forgotten. The object is to attain

great purity and abundance of tone, without impairing the timbre

of the solo instrument (especially in the high and low registers),

or to produce a certain highly-coloured effect.

Examples:
* Mlada, Act U 52 — Vn. + Fl.; ActIV 31 Viol. + F1. 4- Harp.
* The Christmas Night 212 — 2yni+ Fl. 4- Small CI. (cf. Ex. 153).
* Pan Voyevoda 67 — 2 Vni + 2 Ob.; 2 Violas +2 CI.

Legend of Kitesh 306 Bass cl. + C-fag. (cf. Ex. 10).

309 Vn. + FI.

* No. 229. The Golden Cockerel ^

— Vn. -f Pice; 'Cello + Bass cl.

* As shown in Chap. II, 2 Vni soli or Violin solo -f Fl. (Pice.) are
often sufficient to double a melody in the upper register.

Examples
Sadko 207 ] — cf. Chap. II, p. 42 and Ex. 24.
* No. 230 Russian Easter File, p. 32 —2 Solo violins (in har-
monies).
* No. 231. Legend of Kitesh [297] — 2 Solo violins -f Pice.

Limits of orchestral range.

It is seldom that the entire orchestral conception is centred in

the upper register of the orchestra (the Sit and 6i!i octaves), still

more rarely is it focussed wholly in the lowest range (octaves 1

and — 1) where the proximity of harmonic intervals creates a bad

effect. In the first case the flutes and piccolo should be used along
with the upper notes of the violins, soli or divisi; in the second
 — 107

case the double bassoon and the low notes of the bassoons, bass
clarinet, horns, trombones and tuba are brought into play. The
first method gives brilliant colour, the second combination is dark
and gloomy. The contrary would be fundamentally impossible.

Examnles:
Pan Voyevoda 122
low
Servilia [m], SiH bar. (cf. Ex. 62)
register.
No. 232. The Golden Cockerel 220 ; cf. also [iis] , 219

* Snegourotchka, before 25

* Legend of Kitesh, before 34 high

* No. 233. The Golden Cockerel [na], \nT\ register.

•No. 234. Shiherazade, 2!i^ movement pp. 59—62

The upper and lower parts of a passage can seldom be widely
separated without the intermediate octaves being filled in, for this

is contrary to the first principles of proper distribution of chords.

Nevertheless the unusual resonance thus produced serves for strange
and grotesque effects. In the first of the following examples the
piccolo figure doubled by the harp and the sparkling notes of the
glockenspiel is set about four octaves apart from the bass, which
is assigned to a single Double bass and Tuba. But in the 3i^ octave,
the augmented fourths and diminished fifths in. the two flutes help
to fill up the intermediate space and lessen the distance between
the two extreme parts, thus forming some sort of link between
them. The general effect is fanciful.

Examples.
No. 235. Snegourotchka 255

* No. 236. 315 5iJi and 611i bars,

,

» 274 (cf. Ex. 9).

A Fairy Tale [a].

The Golden Cockerel 179 ,
9*li bar. (cf. Ex. 229)

Transference of passages and phrases.

A phrase or a figure is often transferred from one instrument to

another. In order to connect the phrases on each instrument in

 — 108 —
the best possible way, the last note of each part is made to coincide

with the first note of the following one. This method is used for
passages the range of which is too wide to be performed on any
one instrument, or when it is desired to divide a phrase into two
different timbres.
Examples :
* Snegourotchka |i37| — The melody is transferred from the violins
to the flute and clarinet (cf. Ex. 28).
*
„ before — Solo I9i — Solo violin 'cello.

Pan Voyevoda 57 — Trombones — Trumpets; Horn — Ob. -|- CI.

A similar operation is used in scoring passages covering the

entire orchestral scale, or a great portion of it. When one instru-

ment is on the point of completing its allotted part, another instru-

ment takes up the passage, starting on one or two notes common

to both parts, and so on. This division must be carried out to
ensure the balance of the whole passage.

Examples:

Snegourotchka 36 , 38 ,
I3i — Strings.

The Tsar's Bride 190 — Wood-wind

Sadko 72 — Strings (cf. Ex. 112).

[223] — Strings.
The Christmas Night, before |_i80j — Strings, wind and chorus
(cf. Ex. 132).
* No. 237. The Christmas Night, before |_i8£j — Shing figure.

* Servilia [m] — Strings Ex. (cf. 88).

— Ob. —
[29], Sin bar. — Bass Fag.
Fl.; CI. cl..

No. 238. The Golden Cockerel, before \V\ — Wood-wind.

[5] — Fag. — Eng. horn (+

,,
'Cellos

piiz^.
*-

Chords of different tone quality used alternately.

1. The most usual practice is to employ chords on different groups
of instruments alternately. In dealing with chords in different
registers care should be taken that the progression of parts, though
broken in passing from one group to another, remains as regular
 — 109 —
as if there were no leap from octave to octave; tfiis applies specially
to chromatic passages in order to avoid false relation.

Examples :
No. 239. Ivan the Terrible, Act II 29

No. 240— 241. The Tsar's Bride

* No. 242— 243. „
 :

— 110

Examples

No. 245. Snegourotchka [3T3] .

[ho] (cf. Ex. 244).

A Fairy Tale [v].

Sheherazade, 2^ movement [d] (cf. Ex. 74).
* „ 41I1 movement p. 221.
No. 246. Servilia [223]; cf. also [44].

The Christmas Night [lesj (cf. Ex. 143).

No. 247. The Tsar's Bride, before [205

* No. 248. Russian Easter Fete [p] .

* No. 249— 250. Legend of Kitesh [£\, [^67] ,

Repetition of phrases, imitation, echo.

As regards choice of timbre, phrases in imitation are subject to

the law of register. When a phrase is imitated in the upper register

it should be given to an instrument of higher range and vice versa.
If this rule is ignored an unnatural effect will be produced, as when
the clarinet in its upper range replies to the oboe in the lower
compass etc. The same rule must be follov/ed in dealing with
phrases, actually different, but similar in character; repeated phrases
of different character should be scored in a manner most suitable

to each.

Examples:

The Tsar's Bride [T57], [TeTj

Legend of Kitesh |4 0-4i

No. 251. Spanish Capriccio

In echo phrases, that is to say imitation entailing not only

decrease in volume of tone but also an effect of distance, the
second instrument should be weaker than the first, but the two
should possess some sort of affinity. An echo given to muted
brass following the same phrase not muted produces this distant
effect. Muted trumpets are eminently suited to echo a theme in

the oboes; flutes also may imitate clarinets and oboes successfully.
A wood-wind instrument cannot be used to echo the strings, or
 — Ill —
vice versa, on account of the dissimilarity in timbre. Imitation in
octaves (with a decrease in resonance) creates an effect resembling
an echo.
Examples:

Ivan the Terrible, Act 111 \T\.

No. 252. Sadko [264

* Spanish Capriccio E . — This example is not precisely an
echo but resembles one in character (c. Ex. 44).
* Sheherazade, 41ii movement before O

Sforzando-piano and piano^sforzando chords.

Besides the natural dynamic process of obtaining these marks
of expression, a process which depends upon the player, they
may also be produced by artificial means of orchestration.

a) At the moment when the wood-wind begins a piano chord,

the strings attack it sforzando, a compound chord for preference,

either arco or pizz. In the opposite case the sf in the strings

must occur at the end of the wood-wind chord. The first method
is also employed for a sf-dim., and the second for a cresc.-sf.
effect.

b) It is not so effective, and therefore less frequent to give the

notes of sustained value to the strings, and the short chords to
the wood-wind. In such cases the tenuto chord is played tremo-
lando on the strings.
Examples:

Vera Scheloga, before fas], ffl, W^ bar.

No. 253. Legend of Kitesh, before

|~1 5-16

Sheherazade, 2"^ movement, |T], 1411^ bar.

Method of emphasising certain notes and chords.

In order to stress or emphasise a certain note or chord, besides
the marks of expression ==— and sj, chords of 2, 3, and 4 notes
can be inserted into the melodic progression by the instruments
of the string quartet, each playing a single note; short notes in

the wood-wind may also be used as well as a chain of three or

 — 112 —
four grace noles, in the form of a scale, either in strings or wood-
wind. These unstressed notes (anacrusis), generally written very
small, form a kind of upward glide, the downward direction being

less common. As a rule they are connected to the main note by

a slur. In the strings they should not lead up to chords of three

or four notes, as this would be awkward for the bow.

Examples:

No. 254. The Tsar's Bride 142 — Anacrusis in the strings

*No. 255. Sheherazade, 2n^ movement [c] — Short pizz. chords.

„ „ „ [p] — Short wind chords

(cf. Ex. 19).

Crescendo and diminuendo.

Short crescendi and diminuendi are generally produced by na-
tural dynamic means; when prolonged, they are obtained by this

method combined with other orchestral devices. After the strings,

the brass is the group most facile in producing dynamic shades
of expression, glorifying crescendo chords into the most brilliant

sforzando climaxes. Clarinets specialise in diminuendo effects and

are capable of decreasing their tone to a breath (morendo). Pro-
longed orchestral crescendi are obtained by the gradual addition
of other instruments in the following order: strings, wood-wind,
brass. Diminuendo effects are accomplished by the elimination
of the instruments in the reverse order (brass, wood-wind, strings).
The scope of this work does not lend itself to the quotation of

prolonged crescendo and diminuendo passages. The reader is re-

ferred, therefore, to the full scores:

* Sheherazade, pp. 5—7, 92—96, 192—200.

* Antar 51

The Christmas Night 183

Sadko 165-166

*The Tsar's Bride so-si

Many examples of shorter crescendi and diminuendi will be

found in Vol. II.
 — 113 -

Diverging and converging progressions.

In the majority of cases, diverging and converging progressions
simply consist in the gradual ascent of the three upper parts, with
the bass descending. The distance separating the bass from the

other parts is trifhng at first, and grows by degrees. On the other

hand, in converging progressions, the three upper parts, at first so
far distant from the bass, gradually approach it. Sometimes these
progressions involve an increase or a decrease in tone. The
intermediate intervals are filled up by the introduction of fresh

parts as the distance widens, so that the upper parts become

doubled or trebled. In converging progressions the tripled and
doubled parts are simplified, as the duplicating instruments cease
to play. Moreover, if the harmony allows it, the group in the
middle region which remains stationary is the group to be retained,
or else the sustained note which guarantees unity in the operation.
Below, the reader will find double examples of both descriptions.
The first pair represents a diverging progression, 1. piano, in which
the human voice takes part; 2. a purely orchestral crescendo. The
second depicts two similar diverging progressions, firstly a gradual
crescendo, secondly dim., during which the strings become more
and more divided as the wind instruments cease to play. Ex. 258.
accompanies the apparition of Mlada, Ex. 259, its disappearance.
The atmosphere and colouring are weird and fanciful. The third

pair of examples forms instances of converging progressions. In

the first (Ex. 260) Princess Volkhova relates the wonders of the

sea. Then in the middle of a powerful orchestral crescendo the

Sea-King appears (Ex. 261). Both examples include a sustained
stationary chord of the diminished seventh. The handling of such
progressions requires the greatest care.

Examples:

No. 256—257. The Tsar's Bride [T02] and [Tot].

No. 258—259. Mlada, Act III [12] and [To].

No. 260—261. Sadko 105 and 119

Sadko [72j (cf. Ex. 112).

before |315 .
 — 114 —
*The Christmas Night, beginning (cf. Ex. 106).

*No. 262. Antar, end of 3:^ movement.

Note. A sustained note between the diverging parts does not

always allow the empty space to be more complety filled up.

Example:
No. 263. The Golden Cockerel, before [Toe] .

Tone quality as a harmonic force.

ilarmonic basis.
Melodic design comprising notes foreign to the harmony, passing
or grace notes, embellishments etc., does not permit that a florid

outline should proceed at the same time with another one, reduced
to essential and fundamental notes:

^^ ^^
Melodic design.

*
m
Fundamental notes.

m
If, in the above example, the upper part is transposed an octave
lower, the discordant effect produced by the contact of appogia-
turas and fundamental notes will be diminished; the quicker the
passage is played the less harsh the effect will be, and vice versa.
But it would be ill-advised to lay down any hard and fast rule as
to the permissible length of these notes. There is no doubt that
the harmonic notes, the thirds of the fundamental one (E) are
more prominent from their proximity with the notes extraneous
to the harmony. If the number of parts is increased (for instance,

if the melodic figure is in thirds, sixths etc.), the question becomes

still more complicated, since, to the original harmonic scheme,
chords with different root bases are added, producing false relation.
Nevertheless, for the solution of such problems, orchestration
provides an element of the greatest importance: difference of

timbres. The greater the dissimilarity in timbre between the har-

monic basis on the one hand and the melodic design on the
other, the less discordant the notes extraneous to the harmony
 :

— 115 —
will sound. The best examjJle of this is to be found between the
human voice and the orchestra, next comes the difference of

timbres between the groups of strings, wood-wind, plucked strings

and percussion instruments. Less important differences occur
between wood-wind and brass; in thes6 two groups, therefore, the
harmonic basis generally remains an octave removed from the
melodic design, and should be of inferior dynamic power.

Examples of harmonic basis in chords:

No. 264. Pan Voyevoda, Introduction.

Legend of Kitesh, Introduction (cf. also Ex. 125 and 140).

*Mlada, Act 111 10

The harmonic basis may be ornamental in character, in which

case it should move independently of the concurrent melodic design.

Examples:

*No. 265— 266. Tsar Saltan [103-10 4 1, [m\ \m],

,
162-165

(of. below).

Chords the most widely opposed in character may be used on

a simple, stationary harmonic basis, a basis, founded, for example,
on the chord of ihe tonic or diminished sevenih.

Examples

No. 267. Legend of Kitesh 326-328 — Wood-wind and harps

on a string basis.

No. 268-269. Kashtche'i the Immortal [ss], [43].

No. 270. Mlada, Act II, before Q?], [is]' 0-

No. 271. The Golden Cockerel [T25] — Chords of the diminished
seventh, on arpeggio basis (augmented fifth).

The effect of alternating harmony produced between two me-

lodic figures, e. g. one transmitting a note, held in abeyance, to
the other, or the simultaneous progression of a figure in augmen-
tation and diminution etc.becomes comprehensible and pleasant
to the ear when the fundamental si^ iied harmony is different.
i

8*
34
 — 117 —
Use of percussion instruments for rhythrii
and colour.
Whenever some portion of the orchestra executes a rhythmic
figure, percussion instruments should always be employed concurrently.
An insignificant and playful rhythm is suitable to the triangle, tambourine,
castanets and side drum, a vigourous and straightforward rhythm
may be given to the bass drum, cymbals and gong. The strokes
on these instruments should almost invariably correspond to the

strong beats of the bar, highly-accented syncopated notes or disconnec-

ted sforzandi. The triangle, side drum and tambourine are capable of
various rhythmic figures. Sometimes the percussion is used sepa-
rately, independently of any other group of instruments.

The brass and wood-wind are the two groups which combine the
most satisfactorily with percussion from the standpoint of colour.
The triangle, side drum, and tambourine go best with harmony in

the upper register; cymbals, bass drum and gong with harmony in the

lower. The following are the combinations most generally employed:

tremolo on the triangle and tambourine with trills in wood-wind and

violins; tremolo on the side drum, or cymbals struck with drum
sticks, and sustained chords on trumpets and horns; tremolo on the
bass drum or the gong with chords on trombones or low sustained
notes on 'cellos and double basses. It must not be forgotten that

the bass drum, cymbals, gong and a tremolo on the side drum,
played fortissimo, is sufficient to overpower any orchestral tutti.

*The reader will find instances of the use of percussion instruments

in any full score, and in several examples of the present work.

Examples:
* Sheherazade pp. 107 — 119, also many passages in 4'^ movement:
Antar [40], [43] (cf. Ex. 73, 29).
* Spanish capriccio [p] (cf. Ex. 64); the cadences to be studied
in the 4^ movement, where they are accompanied by various per-

cussion instruments.
* Russian Easter Fete [k] (cf. Ex. 217).
"
The Tsar's Bride[m\.
Legend of Kitesh 1 96- 197 — "The Battle of Kerj^metz".

Pan Voyevoda 7i 72
 118

Economy in orchestral colour.

Neither musical feeling nor the ear itself can stand, for long,
the full resources of the orchestra combined together. The
favourite group of instruments is the strings, then follow in order

the wood-wind, brass, kettle-drums, harps, pizzicato effects, and lastly

the percussion, also, in point of order, triangle, cymbals, big drum,
side drum, tambourine, gong. Further removed stand the celesta,
glockenspiel and xylophone, which instruments, though melodic,
are too characteristic in timbre to be employed over frequently.
The same may be said of the piano and castanets. A quantity of
national instruments not included in the present work may be
incorporated into the orchestra; such are the guitar, the domra,
zither, mandoline, the oriental tambourine, small tambourine etc.

These instruments are employed from time to time for descriptive-

aesthetic purposes.
These instruments are most frequently used in the above-named
order. A group of instruments which has been silent for some
time gains fresh interest upon its reappearance. The trombones,
trumpets and tuba are occasionally tacet for long periods, the
percussion is seldom employed, and practically never all together,

but in single instruments or in two's and three's. In national

dances or music in ballad style, percussion instruments may be
used more freely.

After a long rest the re-entry of the horns, trombones and tuba
should coincide with some characteristic intensity of tone, either

pp or //; piano and forte re-entries are less successful, while re-
introducing these instruments mezzo-forte or mezzo-piano produces
a colourless and common-place effect. This remark is capable
of wider application. For the same reasons it is not good to

commence or finish any piece of music either mf or mp. The

scope of the musical examples in this work does not permit of

illustrating by quotation the use of economy in orchestral colour,

nor the re-entry of instruments thrown into prominence by prolonged

rests. The reader must examine these questions in full scores.

i
 Chapter V.
COMBINATION OF THE HUMAN VOICE WITH ORCHESTRA.
THE STAGE BAND.

Orchestral accompaniment of solo voices.

General remarks.
In accompanying the voice orchestral scoring should be light

enough for the singer to make free use of all the dynamic shades
of expression without hardness of tone. In overflowing lyrical
moments, where full voice is required, the singer should be well

supported by the orchestra.

Opera singing may be divided into two general classes, lyric

singing and declamation or recitative. The full, round, legato aria

affords greater facility for tone production than florid music or
recitative, and the more movement and rhythmic detail contained

in the vocal part, the greater freedom and liberty must there be
given to the voice. In such a case the latter should not be
doubled by the orchestra, neither should rhythmical figures be written
for any instrument corresponding with those in the vocal part. In

accompanying the voice the composer should bear these points in

mind before turning his attention to the choice of orchestral colour.

A confused, heavy accompaniment will overpower the singer; an

accompaniment which is too simple in character will lack interest,
and one which is too weak will not sustain the voice sufficiently.

In modern opera it is rare that orchestral writing is confined

to accompaniment pure and simple. It frequently happens that the
principal musical idea, often complex in character, is contained
in the orchestra. Th? voice may then be said to form the accom-
paniment, exchanging musical for literary interest. It becomes
 — 120 —
subordinate to the orchestra, as though it were an extra part^

subsequently added as an after-thought. But it is evident that great

care must be taken with orchestral writing in such cases. The
scoring must not be so heavy or complicated as to drown the
voice and prevent the words from being heard, thereby breaking
the thread of the text, and leaving the musical imagery unexplained,
Certain moments may require great volume of orchestral tone, so
great that a voice of even phenomenal power is incapable of

being heard. Even if the singer is audible, such unequal struggles

between voice and orchestra are most inartistic, and the composer
should reserve his orchestral outbursts for the intervals during
which the voice is silent, distributing the singer's phrases and
pauses in a free and natural manner, according to the sense of
the words. If a prolonged forte passage occurs in the orchestra
it may be used concurrently with action on the stage. All artificial

reduction of tone contrary to the true feeling of a passage, the sole

object being to allow the voice to come through, should be strictly
avoided, as it deprives orchestral writing of its distinctive brilliance.

It must also be remembered that too great a disparity in volume

of tone between purely orchestral passages and those which
accompany the voice create an inartistic comparison. Therefore,
when the orchestra is strengthened by the use of wood-wind in
three's or four's, and brass in large numbers, the division of tone
and colour must be manipulated skillfully and with the greatest care.
In previous sections I have frequently stated that the structure

of the orchestra is closely related to the music itself. The scoring

of a vocal work proves this relationship in a striking mnaner, and,
indeed, it may be stipulated that only that which is well written
can be well orchestrated.

Transparence of accompaniment. Harmony.

The group of strings is the most transparent medium and the
one least likely to overpower the voice. Then come the wood-
wind and the brass, the latter in the following order: horns, trom-
bones, trumpets. A combination of strings, pizz., and the harp
forms a setting eminently favourable for the voice. As a general
rule a singer is more easily overpowered by long sustained notes
than by short detached ones. Strings doubled in the wood-wmd
 — 121 —
and brass, and brass doubled by wood-wind are combinations
liable to drown the singer. This may be done even more easily

by tremolando in the kettle-drums and other percussion instruments,

which, even by themselves are capable of overpowering any other
orchestral group of instruments. Doubling of wood-wind and
horns, and the use of two clarinets, two oboes or two horns in
unison to form one harmonic part is likewise to be avoided,
as such combinations will have a similar effect on the voice. The
frequent use of long sustained notes in the double basses is another
course unfavourable to the singer; these notes in combination
with the human voice produce a peculiar throbbing effect.

Juxtaposition of strings and wood-wind which overweights legato

or declamatory singing may nevertheless be employed if one of

the groups forms the harmony in sustained notes and the other
executes a melodic design,, when, for instance the sustaining
instruments are clarinet, and bassoon, or bassoon and horn, and the
melodic design is entrusted to violins or violas — or in the opposite

case, when the harmony is given to violas and 'cellos divisi, and
the harmonic figure to the clarinets.
Sustained harmony in the register of the second octave to the
middle of the third does not overpower women's voices, as these
develop outside this range; neither is it too heavy for men's
voices, which although opening out within the range itself sound
an octave higher, as in the case of the tenor voice. As a rule

women's voices suffer more than men's when they come in contact

with harmony in a register similar to their own. Taken separately,

and used in moderation, each group of orchestral instruments may
be considered favourable to each type of voice. But the combination
of two or three groups cannot be so considered unless they each
play an independent part and are not united together at full strength.

Incessant four-part harmony is to be deprecated. Satisfactory results

will be obtained when the number of harmonic parts is gradually
decreased, with some of them sustaining pedal, notes, and when
the harmony, interspersed with necessary pauses is confined to
the limits of one octave, distributed over several octaves, or dupli-
cated in the higher register.
These manipulations allow the composer to come to the singer's

aid; in voice-modulations, when the singer passes from the can-

 — 122

tabile to the declamatory style, the composer may reduce or

eliminate some harmony which is found to be too heavy as the
vocal tone diminishes, and conversely, support the voice by a
fuller orchestral tone in broad phrases and climaxes.
Ornamental writing and polyphonic accompaniment should never
be too intricate in character, entailing the use of an unnecessary
number of instruments. Some complicated figures are better partially
entrusted to pizz. strings and harp, as this combination has little

chance of overpowering the voice. Some examples of accompanying

an aria are given below.
Examples:
The Tsar's Bride, Lykow's supplementary Aria (Act III).

16—19 Griasnov's Aria.

No. 277. Snegoiirotchka 45

* Snegourotchka 187—188 212—213 the two Cavatinas of Tsar

Berendey (cf. extracts, Ex. 102, 225).

No. 278. Sadko 143

204-206 The Venetian's Song.

* Legend 222-2231
of Kitesh [39-41 (cf. Ex. 31).
* The Golden Cockerel 153-157 163

Florid singing which limits volume of tone requires a light

accompaniment, simple in outline and colour, involving no dupli-

cation of instruments.

'Examples:

No. 279. Snegourotchka 42-48 - Snegourotchka's Aria (Prologue),

Fragment.
"Sadko 195—197 — Hindoo Song (cf. Ex. 122).
* The Christmas Night 45-50 — Oxana's Aria.
* The Golden Cockerel |i3i— 136| — Aria of Queen Shemakha.

Doubling voices in the orchestra.

Melodic doubling of voices by orchestral instruments (in unison

or octaves) is of frequent occurrence, but incessant duplication for

an extended period of time should be avoided; it is only per-

missible in isolated phrases. The most natural duplication in
 :

— 123 —
unison of womens' voices is performed by violins, violas, clarinets

and oboes; that of mens' voices by violas, 'cellos, bassoons and

horns. Doubling in octaves is usually done in the upper register.

Trombones and trumpets overpower the voice and cannot be used

for this purpose. Uninterrupted or too frequent duplication should
be avoided, not only because the operation deprives the singer of

full freedom of expression, but also because it replaces by a

mixed timbre the rare characteristic qualities of the human voice.

Doubling, when limited to a few special phrases supports the

voice and endows it with beauty and colour. It is only suitable
ki tempo; to apply it, in unison or octaves to a passage ad. lib.

is both ineffective and dangerous.

Examples:

Snegourotchka 50—52 — Snegourotchka's Arietta (cf. Ex. 41).

Sadko 1^09— 3ii\ — Volkhova's Cradle-song (cf. Ex. 81).

Besides the question of doubling the voice for the object of

colour there are instances when the singer executes only part of
a phrase, allotted in its entirely to an orchestral instrument.

Example:

Vera Scheloga [so], [aa] (cf. Ex. 49).

Lyrical climaxes, a plena voce, or dramatic passages for the

voice situated outside its normal range should be supported melo-

dically and harmonically by the orchestra, in the register in which
the voice is placed. The culminating point in such passages
often coincides with the entry or sudden attack of the trombones
or other brass instruments, or by a rush of strings. Strengthening
the accompaniment in this manner will soften the tone of the voice

Examples

No. 280. The Tsar's Bride [206].

Servilia [1 26-127

232 .

No. 281. Sadko [314

Vera Scheloga [^Tj.

 :

— 124 —
If the culminating point is soft in colour and outline it is better

left unsupported in the orchestra, but sometimes the wood-wind,

sustaining such passages with light transparent melody or harmony
may produce an entrancing effect.

Examples:
Snegourotchka [Tss],

[sis] (cf. Ex. 119).

No. 282. The Tsar's Bride \2u] .

It is a common practice to support voices in concerted numbers

by harmony and duplication; this operation makes for accuracy

and brilliance when applied to duets, trios, quartets etc.

Examples:

Snegourotchka [^92^293] — Duet (cf. Ex. 118).

Sadko 99-101 — Duet (cf. Ex. 289 and 290).

No. 283. The Tsar's Bride 169 sextet.

117 quartet.

Legend of Kitesh [341] — quartet and sextet (cf. Ex. 305).

The beautiful effect produced by a solo instrument accompanying

a cantabile aria cannot be denied. In such cases the instruments
used are generally the violin, viola, and 'cello, or the flute, oboe,
Eng. horn, clar., bass clar., bassoon, horn and harp. The accom-
paniment is often contrapuntal or composed of polyphonic designs.
The solo instrument either plays alone or as the leading melodic
voice in the ensemble. In combination with the voice, or asso-
ciated with some action on the stage, a solo instrument is a
powerful expedient for musical characterisation. Instances of this
description are numerous.

Examples

Snegourotchka — Soprano and oboe Ex.

[50j (cf. 41).

„ — Contralto and Eng. horn.

~97J
— Baritone and bass
"243]
, [245] clar. (cf. Ex. 47—48)-
No. 284. The Tsar's Bride — Soprano, [Tos] 'cello and oboe.
The Golden Cockerel — Soprano and viola 163 (cf. Ex. 226).
 — 125 —
It is comparetively rare for percussion instruments to take part
in accompanying the voice. The triangle is occasionally used, the
cymbals less frequently. An accompaniment may be formed by a
figure or a tremolo on the kettle-drums.

Examples:

Snegourolchka [97], [224), [^ (Lell's m and 3il songs).

Tsar Saltan, before [?].

161
 1

— 126 —
handled with greater regard to its relationship to the words, and
the action on the stage. This tlass of orchestration can only be
studied from lengthy examples. I refer the reader to operatic full

scores and content myself with giving one or short instances:

Examples:

No. 287. Snegourotchka 16

No. 288. The Tsar's Bride 124—125

The following double examples, similar from a musical point

a vieW; show different methods of handling an orchestra from the
standpoint of accompaniment to the voice, and the tutti form.

Examples:

No. 289—29 1 . Sadko |99— ioi| and 305-307 (compare also Ex. 75).
1

Vera Scheloga |3-7| and 28

Care should be taken not to score too heavily when accom-

panying singers in the wings.

Examples:

*No. 292. Sadko 316 318 320

* Legend 286-289 304 305

of Kitesh , .

Orchestral accompaniment of the chorus.

The chorus, possessing much greater unity and power than the
solo voice, does not demand such careful handling in the accom-
paniment. On the contrary, too great a refinement of orchestral
treatment will prove harmful to the resonance of the chorus. As
a general rule orchestration of choral works follows the rules laid

down for purely instrumental scoring. It is obvious that dynamic

marks of expression must correspond in both bodies, but doubling
one orchestral group with another and coupling instruments of
the same kind in unison (2 Ob., 2 CI., 4 Horns, 3 Trombones etc.)

are both possible operations, if performed according to the re-

quirements of the musical context. Doubling choral parts by in-

struments is generally a good plan. In cantabile passages such

 1

— 127 —
duplication may be melodic in character, and the design more
ornamental in the orchestra than in the chorus.

Examples:

Ivan the Terrible, Act II |3-6| ; Act III 1

66-69

The May Night, Act I [x^y]; Act III

[
I-Ee Ddd— Ft!
Snegourotchka [6i-73j, 1
147-153 323-328

Mlada, Act II 22-3T], [45-63 ; Act IV 31-36

The Christmas Night 1

59-61 115—123

SadkO 1
37-39 I, 1
50-53 I, [79—86 173 177 187 189

218—221 233 270—273

The Tsar's Bride 29—30 40-42 50-59 141

Tsar Saltan 67—71 91—93 133—145 207—208

Legend of Kitesh 167 177-178

The Golden Cockerel 237-238 262-264

The reader will find instances of choral accompaniment in

many examples relating to other sections of the work.

In the case of solitary exclamations or phrases in recitative,

melodic doubling is not always suitable. It is better to support

the voice simply by harmonic duplication.
The repetition of notes — required by declamation — forming no
fundamental part of the rhythmical structure of a phrase or chord
should not be reproduced in the orchestra; the melodic or har-
monic basis alone should be doubled. Sometimes the rhythmical
structure of a choral phrase is simplified in comparison with its

orchestral duplication.

Examples :

No. 293. The Tsar's Bride [96],

No. 294. Ivan the Terrible, Act I, before [ts].

Choral passages, the musical context of which is complete in

itself, forming a chorus a capella often remains undoubled by the
orchestra, accompanied solely by sustained notes or an indepen-
dent polyphonic figure.
 — 128 —
Examples:
No. 295. Sadko [219].

* Tsar Saltan 207

* Legend 167 Ex. 116).

of Kttesh (cf.

The Golden Cockerel 236

Heavier scoring is required for a mixed chorus; for a male

voice chorus the orchestration should be lighter; still more so for

women's voices alone. In scoring a certain passage the composer

should not lose sight of the number of choristers he is employing,
for scenic conditions may necessitate a reduction of that figure.

The approximate number should be marked in the full score as

a basis upon which to work.

Examples:

No. 296. Ivan the Terrible, Act II 37

* Sadko 17
 :

— 129 —
voice and chorus, of the same timbre, or mixed chorus, creates
a certain amount of difficulty. In such cases the soloist should
sing in a higher register than the chorus, the former a plena voce,
the latter piano. The soloist should stand as near to the footlights
as possible; the chorus up-stage. The orchestration should be
adapted to the soloist, not (o the chorus.

Examples :
"
No. 298. Snegourotchka 143

Ivan the Terrible. Act II [st] (cf. Ex. 296).

When the chorus sings in the wings the soloist is always heard
distinctly.
Examples

Ivan the Terrible, Act I 25—26

* The May Night, Act III Ccc

*Sadko [T02] , 111

Instruments on the stage and in the wings.

The use of instruments on the stage or in the wings dates from
distant times (Mozart, Don Giovanni, string orchestra in Act I,

finale). In the middle of last century orchestras of brass instruments,

or brass and wood-wind combined, made their appearance on the
stage (Glinka, Meyerbeer, Gounod and others). More modern
composers have abandoned this clumsy practice, not only unfor-

tunate from the spectators' point of view, but also detrimental to

the mediaeval or legendary setting of the majority of operas. Only
those stage instruments are now used which suit the scene and
surroundings in which the opera is laid. As regards instruments
in the wings, invisible to the audience, the question is simple.
Nevertheless, for the musician of today the choice of these instru-
ments must be regulated by aesthetic considerations of greater
importance than those governing the selection of a military band.
The instruments are played in the wings, those visible on the stage
are only for ornament. Sometimes stage-instruments may be replicas
of those common to the period which the opera represents, (the
sacred horns in Mlada, for example). The orchestral accompaniment
9
 — 130 —
must vary in power according to the characteristics of the instru-

ments played in the wings. It is impossible to illustrate the use

of all the instruments mentioned below, and to outline suitable

accompaniments. I can only give a few examples and refer the

reader once again to the passages in the full scores.

a) Trumpets:
Servilia 12 25

* Legend of Kitesh 53 55 . 60

*Tsar Saltan 139 and further on.

b) Horns, in the form of hunting horns:

Pan Voyevoda 38—39

c) Trombones, leaving the orchestra to go on the stage;

Pan Voyevoda |i9i| .

d) Cornets:

Ivan the Terrible, Act III [T], [T].

e) Sacred horns (natural brass instruments in various keys):

Mlada, Act II, pp. 179 onwards.

f) Small clarinets and piccolos:

No. 299— 300. Mlada, Act III 37

g) Pipes of Pan: instruments, specially made, with many holes

which are passed over the lips. These particular pipes pro-
duce a special enharmonic scale {B flat, C, D flat, E flat, E, F
sharp, G, A), which has the effect of a glissando:

Mlada, Act III \m\, [43] (cf. Ex. 300).

h) Harp, reproducing the effect of an aeolian harp:

Kashtchei the Immortal [32] and further on (cf. Ex. 268, 269).

i) Lyres. Instruments specially made and tuned so as to be able

to perform a glissando chord of the diminished seventh:

Mlada, Act III [39], 43 (cf. Ex. 300).

k) Pianoforte, grand or upright:

Mozart and Salieri 22—23

1) Gong, imitathig a church bell:

Ivan the Terrible, Act I 67 and farther on.

 — 131 —
m) Bass Drum (without cymbals) to imitate the sound of camion:
Tsar Saltan 139 and later.

n) Small kettle-drum, in D flat (3iil octave):

Mlada, Act III [41] and later (cf. Ex. 60).

0) Bells in various keys:

Sadko [T28] and 139

No. 301. Legend of Kitesh [78?] and further on. See also [241],

323 and later.

*
Tsar Saltan [T39] and further on.

p) Organ:
No. 302. Sadko [^ 99-30o] .

Wood-w^ind and strings are comparitively seldom used on the

stage or in the wings. In Russian opera the strings are employed
in this way by Rubinstein {GoriouchaJ^ and in a splendidly cha-
racteristic manner by Serov (Hostile Power) : in the latter opera
the E flat clarinet is used to imitate the fife in the Carnival
procession. (1)

(1) Mention should be made of the happy use of a small orchestra in the

wings (2 pice, 2 cl., 2 horns, 1 tro mbone, tambourine, 4 Vni, 2 violas, 1 D-bass)
in The May Night, Act II, Sc. I. IjVl-Pj. (Editor's note.)
 Chapter VI (Supplementary).
VOICES.

Technical Terms.
Among all the confused terms employed in singing to denote
the compass, register and character of the human voice, there are

four which may be said to represent elemental types: soprano,

alto or contralto, tenor and bass. These names are used to denote
the composition of the chorus with sub-divisions of firsts and
secondSj to determine how the parts must be divided. (Sopr. I,

Sopr. II etc.) While the range of an instrument is exactly governed

by its construction, the ^compass of the voice, on the other hand,

depends on the individuality of the singer. It is therefore im-

possible to define the exact limits of each of these vocal types.

When it is a question of dividing choristers into I2I and 2^ parts,

those with the higher voices are classed among the firsts and
vice versa.
Besides the principal terms mentioned above, the names mezzo-
soprano (between sop. and alto), and baritone (between tenor and
bass) are also employed.

Note. In the chorus mezzo-sopranos are classed with 2^ sopranos or

lii altos, baritones with 211^ tenors or first basses, according to quality and
timbre of voice.

Apart from these denominations which represent the six prin-

cipal solo voices, a quantity of others are in use to denote either

compass, timbre or technique, such as hght soprano, soprano

^iusto, lyric soprano, dramatic soprano, light tenor, tenorino-altino,

bary ton-martin, lyric tenor, dramatic tenor, basso cantante ("singing

bass"), basso profondo (deep bass) etc. To this lengthy list must
 - 133 —
be added the term mezzo- car attere, of intermediate character
(between lyric and dramatic soprano, for example).

If we try to discover the real meaning of these designations it

soon becomes apparent that they are derived from widely different
sources — for instance, "light soprano" implies agility and mobility
in the voice; "dramatic tenor", the power to express strong dra-
matic feeling; basso profondo signifies great resonance in the
deep register.

Minute examination of all the methods of attack and emission

of sound lies within the province of the singing master and to

enumerate them here would only perplex the student. The same
applies to the position and exact limits of register (chest voice,

middle and head voice in women; chest voice, mixed voice and
falsetto in men). The work of a teacher of singing consists in
equalising the voice throughout its whole compass, so that the

transition from one register to another, on all the vowels, may be

accomplished imperceptibly. Some voices are naturally even and
flexible. The professor of singing must correct faults in breathing,

determine the range of the voice and place it, equalise its tone,

increase its flexibility, instruct as to the pronunciation of vowels,

modulation from one grade of expression to another, etc. A com-
poser should be able to rely upon flexible and equal voices
without having to trouble himself as to the abilities or defects of
individual singers. In these days a part is seldom written for a

particular artist, and composers and librettists do not find it ne-

cessary to entrust a certain role to fioriture singers, another to
heavy dramatic voices. Poetic and artistic considerations demand
greater variety of resource in the study of opera or vocal music
in general.

Soloists.

Range and register.

I advise the composer to be guided by Table F. which gives

the approximate range of the six principal solo voices. A bracket
under the notes defines the normal octave, the register in which
the voice is generally used. Within these limits the composer
may write freely without fear of hardening or tiring the voice.
 1 1

— 134 —
The normal octave applies aJso to declamatory singing and reci-

tative; the notes above it are exceptional and should be used for

the culminating points of a passage or for climaxes, the notes

below, for the fall or decline of a melody. Employing voices in

unusual registers for long periods of time will weary both singer
and listener, but these registers may occasionally be used for
brief intervals so as not to confine the voice too strictly to one
octave. A few examples are added to illustrate melody in different

types of voices.

Examples:

The Tsar's Bride 1

02- 109 (for extracts cf. Ex. 256, 280, 284) —
Marfa's Aria (Soprano).

I26—
18 — Griaznov's Aria (Baritone).
Snegomotchka — The 3 songs of Lell. (Contralto).

Sadko [46^49] (cf. extract, Ex. 120) — Sadko's Aria (Tenor).

[T
29-131I
— Lioubava's Aria (Mezzo-sopr.).

[1 91—19 3] (cf. extract, Ex. 131) — Bass Aria.

Vocalisation.

A good vocal melody should contain notes of at least three

different values, minims, crotchets and quavers (or crotchets,

quavers and semiquavers etc.). Monotony in rhythmic construction

is unsuited. to vocal melody; it is applicable to instrumental music,
but only in certain cases. Cantabile- melody requires a fair

number of long notes, and a change of syllable in a word should

occur at a moment when the voice quits a long sustained note.
Short, single notes, changing wHh every syllable produce a har-
monious effect. Owing to the requirements of diction, extended
melodic figures sung legato on one syllable must be used with
care on the part of the composer; to perform these the singer
must possess greater command ov^r flexibility and technique.
The possibility of taking breath in the right place is one of the

conditions essential to all vocal writing. Breath cannot be taken

in the middle of a word, sometimes not even during the course
of a sentence or phrase in the text; hence the voice part must
be suitably interspersed with rests.
 :

— 135 —

Table F. Voices.

Chorus

Soprano.

Contralto.

Tenor.

Bass.

except

Soloists:

Tenor.

Baritone.

•scept
 — 136 —
Note. It must be remembered that there are some words upon which the
voice may not dwell, or sing more than one or two notes.
These words may
be nouns, pronouns, numerals, prepositions, conjunctions and other parts of
speech. It would be impossible and ridiculous, for instance, to write a
sustained note on such words as "who", "he" etc. The voice may dwell on
certain words which, so to speak, possess some poetical colour (1).

Examples:

No. 303. Sadko [iae] — Sadko's Aria (Tenor).

" r^09-3ii] (8ee extract, Ex. 81). Volkhova's Cradle

Song (Soprano).
Snegourotchka [V] — Fairy Spring's Aria (Mezzo-sopr.).

187—188 212—213 (see extracts, Ex. 102 and 225)

— the two Cavatinas Tsar Berendey (Tenor).
of

[247] — Miskir's Aria (Baritone).

Vowels.
As regards vocalisation on one syllable, on long sustained notes
and in the high register, the choice of vowels is a matter of some
importance. The difference in the position of the mouth and lips

in forming the open vowel a and the closed vowel ou is apparent

to everyone. The series of vowels from the point of view of open
sounds is: a, i, o, e, u. In women's voices the easiest vowel on
high notes is a, for men it is o. The vowel i softens the pene-
trating quality of the top notes of a bass voice, and the vowel a
adds to the extension of range in the very lowest compass. Lengthy
florid passages are often written on the interjection ah, or simply

Here the author approaches a question so well known to the Russians

(1)
that does not require any further elucidation for their guidance. But a whole
it

book would have to be written to form a compendium of practical rules

on this subject, and to point out the errors which nearly all French composers
openly commit —
even those who are famous for their sense of diction and literary
style. We can only conclude that the question has come to be considered
of minor importance in France, perhaps on account of the lack of definite
stress on the syllables of words, which is characteristic of the French language.
It is not within the translator's province to discuss the question of French
versification or to elaborate the excellent maxims laid down by Rimsky-Kor-
sakov, the first, among many, to touch upon this delicate and important subject.
(Translator's note.)
 — 137

on the vowel a. Owing to the restrictions imposed by literary

and dramatic laws, the composer can only follow the above rules
to a limited extent.
Examples:

Snegourotchka [293], |318-319| (cf. Ex. 119).

No. 304. Sadko [83] .

Flexibility.

Voices possess the greatest amount of flexibility in their normal

octave. Women's voices are more supple than men's, but in all
types, the higher voice is the more agile, sopranos in women, the
tenor voice in men. Although capable 6f performing florid and
complicated figures, different varieties of phrasing and the rapid
change from staccato to legato, the human voice is infinitely less

flexible than a musical instrument. In passages of any rapidity,

diatonic scales and arpeggios in thirds come easiest to the voice.

Intervals bigger than fourths in quick succession and chromatic

scales are extremely difficult Skips of an octave or more starting
from a short note should always be avoided. Preparation should
precede any extremely high note either by leading up to it gradually,

or by the clear leap of a fourth, fifth or octave; but sometimes

the voice may attack a high note without any due preparation.

Examples:

Snegourotchka 46—48 (cf. extract, Ex. 279) — Snegourotchka's

Aria (Soprano).
96—97 Lell's first song (Contralto).

Sadko 196—193 (cf. extract, Ex. 122) — Hindoo song (Tenor).

203—206 — Venetian song (Baritone).

Pan Voyevoda 20—26 Maria's cradle song (Sopr).

Colour and character of voices.

The colouring of the voice, whether it be brilliant or dull, sombre
or sonorous depends upon the individual singer, and the composer
has no need to consider it. The chief question is interpretation

and may be solved by the judicious choice of artists. From the

 — 138 —
point of view of flexibility and expression voices may be divided
into two classes, lyric and dramatic. The latter is more powerful
and of greater range, the former possesses more suppleness and
elasticity and is more readily disposed to different shades of ex-

pression. Granted that the rare combination of the two classes is

the composer's ideal, he should nevertheless be content to follow

the main artistic purpose which he has set out the achieve. In

complicated and important works the composer should bear in

mind the characteristic^ of the various voices he employs; more-

over, if he use two voices of the same calibre, e. g. 2 Sopranos
or 2 Tenors, he should discriminate between the range and register
of their respective parts, writing for one slightly higher than the

other. It is no rare occurence to meet with voices of an inter-

mediate character (mezzo-carattere) combining the qualities of

each type to a modified extent. To such voices the composer

may assign roles demanding the characteristics of each class,

especially secondary roles. At the present day, besides the roles

suitable to the dramatic and lyric type of voice, it is customary
to give prominence to those demanding some special qualifications,
voices of a certain tenderness or power, a specified range or degree
of flexibility — attributes decided by the artistic object in view. In

casting secondary and minor roles the composer is advised to

employ a medium range and less exacting demands on technique.

Note. After Meyerbeer, who was the first to write for a special type of
heavy mezzo-soprano and baritone, Richard Wagoner created a type of powerful
dramatic soprano, of extensive rang^e, combining^ the quality and scope of the
soprano and mezzo-soprano voices; likewise a similar type of tenor, possessing
the attributes and compass and baritone together. To demand
of the tenor
that voices shall be equally and resonant in the high and low register,
brilliant

that singers shall be endowed with a super-poweriul breathing apparatus and

an extraordinary faculty for resistance tO fatigue (Siegfried, Parsifal, Tristan,
Briinhilda, Kundry, Isolda), is to exact something little short of the miraculous.
Such voices are to be found, but there are some singers with excellent though
not phenominal vocal powers, who, by the constant pursuit of Wagnerian parts
endeavour to increase their range and volume, and only succeed in depriving
the voice of correct intonation, beauty of tone, and all subtlety of nuances.
I believe that less exacting demands and greater perception of what is re-
quired, skilful and judicious use of the high and low registers of the voice, a
proper understanding of cantabile writing combined with orchestration which
never overpowers the vocal part will be of greater service to the composer,
from an artistic point of view, than the more elaborate methods of Richard

Wagner.
 139 —

Voices in combination.

Treating solo voices in a polyphonico-harmonic manner is the

best method of preserving their individual character in ensembles.

A distribution which is wholly harmonic or entirely polyphonic is

seldom found. The first plan, largely used in choral writing,

simplifies the movement of the voices too greatly, eliminating their
melodic character; the second method is wearisome and somewhat
disturbing to the ear.
As a general rule the voices are arranged according to the law
of normal register. Crossing of parts is rare and should only be
done with the intention of emphasising the melody in the ascending
voices above those adjacent in register, e. g. the tenor part above
contralto, the mezzo-soprano above the soprano, etc.

Duet.

The combinations most conducive to the proper movement of parts

are those of two voices related within an octave 8 [?°P^-, ^^^'^^'•,

gat"**
Movement in tenths, sixths, thirds or octaves (the last very seldom)
will always produce satisfactory ensemble, and if the parts progress
polyphonically, it need not happen frequently that they are
separated by more than a tenth, or that undesirable crossing of
parts will result.

Examples :

Sadko 99-101 — Sopr. and Tenor (cf. Ex. 289, 290).

Servilla 143 — Sopr. and Tenor.

Ivan the Terrible, Act 48—50 — Sopr.
I and Tenor.
Kashtchei the Immortal 62—64 . Mezzo-sopr. and Baritone.

Voices related in fifths and fourths, 5 4 [j^^^'', 5 [[«"•

[I^p^Iq, Bass.

should progress nearer to one another; it is rare for them to move

in tenths, common in sixths and thirds; they may also proceed in
unison. The two voices are seldom separated at a greater distance
than ah octave, and certain cases will require crossing of parts,
which, however, should only be for periods of short duration.
 1

— 140 —
Examples :
Snegourotchka 263—264 — Soprano and Alto.

The Christmas Night 78—80 Alto and Tenor.

Legend of Kitesh 338 Tenor and Bass.

Voices related in thirds;

^ rSopr. M.-sopr, Ten. Bar.
"^LM.-sopr. ' C.-alto 'Bass' Bass'

may move in unison, in thirds and sixths, and admit very largely
of the crossing of parts. Separation by more than an octave must
only be momentary, and is generally to be avoided.

Examples :
* The Tsar's Bride [T74] — Sopr. and Mezzo-sopr.
* Tsar Saltan 5—6 — Sopr. and Mezzo-sopr.

In the case of voices related in twelfths : 12 , intervals approach-

[l^^s
ing one another do not create a good effect, for this transplants the
deeper voice into the upper register and vice versa. Singing in
unison is no longer possible, and thirds are to be avoided; the
use of sixths, tenths and thirteenths is recommended. The voices
will often be separated by more than a twelfth and crossing of

parts is out of the question.

Example :
* Tsar Saltan 1
254— 255

Relationship in tenths 10 [|^P'- or ^^^^^' is fairly common. The

explanations given above are also applicable in this case.

Example :

Snegourotchka 291-300 (cf. extract, Ex. 118) Sopr. and Bar.

The use of similar voices in pairs: g^PJ* , entails singing in

!fg[['

unison and thirds. They should rarely be separated beyond a sixth,

but crossing of parts is inevitable, as otherwise the resultant volume

of tone would be too weak.
 — 141 —
Note. Other possible combinations: ^'^f^^ f ca" *or no special
TeJf°'"^'»
remarks.
Examples:
• The May Night, Act I pp. 59—64 — Mezzo-sopr. and Tenor.
*Sadko 322—324 Mezzo-sopr. and Tenor.

As a general rule, writing for two voices is only successful when

the progression of parts is clear, when discords are prepared by
a common note, or are the outcome of conveniently separated

movement and correctly resolved. Emply intervals of fourths and

perfect fifths, elevenths and twelfths should be avoided on the strong
beats of a bar, especially on notes of some value. If, however,
one of the voices assumes a melodic character, the other forming
the harmonic accompaniment in declamatory style, it is not ab-
solutely necessary to avoid the intervals mentioned above.

Note. It is not within the scope of the present work to consider the writing:
of vocal parts in closer detail. This question must be left to the professor
of free counterpoint. remains to be noted that the human voice accom-
It

panied by the orchestra is always heard independently as something apart,

something: complete in itself. For this reason a composer may never rely
on the orchestra to fill up an empty space or correct a fault in the handling
of voices. All the rules of harmony and counterpoint, down to the last detail,
must be applied to vocal writing, which is never dependent upon orchestral
accompaniment.

Trios, quartets etc

All that has been said regarding the relationship of voices in

duet applies with equal force to the combination of three, four,
five or more voices. An ensemble of several voices is seldom
purely polyphonic; as a rule, although some parts move polyphoni-
cally, progression in thirds, sixths, tenths and thirteenths is used
for the remainder. Declamation for some voices on notes forming
the harmony is also possible. This variety of simultaneous move-
ment of vocal parts renders the comprehension of the total effect
less difficult for the ear, and sanctions the distribution oT distinctive
and suitable figures or tone colouring to certain voices with other
figures 'or timbres which may be proceeding at the same time.
The skilful arrangement of pauses and re-entries facilitates the
understanding of the whole, and gives desirable prominence to
detail.
 142

Examples :
Snegourotchka [267] — Trio, Finale to Act III.

The Tsar's Bride 116— 118 — Quartet in Act II.

168—171 Sextet in Act III (cf. extract, Ex. 283).

Servilia \
149-15 2] — Quintet in Act III.

The movement of solo voices is seldonr purely harmonic in

character with predominance given to the upper voices homophoni-
cally treated. The blending of all the parts into an harmonic whole,
without any distinctive predominant feature in any one part (as in
a chorale) is employed for songs or ensembles in traditional style,

prayers, hymns, etc. If this method is adopted for the quartet

Sopr.

of voices, yg° , it will be noted that widely-spaced part writing

Bass
is the most natural and suitable form (especially in forte passages),
as the four voices can sing together in their proper registers
(low, middle and high), while, in close part writing they may find

themselves at a given moment in registers, which are entirely

foreign. But both methods should be employed, as, otherwise,

it would be impossible to guarantee equality in even the shortest
succession of chords.
Examples :
Snegourotchka 178 Hymn of Tsar Berendey's subjects.

No. 305. Legend of Kitesh 341

The second half of the last example is an instance of six-part

harmonic writing; the upper voice stands out prominently, the rest

form a kind of accompaniment.

Chorus.
Range and register.

The range of choral voices is slightly more limited than that

of soloists. The exceptional register may be considered as two
notes above and below the normal octave. The dotted lines extended
still further indicate the limits upon which a composer may rely

in very exceptional cases, as every full chorus must contain a few

 — 143 —
voices of more than average compass, in this respect approaching
the solo voice in character. In many choruses on& or two bass
singers may be found who are able to go still lower than the
limit of the exceptional range (they are called octavists) . (l)

Note. These uncommonly deep notes must be moderately well sustained and
can only be used when the whole chorus is sing^in^ quite piano; they are

hardly applicable except in unaccompanied choruses (a capella).

The difference in range between the "firsts" and "seconds" in

each type may be fixed as follows: the normal octave and the
exceptionally low register should be allotted to the "seconds", the

same octave and the exceptionally high register to the "firsts".

The composition of the chorus is approximately as follows: for

a full chorus, 32 singers to each of the 4 parts sopr., alt., ten. and
bass; for a chorus of medium size, from 16 to 20, and for a small

chorus from 8 to 10 singers. The number of women will often

predominate, and more voices are given to the "firsts" than to the
"seconds".
On account of stage requirements a chorus may have to be
divided into two or even three separate parts. This is a great
disadvantage, especially with a small chorus, as each chorister
becomes more or less a soloist.

The methods of writing for operatic chorus are very numerous.

Besides the primary harmonico-polyphonic arrangement, containing
the whole musical idea, the voices may be made to enter separately,

singing or declaiming phrases of varying length; they may progress

in unison or in octaves; one vocal part may repeat certain notes
or the whole chorus reiterate certain chords; one melodic part
may predominate (the upper part for preference), the others form-
ing an harmonic accompaniment; isolated exclamatory phrases
may be given to the whole chorus or to certain portions of it,

and finally, the enUre chorus may be treated in a purely harmonic

manner in chords, with the essential, melodic design allotted to
the orchestra. Having outlined the principal methods of handling
the chorus, I advise the reader to study vocal and orchestral scores
where he will find many illustrations impossible to deal with here.

(1) Contrebasses voices as they are called when mentioned in French works
are peculiar to Russia, in which country they are plentiful.
(Translator's note.)
 — 144 —
There exists another most important operation, the division of
the chorus into different groups. The most natural method is to

divide it into men's chorus and women's chorus. Less frequent

combinations are altos, tenors and basses, or sopranos, altos and
tenors. There remains yet another point to be considered, the sub-
division of each part into two's and three's. Men's and women's
choruses, considered as distinct unities may alternate either one
with the other, or with the principal chorus. For this reason sub-
division increases the possibilities of choral writing, and, as I have
already remarked, it is only by the study of choral works that
the student will acquire mastery over this branch of composition,
the fundamental principles of which can only by faintly outlined
in the course of the present work.

Melody.
Melody is more limited in the chorus than in the solo voice,
both as regards range as well as mobility. Choristers' voices are

less "settled" and not so highly trained as those of soloists.

Sometimes solo and choral melody are similar in point of range

and technique, but more often the latter is lacking in freedom and
variety of rhythm, restricted as it is to the repetition of short phrases,
while the solo voice demands broader melodic outline and greater
freedom in construction. In this respect choral melody more closely

resembles instrumental melody. Pauses for taking breath are not

so important with chorus singers as with soloists; the former do
not need to breathe all together and each singer may take a slight
rest from time to time, thus obviating the necessity for sudden
complete silences. The question of suitable vowels is likewise of
secondary importance.
The change from notes of short value to long, vocalisation on
syllables and others questions mentioned above are equally applic-
able to choral melody, but in a minor degree. Not more than
two or three notes should be written on one syllable except for
fanciful and whimsical effects.

Example:

No. 306. The Golden Cockerel [262]; see also before [T23].
 — 145 —
A. Mixed chorus.
Chorus in unison.

The simplest and most natural combination of voices is sopranos

and altos, or tenors and basses. These combinations produce
ample and vigourous tone, and the mixed timbres serve to give

prominence to a melody in the upper or bass parts. In practice

the other voices are often divided to thicken the harmony. The
combination of altos and tenors produces a peculiar mixed tone
quality, somewhat bizarre and seldom used.

Examples :
Snegourotcfika 64

Sadko \m] (cf. Ex. 14).

Progression in octaves.
The most beautiful and natural combinations are sopranos and
tenors 8
[fg^"^',
altos and basses 8
[sasses' *^^y
produce a tone both
brilliant and powerful. Progression of sopranos and altos, or tenors
and basses is seldom practised. Though the latter combinations
may occur in choruses for women and men alone, they can only
be used in melodies of restricted length. The difference of re-
gister in which the voices move does not permit of the same
balance of tone obtained by voices of a distinctive kind.

Examples :

Snegourotchka 60 , 6i — Carnival Procession.

„ 113 — Wedding Ce'-emony.

Sadko [^ — Chorus of Guests, 151 Tableau.

Dividing kindred voices in octaves is seldom done, 8

[g^pj; n
etc.,

except perhaps in the basses « [l^sles IP ^^®" *^® progression of

parts demand it, or it is required to double the bass part in octaves.

Examples:
Ivan the Terrible, Act III [68] — Final chorus (cf. Ex. 312).

Sadko 341 — Final chorus.

10
 :

146 —
A beautifully round tone results from doubling men's and women s
voices in octaves 8 [fX+Bas«3.

Example:
Snegourotchka 323 Final chorus.

Brilliance and vigour is achieved when sopranos and altos pro-

gress In thirds doubled in octaves by tenors and basses also in

Sopr, "1^

thirds: 8
Altos
Ten. I3
r
-BassesJ
Examples :
Mlada, Act I 24 ; Act II, before 31

The Golden Cockerel 235

On the rare occasions when the whole chorus progresses in

double octaves the usual arrangement is:

Sopr. + Altos "1

tj « rSopr.

^ fTen. J
**'
or else ° [Altos + Ten. "I „
[Basses Basses I
'

Examples
Snegourotchka [31 9j.

Sadko [182] .

Voices fdioisi); harmonic use of the mixed chorus.

The purely harmonic progression of a four-part mixed chorus
is more natural and resonant when the harmony is of the widely
divided order, so that the volume of tone is equally distributed
throughout.

Example:
No. 307. Sadko 144 — Beginning of 3i^ tableau.

To secure a well-balanced forte chord in close part writing the

following distribution is recommended:
rSopr. I
LSopr. II
Altos
[Ten. I
[Ten. II
rSasses I

[Basses II.
 — 147 —
Three harmonic parts in the high register (2 sopranos and altos)
are doubled an octave lower by 2 tenors and the \^ basses. The
lower part is undertaken by the 2i^ basses. In this manner the
tenors sing in the soprano octave, the isl basses in the alto octave
and the 2^ basses are independent.

Examples :
Snegourotchka 327 — End the of work;

Mlada, Act II 20 — Procession of Princes.

Ivan the Terrible, Act II (cf. Ex. 212).

|_19J

Division of parts can be adopted when one of them is entrusted

with a melody, the remainder forming a sufficiently full accom-
paniment. The choice of parts to be divided depends upon the
range of the upper one. When a harmonic-melodic phrase is

repeated in different keys and registers, it may be necessary to

distribute the parts and divide them in another manner, so as to
maintain proper choral balance. As an illustration I give two
extracts of identical musical context, the second {F major) being
a third higher than the first {D major). In the first example the
altos are added to the sopranos to strengthen the melody; the
tenors and basses divisi form the harmony. In the second example
the melody being a third higher may be given to the sopranos
alone; the altos therefore take part in the harmony, and conse-
quently the lower parts are divided in a different way.

Examples:
Sadko 1 173 1 and [ittJ (cf. Ex. 205 and 206); compare also the
same music in G major [Tso].

No. 309— 310. Ivan the Terrible, Act I 77

Example 307 is an instance of widely-spaced four-part writing

forming the harmonic basis, with the melodic idea in the orchestra.
In Example 308, the same in musical context, the melodic figure
is given to the sopranos, and among the other parts which form
the harmony the tenors are divided.

Example :
No. 308. Sadko [T52] .

10*
 1 :

— 148 —
In polyphonic writing exceeding 4 part harmony the voices should
be divided so as to obtain the necessary number of actual parts.
One part may be divided into as many as three different parts,
3 sopranos, 3 altos etc.

Examples
No. 3 12. Ivan the Terrible, Act III [59] — Final chorus.

Servilia 233 — Final chorus.

Mlada, Act IV 1
35-36 — Final chorus.

In fugato writing and fugal imitation for mixed chorus the

distribution is generally in four parts, but this number may be
increased for cumulative effects as in the example quoted. In such
cases the composer should be careful as to the arrangement of
the final chord, the summit and climax of the passage. After the

entry of the last of the voices the progression 0/ such a passage

should be handled with a view to the tone of the final chord.

The treatment should be such that concords produced by divided

voices or different groups of voices retain their full valu6; and
if the final chord be a discord its effect may be heightened by
means of crossing of parts. The reader is advised to examine
carefully the progression of parts leading up to the final chord
in each of the examples given above, paying special attention to
the distribution of these final chords. Crossing of parts must not
be effected at random. The arrangement of choral parts follows

the natural order of register and can only be altered for short
spaces of time to give momentary prominence to some melodic
or declamatory phrase.

Examples:

Ivan the Terrible, Act I [79], Act II \T\, Act III 67

B. Men's chorus and women's chorus.

In writing a three-part female chorus the division should be either
Sopr I Sopr. Ten. I Ten.
Sopr. 11 or Altos I; the same for men: Ten. II or Bass I. The choice
Altos Altos II Bass Bass II

of distribution depends upon which voice is to predominate, or the

register in which the group is to be placed. The manner of divid-
 :

— 149 —
ing the parts may change, one following the other at will. In

four-part^ harmonic writing the method of division is self-evident:

Sopr. I Ten. I

Sopr. II Ten. II

Altos I Bass I

Altos II Bass II

To give prominence to a melody in the middle part in three-

part harmony, the following method may be adopted:
Sopr. I Ten. I

Sopr. II -f Altos I, or Ten. II + Bass I.

Altos II Bass II

If, in three-part writing, the melody has to stand out in the upper
part, the harmony may be either widely-divided or close.

Examples:

Ivan the Terrible, Act I 25-26 23-31 (Women's chorus).

Sadko, before |i8il — Men's chorus (cf. Ex. 27).

No. 311. Sadko 1 270-272 — Women's1 chorus.

In four-part choral writing close harmony is preferable, other-

wise the upper part will be in too high a register and the range
of the bottom part too low.

Examples:

Sadko 17 Male chorus.

Ivan the Terrible, Act II 36—38 Female chorus (cf. Ex. 296).

Distribution in two parts which is generally polyphonic does

not call for any special remarks; the same may be said of chorus
in unison.

Examples

Sadko 50 — Male chorus.

Mlada, beginning of Act I

Ivan the Terrible, Act III 13—15 Female chorus.

Servilia 26

If male and female choruses are Handled in a purely harmonic

manner close part writing should be adopted. This is the only
way to secure proper balance of tone in chords given to voices
 — 150 —
of the same kind. Successions of chords in three parts are more
frequent than those in four; sometimes a series of chords is

practicable only in two parts.

Examples:

Snegourotcfika 19 Chorus of Birds.

281—285 — Chorus of Flowers (cf. Ex. 26).

In fugato writing, and fugal imitation in three parts, allotted to

a chorus composed of voices of one kind, the principal subject is

given to two parts, the counter subject to one; by this method

the doubled themes will stand out to better advantage.

Examples:
Sadko [20-21
*The Tsar's Bride 29—30

Male and female choruses, apart from the part they play as
individual unities, may be introduced as separate groups in mixed
choruses alternating with the whole ensemble.

Example:

Snegourotchka 198 — Hymn of Tsar Berendey's Subjects (cf.

Ex. 166).

As a general rule a female chorus does not contain the real

harmonic bass part when this part is situated in the low
register, so that no octaves are formed between the real bass
and the lower choral voice. Harmony in a chorus for women is

generally given to the three upper parts, the lower part acting as
accompanying bass. It will be noticed that this rule may lead to
the employment of chords of the sixth and empty consecutive
fourth's and fifth's which should be avoided. In example No. 311
{Sadko 270), this is remedied by the high position of the bass
part; later an empty interval (i) occurs, but only for a moment,
and still farther on another such interval is avoided by the union
of all the voices in the octave (f). In Ex. No. 304 {Sadko [saj) the
harmonic bass in the low register is carefully omitted, but when
transferred to the upper register it is doubled.
 — 151 —
I conclude the present chapter with the following necessary
observations:
1. The operation of dividing voices undoubtedly weakens their
resonance, and as the reader will have observed, one of the prin-
cipal factors in good orchestration is equal balance of tone in
the distribution of chords. But in choral writing the question is

somewhat different. The orchestra, even after repeated rehearsal

always plays from music; the operatic chorus, on -the other hand,
sings by heart. The chorus master can carry out the composer's
instructions as to the division of parts in one way or another,
varying and adjusting the number of singers to each part. By
manipulating some shade of expression he can maintain a balance
of tone between divided and undivided voices. In orchestral
material the composer has to handle a great number of timbres,

widely different in character and volume of tone. In the chorus

there are but four qualities. A chorus moving about the stage
cannot convey varying shades of expression so exactly as an
orchestra seated at the desk. It may therefore be safely assumed
that a composer is entitled to some licence in the question of

dividing choral parts; dealing with the orchestra involves greater

foresight and care.

2. In trying to obtain equal balance in writing three-part choruses

for male or female chorus I have often resorted to the method of

doubling the middle part as recommended on p. 149. The chorus

master is at liberty to equalise the chorus by transfering voices
from one part to another. In choruses divided into three parts
I have noticed that chorus masters are in the habit of giving the

upper part to Sopr. I, or Ten. I, and the two lower parts to Sopr. II

and Ten. II divided. I consider this arrangement unsound, as the

balance of parts can never be equal. The attention of chorus
masters is called to the necessity of strengthening middle parts, for

the expedient of giving prominence to the upper part concerns

melody alone and leaves harmony out of the question.

3. Skilful management of choral parts is a fairly safe guarantee

of clear and satisfactory performance. Miscalculations in writing

are a great hindrance to study, and the most experienced chorus
may come to grief through faulty progression of parts. If the

progression of parts is correct, if discords are properly prepared,

 — 152 —
sudden and remote modulations, even of the harshest and most
uncommon kind will be comparatively simple and may be ap-
proached with some degree of confidence. This is a fact which
composers do not always bear in mind, but singers know it well
and appreciate its importance to the full. As an instance 1 quote
the very difficult modulation which occurs in Ex. No. 169 {Sadko
302 ). I doubt whether it could be sung if written in any other
way. Careful endeavour on the part of a composer is better than

useless struggle inflicted upon the performer.

July 3m (Aug. 13!!i) 1 )05.

 PART II

EXAMPLES
 N? 1. "Sheherazade/' 2^^ movement.
N91.„Sheherazade," 2"!^ mouvement.

^
rt
B
Ci.(.A)
J)

\^
144.
^ \^ —r^^ -^ J)

Viol. P grazioso
Il.div. P'^i

^
j/iiT j"1

^m
a^
vie.

V-c.
e C-b. pizz.

^
J»
<t

^3
^s
j Hi- T^~r^

^^ ^ ^

Viol.

#^^ ^ ^ ^ ^
 —
Fl.
J,
^EEL^

m
m
^="^
Faff.

It
±1

B
^F^-

^ »
M
^
i
f^

i
j^s^

i
-s^
m
^
p S
* ^^
JL-ir—
p-
>ces^ pp pp r p i
i
ph^
^^

r
^Viol.

iB-"»
t^l
v-k-.

»;^
y y
e
jocco

»i^

^s s ^ p^
piuf

^^ s
* ^

S
11/
I
V^c. yj>^
~p
arco r*^
^
=^
n Isempre pizz. w^
^
^ ^^ ^
^2335
/>^ ro ptu-^-
JT3
i
rin^ fW^ rri
S3 C.{j

^
"^
i^
inU^j parte

y/ ly — ^

4^
.y

V-c. i jjjj

^^
ffi
i-^I^^Jj^
=^^- ^s :^SS^ 4 ?3E
s^

S C-b.

^ 'if
^r

-z=?:L::r:5=r
5/" vr
•?A

^7^^
•if
i
 N9 2. ''The Legend of the invisible city of Kitesh!
N9 2.„Legende de la ville invisible de Kitej'/
*'- ^^
Cl.(B^
I.

\\\\\\\\ JnJ'.^f
-chdes vers mo», me pour un ca - res-sant sa - lut,

^^f. -f f^^
 N?3. "Spanish Cwpriccio/'
N? 3. „Capriccio Espagnol!'

Jail ^ j) J-^ i' i ^ i r% J.- -i

8 N94. "Pan Voyevoda."
N9 4. „ Pan le Voievodet'
fl45] Lento. J :58.
 N?5. ''The Golden Cockerel:
N9 5. „Le Coq d'Or."
jl93l Andantino. J.= 96.

J vie.

N?6. "Sadko," symphonic tableau (p. 2{ij.

N9 6. „Sadko',' tableau symphonique (p. 28),
Allegretto. J.138.
/ ClAB)
10
Fl a2

N?^. '^Pan Voyevoda," nocturne

N9 7. „ Pan le Voievode," nocturne.
Lento. J: 58.
c; lA)
.I.U.III
rz
N?8. "Snegourotchka.'
N9 8.„Sniegourotchka'.'
Andante maestoso e pass^ionato. Jrsa.
Fl. a2_
N?9. "Snegourotchka:'
N*? 9. „Sniegourotchka'.'
 N9 10. "The Legend of the i7ivisible city of Kitesh':
„Legende de de Kitej." 15
N? 10. la ville invisible

t^ J-66
Ob.
-^*'-

PP
Lapparition

C'wniprendsbien. o bel-le fi -an-ceei et at-tachea mespro-pos leiirpoids.

tran.

^ N? 11. ''The Golden Cockerel:

N9 11.,, Le Coq d'Or."
11201 (alia breve. J=5o)
 A

1® N9 12. ^^Sheherazade," S'K!^ movement (commencement).

N<? 12.„Sheherazade'/3"Q^ mouvement (debut).
Andantino quasi allegretto. J= 52.
Viol. le II unis.

sulG

J^JJJTJJ JJ J
J- ^il . I

» '
K" r p f p
> 1
^
3et
^
^SI pp

/»oc(3 cresc.
 N? 13, ''TheGolden Cockerel" (p. 87).
17
N9 13. mLc Coq d' Or "(p. 87).
(Andantino. J =88.)

k
Do'ii^a'^'^
- chu de nous rap-])or - - terdes chants. ve . V1 -
2 Fl.e Fl.picc
20 2 Fl. e Fl.picc

I
V-le>
,,<
I
^ j' ^ I
f
V
J ^^

^ J^TP/tf: "The Golden Cockerel'' (p. as).

N9l6.,,Le Coq d'Or"(p.88;.
(Andantino. J = 88.)
Ob.
 N? 17. ''Snegourotchka/' 21
N? 17. „ Sniegourotchka ."
12881 Andante. J. 69.
2 Fi.e Fl. pice. *^J
22

4Ccr.
^ ^LU
t ^
p

/ Timp,

Campanelli.
i
I

^ Arpa.
^i fgrf
i

!^ ^^^
Viol.Ie II unis.
 ^3

^
Ob.

^ ^E£

^
Cingl.

^ r L-££f '^ ^
^ Faff.

ii

/
4 Cor.

Timp.
»
^^
B «

Camjpanelli.
24

,' A^Cor.

I
Tim p.
^^^ —rr
f
Cainpaiielli

^ fe
 N? 18. ''The May Night/' Act III.
N9 18.,, La Nuit de Mai',' 3'^^ acte. Z^
L '^Allegretio quasi andantinoj
C.ing-l.

Noschantsvontoharmerlejeunehom-rae, nos ri - resfbntftiirleneil-

JT] s) U^ ";) j\s^ I

g ^J)J)
J)
J U' i^
Nousai- nionsje-ge - res om - bres. ajou- ersousuiiciel e- toi - le
Viol. I.

^
yc.soio.

m^ s m ^ r} J J. ^v j^

mm
Altri V-c.

mm
C-b.

V r » y j V
-
» '
V t »^ »
26 iV? 19. ''Sheherazade," 2^d movement.
N9l9.„Sheherazade',' 2"!^ mouvement.

p y. 152
/ Fl.picc
 N9 20. "Sadko." 27
N9 20.„Sadko."
J:112.

^ N9 21. "The Legend of the invisible city of Kitesht

2^ N? 2l.„Legende de la ville invisible de Kitejf

Mais, vol-ci de - ja la mort pro - ohe. de Ten - fer les pei-nes cru - el - le.'^I

> -Viol. I.
2H N9 22. ''The Tsar's Bride"
N9 22. „La Fiancee du Tsar."
N9 23. "The Legend of Tsar Saltan:
No23.„Legende duTsar Z\)
Saltan:'
go N? 24. '"Stidko" (p. 336).
N?24.„Sadko"(p.336\

iti. Va voir la belle et gTandc ci - te, ta-ohe de_voir le do-g'e_puis-

Ten. Va ]0 Qj . ^^1

Bassi^
^ 1

Va
I

voir
I

la belle
f" I

et
Il7i
grande
cj
ci -
I
r
te,
i
r ii tj ^ ^f ^^^
'
Mt

-te.
Arpa e Pianiuo.
A Ve - iii se tu d ois al - ler, Sad-ko! ^^^ ^^^
 N9 25. "Ivan the Terrible/' Act HI.
N? 25. „ La Pskovitaine," 8"ie acto. 31
63
Fl.I.
Moderate, (alia breve.)
32 N? 26. "Snegourotchka"
N9 26.;,Sniegourotchka."
[288

I
 83

Alti. Dans des yeux,bl6u- et, ra - yon

w i iJ ii i '

i. i i
^

2 Viol. soli.

rrnrn if f
^ m
N9
"SaTiko" (p. 296).
27.
27. „S^dko"(p.296).
(Allegro alia marcia. J=i3a.)
CorJU IV

m 28. "STiegourotchka/'
j^j
fJBTl N9 28- „Sniegourotchka. I ^j-, ,
"
 85

Misguir. l,j

yii'if '
r *
y pr 'f pfp" p
I" r^P^ p^
que-

^
pie - res, un modeste et cmin-tif re-g-ard. pu-di -

< 5
flp 3g
. Viol.
^^'''"""

^* ^
S^<lf^ ^
V-le.

^ Y—f-lF
^ ^^
jv V-c. e C-b

Iil>
fl
M ^
86
N9 29. "Antar."
NP 29. „Antar."
[48] (Allegro risoluto.)
Plcc.
N? 30. "Sheherazade/' 3^^ movement (p. 131). 87
N? 30. „Sheherazade" 8"}®mouvement (p.i3i).

TT^—/i^
 N9 SI. "The Legend of the invisible city of KitesA.
89
N9 31. „Legende de la ville invisible de Kitej"
12231

Je doD-ne4tiis tout le sang demesvei - - nes vo - Ion -tier &) et ma vie,, omonbien-ai

CT9$0ifOC0
4U
N9 32. "Antar:
N? 32.„Antar."
Adagio.
41
 N9 33. ''Snegourotchka/
^^ N9 33.„Sniegourotchka"
12151 Vivace. J= iso.
Tlmp.

N9 34. '^The Legend of the invisible city of Kitesh:

*** N9 34.,, Legende de la ville invisible de Kitejf'
S^ Andante tranquillo. J: 5«.

Jour et luiit chez nousle saint of - fioe est chan-te san.s re -

 N? 35. ''Spanish Capriccio." 43
N9 35. „Capriccio Espagnol."

^ N? 36. ''The Legend of Tsar Saltan.

N? 36. „Leg:ende duTsar Saltan"
18161 Andante. J = 66. ^
Fl. pice. Solo.
Fl.pioc.e Fl.I.
 N? ''Sheherazade/' 4'A movement (p. 140).
37.
45
N9 37. „Sheherazadey4"l^ mouvement ip.iiOj.
PI Vivo. J = J. = 88.
3 3

^ PP
N? 38. ''Ivan the Terrible/' Act III (p. 236).
** N? 38. „La Pskovitaine'' 3"}*-' acte (p. 236 j.
Fl.picc.e 2 Fl.gr.
46
Fl. piece 2 Fl.gr.

i 1*
Arpa.

m ^^ ^^m 9
 iy? 39. "The Legend of the itwisible city of Kitesh.
N9 39. „Leg-ende de la ville invisible de Kitej." 47
[441 J. = 60.
Pl.o -alto (Py.

j¥«r
Fl.c-alto.

Cl.

^
basso.
p rrr ^ ^ ^T*rJj ^^
i

i,h
Fevr.

pj
chan
Ji J.
- te
I
1
^
J
f'

dans
d^
les
iii i'ip!

bois
^^
mer- veil - leu
^^^
se- ment.

'^^M 3S
jF^ ^
V-le div

^h r"vrj^p
j iJMT^P

^^ ^^^
V-c.

^
s ^
v
C-b.
48 N? 40. ^'Sheherazade," 2nd movement (p. 43).
N'.* 40. „wSheherazader 2"}® mouvement (p. 43)
Andantino. *^ =n2.
Capriccioso, quasi recitando
Fa*?. 1. Solo. ^^^^ ^^ry^Ji^ —-^^ >

dolcc ed esprcss

**C':/n sord. •** ^^*-

III.
 N9 41. "Snegourotchka/' 49
N? 41 .jjSniegourotchka'/
Larghetto. J-zso.
Ob.I.Solo

dolce

Snieff. dolce assai

Jeconnaisjeoon - nals, ma me re, tous les chants —

les plus beaux. Le ohant.

P Piip-
de Pa -
rt.\^
lou - et
m te,

qui monte et rit au ciel d'e-te Et le plain -tif ap-

^A^^i

-pel du cy - gne sur I'ioau dor-man - te de .l^B-tang

 N942. "The Golden Cockerel" (p. 75).
^^ N9 42.„Le Coq d'Or"(p.75).
Andantino . J = 7«

N9 "The Golden Cockerel" (p.

43. 119).

N9 43. „Le Coq d'0r"{p.ii9).

Andantino. J = 88.
Fl.I

IVarco
N? 44. "Spanish Capriccio"
51
N9 44. „Capriccio Espagnol'.'

Cor. ingl. Solo

2V? 45. ''The Golden Cockerel:

N9 45.„Le Coq d'Or."
[l] Larghetto assai. j]= «*•

Dodon. L^oiselier du roi apporte une perruche verte, attachee a un anneau par une chaine

Dodon Elle chante, fait claquer sa lang^e, siffle.

 H

52 iV? 46. ""Mlada,"' Act II (f.206)

N9 46. „Mlada;' 2"?^ acte (p. 206).
(Al)egro vivo.)
Cl.picc.(D\^ .
^ fi^s. . L L ^

N9 47. "Snegourotchka''
N?
47. „Sniegourotchka!'
I^gi Moder ato assai. w. so

^^N^- < J
Mod
I

ame
f T p P P r?
e-tait Joyeusea -
I p-
vant
p p p
^^^
de teoonnai-tre, ma
.VioLTILeV-le.

vie heureuse e-tait sans lar-Tne8,sansangi(^sHeeteanssouf-fVan

^ ^ ^
— ^4
- ce.
 '

N9 48. "Snegouroicihia,.
N9 48. „Sniegourotchkaf' 53
12461 Maestoso.
Cl. basso (b)

Trem-bledonc, en-ftuiti c'est vrai, je suis ter-ri-ble. Oui, je veux pu-nir Tof-

I jm ^'
^
^
=Ri

n^y
bl--.

f^ t^
P
-fen- se qui m'a fait
p H '

rougir
'Tlr
le
i
i-

front-
p V / u^-P^
Et me voir
P
en -
P
fin
r?
ven -

-ge de ma de ma hon
douleur et
N9 "Vera Scheloga.''
49.
N9 49. „La Borarine Vera Chelogaf
Andantino. J«88.
Fag. I- Solo

'

/K a H

Viol.

m.
^^
I

11.
'jt^t/
Ah,
teu.assat
ten.assat,

ten.assai
i
je ne puis

J
comrpren-dre.

J 1 ^^
^^
r p r r p
J
54 N9 50. 'The Golden Cockerel " (^.330).
NO 50 „Le Coq d'Or'' (p. 330>
F1.I.II. %%. %\
N9 51 "Mlada," Act UI (p. 359)
55
N? 51. „Mlada" S^e actr (p. 859).
(Meno mo890.)
Solo—. ^. » • , .
>^-.-,ii- ^L-
56 N9 '-'Snegourotchkaf
52.
W 52. ,,Sniegourotchka"
[i (Moderate).

Par - mi vous,6jeu-nes fil-lesine ca-ohoz vous pas niaKou-pa-va bien - ai - me-e'

Fl.eOb.unis.

Fag: m. ^^ -^ JPJ'v/ ^=^ w

CoroNous ne te don-ne-rons pas notre a -mi- e! Nous ne te don-ne-rons pas ta Kou-pa-va!

 N9 53. ''The Legend of the invisible city of Kitesh" (p. 49i)* 57
M9 53. ,,Legende de la villc invisible de Kitej" (p.49i).
(Moderate assai. J x 72.)
Fl.MI. a 2

son - - nent flu - tu^, g'ouss-li!

Rassi.

''Snegourotchka " (p. 133)

N*^ 54.
N9 54.„Sniegourotchka" (p t3H)
Animato.

Voi-ei de Por:pre-nez,niu.sbel-les fil-les. Je siiis joyeuxde vous pa-yer ran-(^on

 —
58 N9 55. "Snegourotchka " (p. 866)
N9 55. „Sniegourotchka" (p.sfis).
^ —
^^—^E>
Fi.pioo/Alleflfro <Jri26). ^ .

eFi.i t ^fr> --N^!

'
N9 56. ''bpanish Capriccio."
N?56. „Capriccio Espagncl!'
iWI » « =
N9 57. "Snegourotchka" (p.306). 09
N9 57. „Sniegourotchka" fp.306V
Allegro con anima.

ppp

M sc"
^® fantome de Snieg'ourotchka se montre dans la foret.
 NP 58. ''Sheherazade," 3rd movement.
60
N9 58. „Sheherazade*' 3"1^' mouvement.
_(J..6a>

^^'''riff'nril rTt-ti^ r^-^ni r^^

Fui.j-j^^jj^ rri-iT-i iT^^rni J ^

'pM. r Cii; mr ru3^
"
^
rww[j£:£x;
 N9 59. '"Vera Scheloga''
NO 59.„La Boiarine Vera Cheloga." 61
Moderate assai. J. 96.
>CM(A )^^

Je ne fus pas heureuse, mais resig-ne-e, Ivan Semenitoh m'aai-mee a la fo4i-e

N9 60. "Mlada," Ad UI (p. 389).

N9 60. „MladaV 3™® acte (p. 389).
Andante quasi allegretto.
-Timp.picc
 N9 61. "Mlckda," Act JJ (j>. 205).
62
N9 61. „Mlada',' 2"2« acte ,p..205K
(Allegro vivo.)
Cor. unis.

vA Fl.picc Solo
%mmm^f^
 JV? 62. "Serviliar
N9 62. „Servilia!'
Iggi Andante. J = 7a.
 lueur roug-e; dans un broiiillard parait le spectre d'une vieille- KP- '/
Piatti. I

-^ i

/f.
Le Spectre. soiirdement

Quidoncinae-voquee ?

ful ponticeilo
 . ^

N9 63. ''The Tsar's Bride"

•. N9 63. „La Fiancee du Tsar." 65
,

Elol Adagio. J.- 48.

.IFl.eOb.T.

N9 64. "Spanish Capriccio" (p. 57).

* N9 64. „Capriccio Espagnol" ^p 57).
Fl>»icc.ea ¥\. '
^^,-— — ^,—— J,
66
N? 65. '"Aniar," isj version, 3V^ movement (commencement).
N9 65. „Antar," premiere version, 3"1® mouvement (debut).
Allegro risoluto.
Fl. pice.
N? 66. "Sheherazade," S^J^ movement.
67
N? 66. „Sheherazacle*/ 3"'.^mouveinent.
 69
N? 67. "Spanish Capriccio" (p.79).

N9 67. nCapriccio Espagnol" cp 79).

Fi.ploc. tri

jy /eroce
 2V? 6S. ''The Christmas Night
•^ N9 68. „La Nuit de Noel!'

^^ ^^ ^^
Arpafip
'
J J !

,1
J

f
^
f
vie

QuVUe est dou-ce, re r pe-tee dans Tombre e - paisse des^ .val - Ions!
iAUi.
 N? 69. "The Legend of the invisible city of Kitesh: 71
gg N9 69. „Leg-ende de la ville invisible de Kitej."

Nuit et joui' c'est un o)iaiit nier-veil - leux< tres

arca_
^V-le
7ii N? 70. ''The Legend of the invisible city of Kite sh:
N9 70. jjLegende de la ville invisible de Kitej."
1651

^^^^ usim LLi.r m^ rfTrrxCr

3 Tr-bni.
 ,

74 N9 7L "Sadkor
N? 71.„Sadkol'
f34a] Allegro. i-.wi.

roi tout puissant, roi cru-el «lesiners> tu ifa-vais a toi qu'u-in> t/Ctc on bois.
Vioi.u. tr tr tr

***
iV? 7^."SnegourotchkaP
N? 72. „Sniegourotchka!'
n
^
Allegro. J=ia«f.
jirt iij
Ob.

a m A :zI
^ ^
i.
C1.(BJ

»
Fag
I

J1 r m ^ Ji
i fl
i^
»
j:
fl
^
JH
i

^^^
a #
1
p s
*=:5-rf
JL

|>^'H"pM'J'lr^
Ten Le ruisseau murmu-rt
P f'ii'O
lerucherbourdoii -
J
ne,
lr?>^^
chantons en-semble
^ ^^
la, sais'jn nou-vel - le.

^ Le ruisseau murtnu-i*e,
Bassi.
le rucherbourdon - ne,
\/,
^
chantons en semble
IT H- l
-

*.

m^
la saison nou-vel - le
 N? 73. ''Antar" 3rd movement
N9 73. „Antar;* 8"^*^ mouvement 75
^ Allegro.
FI.I.Solo

14. '"Shehera zade ," ^^.^ movement {p. 51).

N*^ 74. nShehcrazadeJ' ii"l'' mouvem^^i.t (V-si
Molto moderato.
Ob. recit. morvndo
'^^
N9 75. "Sadko" (p. 498).
N? 75. „Sadko" (p.498).
(Allegro J-:6e alia breve.)
Fl.I.e Ob.I.II.
as

8CHA)a8

f rrrfrrrrrfi ^Mr ^^ r^r Tijc nr 'r|i^'r«^r»p'r«

ffl^^ ^^^
Tr-be.(A^

FFFFFPFFFFPF
3 Tr bni.
glF^
|
i t{^'
^
r' r ^ f r r -^r r Ir
 77

N9 76. 'The May Night." Act III fcommencememt).

N? 76. „Le Nuit de Mai(' 8™« acte (debut).

^i^
Fi. Molto andante.
M
PP-

^m
Ob.

m
pp-

^* C1.(A)

PP-

t
CoriE)
xc
p^ ^m m^ ^^ m
aS

p- m^
'7

^^ ^
IV.

1 g
con sord

*f?P
•78 N9 77. "Sheherazade" 4^^ movement (p. £04).
N? 77. „Sheherazade(' 4".^« mouvement (p. 204).
Allegro non troppo maestoso. J- :6o
y ^FLpicc.

^^ Timp. .ff^

^"""S; //
Tamb If
no. 6
Tamb. 4
pice, ft

Piatti.fs

'"^^
Crissa
 :^»=:

Cor.

:^ :Si

a 2 maestoso

Tr-bni.*^^

^^Tuba, a-'maestos. •^
tk ^^
Triang".
^
^rEEBT ECg r
Piatti.

^ -^-^
Cassa.
^rrrrrf '

r < -^
 N? 78. "Mlada," Act UI Xp.350). 81
N? 78. „MladaV 3"}« acte (p. 350)
(Allegro non troppo.)
^A 2 C1.(B)

Du milieu de la ronde infemnle surg'it Tchernobog, sous la forme d'un bone et avec sacour;

derriere lui Kachtchei aveo ses goussli , Tcherv, Topeletz,Tchouma et Morena.

v.-l«. ir\ tt\ . * : Jb^
82
N9 79. "Mlada," Act III (p. 370)
N9 79. „Mlada;' 3"!© arte (p.sro).

Sostenuto e maestoso.

Viens,ap-pa-rais'. Sorsdc la iiuit d&t! ten<ps! Toi qu''a-doraientle.s roi.s lesp.itres.

 N9 80. "The May Night," Act HI.
N? 80. „La Nuit de Mai;* 8"}® acte 88
|bj (Andantino animato!)

^ Doux zephyr, tu pas-ses comme un bavser sur les per - ven-ches

C^ '^^^ ' C^ ^"^ ' ^"^ ^^^ '

P^ ^^

^ f
Ymsi. "Sadkor
3551 N?81.„Sadkol'
(Andante. /= 76.)
 her be Her be ver mousse de soie
Arpe. Dors pai
- si - ble, - ten - dre. - - te

Tes chants on se - duit mon coeur, Tons ils ont ra - vi - men ame
Arpe
 N? 82. '-'Sadko."
N9 82. „Sadko'/ 85

153 (Andante. J=7».)

3F1.

V
^ •
. Sur le
dim. PP
lac na«ent en b&nde des cyynes blaocs et des canards gris.
Sadko.

8 Fl
-^ /I «/^^ i^ )t. ^ ^ i^ i^^ i^ i^ ^ i^ i'i
H(>
N? 83. ''Sadkor
N9 83. „Sadk.o."
1123] Andante.

Choeur
A lti.
i^OAl ti.
^^yg"^^ blancs,
^^Js"*'^ "'^"cs, dans
aans lea couiissesj
coulisses) , K. i

1 1^ '
( J! li^^^^^-l J),iJ J'J I
ll^ '^J-' ^' ''ll'l ^^''
Cy - g7iesblanca,et mou-et - tes grises, re- toumonsiplongeons dans le lac!
V-Ie. arco
N9 84. ''The Legend of Tsar Saltan" (p. 54). 87
N9 84. „Legenae duTsar Saltan" (p 54j,
(Allegretto alia raarcla. j:9«.)
 N9 85. "Ivan the Terrible," overture (deginning).
N9 85. „La Pskovitaine" ouverture (debut).

»Fi. Maestoso.
90 N9 86. "Sadko."
N?86. „Sadko!'
|3| (L argo. el.:44.)
 N9 87. "Kashtchei the Immortal." 9i
N9 87. pKachtchei I'lmmortei:*

IJQ zJ con tuttaforza ed espressione e poco rubato calmando

Fi ice

creso. jfcon tuttaforza ed espressione e poco rubato sfdim.

Viol.
na N? 88. '^Servilia."
N9 88. „Servilia(*
Bi| Allegro
N9 89. "Servilia." 93
N? 89. „Servilial'
Lento.J=52.
 Cor.

^
'

'
d ^^ < bj < ^h * ij'j *13)^
 N9 90. ''Sheherazade/' 4'* part. 95
N9 90. „Sheherazade," 4"l^ partie.

'Vivo. J. 8&>fu|
=
96

Fl.pieo
 97
Pl.picc

V-le.

*
^ ^=# ^^
C-b.

^m m ^
flo N? 91. ''The Legend of Tsar Saltan!
N9 91. „Leg:ende duTsar Saltan!'
(Andante) animando povo a poco
.pico.

Nouspleuron8,noslarjnes» rem - pli-ront

H Jili)Ji|L'i'i^ ^
lesmers, co\i-vri-ront les champs fleu-ris.

^^
ii
^
* ^
^ ^
*
m h j> j> i)
»
m
B » P»

^^ ^^ CJlfE££r££^ ^S
 ;
"The Golden Cockerel/'
JV? 92.
N9 92.„LeCoq d'Or." 99
|g8l An(iantino. J = 88

N? 93. ^'Snegourotchka" 269).

#^ ^ ^ ^ ^ ^
(p.

tf«^

Faff.
^ i^ TT
N? 93. „Sniegourotchka"

a2 ^"^ f r
(p- 269)

L^f i^S^U fr^r

^r
'

uu u '

c; 'r r t ;
'

uwuw
h-HH-.
r

VioMellnnis.
 r

100 N9 94. '^negourotchka'' (p. 271).

N9 94. v.Sniegourotchka" (p. 27i).

kViol.Iell unis
Lj u ' '
^ L-T
'

r —

Fap.
n n ^=^=^

^
ri r3

i' n"T^
IP
I

Tanib-no.

LJ L-f '
LJ u * '
r

/ Viol. I e II nnis
 N9 95. "Snegourotchka."
^9 95. „Sniegourotchka." 101
(MlCAllegro.^)
aFi.picc

dim
loa
i Fl. pic

ff dim.
diiH
 N9 96. "Ivan the Terrible," ActUI (p. sis).
N? 96. „La Pskovitaine," 8"]« acte (p.aiS). 103
F}- (Moderato alia breve) allarg. poco

Epargxie,epargiieaumoinsrnafil
104 NO 97. "Snegourdtchka."
N9 97. „Sniegourotchkal*
Grave e raaesioso. w=60.
Im] a2
Fl.
 N9 98. "The Legend of Tsar Saltan:
N9 98. „Legende du Tsar Saltan'.' 105
(Maestoso con moto. J- 84.)
Fl.picc. 11351
106
PI picc.
 N? 99. "Snegourotchka" (p.us)
N9 99. ,,Sniegourotchka" (p.iw). 107
Animato assai. J. 126.

^
Mai - heu • reu- se, mal- heu - reu - se Vous ton - tes
1^ ^
P » "P »
v Viol../
:^
II.
108 ^^ ^^^- '"^^^ Christmas Night
NPIOG. „La Nuit de Noel"
Andante. J -72.

"
4A
 1 '

^? "The Christmas Night."

iOl. 109
N9lOi: „La Nun de Noel."
1210 Andante. J)- 112.

Sopr. I.

]''' I
. ? m W=:7=m^
r
5^
p^i'^JIeEr.^
Sopr.II.
La sa^van - ce Ko - Jia-da, Ko . lia-d^ la 1
jenne est la

^^ J l
iJ^JjuP j J> i^
J ij'rj J'

Alti I.
La s'a-van - ce Ko - lia-da. Ko - lia-da — la. jeuiie est lu

La s"a-van - ce Ko - lia-da Ko - lia-da la

Alti II.

fcl=

La s'a - van - ce
^^ ^^
Kx> - lia da
no

sur uii trai - nc-axi.bien pa -re. siir nil trai -, neau bi - gur-re!
Sour. II.

I
....
Altl
fcfe

AIti
,
!•
siir

II.
uii trai - neau

^
bi

La
'
- prnr- re

7*
voi
'

-
d
la. sur
la

un trai-nt-aii
^
bi - g'ar - rn

voi - la sur un trai -neau bi - gar - re

IK

m J j^^J J_j^j «^ ^^p

div.
V-e. Jr-^.
-J ^
f^ e f
C-b.

v'i*j H
i
r ^1 » ^^ I
V j y
 N? i02. "Snegourotchka."
111
N9102. „Snieg:ourotchka!'
Andantino. j.66
H,87| ^
\
u
Fi.
 "

N9 103. "The Legend of the invisible rityof Kitesh!

**2 N? 103 „Legende de la viUe invisible de Kitej
.

[s] (Larghetto. J = sa)

^ N?
pp' ^ — -r
Golden Cockerel^
104. ''The
I
"
T C=/ t ilJ
N?104.„Le Coqd^Or."
[4] (Lento. J = go.

N? 105. "The Christmas Night" (p. JS47).

N?105.„La Nuit de Noel" (p. 347).
Adagio. J
N? 106. "The Christmas Night," Prelude. 113
N9 106. „La Nuit de Noel" Prelude.
Adagio. M.M.J=B6. _, _ flxsTi^
 N9 107. ""Snegourotchka/*
*1* N9 107. „SniegourotchkaV
fi97l(J.fr6)

Wr t/J v| f LLJ 1
1
 iV? no. "The Legend of Tsar Saltan " (p.i97).
N9 110. „Legende du Tsar Saltan" (p.i97). 115
(Allegro. J = 126)

Voix des e.sprits dans les airs (6-10 Tenors dans la coulisse) ^

i Gvi -
"m g
don tri
i

-
»r Pv^Pir
Mai - lieur a nous
oni - phe!
«r s i 'Qh
tous!

^
Voix du niagicien (6-10 Basses dans la coulisse)

Ah,
^^
je de -

y-le. con sord.

 A? Ul. "The Legend of Tsar Saltan."
***
N9 HI. „LeVende du Tsar Saltan f
iilSI Andante. J « u.
rLpico.J ^3 3

De la mer sort V Oiseau-cyj^e, qu^ illuminent les rayons I'unaires

1^ N? m. "Sadko," (ofemnf of Uu 2*i tableau).

N9112. „Sadkor (debut du 2 me tableau).
GS Andante. JrTs.
3F1.

La rive du lac Ilmen^ une ^rande pierre blanohe. Claire nuifc d'*et6; Le ordissantdelalune
I.

*»>
 117

a son dcclin. Parait Sadko: il s''asseoit sur une pierre, tenant a la main ses goussli.
 N? 113. ''The Tsar's Bride'.'
118
N9113. „LaFiancee duTsar."
Alleffro nontroppo. J = u

^
|126|
Fl.

P M P P f ^p tttt

%
^ to^'^r^ ^
ry^ ff iTf\ T . p i/

^
^*
%Cor.

i
C1.(B>
ingl.

i "r^ r '
'r»rV
S S
W^ |iiiii ^[^ <

Faf
*>i
«r' p |"r^r^*rttr'i^ff ^t=.^ ^^i y^ ^
Bomeli (du dedans)

^^p
Qui
p p r
ft-appe-i - ci?
»
Lioubacha.

^ 7 h i

^^^
ft

Tu ver-ras
ff JV', ^
si tu ouvrt-s.

N9 114. 'The Legend of the invisible city of Kitesh" (p. 127).

N9 114. „Legende de la ville invisible de Kitej " (p. 127).
(Allegro. J = J20.)

Qui nous don - ne du pain Est un bon sou - ve - rain.

N? Its. ''The Legend of the invisible city of Kitesh" (f.257).
N9 115. „Legende de la ville invisible de Kitej" fp.257) il9

(J . 92)

N? tie. "The Legend of the invisible city of Kitesh'.'

N9 116. „Legende de la ville invisible de Kitej."
(Moderato assai. J = 92^
 N? U7. ''The Golden Cockerel" (p. 3is).
120 N? 117. ,.Le Coq d'Or" (p. 315).
fJ : 120) riten. poco

^ N? "Snegourotchka,
118.
N9118. „Snie^ourotchka('
i^ (Allegro. 1= 76)

Mais non^ au - pres de toi Ta - mour m'e-veil -le a la vi - e

Ton bras vail- lant in'o-treint, mon front s'ap-puie a ton e - paule
Misg-.
 N? 119. "Snegourotchkat
N9 119. „Sniegourotchka? 121

^^"TJiJ^^
13181 (Larghetto. J.= sa)

—^ —
.ci.(B)^'

i fe
f
rftp:
^•-
^-^h j
I. ,k 1^-
"":

'f^
ir ;

^-"Tj.
-f^
:^
/-^^
1

T^
^
r^
O I r^^Tr-TJ^
122
N9 120. "Sadko."
N9 120. „Sadko."
("And ante. c)-:.:52.)_
I

^ Sadko.

Et.

co n
Ifc

sord.
Tw^.
rircfCf-Tr
par-tout ou ,j i -rai,dana le
ir-^r
nionde «'ii -
r
tier
* rr
Son
r ^
 123

II.III.a2
 morendo
Sadko.

j' r > r r. I
f r f r f r fre
riches Vpiis vieii-drez sa - lu - er jiisqua

div.

ifjjiinTm jiiiiiiiiiji

p cresc
125
,o« N9 121. "Sadko."
NO 121. „Sadko:'
Allegro non troppo. ^ = \yi.
.Ob.
I. .—,«
 N9 122. "Sadko." 127

S N9122.„Sadko'.'
(And amino. J =84.)
-/* aOb

k' M-^ '

clH^ 'cM 'cEdJ ciDlr dlrLr

i

'
128

Fl.I.soIo.

L'Indou.

^m jj j.? fl-"Cf
D\i -
i
"

nevoiy ra-vis- san

r1'fa-etf^ ^
 N9 123. "Kashtche'i the Immortal" (p. 119)
N9 123. „Kachtchei rimmortel" ip.119).
129
fOb'Con sord.

"The Legend of the invisible city of Kitesh/*

JV? 124.
N9124. „Legende de la ville invisible de Kitej"
K2I (Poco larghetto. J. -68.)
130 jy» 2^ "The Legend of the invisible city of Kitesh" (p.89^).
N? 125. „Legende de la ville invisible de Kitej" (p.39;^).
Larghetto alia breve. 4^ s*-

PP
V-le. con sord

PP
c,^sord.
^K ^P s^m
^^^ ^
V-c.I.

'>t^,; nnr^n^nn\is!^

^
^ PP
V-cDeC-b.
(s yn

PP
aa 80g4^

N9 126. "The Legend of the invisible city of Kitesh"

^
N9126. „Legende de la ville invisible de Kitej" (p.si?),
(p.5i7),

(Moderato J =96.)
.

y Cor, ingl. con sord.

Ts ppp

^m
Fi^VTonia.

i Fleu - ri tous pa - reils au pal-mier,

> PP
 131
PI. I. II

Com - me monteandiantbarmcj - ni - eux d'ir - re-els oiseauXiChanteurs du del

Arpa II 6n:ut,ret>,mi|>,fatt,sol{|,la,si)( glias.

 N9 127. "The Golden Cockerel."
*32 N9127. „Le Coq d'Or!*
ja] (Le nto. J = 6o)

I
 N? 128. ''The Golden Cockerel?^
Noi28.,.Le Coq d'Or." 133
I—: — I Larffhetto. (J=52) animando pochissimo

Pour me la • Iral - chir la peau .je mas- per - g^e (U- ro . se - e.

rtsv.poco
ia4

N? 129. ''Snegourotchka" (p.950).

N9 129.„Sniegourotchka" (p.a5u>.

(Andante. J --
ea*
 135

N? 130. "Sadkor
N9130.„Sadko."
575] f
Allegro. J w.

Le poisson pris au fili-t se traiisf'ornie en im linpot dor qui sfMiniUe .ni soleil.

Triang-.jfr'^

crcsc. molto

'^^
-

«^Viol..v/'
^k=^
II

i n > !^
V-c.e C-b.

cresc. niolto
 137
N? 131. "Sadkor
N9131. „Saclko"
191l I

(Andante nontroppo. J = 84.'

Va - giics en hur-lant as - sie-gent nos ri - va - ges et blan-ches de co-lere at-

aS

-f"quentnob rochers! Mab hont sur laiii«arplanentiiosrofssauvag\s E-coutantleurs>chantssansbrpnchor

 -

...w N^ 1S2. ''The Christmas Night" (p. 309).

N':'132. „La Nuit dc Noel" (p.au'.t)
Fl.picc.%

Hou-ln.u-lioii-hou liCiii^.ou ho\i-liou4iuu-hou^)oul!i;ti - ItuiI

m
Alii.
^"^^ Sf^S:

h=w ^^^^^S ^il

Ten
m
B-tssi.//"
Hon

Hou
>—
._
^,=^i:^
hon-hoii-hoii-hou-Jiouhou- hou!

^.=^-^=^m m m^^^^^s^^
^^^
buu-lioii-hoii-Jioii-lioii-liuiiliip.i-liou-lu.u-lioii-hoii lion!

Hou hou-hoii-lioulioii-how-hou'.

^^^^3^??? I,|
.
 139

N? 133. "The Legend of Tsar Saltan^

N9l33.„Legende du Tsar Saltan."
S(Maestoso. J < 63.)

Fl.picc
140
Fl.picc. e 2F1.
 V

141

N9 134. ''The Legend of the invisible city of Kitesh!'

N9 134. „Legende de la ville invisible de Kitej."
Ii99| (Allegro. J . isa)

'Tr be/ marcato

^(c-altaF) secco_

4 rpvp yP? XpytigvTv [^^P>P^ ^^p->^ ^^ yl> ft ^ »

^
P Y

^^ ^
[J ft

ifti. t pvpv i ^ ^^
sii=

"s
Tr-bni. *ecfo

^^ ^ ry^ ^RF=^ Jyj Pyft^Y j[

^
Piatti
•J J J i
J J J I
J i » U J J I
J ^ J iJ ^ J

iV? i55. "The Golden Cockerel" (p. 143).

N9l35.„Le Coq d'Or" (p. us).
(Moderate. J = 5o.)
C-Far.

V^^J V J I? M P » I.J V J V P V I T ViJ V Jv ^ H P Vi.J>^ J^v P V

Ccr.ill.rV.

pizz.
 ,

142
N? 136. ''Snegourotchka" (p. 97)
N9l36.„Sniegourotchka" (p. 97).

Adagio. Recit.

Bon-nes pens, ve-nezet vo-vez tous>cet-te mer-veil-le! (Sniegourotc-hka se montre'i

"6
m
.<*#!;>

I
CORO- (Tons s'approchent dii tronc d'arbre) Sopr.

N9 137. "Servilia
N9137. „Serviliaf'
)Fi
j- (Alle gro maestosoJ
 143
Piu lento, d -. io>».

a 2
144 JV'P/^A "The Legend of Tsar ^Saltanr
„Leffende du Tsar Saltan!'
NO 138. „Legende
Moderate assai. J = 84

I. II. con sord.

 N? 139. "The Legend of the invisible city of Kitesh"
N9139. „Legende de la ville invisible de Kitej." 145

Il58| Maestoso.

^ N? 140. "The Legend of the invisible city of Kitesh:

N9140. ,,Legende de la ville invisible de Kitej"
|248| (Larghetto alia breve, jl: 52.)
ci.miCa)
 ^
146
N9 141. ''The Tsar's Bride!
N9141.,.La Fiancee du Tsar.'
|50| Allegretio. J = ii2.
Cl\B)

Ps m aa m do^'Jt
dim.

^a^«
N
Fag-.
JDl!
rt ^^
^
aim

. i
/:^;^ 5^ J i
J J £S^ ^
•'
f= rr 1^ T-— rr
N
'or.

CORO
fnf
w* i a^E
r^
dim.

^
Jy^
/f.
Sopr. Aiti.
bopr. Alti. ^^^^
mm
*' J

Sur les bords du clair ruis

'

le
r
hou blon vert q\u
R
grim -
r
pe.
Ten.

Sur les bords du clair ruis - le hou -

^
blon vert qui grim pe.

^m Bassi.

^ ^ ^^-
N? 142. "The Tsar's Bride" (p.S47).
N9142. „La Fiancee du Tsar" (p.«7;.
^Moderate, j; 86.)
 . . .

N? 143 ''The Christmas Ntjorht/'

147
N9l43.„La Nuit de Noel'.' '

165| Adagio. J -. 56
Fl.I. II.

dim. poro a poco

*)A defkut, clochettes; sur le celesta, jouer
"*
a 1' octave inferieure,oniett«mt la premiere note IN.dn
Feed.)

^ A Fl.picc.
g 1 1
I Fl.I. ill.
W1 "^^
"^ //*;« smorx

i
smorz.

^Cor.
ii hi i i 1
T^ ^^ f
8-
i w^-
tsi
£^^^E^^EE=^Et l-.fejf:jzffeI^^M^Ti

m Arpe.

di?n.
> MIee^ 1
poco a poco
M M I r t
^E^
jjzi:,j^Lo^^j^

I
4 .'iol.I.
-tr

^^
*• 1^ <9
**
<2
2VJ01.*'
— ^-
4r

^=^
^^^N9 144. ''Sadko" (p. 121) woodwind alone).
N?144. „Sadko" fp. \2\\ instruments a vent seuls). 1
(Andante. J: 72.)

dim.
if? 145. ''Sadko."
. ,N9145. „Sadko!'
l242jAndantino. J = 66.
 N9 146. ''The Legend of the invisible city of Kiteshf'
NO 146. ^^Legende de la ville invisible de Kitej." 149

[IS (Larghetto alia breve. J =62.)

Fl.picc.
150 iV? i4t "The Golden Cockerel^
. N9147. „Le Coq d'Or"
[233] Allegro alia marcia. J
' = 120.) 1

"Russian Easter Fete"' (p.H).

iV? 148.
N?148.„La Grande Paque Russe" (p.ii).
objAndante lugubre. (J .- so)
I
N9149. "The Legend of Tsar Saltan!* 151
N9149. ,,Legende du Tsar Saltan'/
129
(Moderate assai. J: 84.)

Lalumiere augmente. Les rayons du jour per9ant les brumes du matin revelent la ville de Le-
denetz.

V-c.e C-b.

ty ^=^
PP
 N? 150. ''The Legend of Tsar Saltan" (p.;Si9).
N9 150. „L^gen(le du Tsar Saltan" (p. 219).
PL*leo.«Fl.I

m CampangUi.
J
f I' ' ^^
i'""^'[iijjTi^ I

giF jfn iLiutujIiiLrtiif

pisz.
 N9 iSl "Antar"
„
m
N?151.„Antar."
(Allegro.)
158
154 N^ 152. "Antar:
N9l52.„Antar."
,pl, (Adagio.)

I
 N? 153. ''The Christmas Night'' (p. 376). 155
N9l53.„La Nuit de Noel" (p.37K).
Andante, tenuto ass'ai.
156

p cresc.
(Un soleil rouge se montre a travers lea brouillards places')

2 Viol

p cresc
 157
PiU mOSSO. i)l44. (J: 72.)
Fl.picc.
158

,Fi.piccr

I
A
mCl.picc.'^

n.

A-i
D f

Fag-.
 N? 154. ''Sadko."
N?154.„Sadkof' 159

Gloireau bon vieil-lard, gloire a ce bien - - fai - teur.

N9 155. "Servilia
N9155. „Servilia!'
3 Fl J : 72.
leo N*^ 156. *'The Legend of the invisible city of Kite sh" (p. 252).
N9156. „Legende de la ville invisiblede Kitej" (p 2f>2)
FI.I.
(Andante mistico. J:«a) ritcn. molto
 N9 158. ''Ivan the Terrible," Act J.
161
N9l58.„La Pskovitaine" W acte.
""fi. Adagio.

Je voiis par-leTai(lupreuxpa>la-din Oo-ri-nia, du ser-pent cru - el, Tou-

^ poco cresc. W ^n. e mor

JlJ- ^
"Wze:=:
poco cresc.
% dm. e mor.

I
Tr-be.
jCE
J^-^ dim.e mor.

^^
162 ^ iS9. "Snegourotchka" (p. £28).
N?159.„Sniegourotchka" (p. 228).
(Allegro moderato.)

^^^ ^ ^

i
m
^
pp
N9 160. "Sadko" (p.231)
N?160.„Sadko".(p.28i).
^; (Allegro non troppo.)

Les devins (mysterieusement)

•^ Sur lamer, sur To-ce-an, dansune mys

i - - "le - te-ri-eu-se fleu-
con sord.
' A I

Les devins.

j k'' J J
-^^ i
j
J^
1

I
J_ 4viv^ J^ 1
,1 ^_ I
y J'
J'
j^
^
rit la for-ce qui ue nieurtpas. la force ne-pui-sable
 N? 161. "The Legend of Tsar Saltan" (p. so).
168
N9161.„Legende du Tsar Saltan" (p. 80).
Ob. (Allegro. Jiiae)

f^_f r f _f_p r gjLA^ e-jL^ ^

r f r f ^ f f r ^ r f r r r r r r ^
n
Platti.

Ha - ha - hii - ha - ha - ha - ha - ha - ha - ha - ha - ha - ha - ha - ha - ha!

J? 162. "The Legend of Tsar Saltan'' (p.92).

N9l62.„Legende du Tsar Saltan" (p. 9a).
Fi. (Andante. Jzea)

N? 163. "The Legend of the invisible , city of Kiteshi

_ N9163. „Legende de la ville invisible de Kitej"
O b. Allegro. J-.\zo.
IQA N9 J64. "The Legend of the invisible city of KitesH' (f.ioo).
N9164. jjLegende dela ville invisible de Kitej" (p.40o>.

lis sont de - ve-nus sol- dais du Christ, des mar-tyrs s^en- ri-du - ra Tar

N? 165. "The May Night/' Act I (p. 105).

[Eg N9165. „La Nuit de Mai" l«Jacte (p.ios).
T^Jv. (Allegretto.)

> i/p
N9 166. ''Snegourotchka:
166
N9166. „Sniegourotchka!'
Maestoso. <J: 69.
rI.II. a 2
166 N9 167. "The Christmas Night/
N9167. „La Nuit de Noel"
Andante. J =72. ^
a
\ tit\r \

^S -"pp-
^
a
3 Fl.

* "
n.iil.
111- fi: a ft
I

S iX^sr.
=1 =8=

^
pp-
ob. n.

//l^Clar. picc.(D)

:^^^ TT

^2 Cl.(B)
N? 168. ''Sadkor
N9168. „Sadkof' 167
(Andantino. J- = 66.)

15
168

cresc. T dtm.
N° 169. "Sadko" (p. 49^)
N9169. „Sadko"(p.492).
169
(Andante. J: 66.
170
 N9 no, "SadkoP
N9l70.„Sadko!' 171
12441 ( Andantino. J.= c&)
 .

172 N? 171. "Antar!

N9171. ,.Antar

N9 172. "The Tsar's Bride" (p.J852).

^
ir—
Fair
N9
01.
172. „La
(Moderate.

z?
Fiancee du Tsar"
J c 9G.) ^

^^
^
(
p. 252V
^^^^
^w
7- i i
yVt »«

i '^^^^4^^:^,^^^:^-^
m 173. ''Sadko'' {f.ii2). ITS
N9173.„Sadko"(p.ii8V
rVivace.)
Fl.picc.
179 N? "The Christmas Night."
174.

P-J^
N9174. „La Nuit de Noel"

ri.pi«e,« » ri
N? 1759 "Vera Scheloga" (p. 49). 176
N?175.a. „La BoiarineVera Cheloga"(p.49).
Ob. Lento.
pten. ass at

quel mal - heur' Oi- seau^pourquoi te tai - re? Je cherche en

Vera.

vain, ne trou-ve pas ma rou-te, je. ne sais plus que faire, et je m?e-ga-re.

N° 175? Another possible orchestration.

N9 175. b. Autre orchestration possible.
Vera. Lento.
" J^ J^ iiJ' hi-l » J^ J^ J' J^ Ji
I
p iiJw V JO i J^
quel mal - heurl 0i-8eau,poxirquoi te tai - re? Je cherche en
rT\ t^n. assai

vain, ne trou-ve pats ma rou-te, je ne sais plus quefaire, et je m'e- ga-re.

 N? m. "Russian Easter Fete" (p. 5).
176 ^9176. „La Grande Paque Russe'* (p.5).

(Lento mistico. J =84^

AViol.soli.
 N9 177. ''Russian Easter Fete" (p. 9).
N9177. >,La Grancle Paque Russe" (p.9) 177
(Lento mistico. J = 84.)
— timile
Fl.l
 J

^^^ N9 178, "The Tsar's Bride" (p.i-s).

N9178. „La Fiancee du Tsar" (p. 1-2).

Jlj^Allegrro. J = 108.)

N? 179. ''The Tsar's Bride:

NO 179. „La Fiancee du Tsan"
S (Allegro. --
108.)
^ \^rf^ ^^^^
 179
N9 "The Tsar's Bride."
180.
N9180. „La Fiancee du Tsar."

y
mFl.picc.
(Allegro. J = 102.)
 — r

N9 181. ''The Tsar's Bride!'

180 N9181. „La Fiancee du Tsarf'
[2] (Allegro. J -.
102)

N9 182. "The Legend of Tsar Saltan.'

N? 182. „Legende du Tsar Saltanf
RH Modei'ato alia marcia. w : 88.

"
" 'c; " " "
u '"

—
'

l; r T t t r lj r

Vr ^
r
^
r r r
N? 183. "The Legend of Tsar Saltan/
181
N9183. „Leg:ende du Tsar Saltan"
Moderate allamarcia. J -88.
Fl.picc.

<?/• y
 N° "The Legend of Tsar Saltan.
184.
1^2 N9184. „Legende du Tsar Saltan"
ljS[ Allegretto alia marcia. J = 96.
I plcc.
f

J33- J
J5L »
i
^ .n
p \m .JD . IT1» m jn .
. n\m J!L P
f J^f f
^f

N? "The Legend of Tsar Saltan."

185.
J r r ' r r

N9185. „Legende du Tsar Saltan!'

Allegretto alia marcia. J = 96.
Fl.picc.ezri.

n areata
 N? 186. "The Legend of Tsur Saltan.
183
N9l86.„Legende du Tsar Saltan."
3 (Allegretto alia marcia. J- 96^

^ N9 187. "The Legend of Tsar Saltan" (p.soey

N9187. „Legende du Tsar Saltan" 'psoei.
4Cor(Allegro tempestoso. J- 132)

-va ge tren - te - trois puis - sants gu»T - j-rts

^^^ N9 188. ''The Legend of Tsar Saltan" (p. 4f€).

N?188.„Leg:ende du Tsar Saltan" (py*i»i).

(Allegro animate. *-i44.y

m^
Tr-bni. e

i
Tuba
i ^ rmrm n i HJ J i

A-
Timp
N? 189. "The Legend of Tsar Saltan" (p. 367). 185
N9189. „Legende du Tsar Saltan''^ (p.367).
(Allegr o. J- 132 .)
 —
186

Cor. f- -^ r r

Tr-bni.
eTuba. K ^ »

Timp.

ir
Cassa.

Viol. I e II
 N9 190. "Ivan the Terrible," overtun.
N9190. „La Pskovitaine"ouverture.
187
la (Allegro.)
^Cl.l(A).Sol(

N? 191. 'Ivan the Terrible," overture.

^ N9191. „La Pskovitaine" ouverture.
(Allegro) —5,
 N? 192. 'Sheherazade" ($.5)
188 N9l92.„Sheherazade" (p.S).
(Alleg ro non tr oppa J..56.)

i^? 193. "Sheherazade" (p.a)

N9193. „Sheherazade" (p,8).
A ^^
CAlIegTo non troppo. J.-56)
 —
N? ''Sheherazade" (p. 19).
194.
N'M94.„Sheherazacle" fpiw).
189
[S]
^,
Fl.picc.
''c--
*£^
——————— >•
^Allegro non troppo. d..
^
56.)
tf
 ^? 195. "Sheherazade" (f. 38-89).
190 N?195.„Sheherazade" (p. 38-39).
(Allegro non troppo. d.-56)
N? 196. ''The Legend of the invisible city of Kiteshr IM
N9196. „Legende de la ville invisible de Kitejl'
(Poco larghetto. J -60.)
192 NO igf rrj^ Legend of the invisible city of Kitesh.'
N?l97. „Legende de la ville invisible de Kitej!'
(Poco larghetto. J-6o)
 1

NP m.'The Legend of the inmisible city of Kitesh!'

N?198. jiLeg^ende dela ville invisible de Kitej" 193
(Poco lararhetto. J. 60.

N9 'The Legend of the invisible city of Kitesh*'

199;

N9199. „Legende delSi ville invisible de Kitej"

(Allegro. «^.120.)
^
iV*i"T I
r f r J I i;_^
^

'~rj i 1
i i i"T i
f^
 N? "The Legend of the invisible city of Kiteshi
200.
194 N9 200. vLegendc de la ville invisible de Kitej'/
[7q1 (Alle gro. Jriao.)

i^? ^i. ^T^te Legend ofihe invisible city of Kitesh."

N9 201. „Legende de la ville invisible de KitejV
(Alleg ro J-120J
 N9 202. "The Golden Cockerel'' (p. 298-299).
N9202.„Le Coq d'Or" ^p. 2i<H-y9^,. 195
(Allegro
^ alia marcia. J-120.J
Fl.picc.
^96 ^ ^^ "The Qolden Cockerel^*
N?203.„Le Coq d'Or"
(p.
(p.ao9-8io>.
SOB-ssol

ri.pico
 197
N9 204. ''Snegourotchka'' (p.£67).
N?204. „Sniegourotchka" ip 2K7..

(Vivace. J-I60.)
Fl. pice
 N9 205. "Sadko."
198 N9 205. „Sadko:'
I173] Allegro. J..66.
I!"!. piece 2 Fl.
 N? 206. ''Sadko."
.
,
N9 206.„Sadkof' 199
11771 Allegro. d..G6.
Fl. piece 2F1.
 N^ 207. ''The Christmas Night."
200
N9 207. „La Nuit de Noel!'
|184| Allegro non troppo, alia polacca.

ij^lhi

pMj^^
ir
^^i^i^^^.
 201

•^
n,r cresc.
 N? 208. ''The Christmas Night."
202 NO 208. .,La Nuit de Noel'.'
|lg(-|
(AUegTo non troppo, alia polacca.j
Fl.piccjB-
a ^ a £ # ^ ^f^

chaai-tez, trom-pet - tes, flu - tes dan3 la nuit ou point l^u-

Bassi
;203
m 209. ''Sheherazade" (p. 123)
205
N? 209. „Sheherazade" (p 123.)

Andantino, allargando assal.

I. Solo
206

colla parte
 N? 210. ''Snegourotchka" (p. 176-177).
N9 210. „Sniegourotchka" (p.i7e-i77.)
Risoluto ed animato. <^= loo.
Fl.e Ob.

'^
fcrr^' ircrr*" ir* " r^i- ^^ e rr crrri;
poco af>oco
Ar-j ^^^1 ^i ,^ ^ i^jb^
^JnJ J dimr

g__oiOier, la
i
,^j
fa -
I

rou - che cla - nieur

\

^ ^p
de la guerre et de la
^
ba tail
208
N? 211. ''Snegourotchka" (p. 179-180).
N9 211. „Sniegourotchka" (p.i7y-i80).
(Animate.)
a2

C1.(A) i^7/li ^ u ii^^i^M

f^ -r
^r 4 r "-f r r i
^ Faa

^' »
a^2

Cor. „ o ff
^^ ^ r ' r Cj r >

f.

I i
'"'II J J-IJTl J or I

^ -^^
^^
^
Tr-be.(B)

I^M
I
^^=^f
ff.

Tr-bni. e Tuba.
J JPJ j|j jj
f ^
^J .a^
-^J
^

^
Timp.

Ten. I
^^ ^^-£^ ^ ^
 Z09

it h'^f r ^> ^f r ,
^^
rr7 cresc.
r r f , ^f ^f f f f f

r ^
»ii r r r j
5=» Y'T r r r r .

cresc. ^
Cl.

rri_i!Lii.
''= h^iif

r" r S^
I r Lf r

a
Fag-.

r r f\ \ ^m rW
 N? 212. "Ivan the Terrible," Act U.
210
N9 212^. „La Pskovitaine," 2^® ax:te.
[l9| Allegro moderato maestoso.
 N? 213. ''The Legend of the invisible city of Kitesh: 211
N9 213. „Leg-ende de la ville invisible de Kitejf
2&4l Andante non troppo. (J = m.)

Du fond de la clairiere marecag'euse,toute fleurie, s''avance^comme sur la terre ferme,nma^ du

prince Vsevolod entouree d'une lumiore doree. II louche a peine le sol

212
 218

^
C.lngl
*** N? 214. "The Legend of the invisible city of Kitesh'
N9 214. „Legende de la ville invisible de Kitejf
fSjg] Andante non troppo. J=t»'.

F^vrQoia et Tapparition sortent par le marais, effleurant a peine le sol.

PP9 3
2\? 215. "The Golden Cockerel." 21S
N9 215. „Le Coq d'Or."
(Moderate J= . loo.)

pizz

,«i I '^^Vy»3 j »» J iJ vv JJiyv J i Jv »J J »» JiJ » » JJ » » J , J H^44*m4

v ¥J#»¥3i 4H » j J¥ » J
j » H44H
.

iy!" 2lV\negourotchka" (p.l4S).

N9 216. „Sniegourotchka"(p.i48.)
(Animato. W:i26.)
)b.i

He bien pre - nez, sivousrfavezpas hon-te d'etre enriohis pax lemalheurdesautrea!

 r
216 iV? 217. ''Russian Easier Fife.**
N9 217. „La Grande Pique Russef'

iFl.

[^Triang.

Piatti. r^ coUabacchetta da Timpano

r —
fiijj . i
217
 N? 218. "The May Night" (p.i40).
218 N9 218. „La Nuit de Mai" rp 140.;
Allegro vivo.
2 Fl.picc

N? 219. ''The Legend of the irwisible city of Kitesh'.

^ N9 219. „Leg-ende de la ville invisible de Kitej!'
-^T-(Moderato. J=m.)
ttfljfl Fag.IIeC-fa^.
N9 220, ^'The Legend of the invisible city of Kitesh'.'
219
N? 220. „Legen(le dc la ville invisible dc Kitej!'
('Moderate. J; 92.)
j.n. _a2 |
«f^
 N? 221. "The Legend of the invisible city of Kitesh."
220 N9 221. „Legende dc la ville invisible de Kitej."
rrj=i ( Moderato. Jzs-^.)
N9 222. "Snegouroichkar
N? 222. ..Snieg-ourotchkal' 221
IB4I Lento. J = 69. doleiaiimo
ri. ptcc

FKplcc
 N9 223. ''Snegourotchka/'
222 N9 223. „Sniegourotchka'/
12751 Adagio. Recit.
Cor.

< n^^
A-vec le
n ^^J\}^^^
jour va com-men-cer le regTie

"•^'w'
"*"
y " PourQuoitesBleurs et que veux
Du dieu Ya-ri- lo, de I'e-te de flamme
N9 224. "The Legend of the invisible city of Kitesh!
223
N9 224. „Legende de la ville invisible de Kitej."
Lento mistico. J:6o.
 N? 225. ''Sne^ourotchka/*
224 N9 225. „Sniegourotchkal'
, , Adacrio non troppo, lento e cantabile. ^z 7a.

le 8o-leil sur lacol-li-ne de - crort len - te_ment, pa - lit et .raeurt

, v-i

N? 226. "The Golden Cockerel."

sss N9 226.„Le Coq d'Or!'
LaiteinedeCh^
Lento non troppo.

Ah!. Viens, la oal - me null re - pe - te la chan-son descoeurs en

Viol. I. e II
unis. fT\ ptzz.

'PifctU.
Allegro moderato . J : io4
+- f *-H—

flS-te. Tiens,boisce vin tout pe-til-lant, o'est le sang .^ de lX)-ri-ent'.

 N9 227. miada," Act n.
225
N9 227. „Mlacia;' 2"1- acte

[li] (^Andante non troppo.)

Loumir.

(muta sol in fa|) dolce colla parte

Loumir

Loumir
836 N?^228. "The Legend of Tsar Saltan."
N9 228. „Legende du Tsar Saltan'.'
Andante. J= 68.
Fi.

BupalaiB sort la princesse Cypnejdontlasplendeur eclipse ceile du soleil. Tous protegent leurs yeux
""
de la main.
zz'y
228
 .

N? 229. ''The Golden Cockerel" (p. -227). Z'.^

N9 229. „Le Coq d'Or" (p.227.)
Fl.picc
230

fij.£>^3mi,^ 'ig
<^i I

Cor. I.

PP

tou - jours, sans tre

'1^4

Arpa.
Celesta.

p
«
V I ^ ^^

H V
; ^ Mr i f ^
 N9 230. "Russian Easter Fete."
N? 230. „La Grande Paque RusseJ' 231
Sostenuto e tranquillo.eJzise.
JPl pico
238 ^° 2^i- "^^ Legend of the invisible city of Kitesh'.'

N9 231. „Legende de la ville invisible de Kitejl'

12971 (Andante. J = 48.)

Fl. piece Fl.L

Spectre, tu parais porter les traits deVse-vo - lod le che-va

Arpa I.
8

div.
 2BS
Flpicc

cresc. poco
 .

284 N9 232. "The Golden Cockerel" (f. 282).

N9 232. „Le Coq d'Or" (p.a82 ).

(Allegro assai. Jzisz.)

Fl.picc

N? 233. "The Golden Cockerel" (p.l4ti}.

N9 233. „Le Coq d'Or" (p.i4i ).

Moderate (alia breve), '^.l . so

api picc.
 N? 234. "Sheherazade" (p. 61).
N?234. „Sheherazade" (p.ei). 285
(Vivace, scherzando. J 132 •
;

N9 235. "Snegourotchka" (p. 807).

N? 235. „Sniegourotchka" (p.307).
Moderate. J-re.
/J;P'««-|t^ .
I,,

La vision disparait; a sa plaoe on volt un tronc d'artre surlequel deux vers luis&nts
p.^brillent conime line paire dyeux
236
N? 236. ''Snegourotchka!-
N9 236.„Sniegourotchka."
(Larghetto. J-^ss.)

Sniegourotchka.
P

3Ier -
rr
ci
pir^pr
du fond du cceur
< pir'r
pour - tant
p«r
d'ar-dent
pir
a - mour —r^<-

m Arpa.
1^ m
PP

mViol.I solo.
m
f rn-fif t f fif^ ^- if f
PP
Viol.II
trem.

¥» j
. ^ i.
dlv. arco
I. J'^'' ^^
1^
V-le.

V-c.
^^ ^P^
PP
pizz.

^m =^^^
PP
V V i'

2C-b. soli.
 N9 237. "The Chrism tis- Night'' (p.Si^).
N Q237. „L a Nuii de Noel" (p.312). 237

N? 238. "The Golden Cockerel" (p. 19).

N0 238. „Le Coq d'Or" (p.i9).

(Andante, ^-.tz)
1i A Wl p tc»^
.
 .

ggg N9 239. ''Ivan the Terrible" Ad U.

N?239. „La Pskovitaine," 2"ie actp.

iV? 240. "The Tsar's Bridef

N9240. „La Fiancee du Tsar."
fj^
'

— 5'j, (Allegro moderate. J mis.)

i nJ^ J^ |t|J / i
Oiii . elle est belle rose et blanche de taint..
 N? 241. ''The Tsar's Bride'' (f.2io).
N9 241. „La Fiancee du Tsar" fp.^io). 2:^9
(Allegro moderato. J. iia;^

N? 242. "The Tsar's Bride." N? 243. "The Tsar's Bride."

N? 242. „La Fiance'e du Tsar." N? 243. La Fiancee du Tsar.
^Lento. J- 56. (Lento.)
 N? 244. '^Snegourotchka."
^ ^^0 N? 244. „Sniegourotchka!'
ISy Andante, molto sostenuto. J« i
I
N? 245. "Sne^ourotchka.*- 241
I l313l
^^ ^^^ „Snieg:ourotchka!'
^^-;:ji„ (Andante. J.«».)

On rayon brillaot perce les brume matinale et tombe sur Sniegowrotchka.

 N9 246. "Serviliar
^2„ N9 246.„Servilia!'
[g25!(Lento. J=6o.)
 N9 247."The Tsar's Bride"
m 247. „La Fiancee du Tsar" 248
(Adagio J

^ N? 248. ''Russian Easter Fite."

W 248. „La Grande Paque Russe!'
P] (Andante lugiibre. «J=6o.)
244
N? 249. 'The Legend of the invisible city of Kitesh:
N9 249. „Legende de la ville invisible de Kitej!' 245
E
• -
(Larghetto alia breve. ^-Irea.)
Cl.l.U (A)
^-'
 N? 250. "The Legend of the invisible city of Kitesh.'
246 N? 250. „Legende de la ville invisible de Kitej!'
Allegro ^Jr . 18 8

Com - me monte au eiel le tour-bil-lonl La pous-sie - re voi - le le so - leil.

N? 251. '^Spanish Capriccio/'

N9 251. „Capriccio Espagnol"
Met Sit mo

•^
/
 N^ 252. "Sadko"
N^>252. ,,Sadko:' 247
12641 (Allegro non.troppo. J- 112.)
Ob.I.Solo.y

PFP
N9^ 253. ''The Legend of the invisible city of Kite sh'.
N9 253. „Leffende de la ville invisible de Kitej."
Solo
Ob. I

N? 254. ''The Tsar's Bride" (t.ZAe'H^r}.

N? 254. „La Fiancee du Tsar'*^ (p. 246-247.)
(Moderate. J = »«.)
 "

TVr 255. '"Sheherazade," movement2^

N9 255. „Sheherazade;' 2"}" mouvement. 249
[jpi (^Aiidantino,j)OCO animate.)

N? 256. "The Tsar's Bride/'

N9 256. „La Fiancee du T^ar
Molto andante. J = eo.

A Nov-gDrod^ansun jardinsu-per.be, sous les om-bragesnou8VHion8,en-sein-ble

 N? 257. ''The Tsar's Bride" (f.
186\
25qN'^257. „La Fiancee duTsar" (p i«<« ).

(Andante. J = 9s.)
sirtngentio foco a poeo

poco
 m
N9 258.
258. ''Mlada'/ Act lU.
„Mlada;' 3"1« acte.
251

IliJ Moderate, poco acceler.

Fl. pice

r ^^ poco cresc.

I
(non stacc.)

mi~n^ni
2>P
jjj.;j'jJJ3
poco cresc.
m
i^^p pqr

16 Viol, n div.

^^
(noil stacc.)

W
*ff
^
^ ttf'tU ::r
pp poco cresr.

^^«ffr"fr7»fg
*** ttt-
/?oco creirc.

^ ^^
12 V-c.div. pizz.

r.T .r m
^ #^
'
i
r v«r ^

^oco cresc.
H C-b.div.
arco

> ^j?
^rt^ /oco cresc.
252
Fl pice.
 Con moto 253
PI. pice.
254
I
.V" 259 "Mind a: Act III
N'>;<J59. „IVIlada:' 3" acte.

[19! Andante.
Fl I.

1.1. J. :i*?!auij -

y/)

^^ ^^^
M. 11

JS
FP
i
Fl c-alto '(Ji

% jj^'

j?p
5fe ^^^ ;vv^ ^
-

i
Oh. I.

PP
?==^ ^^
Ob. II.

Ob. c -alto.
^^ ^^
pp
I^ J^' r'r jC
l \

m PP
?^^^ I
fij- i'

3 Clar. (B)

^M^^ ^^
te

3 ^
3 Fag-.

pp
3 Cor. (F)
con sord.
Iy^i—HH
pp

^^go-
Tr-ba.picc.(Es)

» /?P
^^
^^^^1
Tr-ba.lKB)
£
i /?P

i
Tr-ba.c -altaCF)

^^
L" ombre de Mlada (mi mi que") :..Ce sont les voix prophetiqxies des esprits; ecoute-les!"

Voix des esprita lumineux (derriere la scene)

Coro.12-16 Soprani.

j-4-/^ij J' l ^J^Jm^l y\ ;v I r~pv^*' U' " i

-J'T ''Hi't ^ri'*' !

p
Ya-ro - mir! Pour toi bien - tot _ 8on-ne-ra I'heu-re.
 iJo5

Poco acceler.
p'

poco a poco
25&
Fl. pice.
 257
N9 260. "Sadko:*
N?260.„Sadko"
,
And antino. J- -- ee
(MS 1^*1
'W~^-
 ' —
N9 261. "Sadko."
;i58 N?261.„Sadko!'
Moderato. J = 96

r
Piatti e
Tam-tsin

VP
Les eaux du lac

>.^A^A-k<
Al p^
1
P '
— —
3'

kfc-
P^
-Lfe
1p* V^<
'
p'
—
agitent; des profondeurs surgit le Roi des Mers

Vp:<A-^<
P P
crresc. ir
div.
I.

^>e W*ti» -
nfv'^tf^t ^ ^ p^ ^S^P
m^ -^
IeI ^ ^ p p -*^
% m ^ f
cresc.

^^P
div.
V-15.
41 i M A
^ffi * £
r
* unis

S
\jsr

a # e ^ ;i

S C-b.

i s i
^
 N? 262. "Aniar 259
N9 262. „Antar:'
(Allegro risoluto.)
FLpicc.
260 N? 263. "The Golden Cockerel.''
N9 263. „Le Coq d'Or.
-^(AllegroJ

eresc. molto
N9 264."Pan Voyevoda," introduction (p. 3).
N9 264. „Pan le Voievodel' introduction (p. 3).
(Allegretto. J.: bs)
2ez ^ ^^ "'^^ Legend of Tsar
N9265. „Legende du Tsar
Saltan.
Saltan!'
(J set)

rrrrr^rrrrrr^t rrrfrrrrrrrrrrrrfj

-©-*-
 N9

Fl.picc.
.^^.— ^
266. "The Legend of Tsar Saltan."
N9 266. „Legende du Tsar Saltan."
——
EHJ (Moderato assai. J : %\ )
. ^^
268

N9 267. "The Legend of the invisible city of Kitesh" (p. 4S8).

N? 267. „Legende de la ville invisible de Kitej" (p.488;.
(Moderato. J - as.)
264 N? 268. "Kashtche'i the Immortal"
N9 268. „Kachtchei Immortel."
im (Allegretto mossx). Jiize.)
.Cor. inpl.

>
Coro tdansles coulisses) La te m pete commence
Q j^j ^j

Gronile et souf - fie, tour-bil - Ion, cou - vre de tes blancs flo-cons

Arpa (harpcs eoliennes)

Cor. in pi
 N? 269. ''Kashtchei the Immortal/' 265
N9 269. „Kachtchei Immortel."
[^HCAllegretto mosso. J: 126.)
Fl.picc

mf
Arpa(harpe eolienne)

(La scene dircouvre de nuages;furieu8e tempetei nuit.)

V-le.

m ^m ^M ^m ^m
^ ttJ. i^ ^ ^^s:^ ^ ^m
3ZJ
C b.

m J|. |.
 267
N9 270. 'Idlada" (p.iee)
N9 270. „Mlada"(p.i66).
3F1. fr ^ tr
 —
268 N9"Tne Golden Cockerel."
271.
„Le Coq d'Or."
N':>271.
3^<'Moderato. J:ioo.)

N9 272. "The Legend of Tsar Saltan" (p. 179).

N9 272. „Legende du Tsar Saltan" (p.i79).

( Maestoso, (i:
H^ QFl.picc. ^^^
63 j^ . ^,_
^^^-pc riten pace.
 N? 273. ''The Legend of Tsar Saltan" (p, 269). 269
N9 273. „Leg:ende du Tsar Saltan" (p. 2b9).
(Moderate assai. lf«')
^l.pJcc.
 r

270 ^ 274. ''The Legend of Tsar Saltanf

N9 274. „Legende du Tsar Saltan!'
(J I . gg )
(Moderate assai. J.)"

m ^m 'fi fflTJ^

^
I :

ff since.

,
Cor. ingl

Cl.(B) .
ff
•'*'
^ ^^ p-j t t

g'
j7 r^
Cl.basso(B ")
<9'

p.
f^'
\'
Y
f'"
\' ^ ^x\\
» F » P =$?#=

Pi Fay.
ff
r J^^'i f J
w — J r r J

a 2
^ '.^^^^
fj
Ji Ji I
J
j
L/ACor.

i..JJ-Mf fJ_L^
|s»'iii.iy^
MI.

^T^-bc.(B)
B jjf jjnfr7n ]

^
^

'""j.
Vie

Vc.

C-b.
f
/

/
^
Jl^i Qk
^
f^

J?
-:»T-

/
N9 275.''Pan Voyevoda/' 271
N9 275. „Pan le Voievode."
(Larghetto, J. 7e.)
=
272
Quasi irillo.
 278
N? 276. ''The Christmas Night" (p,3lo).
N9 276. „La Nuit de Noel" (p.310).

(Allegro assai. J . les.)

^' gUssando (sons harmonigues

274
N9 277. ''Sne^ourotchkar
N?277. „Sniegourotchka!'
[45| Adagio. J: 50.
.or. I.

soir, le soir je chante - rai _ Jechante-raipoure-g-a^v-er laso-li - tude

Poco piu animato.

les plus guis de mes re- frains. Le beau Lei males ap-pren- dra.
 N? 278. "Sadko.' 275
N9 278. „Sadko'.'
(14 3i Adagio. J = 56.
f\

poco cresc.
oya N? 279. "Snegourotchka."
N9 279. „Sniegourotchka!'
(Allegretto capriccioso.) string.

Voi - la icon reve et mon bon-heur.je ne piiis vi- vre sans chan- sons.

uJ P.i^Pi sT i Pypp
Chan4«r,voi- la monseulbonheunma joi - - e!

pizz. arcccN
N? 280. "The Tsar's Bride."
N? 280. „La Fiancee du Tsar." 277
(Larghetto assai. J=60) ^^-—r==^r^i —
f= ni r — i::::^ ,

±^
dim.
 N? 281. "Sadko'' (t.516)
N9 281.„Sadko" (p.sie).
( Passionate V^ -.
126.)
27»
•
^A Fi ii.ni.

Etsousles ri - ves es- carpees je dor-mi- rai presdelai-me- Fi - dele amona-mourjusqu''

dlv.

poco creac.

g_^Uarsrando.

la nndes temps. Oh! tes cha; ts di - vins ont se-dmt mon c(Kur, ra - vi inon arae-
„co N? 282. "The Tsar's Bride" (p. 361).
N9 282. „La Fiancee du Tsar" (p.aei).
TLarghetto assai.)
Cl.(B)
 281
N? 283. ''The Tsar's Brider
N? 283. „La Fiancee du Tsar."
(Larghetto. ^ 9Z) .

Cl.(A)

Pourcesbons voeux cent fois mer-ci,

Domna Sabourova. _
'
n' < V » Jm J ' -I' -1^ -I * I

Bon- heur aux a - mants!

Douniacha

Dieu vous ac - cor - de joie- Bon-

Sabakine.

Que Dieu vous don - ne d'etre heu - reux, sans

Viol P cantabile
n.

TTTH^^
282

joie! So-yez hen - reiix. toiuours u - iiis.

jV Lilt WW
fois mer-ci.

tre - - ve- Dieuvous ao - oor-de bon-heiiret saii - te,

 mm 283
n.ii
 285
Jlpicc.^

ifP
286
Fill.
 .

N9 284. ''The Tsar's Brider

N9 284 „La Fiancee du Tsar. 287
S^ (Adagio. J.44.)

All quels jours heu-reux. quy nous e - tions gais, quaiid thaque

J^A
V|'<>^' IJ- cop 8ord

ar - bris-sean a'in-cli-naitvers nous _ quand les' che - nee verts

288 ^o 285. ''The Golden Cockerel
N9 285. „Le Coq d'Or!'
|l35l (Andantino. J = 76.)
I Cor. ingrl

PP

^
Cl.basso(A).

'til
,

m
m
. m
mUUL ^ ^^ 3^ ^^
Fa&.

'^'ll"

Tamburo
PP

s a TT
jii
3J
^ ^ ftt
'J^p t
feS
^ ifr* . *•

PP.
Tambno.
p^'' p'p ''^pp^ •'

P'P'^ PP
^> 'p
" ^ ^
rrr^
P''^ p Pp

La Reine do Chemakha.

i
*#
dolce

Tffp
Vieiit-oii
P i

lattendre
f prrrr
a la f«; -
i r p^^pnp r
ne-tre, loeii at-ten-tif,
i
f^
le
^
coeurtrem-

Arpa./»p

ni^
^
* J HiM t
y t J H i
t J t
y^ .s

, I.
pizz.

vie. p izz.
^^^
^^ ^^ ^m
V-c.
 289

ms^J^^t

p
^^pp>^ [>'p ^''
pp
^<

LR.d.Chem.

m -blant? A pei-iie Ta-t-on vu pa- rai-tre, sait-on charmer rin,ureux a - mant?

290 N° 286. "The Tsar's Bride."
NV286. „La Fiancee du Tsarf
(Lento. J. 63.)
aeceler^poco a poco
J

F!.

cr«8C.
Lioubacha.
(EUe pleure)

'•''r r pir^t ir r p i rl!^>

Ah! tout pour toi- oui,tout pour toi!
 291

^ ff
S92 iV? 287. Z'Snegourotchka."
N?287. „Sniegourotchka!'
[SI (Allegrro moderate.) ''

Jf. Cl.(A)

Le Printemps

Dans oes fo-rets ou I'ombre est e - ter-nel - le, au plus pro -fond dee

,/ V-c.e
V-c C-b.'

^
pizz.

^F
^^ ^^
^A^l

Le Pr.

^'^^i'j oip- J^J^-i'r ^piP'U V^^J^J^

bois toujours gla-oes, le pere en sou pa-lais re-tientma fil -le^ je lavoudraisheu-

colla parte

sf pp

^<>
-reused
J^ >
je
^^
p p
Pa -do -re,
^p
II
I
p-
p pM"
faat pour ramourd'el -
P
le
P
me
N pp>
sou-mettre
* 'r
 293
LePf.

-ys et de moi-mS - me^ il ne veutpasaudouxPrintemps de-der la pla - ce

294 N9 288. ''The Tsar's Bride"
N9 288. „La Fiancee du Tsar."
l|24j Agitato. J= 136.
 .

296
>. Pl.l.

jiaibienvul Mer veye debeaute . . des:peuxsaper-be8, oer> tea U ^*-

 )

N? 289. "Sadko"
N9 289. „Sadko." 297
Larghetto. J. 56.

N? 290. "Sadko" (p. iso)

N?29G.„Sadko" (p.iso

^
(Lar ghetto. J.= S6^
298

m m r f 7

^^
\a I^a Pr

Sadko. Ton ger

^^^
va pnndre sur
£ =¥=¥:

^^
chant le - s'e - les flots.

Plei - n'j
&
d"^ - toiles ta
pip
cein - tiire
P
e -
P
blou
P
- it
p^
=KiX
dans la nuit
S

do^ce (colla voce)

-^,hJ?^^- i -;> ,h^ ^-

& ' t-^ f'r^-^ ' f— ^

 N? 291. i'Sadko!'
N9 291. „Sadko!' 299
(Allegro. J.: 66.)
20^

poco Crete.
LaPr.

1^ r r f r-> »J I i .-r f i ll I'll ii I J J I J

—
J tf
^1'

mon ame.
r i

Sadko^®^ ehants ont se - diiit mou coeur, comme ils ont ra - vi oh

'

j^»
I'll Trr
r f
< f-f
r'f «^
iJ if.'"r
I
'r F
f I
i
iI n>
I fii i> J u^i^^^
\l_i±lAi^ i

vit_
Ta beau-te se - duit mou coeur, ta beau-te ra - raon arae, oh
V-le.

poeo <
300

^ ^^
i ¥^
LaPr. XT
/fffZ.

bien - ai - me!
Sadko. ten.

ite^* bien - ai - me!

 N9 292. "Sadkor 301
N9 292. „Sadko!'
0* 13181 Andantino. i^r 104.
,
Cl. basso (B)

Pau-vre veii-ve, je suis par les vents bat -

tue et noy-

-e - e par tou-tes les pluies du — ciel. Oh, je suis la ri - se-e de

tout chre - tien, la ri - see de tous les g-ens de Men-

b f320]
Lioubach
 '

802 '^ 293. ''The Tsar's Bride'' (p. £69).

N9 293. „La Fiancee du Tsar" (p i69).

(Allegro. J > 120-182.)

, Cl.(3)

tiJ LL-LJ l''C!££f^c^ r J lu l

''c!C£r^Dgj ^
Cl.(B)

p Fag.
i t,
,
jff]
/^li
V'» t •'^•^ XM

U
Sig" -
J .^'

nons-nous tous,
)|J « Ji. O
Sopr. e Alti mis, oreso.

c'est un sor - oier!

^p^
Basal.
>j,AF- j^Mr i
N
Viol.I e U

jfl^^jnjs
cresc~moito

^ cTMc. mo//o

i» ertf»e. mo/Zo
 N? 294. "Ivan the Terrible," Act I (f. in).
N9 294. „La Pskovitaine'/M'acte ip.ui). 303
(Allegro.)
Ob.c-a.

dim.
304 N? 295. "Sadko!'
N?295. „Sadko."
(Allegro. J = 126.)

Sadko. [219

Co lebrousleshautes voii - tes du fir- ma-ment. Ce- lebrons les a - bi- mesde TO - c^--
 805
Piii anim ato. J =144.

CBoBurll. Ce-le-bronsleshautesvoutes du fir-mament.Ce-lebronslesa- bT-mesdelO - ce -

Ten. Bassi.
306
N? 296. "Ivan the Terrible" Act II.
N9 296. „La Pskovitaine" 2™* acte.
(Allegro.)

Pa - te de- Pskov? Hein, quoi?

|Sopr.I diy.
poco cresc.

I-
ASoorlldiv
If.
"*^
f
vo -
r —PPjp
yez:vers nous
pfTn&fiF
i

sittJUi fier coursiersvient un

f r
no -
POM
ble pre

|> \f i

Mais vo-yez
T~l&p f MP- p&f p f irn&f
versnoiissur un fier
coiireiervientun no blepreux ve
p
-
f
tu

Wi -tu tfor bi&Iant. (forbriUantmarcheunno- ble preux ve - \\i d'or brillant, e-olai-
 —

307

"^°" " ^^"^ /^^ "*" ' ^^^ '

^^^ ^^ "'^ ho-tesbien sou-vent lesdi-sent bon-nes!
'fa-Iv. •

Fag.

Et fort bel-le; doc -ci,pous-sent com- me les mo rilles? Chez

de! les fil-les
-——
-lar - •

1
8op> . •
i
—^

-rsuit leoiel nu-a - geux et noirimaisil a fron-ce ses sour - cils e-pais
308
 Fl.pioc

/?N
^^^^ =^= -f9^

I
=^^ ^ -^^ =^2= -fg^
^ /C\

Ts.Iv.

V' p-pppr ^>r ^ r* - I ?

g p
i f Pi- -
I

ta
Sopr.I.

M ^
greanafoifl[uimporte?P)EUsnousvi-si

^S
• F •

^^ ^^ ^ ^
F

O
- te, et tu ver - ras bien

r\
s

p
Clair

^ W
so-leil,qiii sur nous flaniboie,gloir^a Ifem

^
:j^
- pe-reur,auter-ri

r^r^
- ble Tsar!

-^ i
^
t

'^'°'
*^
iJTJ rpJ^ l

^fe ^ nu /TV

»
SIO jv? 297. "Sadko" (p. 157).
N9297. „Sadko" (p.157).

(Allegro non troppo. j.: 112,)

Paff.I.

Cygnesblanosdansle^biiis-sons en fleur, dis-persezvousde - plo -yez vos ailes

Alti

pour oueil^lir de l^u - be - pi - ne blanche,par fu-mee au souffle prin - ta - nier.

 !

311

dolce

^
LaR.

p i

r
rnon bien ai - me!
pr PtHt' r r
mon
p'r p^
pre- des - ti - ne
^b

^
Sadko.

Vier -
pp pr »i^
ge-qiii es - tu done?
^ Qui
»- ^
pr pr
es - tu,
ji

ma beaute?
^

V-le.

V-e. I.

dolce

V-c.ne C-b.
 N9 298. "Snegourotchka."
312 N9 298. „Sniegourotchka:'

Et toi ri - viere auxflots g:Ia-ces et cal mes,

.-
m\A J
 313
Ob. I

Sopr
dors, en - dors ma honte et raa dou - Jeur

Teii. dans ros de - raeu-rea pai-si - bles, nos fi) - les it; rent la hon

cresc. poco

Ob. ^ poco acceler.

son db-ses-poir a tous nous fait pei - ne, son d^-ses- poij* a tous nousfalt pel
314
N? 299. ''Mlada/' Act IIL
N?299.„Mlada{' Snje acte

Andante.

^m m £
Arpa I. p

UJiJiJiJiUiJiJiJiJUJi^
^^
^
fiW JJJJJ jjjmj
'^
Arpa n.

% JjliJtLr
Viol.n.div.
P

r Ir.fT ^JliJ^iLr Ll^ ^

 816
(eiur scene)
316
N9 300. "Mladar „ ,, * i^§=^^^B-:V^^.
N9300. „Mlada!' n^ufis'deP^est
 N? 301. "The Legend of the invisible city of Kitesh."
N9301. „Leg-ende de la ville invisible de Kitejl* 317
rci.i ii.(b)

ppW
Sampane. (boffuettes
^

a tfite d'eponge)
w
318 N? 302. "Sadko'.'
N9302. „Sadk6"
^ Ob.(Largo maestoso. J = 62.)
^-

Roidesmers tu asohoi-si maJ ton temps pour dan-ser! Vols la nier_ est sens des-
IGANO.
^ S «t
W'
3x: i
s
gR=;^ ^ :& K i
Pedale.

*)Les passa^s en petitea notes ne sejouent que faute d-un or^e.

-BUS — dessous- Elle ren - ver - se les plus forts vaisseauz.Ce jour in8-me la prin-

fc
^^
aE
^ % «i

5E
8 J [8
—
r legato f^
assai
J

J
^
_J
=&:
i i
S ^^^
-ces - setafille i • ra a Nov(fo-rod poury de ve-nir unflexivelimpide.TV)i4«oen*umt«a
gouf fre noir. Va chan - ter" en ITion - near de tea Nov - go-ro-diens.

I
 N° 303. "Sadko" (p.378).
321
N9303. „Sadko"(p.3/8).
y/ji'i I.
Andante non troppo. J = 88.
322

Et "peutetre au ciel Dieu au - ra pi-tie du nous; —

ra-me-nant a 1"^ - plo-ree son heu-reiixe - poux

N? 304. ''Sadkor
N9304. „Sadko'.' 323
(Allegretto. J. = 73.)
 .

324 NP 305. '^The Legend of the invisible dty of Kite$ht

NO 305. „Legende de la ville invisible de Kitej."
(Moderato e maestoso. j=60.)

Vo - yez les oha - su - bles blan ches> neig« aux ra • yons du so

LePr.Vsevolod.

Vo-yez les cha-su-bles blan ches^ neige aux ra - yona du so-

Le PrYouri.

^ Arpe.iy.

leil d'^A - vril, qui d'a • me-res lar-mes sont batgnees, de tor-rents depleiu^,de.

iM r7 Tr f' I
r £r r r*
>*
r?
#—^
mj frr^v \
r rr^ r
T-G^ »-1»
r-'f r r r r
me -res

^^
leil d'A - vril, qui d*a - lar-mes sont baignees^ de tor.-rentsdepleurs,de

^m
m rj

^r ^

^ rr
r i
r'r rf ) ir ^ ^

i
^^ ^M ^m
 325

^pizz
326

Alk. - de paix, qui sont pr6 -pa-res en ee lieu pour toi

Uadol- de paix. qui sont pre-pa-res en ce lieu pour toi

Le Pr.Vs.te ments qui sont pre -pa-res en oe lieu pour toi

NP 306. ''The Golden Cockerel'- (p.35i>
N9 306. „Le Coq d'Or" (p 351). 327
''Andantino. ^.= 96.)
328
N9 307. ''Sadko'i (p. 210)
N9 307. „Sadko" (p.2ioK
(Allegro non troppo. j=ii2.j
No308.„Sadko" .p228K
Ob.
jl.i'
^ J^
I.

^^ Fl.picc.f

i
t=t*
idr

^^
Cl.'B)

O^i-4 ^^s Ob. I.

-r: m^
m
Fay-. Cl.picc. (Es)

^^^^^^ ^
1S»^

i ^
Cl.'Bi

^
Cor. P i 444 ^H |
jit>r^/^j^i,;f^/rj^
r
i ^^ F.^-

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;,^JTm J^ JJJ J J

«
-r
Tr-be.(B)

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T T^

'^p
^ ^ ^ ^ ^
j^ -tl

m
Tr-bni.e Tuba. J^p
Cor. If

1
^^^^ u i J> ^ < }>''

f=
Sopr.

y^pi^p^ij) j^^^^
. jj-Mais re-gar-dezdonc, a mes bons a- mis

^
K^ h
$~,
!>" V h h

Ha- ha-ha - ha-ha

fv

jm.-n>i-ii.i.-ii.i-im
Ji Ji Ji J'

ha- ha-ha-ha -
||

ha
j> Jv
- ha-

Bassi.
rtfFTT
^S Re
^^
g-ar
pizz.

i ^
^w ^
Viol.-.

V-Ie.
pizz.
-'^

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C-b
y' ^

^m
 N? 309. "Ivan the Terrible" (p. lie). 32»
N9 309. yLa Pskovitaine" (p.ii«).
(Andante sostenuto.)

Or-donne<
...--«....^< w
o mal - tre, et tous tes or- dres se-ront sui
Alti.

•''tc,
~~^ 1^ J' ri J' ^ ^^5
i^
^
j"-''!-! i v^i P
Or-donnCi o
g r
mai -
p
tre
M
et toiis •
P
tes
P
or- dres
P P P
se-ront sui
Bassi.

'Y }\i
\ { (P [^ -r fi p p p r t^ p B p
330
N? 310. ''Ivan the Terrible" (p. in).
N9 310. „La Pskovitaine" (pii7).
a ^i,

Fl.I.III.

Nous som - mes fai -bles, nous vou- Ions e - tre giii-des par

^HKl
Bassi.

t
s-
fp ^ p fl J-'
p I r M^-JLf
 N9 311. "Sadko" (p. 44/;.
N9 311. „Sadko" (p.44i). 331
aFi (Allegro assai. J. 168.)

Alti.
U - ne lot - te tou - te pe - ti - te na-geait, s"a-mu - sant a tra-
332
N? 312. ''Ivan the Terrible;' Act lU (the end).

N9312. „La PskovitaineV 8^« acte (fin).

(Andante maestoso.)
333
 Appendix. Single tutti chords.
Appendice. Accords isoles en tutti
1.
,Fl.picc. 2- ii 3. 4. 5, 6.

TkeTmr^ TkeTuri Tie r*ar* The Taari Bride, Snegourvlchka, Tk* L4gt*d of the m-
J\e MoflfiglU
Bride, Bride, Bride, the end p. S9J. vinble eitp of KiieA,
p.»i6.
f.i46. f.i$9. p. 301. f.375.

La Null de Mai. La. Fiaii -

La Fian- La Fian- La Fiancee • Sniegouroteh- Le^ende de la
du Tsar, ka, p.a»*- ville invisible
p 3U cee du cee du cee du •
I

Tsar p 2*5 T^ar, ? 2»8 Tsar, p.soi ffn. de Kitej, p.87S.

NOTK.IhesediagramM mr* given in tewtikrwe: They do not inelnde perciution itutrument* of indtterminMie mmnd
or
the human voice
PJOTA. Ces exemples sont donnes sous forme demi-sehematique, en rondes. lis ne comportent
ni les

instruments de percussion a sons inddterminesi ni les voix humaineu. I

 II

ff
Ivan the Terrible,
p. 307.

La Pskovitaine
p. 207.
 PV fff fff ff
Tk» Tfar'a The The Christmas Snegourotckka, Sadko ^hi Legend of Servilia,
Bride, (he intrisibfe Night, the end. the ena. Tsar Saltan, the end.
end ofoverturt. city of KHesh, p. SSI p. in
the end.
La Fiancee Legende de La Nuit Snieproiirotrhka^ Sadko, Legeude du Seivilia.
du Tsar, la villeimi- de Noel, fin. fl:l. Tsar Saltan, fin.
fin de I'ouver- sible de Ki- p. 381. p 117
ture- tej, fin.
 CATALOGUE—SUMMER, 1933
KALMUS MINIATURE ORCHESTRA SCORES
BACH MOZART
No. 72, Suite No. 2, in B minor No. 33, Symphony No. 39, in E flat, K 543
BEETHOVEN No. 34, Symphony No. 40, in G minor, K SSO
No. 1, Symphony No. 1, op. 21 No. 35, Symphony No. 41, in C major
No. 2, Symphony No. 2, op. 36 (Jupiter), K 551
No. 3, Symphony No. 3 op. 55 (Eroica) No. 69, Don Juan, Overture, K 492
No. 4, Symphony No. 4, op. 60 No. 70, Marriage of Figaro, Overture, K 492
No. 5, Symphony No. 5, op. 67 No. 71, Magic Flute, Overture, K 620
No. 6, Symphony No. 6, op. 68 (Pastorale; No. 80, Serenade, Kleine Nachtrausik, K 525
No. 7, Symphony No. 7, op. 92 MUSSORGSKY
No. 8, Svmphony No. 8, op. 93 No. 83, Polonaise from Boris Godunow
No. 57, Symphony No. 9, op. 125 (Choral) RIMSKY-KORSAKOFF*
No. 9, Leonore No. 3, Overture, op. 72a No. 36, Cappriccio Espa'gnol, op. 34
No. 10, Prometheus, Overture, op. 42 No. 63, Dance of the Buffoons from "The
No. 11, Coriolanus, Overture, op. 62 Snow-Maiden"
No. 67, Epmont, Overture, op. 84 No. n. Bumble-Bee from "Tsar
Flight of the
No. 91, 92, 93, Symphonies 1 to 9 complete, Saltan"
bound in halt linen, in 3 voliunes No. 80, Scheherazade, op. 35
BIZET No. 87, Russian Easter, Overture, cm. 36
No. 88, Carmen, Overture ROSSINI
No. 89, Carmen, 3 Intermezzi No. 37, William Tell. Overture
ST. SAENS*
BORODINE No. 85, Danse Macabre, op. 40
No. 68, Polovetzjan pances. Prince Igor No. 86, Omphale's Spinning Wheel, op. 31
BRAHMS SCHUBERT
No. 12, Symphony No. 1, op. 68 No. 38, Symphony No. 8 (Unfinished)
No. 14, Symphony No. 2, op. 73 No. 39, Rosamunde Overture
No. IS, Symphony No. 3, op. 90 STRAUSS. RICHARD*
No. 16, Symphony No. 4, op. 98
tNo. 40, Till Eulenspiegel, op. 28
No. 86, Acaclemic Festival Overture, op. 80
tNo. 75, Death and Transfiguration, op. 24
No. 94, Sympboniei complete, botind in half tNo. 76, Don Juan. op. 20
linen
STRAWINSKY*
CHABRIER No. 40, Fire-Bird Suite
No. 61, Espafia, Rhapsody No. 78, Sacre du Printemps
DEBUSSY* No. 79, Petroushka
No. 17, Afternoon of a Faun TSCHAIKOWSKY
No. 73, String Quartet No. 58, Symphony No. 4, in F minor, op. 36
DVORAK* No. 59, Symphony No. 5, in E minor, op. 64
No. 18, New World symphony, No. 5, op. 95 No. 60, Symphony No. 6, in B minor, op. 74
No, 90, String Quartet, op. 96 (American; (Pathetique)
No. 95, Symphonies 4, 5, 6 complete, bound
DUKAS* in half linen
No. 65, The Sorcerer's Apprentice No. 42, Nutcracker Suite, op. 71
FRANCK No. 43, Marche Slave, op. 31
No. 19, Symphony in D minor No. 44, Cappriccio Italien, op. 45
GRIEG* No. 45, Overture 1812, op. 49
No. 20, Peer Gynt Suite, No. 1 No. 74, Romeo & Juliet, Overture, Fantasy
HAYDN THOMAS
No. 23, Symphony No. 11, in G major No. 64, Mignon, Overture
(Militaire) WAGNER
No. 24, Symphony No. 2, in D major (London) Overtures and Preludes
No. 25, Symphony No. 6, in G major No. 46, Lohengrin
(Surprise) No. 47, Tannhauser
IPPOLITOW-IWANOW* No. 48, Tristan and Isolde
No. 26, Caucasian Sketches No. 49, Meistersinyfcr
Miscellaneous
LISZT
No. 29, Les Preludes Na SO, Ride of the Valkyries
No. 62, Second Hungarian Rhapsody No. 51, Wotans Farewell and Fire Magic
No. 52, Siegfried Idyll
MENDELSSOHN No. 53 Siegfried's Rhine Journey
,

No. 30, Midsummer Night's Dream, No. 66, Bacchanale (Venusberg) from
Overture Tannhauser
No. 31, Hebrides (Fingal's Cave), Overture WEBER
No. 32, Wedding March No. 54, Oberon Overture
No. 81, Three Orchestra pieces from No. 55, Euryanthe Overture
Midsummer Night's Dream No. 56, Freischuetz Overture
THIS COLLECTION IS BEING CONTINUED
E. F. Ka lmus Orchestra Scores, Inc., 209 West 57th Street, New York
• This copy must not be sold outside of
the United States.
t These scores do not have to be turned upside down wtien rcadinp, as they are larger than usual size.
1
,^OUNO^

fm