Rimsky Korsakof Orchestration Printed Version

GARRITAN INTERACTIVE
PRINCIPLES OF ORCHESTRATION
by Nikolay Rimsky-Korsakov
http://www.northernsounds.com/forum/showthread.php?t=45270 (1 of 13) [29/10/2006 17:33:08]
Welcome to the Garritan Interactive PRINCIPLES OF ORCHESTRATION by Rimsky-Korsakov - Northern Sound Source
Welcome!
I am pleased to welcome you to this Interactive Edition of "Principles of Orchestration" based upon Nikolay Rimsky-Korsakov's celebrated text. Rimsky-Korsakov's genius for orchestration is unsurpassed and there may be n better source to learn about orchestration than to learn from what the great Ru master himself taught.
A well-crafted orchestration is a thing of beauty. It is important for a well-roun musician to possess a basic knowledge of orchestration. Orchestration is essen for film scoring, composing for interactive games, backgound tracks, arranging editing, critique, copying (notating), conducting, orchestral performance, score reading, teaching and many musical endeavors.
In this revised internet edition, we have attempted to remain faithful to the ori translated text which was written nearly a century ago. In the original written the musical examples are referenced and provided in score form taken from Rimsky-Korsakov's own works, but what was lacking was the ability to hear th examples of his works.
Hear and See the Scores with Real-time Examples
One of the best ways to learn orchestration is by simultaneously listening and visually following the score. This conveys concepts much better than viewing w on a printed page. Rimsky-Korsakov himself recommended: "The best plan is t study full-scores, and listen to an orchestra, score in hand."
In this Interactive Edition we have provided the designated score excerpts whi allows the learner to simultaneously listen and visually follow. Starting with Le No. 4, there are some 275 audio enabled scores that are embedded within the relevant portions of the text. In a few cases a substitute or supplemental exam was provided if it could better highlight what was being conveyed. Many of the illustrations were taken from the classic text. We also replaced the complex "Rimsky-Korsakov algebra" with easily understood graphics and added various illustrations for clarification and color. Also, we supplemented the text with doz of our own exercises to apply the principles and concepts that were taught.
The ability to hear various orchestral realizations of the different examples from Rimsky-Korsakovs works, on-demand, is invaluable; and books alone cannot provide this kind of instruction.
Course Structure - Community Learning and Self-Study
You are in good company with learning orchestration by self-study. This is how master Rimsky-Korsakov himself learned orchestration! He taught himself orchestration so well, in fact, that he later wrote this book and even taught Prokofiev, Glazunov and Stravinsky. May you reach such heights also!
Here's how it will work. First you read the Lesson. You watch and listen to the various animated score examples to understand the concepts. Then you do the exercises which may include some MIDI files, scores and MP3s that will allow y experiment and apply what has been taught. We will discuss the lesson on the forum. You can also share your exercises on the forum and get feedback from others. There will be online "professors" who will share their expertise and help guide the discussions.
The "Interactive Principles of Orchestration" will initially be offered on this foru only. The course is expected to consist of between twenty-five and thirty indivi lessons. A new lesson will be posted every week. The lessons will be presented systematic step-by-step approach as Rimsky-Korsakov approached it in his ori text.
We will approach the material as Rimsky-Korsakov presented it and from his perspective. A lot has changed over the past century with the orchestra. We'll our best to go in accordance with the text, but we'll also take some interesting excursions on the lesson thread if it will enhance what is being taught. We may update or add supplemental material to elucidate a point.
If you come in late, start with Lesson 1. This course follows a logical order and not beneficial to race through it. It is important to read, listen, follow the score understand it. The lessons are offered in small segments so it will be easy to d the material. Each reading and listening example should be completed before advancing to the next. There's an abundance of complex information and it is e to lose focus so stay with it. Some professors and educators will assist in guidi discussions. There should be plenty of resources and people to help.
Prerequisites
Rimsky-Korsakov's "Principles of Orchestration" remains a leading orchestratio

in many colleges and universities. It is assumed the learner has some necessa basic musical skills including some knowledge of music theory and practice. Th course is not for the casual learner or beginning learner and requires a serious commitment. First it is a pre-requisite that you are able to read music. This course requires following scores and being able to read treble, bass and alto clef is important.
Rimsky-Korsakov assumed the reader had a basic knowledge of the instrumen the orchestra. Instrumentation is only briefly touched upon in the first few cha There are excellent courses and books available if you required additional know about the instruments of the orchestra. This course will not cover the later cha dealing with opera and voice although we may add these chapters later when t choir library is complete.
If you are unsure about your level of proficiency it will not hurt to try some les to see if they are right for you. Learn at your own pace and try to supplement knowledge in areas that are lacking. If you have mastery of material being tau please try to help others who are learning.
The course is offered free of charge and there is no obligation to buy anything. Although every example was done with Garritan Personal Orchestra, GPO is no required to benefit from this course but it will help with the exercises.
It is essential to have the latest Flash Player in your browser installed in order to see the flash enabl scores. Macromedia has recently released their latest version of the Flash Player Plugin (Version 8) can download the latest Flash Players here.
To benefit from this course it is recommended for learners to be registered with the forum to post questions or contribute in discussions. You can register to be a member of the Northern Sounds Ga forum here.
Some Guidelines
This will be an open virtual classroom and people should feel free to visit and l at any time.
A few guidelines: We are here to learn so please be courteous to others. Constructive criticism is welcomed - especially if it will improve the course and provide for a better education. Encouragement helps learners much more than unbridled negativity. Try to be helpful to others and avoid demeaning less experienced learners. Please do not flame, name-call, banter or disrupt the lea experience for others. This course is offered as a free service and if one is agai for competitive, philosophical, political, religious or psychological reasons; we w
rather you do not participate. Just like a bricks and mortar class, disruptive be may lead to being suspended or expelled.
We reserve the right to make changes if circumstances so dictate. We reserve right to change the dates, change the structure of the course, or to withdraw a part or the entire course at any time.
Copyright & Terms of Use Copyright 2006, Garritan Corp. All rights reserved.
The Garritan Interactive "Principles of Orchestration" by Rimsky-Korsakov is of as a courtesy and may be withdrawn at any time. Garritan reserves the right t charge for hardopy and other versions and media of the material. You are allow use this material for personal education purposes only. It excludes any comme use (including professional or promotional uses) without written permission. No image, artwork, score, textual contents, sound files, mp3s, MIDI files or other material on this web site may be copied, reproduced, displayed, altered, poste transmitted, sold or distributed in whole or in part, or for any purpose other th individual viewing of this web site, without the express prior written consent of Garritan Corp. None of the demos may be copied, reproduced, displayed, alter posted, transmitted, distributed, or linked in whole or in part, for any purpose than individual learning without the express prior written consent of Garritan. N part of the materials may be copied for resale or other commercial use, or incl with other software, or posted on other public bulletin boards, web sites or onl venues without written permission.
Acknowledgements
This online course would not have been possible without the help of some very talented and dedicate people. First and foremost thanks to Robert Davis for the Herculean task of realizing and sequencing all the scores with GPO. A big thank to Alan Belkin for his annotations. Thanks to Sean Hannifin for doing all of the work so that the music follows the score. Thanks to Terry Dwyer, Alan Belkin a Andy Brick for reviewing and serving as the teacher/moderators for the course Thanks to those who made the various scores in Finale and Sibelius; namely: B De Celle, Lukasz Stasinski, Jamie Kowalski, Tim Cohen, Edward J. Fiebke Jr., Dave Budde, Jim Williams, Steve Martin, David Mauney, David O'Rourke, Jonathan O and Tom Prince. Thanks to David Sosnowski for technical guidance. Thanks to Kury for the video editing and realization and Michael Sandberg for illustrations thanks to Mark Simon and Dave Burnett for hosting this course on Northern So
Orchestration Competition at the End of the Course
At the end on this course, when the last lesson is posted, we plan to announce Orchestration Competition whereby learners will be afforded the opportunity to apply what they have learned. The top winners of the competition will have the works performed by a real symphony orchestra. More details will be provided l hope you will all participate in the competition.
Let the Course Begin...
To offer a well-known course in orchestration, present it with interactive real-time examples, and o learning process into an online co-operative, is something we are excited about.
Our aim with this online course is to educate musicians about the fundamental orchestration in a new and interactive way. This course is initially being offered of charge and it is our way of giving back to the musical community. I believe education is more important than just products and we are committed to provi every musician the means to improve their knowledge and skills. Please spread the word about this extraordinary learning opportunity. Mention your friends or on forums, blogs, chats, publications as well as to anyone who benefit from this course.
I hope you will use these principles of orchestration in your own music and tha what you will learn here will benefit you for years to come. We will begin in just a few days!
Gary Garritan
Course Syllabus
(subject to change)
Welcome to the Garritan Interactive PRINCIPLES OF ORCHESTRATION by
q q q q q q q q q q q q q q q q q q q q q q q q q q
Rimsky-Korsakov Lesson 1 - GENERAL REVIEW - Strings & Woodwinds Lesson 2 - GENERAL REVIEW - Brass, Percussion & Other Instruments Lesson 3 - MELODY - Strings - Melody in Stringed Instruments Lesson 4 - MELODY - Strings - Grouping in Unison Lesson 5 - MELODY - Strings - Doubling, Thirds & Sixths Lesson 6 - MELODY - Wood-wind - Melody in Wood-wind Lesson 7 - MELODY - Wood-wind - Unison & Octaves Lesson 8 - MELODY - Brass - Melody, Unisons & Octaves Lesson 9 - MELODY - Different Groups of Instruments Combined Lesson 10 - MELODY - Different Groups of Instruments (Cont.) Lesson 11 - HARMONY - General Observations Lesson 12 - HARMONY - String Harmony Lesson 13 - HARMONY - Wood-wind Harmony Lesson 14 - HARMONY - Wood-wind - Several Parts & Duplication Lesson 15 - HARMONY - Brass Harmony Lesson 16 - HARMONY - Combined Groups - Wind & Brass Lesson 17 - HARMONY - Combined Groups - Wind & Brass (cont.) Lesson 18 - HARMONY - Combined Groups - Strings & Wind, Three Groups Lesson 19 - COMPOSITION - Orchestrating the Same Music Lesson 20 - COMPOSITION - Tutti Lesson 21 - COMPOSITION - Soli Lesson 22 - COMPOSITION - Range Limits, Transference, Alternating Chords Lesson 23 - COMPOSITION - Volume of Tone Qualities, Repetition, Sfz, Emphasis Lesson 24 - COMPOSITION - Cresencdo and Diminuendo Lesson 25 - COMPOSITION - Effects, Rhythm & Color Lesson 26 - VOICE & ORCHESTRA - General Overview
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Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds
Northern Sound Source (http://northernsounds.com/forum/index.php) - Principles of Orchestration On-line (http://northernsounds.com/forum/forumdisplay.php?f=77) - - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds (http://northernsounds.com/forum/showthread.php?t=45335)
Garritan Lesson 1 - GENERAL REVIEW - Strings & Woodwinds
03-31-2006 10:23 PM
LESSON 1 NOTES: In the first two lessons we will provide a general overview of the instruments of the orchestra. We will start with the String and Wood-wind Instruments in Lesson 1, then cover the Brass and the remaining instruments in Lesson 2.
Rimsky-Korsakov did not focus on the details of the instruments. Although he originally thought about including instrumentation in the text, that idea was abandoned in the final treatise. Rimsky-Korsakov wrote: "This book is written for those who have already studied instrumentation...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 tome and unity of structure; the subdivision of parts; variety of color and expression in scoring. (Rimsky-Korsakov, Preface to Last Edition). Instrumentation is only briefly touched upon as Rimsky-Korsakov assumed the reader already has a basic knowledge of the instruments of the orchestra. This topic is well covered in many books and many online resources. It is important to have this knowledge and if there are enough people who want to delve into instrumentation we could possibly go into more depth or cover the material in another course. The material on instrumentation may be rudimentary to some and if you know the material well, you may want to hold off and revisit us in Lesson No. 3. Or you may want to go through these two chapters as a refresher and perhaps you can assist other learners. The interactive scores start in Lesson 3. Here is an example:
http://www.northernsounds.com/forum/printthread.php?t=45335 (1 of 14) [29/10/2006 17:38:17]

Click on Play Button below to Play from the Score
Chapter I
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:
In larger orchestras, the number of first violins may amount to 20 and even 24, the other strings being increased proportionately. But such a great quantity of strings over-powers the customary wood-wind section, and entails re-enforcing the latter. Sometimes orchestras contain less than 8 first violins; this is a mistake, as the balance between strings and wind is completely destroyed. In writing for the orchestra it is advisable to rely on a medium-sized body of strings. Played by a larger orchestra a work will be heard to greater advantage; played by a smaller one, the harm done will be minimized.
Suggestion Position of Strings in the Orchestra

[Editors Note: Some Orchestras have 1st & 2nd violins on either side of the stage] (positions may vary depending on the work,the venue the orchestra and other factors)
Video of Violins Playing in an Orchestra Video of Cellos Playing in an Orchestra Video of Double Basses Playing in an Orchestra
Whenever a group of strings is written for more than five parts-without taking double notes or chords into 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 violincellos. 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. (*1) 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; Vlns 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 subdivided into many parts are very hard to realize, and the effect obtained is never the one required.
String parts may be divided thus:
Possible combinations less frequently used are:
Note: It is evident that the tone quality in b and e will be similar. Still b is preferable since the number of Vns II (14-10-6) and Violas (12-8-4) is
practically the same, the respective roles 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. 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 and V V V(down bow and up bow), in every degree of tone, fortissimo, pianissimo, crescendo, point, diminuendo, sforzando, morendo-all this belongs to the natural realm of the string quartet. (*2) 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).
Note: (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.
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 practice the notes of extreme limit in the string quartet should be fixed as follows:
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. 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), on the violin (G and C), on the viola and 'cello are rather harsh. Speaking 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).
Open Strings of the Stringed Instruments 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 contralto voice plus a much higher range; to the viola, the contra alto 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. (*3) 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 orchestral 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. (*4) 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, produces 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 surplus of strength it must be on the side of the first violins, as they must be heard distinctly on account of the important part they play in the harmonic scheme. Besides this, an extra desk of first violins is usual in all orchestras, and as a general rule they possess a more powerful tone than second violins. The latter, with the violas, play a secondary part, and do not stand out so prominently. The 'cellos and double 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 melodic 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 a harmonic element particularly rich in resource.
Black lines on each string denote the general range in orchestral writing; the dotted lines give the registers, low, medium, high, very high.
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, satisfying the demands of any orchestral full score. On the other hand the group of wood-wind instruments varies both as regards number of parts and the volume of tone at its command, and here the composer may choose at will. The group may be divided into three general classes: wood-wind instruments in pair's, in three's and in four's (see table below). Arabic numerals denote the number of players on each instrument; roman figures, the parts (1st, 2nd etc.). Instruments which do not require additional players, but are taken over by one or the other executant in place of his usual instrument, are enclosed in brackets. As a rule the first flute, first oboe, first clarinet and first 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. (*5)
The formation of the first class may be altered by the permanent addition of a piccolo part. Sometimes a composer writes for two piccolos or two English horns etc. without increasing the original number of players required (in three's or four's).
Note:1: Composers using the first class in the course of a big work (oratorio, opera, symphony, etc.) may introduce special instruments, called extras, for a long or short period of time; each of these instruments involves an extra player not required throughout the
entire work. Meyerbeer was fond of doing this, but other composers, Glinka for example, refrain from increasing the number of performers by employing extras (Eng. horn part in Rousslan). Wagner uses all three classes in the above table (in pair's: Tannenhauser-in three's: Tristan -in four's: The Ring). Note 2: Mlada is the only work of mine involving formation by four's. Ivan the Terrible, Sadko, The Legend of Tsar Saltan, The Legend of the Invisible City of Kitesh and The Golden Cockerel all belong to the second class, and in my other works, wood-wind in pair's is used with a varying number of extras. The Christmas Night, with its two oboes, and two bassoons, three flutes and three clarinets, forms an intermediate class
Considering the instruments it comprises, the string group offers a fair variety of color, and contrast in compass, but this diversity of range and timbre is subtle and not easily discerned. In the wood-wind department, however, the difference in register and quality of flutes, oboes, clarinets and bassoons is striking to a degree. As a rule, wood-wind instruments are less flexible than strings; they lack the vitality and power, and are less capable of different shade of expression.
Suggested Position of Woodwinds in an Orchestra

(positions may vary depending on the work,the venue, the orchestra and other factors)
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 color 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-colored but non-expressive instruments. 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 fulfill a special purpose: piccolo, bass flute, English 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 characterized 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) instruments of "chest-voice" quality and bright tone-flutes and clarinets (piccolo, bass flute, small clarinet, bass clarinet). These characteristics of color and resonance-expressed in too simple and rudimentary a form-are especially 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 above Table B the top note in each register serves as the bottom note in the next, as the limits to each register are not defined absolutely. The note G fixes the register of flutes and oboes, C for the clarinets and bassoons. In 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 the position and application of the lips. The signs > < are not to be mistaken for crescendo and diminuendo; they indicate how the resonance of an instrument increases or diminishes in relation to the characteristic quality of its timbre. The scope of greatest expression for each typical instrument is marked thus, |_______| under the notes; the range is the same in each instrument of the same type.
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 to them as such, giving my reasons. With the exception of these, the reader is advised to consider all other orchestral timbres beautiful from an artistic point of view, although it is necessary, at times, to put them to other uses.urther 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; this 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 staccato passages to the latter pair, but these general directions should not deter the orchestrator from adopting the opposite plan. In comparing the technical individualities of the wood-wind the following fundamental differences should be noted: a) The rapid repetition' of a single note by single tonguing is common to all wind instruments; repetition of a single note by means of double tonguing is only possible on the flute, a reedless instrument. b) On account of its construction the clarinet is not well adapted to sudden leaps from one octave to another; these skips are easier on flutes, oboes and bassoons. 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 endeavor to characterize 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 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
Note: It is true that no mood or frame of mind, whether it be joyful or sad, meditative or lively, careless or reflective, mocking or distressed can be aroused by one single isolated timbre; it depends more upon the general melodic line, the harmony, rhythm, and dynamic shades of expression, upon the whole formation of a given piece of music. The choice of instruments and timbre to be adopted depends on the position which melody 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 color 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 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 instrument 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 small 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. The 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 7th octave, and down to the low C, 16 ft. contra octave), the piccolo forms an indispensable constituent of the wind-group; similarly, it is recognized that the double bassoon is capable of supplying valuable assistance. The small clarinet is rarely employed and only for color 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 penetrating. The bass clarinet, though strongly resembling the ordinary clarinet, is of darker color in the low register and lacks the silvery quality in the upper notes; it is incapable of
joyful expression. The bass flute is an instrument seldom used even today; it possesses the same features as the flute, but it is colder in color, 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 of the 19th century. The Eng. horn and bass clarinet were employed initially during the first half of the same century by Berlioz, Meyerbeer, and others, 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 "Ivan the Terrible" (revised).
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 rolled-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 English horn:
are impossible when the instruments are muted. Mutes have no effect in the highest register of wind instruments. (*6)
Take an Interactive Tour of Orchestral Instruments See and hear the orchestral instruments of Personal Orchestra in this interactive guide.
Professor Comments: Professor Brick Comments: With the passage of nearly a century after this text was written, many of the practices RK designates as cautionary are much more common and widely used today. Over the years, once difficult techniques have become standard repertoire for todays players. Certain orchestral instruments appearing in many 20th century works were not in existance in RK's lifetime and certain techniques had yet to become accepted. Whereas RKs cautions are notable, I encourage everyone to explore some of the limits defined herein. Also, remember that RKs comments apply pretty much to live performance. In general, if an orchestration is successful live, it will be successful in a recording HOWEVER the opposite is not true. Since I suspect much of this crowd will be interested in recording aspects as well, I may, from time to time, comment when significant differences arise if you all find this sort of comment helpful. 1. Professor Belkin Comments: Using Divisi and Double Stops - While Rimsky explains various ways to divide the strings, he does not specify WHEN it is better to divide them, and when to use double stops. Apart from the obvious limits on the playability of double stops, the governing principle is as follows: - use double stops for strong ACCENT - use divisi for thinning down the sound
Playing more than 2 notes at a time on a string instrument always involves a slight rhythmic bump: 3 and 4 note chords need a short moment of preparation. Also they are never played completely simultaneously. Therefore, while they cannot be inserted seamlessly into a very quick or very legato line, IF the music requires a strong accent, they add lots of punch. IN cases where classical composers have written them into quick lines, conductors may divide a 4 note chord into 2 x 2. 2. Professor Belkin Comments: The "Quartet" - RK (and various other writers on orchestration) often refer to the string section as "the quartet", despite the fact that it has five sections. This is because the normal role for the double basses in classical orchestration is to double and solidify the cellos with the same bass line an octave lower, leaving only four real parts. This is the "normal" sound of the string orchestra. Another reason for this terminology is that many of the basic ways of arranging the string orchestra derive in large part from the (solo) string quartet. N.B.: When RK uses this term he does NOT refer to a quartet of soloists within the orchestra! 3. Professor Welter Comments: Harmonics - the loudest possible dynamic with harmonics is mp. 4. Professor Brick Comments: Read this paragraph again! Con Sordino does not necessarily mean a passage will be soft it means the passage will be softer Con Sordino is a relative term. Folks new to the art of orchestration are always shy to write above mf con sordino You shouldnt be shy. Con Sordino in loud passages becomes a great coloration. This will also be of great importance when discussing the very cool little brass mutes and the very special types of woodwind mutes. 5. Professor Brick Comments: This is a very curious statement. Dont take RKs words literally here. RKs use of the term Bass Flute does not apply to the instrument we know today as the Bass Flute as the instrument was not invented until after his death. Rather I believe he refers to a Bass Flute as a flute lower than the C flute. By todays terminology, the alto flute is a much more common doubler than the bass flute. Whereas almost any professional orchestra will have a flautist that can double on Alto the same cannot be said about the Bass Flute (and definitely not the contrabass flute!) On a recent recording date in Prague I was surprised to be informed that not a single bass flute was available. To be sure, even here in NY the roster of Bass Flutes is quite limited. Similarly, in many cases, bassoon players do not double on contrabassoon. Its always good to check with the orchestra manager for that particular groups doublings. 6. Professor Belkin Comments: More on Woodwinds - Rimsky's comments on the woodwinds are an excellent start to understanding them. Basically the winds have two uses in orchestration: melodic and harmonic. The melodic use of the winds is almost always as SOLO instruments. (Doubling the same instrument at the unison adds very little loudness, and usually just sounds a bit out of tune.) In first learning to use them, it is useful to think of each wind instrument as really three instruments in one: low, medium, and high. Although the register transitions are not overly drastic, as one moves into each new register, the color changes sufficiently to be considered another color. So: it is better to think of writing for "high flute and low bassoon" rather than just flute and bassoon - all the more so, as the balance between the individual winds, as well as with other instruments will vary *radically* according to the register used. The harmonic use of winds is discussed later in the treatise. Suffice it to say here, that once again, it is best to think of each wind instrument as three in one when calculating blend. 7. Professor Dwyer Comments: Writing for Double Basses: a. Double basses on their own (arco) seldom, if ever, sound good, and should not be given an independent part of a melodious character. In strings only, if two low parts are required it is better to divide the cellos and let the double basses double the 2nd cellos. Or double the basses with a wind instrument. They sound acceptable if given sustained notes on their own however. And pizzicato basses always sound very good and can be given an independent part if necessary. It follows that the main uses of arco basses are as follows: b. Resting. The extra foundational sound provided by octave doubling should only be used when this solid depth is important, as for example in a tutti. Unremitting double bass sound can fatigue the ear of the listener, especially in the lowest register. In many a passage the bass part can be left to the cellos alone, or to cellos and bassoons. There is nothing much wrong with page after page of rests for the double basses: when they are used they will be all the more effective. c. Doubling the cellos an octave lower will be the main function when they do play. So when in doubt, that's the thing to do. d. Doubling cellos at the unison. The higher strings of the double basses are far more effective than the lower ones, so when the bottom line is low, it is often better to double the cellos at the unison (i.e. octave higher on paper). In any case the cellos are a touch weaker on their bottom string so this could help, particularly if the melody is important. e. Playing short notes on the accents (followed by rests). This is common in dance music of all kinds, in fact J. Strauss sometimes gives the bass part to the double basses alone, in short notes. f. Rapidly repeated notes, in fact very rapid passages of any kind make too much attack noise unless slurred, (also the long strings take a little longer to "speak") and doubled parts which would be easy for cellos are often simplified into longer notes for the basses. .
Coming Next Lesson: Lesson 2 - GENERAL REVIEW - Brass, Percusson and Other Instruments.
Want to learn more? At the GPO Tutorials Page there is additional information.
Artistic Orchestration - by Professor Alan Belkin GPO Ensemble Building Tutorial- by R. Davis Master Class GPO STRINGS Tutorial - by R. Davis GPO Scoring for Woodwind Tutorial - by Terry Dwyer For an abundance of information about the orchestra go to the Philharmonia site for "The Orchestra: A User's Manual".
"I am a mere artisan in music, but you will be an artist in the fullest sense of the word."- Petr Tchaikovsky in a letter to Rimsky-Korsakov
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Northern Sound Source - Lesson 2 - GENERAL REVIEW - Brass, Percussion & Other Instruments
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Garritan Lesson 2 - GENERAL REVIEW - Brass, Percussion & Other Instruments
04-12-2006 08:56 PM
Lesson 2 Notes: In this lesson we will provide a brief overview of the Brass Instruments and Instruments of Little Sustaining Power. These include the harp, pizzicato strings, piano and percussion instruments. Remeber this is only a brief overview of the instruments and there are many resources available if you want to learn more about the various instruments. After this overview we will advance to the next chapter dealing with melody and explore interactive scores highlighting Rimsky-Korsakov's melodies.
Chapter I (Continued)
GENERAL REVIEW OF ORCHESTRAL GROUPS
Brass.
The formation of the group of brass instruments, like that of the wood-wind is not absolutely uniform, and varies in different scores. The brass group may be divided into three general classes corresponding to those of the wood-wind (in pair's, in three's, and in four's).
The directions are the same as in the preceding table for wood-wind. It is evident that in all three classes the formation may vary as the composer wishes. In music for the theatre or concert room page after page may be written without the use of trumpets, trombones and tuba, or some instrument may be introduced, temporarily as an extra. In the above table I have given the most typical formations, and those which are the most common at the present day.
Note1: Besides the instruments given above, Richard Wagner used some others in The Ring, notably the quartet of tenor and bass tubas, and a contra-bass trombone. Sometimes these additions weigh too heavily on the other groups, and at other times they render the rest of the brass ineffective. For this reason composers have doubtless refrained from employing such instruments, and Wagner himself did not include them in the score of Parsifal. Some present-day composers (Richard Strauss, Scriabine) write for as many as five trumpets. (*1)
Note 2:From the middle of the 19th century onward the natural brass disappeared from the orchestra, giving place to valve instruments. In my second opera, The May Night I used natural horns and trumpets, changing the keys, and writing the best notes "stopped"; this was purposely done for practice. Editors Note: (1) Of late years sometimes two tubas are employed, by Glazounov for instance in his Finnish Fantasia.
Thought far less flexible than the wood-wind, brass instruments heighten the effect of other orchestral groups by their powerful resonance. Trumpets, trombones, and tubas are about equal in 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.
Suggested Position of Brass in an Orchestra

(positions may vary depending on the work,the venue, the orchestra and other factors) (*2)
Video of the Brass Playing in an Orchestra
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 ff the tone is hard and "crackling". Brass instruments possess a remarkable capacity for swelling from pianissimo to fortissimo, and reducing the tone inversely, the sf > p effect being excellent.
(*3)
The following remarks as to character and tone quality may be added: a) Trumpets:
1. Trumpet (Bb-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. Satisfied with the beauty and usefulness of the alto trumpet, I have consistently written for it in my later works, combined 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 neighboring chromatics; by this means the alto trumpet part may be played by an ordinary trumpet in Bb or A.
3. Small trumpet (in Eb -D ). Invented by me and used for the first time in Mlada to realize the very high tumpet notes without difficulty. In tonality and range the instrument is similar to the soprano cornet in a military band.
Note: The small trumpet, (Bb-A) sounding an octave higher than the ordinary trumpet has not yet appeared in musical literature.
b) Cornets (in 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 produce its tone in a languid and lazy manner. (*4) 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 sonorous. Valve trombones are more mobile than slide trombones, 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 in the middle registers. In company with the piccolo and double bassoon it is not given to the small trumpet (Eb-D) and tuba to play with any great amount of expression. The rapid and rhythmical repetition 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 mouthpiece, trumpets and cornets. These two instruments can execute rapid tremolando without difficulty. 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 English. horn is approached. Stopped notes (con sordino) are marked + underneath the note, sometimes followed by o, denoting the resumption of open sounds, senza sordini. Brass instruments, when muted, produce an effect of distance. (*5)
Note: Natural sounds are given in white notes. The upper lines indicate the scope of greatest expression.The 7th natural harmonic is everywhere omitted as useless; the same in the horns, the notes 11, 13, 14 and 15. The b natural of the octave-1 does not exist on the trombones.
C. Instruments of Little Sustaining Power.

Plucked Strings.
When the usual orchestral string quartet (Vns 1, Vns II, Violas, 'Cellos, D. basses) does not make use of the bow, but plucks the strings with the finger, it becomes to my mind a new and independent group with its own particular quality of tone. Associated with the harp, which produces sound in a similar manner, I consider it separately under the heading of plucked strings.
Note: In this group may be classed the guitar, zither, balalaika; instruments plucked with a quill, such as the domra, (*) the mandolin etc., all of which may be used in an orchestra, but have no place in the scope of the present book. *A domra is a Russian instrument which, like the balalaika, is better known abroad. (Translator's note.)
Pizzicato.
Although capable of every degree of power from ff to pp, pizzicato playing has but small range of expression, and is used chiefly as a color 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 below 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. (*5) Chords of four notes allow of greater freedom and vigor 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.
The black notes are dry and hard, without resonance, and should only be used when doubled with the wood-wind.
The Harp.
In the orchestra, the harp is almost entirely a 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.
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 two harps, Mlada for three.
Video of HarpPlaying in an Orchestra (with flute)
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 between 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 gradually. 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 realized clearly and neatly in the upper register of the harp, where the strings are shorter and harder in tone. As a general rule, in the whole range of the harp:
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 orchestrator is advised to bear this fact in mind. But the difficulty may be obviated by using two harps alternately.
Note: 1: I would remind the reader that the harp is not capable of double 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 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. Note 2: A chromatic harp without pedals has now been invented in France (Lyons system) on which the most abrupt modulations are possible.
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 sufficiently clear, yet not too prolonged. Forte glissando scales, entailing the use of the lower and middle strings are only permissible as embellishments. Glissando 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 dynamic 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 color than expression.
Percussion instruments producing determinate sounds, keyed instruments.
Kettle-drums (Timpani)
Kettle-drums, indispensable to every theatre and concert orchestra occupy the most important place in the group of percussion instruments. A pair of kettle-drums (Timpani), in the tonic and dominant keys, was the necessary attribute of an orchestra up to, and including Beethoven's- time, but, from, the middle of the 19th' century 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 generally to be found. The composer can therefore take 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. (*7)
The limits of possible change in Beethoven's time were considered to be:
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:
Note: A magnificent kettle-drum of very small size was made for my opera-ballet Mlada; this instrument gave the Db of the fourth octave.
Kettle-drums are capable of every dynamic shade of tone, from thundering fortissimo to a barely perceptible pianissimo. In tremolando they can execute the most gradual crescendo, diminuendo, 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 concertos) belongs almost entirely to the Russian school.
(*8)
The object is two-fold: the quality of tone, either alone, or combined with 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 Tchaikovsky. 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. (*9)
Editors Note: Although Rimsky-Kosakov recommended the upright, the Concert Grand has become the piano of choice in most orchestras.
Glockenspiel, Bells, Xylophone
(Show above also is the Vibes and Marimba added later)
The glockenspiel (campanelli) may be made of steel bars, or played with a keyboard. (*10) The first type is the more satisfactory and possesses greater resonance. The use of the glockenspiel is similar to the celesta, but its tone is more brilliant and penetrating. 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. (*11)
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, glockenspiel and xylophone.
Editor's Note: 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
Percussion instruments producing indefinite sounds
Suggestion Position of Percussion in an Orchestra

(positions may vary depending on the work,the venue, the orchestra and other factors)
Instruments in this group, such as triangle, castanets, little bells, tambourine, switch or rod (Rute. Ger.), side or military drum, cymbals, 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 musical meaning, and are just mentioned by the way. The first three may 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. (*12)
Comparison of resonance in orchestral groups and combination of different tone qualities

In comparing the resonance of the respective groups of sound-sustaining instruments we arrive at the following approximate conclusions: 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 forte 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. It is more difficult to establish a comparison in resonance between 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 1st Violins or all 2nd Violins etc.) is equivalent in strength to one wind instrument, (Violins I = 1 Flute etc.), and, in forte passages, to two wind instruments, (Violins I = 2 Flutes = 1 Oboe + 1 Clarinet, etc.). (*13) 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. (*14) 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-enforcing both, the wind thickens the strings 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:
One department of strings added to the wood-wind in unison produces a sweet coherent quality, 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:
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 bassoonand 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 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 elements, melody, harmony and rhythm. Instruments of little sustaining power, though sometimes used independently, are chiefly employed for ornament and color; 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 producing 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 color and expression. As regards expression, the strings come first, and the expressive capacity of the other groups diminishes in the above order, color 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 pairs, in three's etc. eliminates characteristics of tone, and produces a dull, neutral texture, whereas the employment of simple, elementary combinations gives infinitely greater scope for variety in color. (*15)
Take an Interactive
Tour of Orchestral Instruments
See and hear the orchestral instruments of Personal Orchestra in this interactive guide.
Comments from the Professors: 1. Professor Belkin Comments: Wagner Tubas - The real significance of the Wagner tubas is pointed out by Tovey: Wagner treats the brass as consisting of 3 subgroups, each one of perfectly homogeneous tone: horns, trumpets plus trombones, and tubas. It is also worth mentioning (as RK does later) that horns are sometimes used as intermediaries between woodwinds and the heavier brass; they blend well with either, if registers are well chose. 2. Professor Belkin Comments: Position of Brass in Orchestra - The main principle involved in the physical position of the brass is simply to place them father back than strings and woodwind, because they are so much louder. 3. Professor Dwyer Comments: Not only is the sf > p very effective in brass, as Rimsky says, but even more effective is fp < f , or even more powerful: ffpp < ff 4. Professor Belkin Comments: the Horn - The most common mistake of beginning orchestrators using the horn is to treat it is a bass instrument, which it is NOT. If should be thought of as a tenor/alto voice. The horn is only appropriate for the bass as a slow moving or static pedal. (In this role it has the advantage of being softer than the bassoon in its lowest register.) 5. Professor Belkin Comments: Brass Mutes - Brass instruments with mutes are best treated as a supplementary family, since their sound is so different from open brass. 6. Professor Belkin Comments: Pizzicato - This may not be entirely accurate; e.g. a G major chord sounds perfectly fine using open strings. The point is simply to realise that open strings are more resonant and to avoid inadvertent accents where not appropriate. 7. Professor Belkin Comments: Timpani - Today all professional orchestras use fully tuneable timpani. 8. Professor Belkin Comment: Piano - This of course is no longer the case. Piano no longer belongs exclusively to the Russian School. 9. Professor Belkin Comment: Celesta - The celesta is normally played by the pianist of the orchestra, and is now used for quite different effects. Whereas the piano is especially useful for accent, the celesta adds gentle, silvery color to many (quiet) combinations. 10. Professor Belkin Comment: Glockenspiel - Today the norm is to be played with mallets. 11. Professor Belkin Comment: Marimba - The marimba has become very common as a lower extension of the same type of sound. 12. Professor Belkin Comment: Combining Percussion Instruments - A basic rule for combining percussion instruments with others in the orchestra: place them in the same register, e.g. basses can combine with bass drum, timpani, tam-tam, etc.., while piccolos would combine with celesta, xylophone, etc.. Breaking this rule will result in the effect of TWO distinct musical planes of tone, which will usually seem unrelated. 13. Professor Belkin Comments: Balance - These balance equations are to be taken as very approximate, and as holding true ONLY WHEN THE INSTRUMENTS INVOLVED ARE PLAYING THE SAME KIND OF MATERIAL. The ear normally follows activity, and thus a violin section will attract more attention when playing a lively figure than when playing held notes. This is one of the elements making orchestral balance very hard to quantify. Another problem is that winds and brass change tone more in different registers than strings do, so, for example, combining low flutes with violins is quite a different matter than high flutes. 14. Professor Belkin Comment: However, all these instruments are percussive, and therefore soon fade away. This points to a very important orchestral distinction, not based on timbre, namely between sustained sounds and percussive sounds. 15. Professor Belkin Comment: The single most common beginners defect in orchestration is overuse of doubled timbres. As RK points out, this is a quick route to dull, grey sound.]
Next Lesson: Lesson 3 - Melody in the Stringed Instruments.

Want to learn more? At the GPO Tutorials Page there is more information.
Master Class GPO BRASS Tutorial GPO French Horn Tutorial GPO Scoring for Woodwind Tutorial Artistic Orchestration GPO Tuned Percussion Tutorial GPO Harp Tutorial GPO Harpsichord Tutorial Improving Orchestral Simulation GPO Concert Organ Tutorial Using the GPO Organ Tutorial Realizing a Continuo PartGPO Audition Interactive Orchestra Writing for Harp Tutorial For an abundance of information about the instruments of the orchestra go to the Philharmonia site for "The Orchestra: A User's Manual".
Northern Sound Source - Lesson 3 - MELODY - Strings - Melody in Stringed Instruments
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Garritan Lesson 3 - MELODY - Strings - Melody in Stringed Instruments
04-14-2006 12:50 AM
MELODY
Part 1 - Stringed Instruments
Lesson Notes: This lesson begins the journey into the craft of orchestrating melodies. A melody is often what is remembered most about a piece of music. The way a melody is orchestrated can make it memorable or easily forgotten. Using orchestral color to restate the melody in a new and unique ways is what makes for a good orchestrator. Different instrument combinations can drastically affect the mood the orchestrator is trying to convey. In this lesson we will focus on melody in the stringed instruments, namely violin, viola, cello and double bass.
Chapter II
Whether it be long or short, a simple theme or a melodic phrase, melody should always stand out in
relief from the accompaniment. This may be done by artificial or natural means; artificially, when the question of tone quality does not come into consideration, and the melody is detached by means of strongly accentuated dynamic shades; naturally, by selection and contrast of timbres, strengthening of resonance by doubling, tripling, etc., or crossing of parts (violoncellos above the violas and violins, clarinets or oboes above the flutes, bassoons above the clarinets etc.). (*1) 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. (*2)
Melody in stringed instruments.

Instances of the melodic use of stringed instruments are in-numerable. The reader will find many examples in the present treatise. With the exception of the double basses, dull in tone and of little flexibility, chiefly employed in unison or in octaves with the violoncellos, each of the other stringed instruments, taken independently, is qualified to assume full responsibility for the melodic line.
a) Violins. Melody in the soprano-alto register and an extra-high compass usually falls to the lot of the 1st Violins, sometimes to the 2nd Violins or to both in unison, a process which produces fuller resonance without impairing quality of tone. (*3) Score References & Musical Examples Using GPO:
No. I. Sheherazade 2nd movement, Section B; Violins in melody, piano and graceful in character.
No. 2. The Legend of the Invisible City of Kitesh, Section 283; Violins in melody.
GPO Exercise - Violins in melody - Example No. 2 This is a brief example from Rimsky's work where you can practice using Garritan Personal Orchestra, gaining balance, deciding on articulations, and inputing with your keyboard. The 1st Violins are omitted (it is the topic at hand) as you will input them via keyboard or notation( either in your sequencer or importing the midi into a notation program). 1. Load the Example #2 - Legend of Kitesh MIDI into your sequencer (tutorials for loading GPO and importing midi files for various sequencers can be found at theTutorials Page on the www.garritan.com website). 2. Load two instances of GPO either as a plugin in your sequencer or into your supported notation program 3. Determine from the score what instruments you will require for articulations or doubling (i.e. two wind instruments in unison would require two separate instrument patches). 4. Load instruments into GPO instance 1 and 2 that correspond to the score (i.e. Flute player 1starting in GPO instance 1 channel 1, 1st Violins 1 Sust + Short in GPO instance 2 channel 1) 5. In one of the empty slots go ahead and load percussion toys as it will be used as your temporary metronome. 6. Refer to the score (for the score click here) and once you have loadedGPO instruments, go ahead and move such things as pizz to a different track by either copying the current track and deleting the sustained parts that should be pizz, or you can use the keyswitch patches (however be forwarned that in doing so this will use much more memory. It's recommended to separate the tracks of Sust/pizz as those are the only two articulations you will need and it will save on memory). 7. Once you have all the various tracks set up and have determined your instrument setup, you can now start recording. It is at this point where you should set your tempo to a comfortable level (you can always increase it later). Now its only a matter of track selection, mod wheel data (CC1), legato (sust pedal CC64) and balancing after giving a few tries and becoming satisfied with the 1st Violins part (unless you inputed with notation). 8. Use the simple controls of GPO (mod wheel for dynamic expression, sustain pedal for legato (phrasing), and velocity for attack. Familarize yourself with this performance control system. Once you're satisfied (don't take too much time with this) go ahead and set the tempo to where it should be or close to. Do not worry about a perfect "mix" as this is just a simple excersise to get used to GPO and at the same time work with an example from the book. No. 3. Spanish Capriccio, Section J; Violins I in the upper register doubling the high register of the wood-wind. Choice resonance.
Other References: The Tsar's Bride, Section 84. Pianissimo melody (Violins 1) of a troubled dramatic character. Harmonic accompaniment (Vns II and Violas tremolando middle parts; the Violincellos forming the bass). Antar, before Section 70 . Descending melodic phrase, Violins I con sordini piano. Antar, Section 12. Light graceful melody, oriental in style; a dance measure (Violin I con sordino), the mutes producing a dull ethereal quality of tone:
b) Violas. Melody in the alto-tenor register and a still higher compass is assigned to the violas. Cantabile melodies however are not so frequently written for violas as for violins and 'cellos, partly because the viola tone is slightly nasal in quality and better fitted for short characteristic phrases, partly because the number of viola players in an orchestra is smaller. Melodies confided to the violas are generally doubled by other strings or by the wood-wind. (*4) Score References & Musical Examples Using GPO: No. 4. Pan Voyevoda, duet in Act II, Section 145; Violas long cantabile melody, dolce, in unison with the mezzo-soprano voice.
No. 5. The Golden Cockerel, Section 193; Flowing cantabile violas.

No. 6. Sadko. Symphonic tableau, Section 12; Muted violas. A short dance theme, piano in Db major. (The same theme in Eng. horn in the 61' scene of the opera Sadko is slightly more penetrating in tone).
c) Violoncellos. Violoncellos representing the tenor-bass range and an extra-high compass are more often entrusted with tense passionate cantabile melody than with distinctive figures or rapid
phrases. Such melodies are usually laid out for the top string (A) which possesses a wonderfully rich "chest" quality. (*5) Score References & Musical Examples Using GPO:
No. 7. Tchaikovsky Symphony No. 6, 2nd Movement; A broad melody dolce espressivo, afterwards doubled by the first violins an octave higher. (replaces original example, cf. also Pan Voyevoda, Section134, nocturne, "Moonlight").
No.8. Snegourotchka, Section 231; At the fifth bar, Cellos melody on the A string cantabile ed espressivo, imitating the first clarinet. (Note: Also not mentioned as a CF #8 Snegourotchka in the back:Violins 1+2, Violas, 2 flutes, 2 horns.
No. 9. Snegourotchka, Section 274; Cellos, Melodic phrase with embellishments.

Other References: Antar, Section 56, Cantabile on the A string. Antar, Section 63, The same melody in Db major on the D string (doubled by the bassoons).
d) Double basses. Owing to its register - basso profondo + a still lower compass, - and its muffled resonance, the double bass is little capable of broad cantabile phrases and only in unison or in octaves with the 'cellos. In my own compositions there is no phrase of any importance given to the double bass without the support of 'cellos or bassoons. (*6)
Score References & Musical Examples Using GPO:
No. 10. Legend of Kitesh, Section 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).
GPO Exercise - Example No. 10 This is a brief example from Rimsky's work where you can practice using GPO, working with balance, deciding on articulations, and inputing with your keyboard or notation program. 1. Load the Example #10 - Legend of Kitesh MIDI file into your sequencer (tutorials for loading GPO and importing midi files for various sequencers can be found at the Tutorials Page on the www.garritan.com website). 2. Load two instances of GPO either as a plugin in your sequencer or into your supported notation program 3. Determine from the score what instruments you will require for articulations or doubling (i.e. two wind instruments in unison would require two separate plr patches). For the score click here. 4. Load instruments into GPO instance 1 and 2 (preferable to break up the winds down to individuals, but not required as there are no unisons to contend with). 5. Load up what is needed depending on how much work you want to do (individual control or counting one as pairs, ect.). This example should not take more then a few minutes to set up and get playing as the tracks are labelled for recommended setup. 6. Record at a comfortable level. Keep an eye on the phrasing and markings (nothing really complex here, just a slight crescendo near the end). Tip: With the tremolo in the Violins and Violas there is an accent indication at the beginning. One way to do this is to use velocity (hit the keys hard, well not enough to break them!) and have the mod wheel just a bit above the dynamic marking and immediately back off. This example is very short (not many bars) and serves to familiarizes one in using GPO as a tool to practice these orchestrations.
No. 11. The Golden Cockerel, Section 120 - Double basses in melody doubled with the Double bassoons.
Exercise
GPO Exercise - Melody in Strings Instruments: Double Basses
In this exercise you will experiment with adding a double bass melody to a background track of winds and strings. 1. Click and refer to the background score here 2. Load the backgound track MP3 in your MP3 player or sequencer. For MP3 click here. 3. Load the Basses in Melody MIDI file and it's respective instruments. For MIDI file click here. 4. Load the solo or section double bass instrument into GPO. 5. Play your own melody along with the background MP3 ir MIDI file. Try doing your own melodies with the double bass instruments.
Professor Comments: 1. Professor Belkin Comments: In a more general sense, this brings up, for the first time here, the issue of planes of tone: foreground, background, etc.. Obviously a melodic line is an example of a musical foreground. As a general principle of orchestration, it is generally best to decide the timbre(s) of the foreground first, and THEN choose how to set the less prominent elements in the texture, since accompaniment parts MUST, by definition, attract less attention than primary lines. 2. Professor Belkin Comments: Another element which determines orchestral prominence is MOVEMENT. All other things being equal, the ear tends to follow CHANGE. So, for example, a moving line in the violas, surrounded by the outer strings holding long notes, will stand out adequately - provided of course that the other strings are not holding notes in the exact same register as the violas! 3. Professor Belkin Comments: A common procedure, when the music is suitable (i.e. breaks up naturally into shorter segments) is to create a dialogue between first and second violins playing the melody, rather than relying entirely on the 1st violins. 4. Professor Belkin Comments: although a melody in the violas alone is quite satisfactory. There is no absolute NEED to double violas by winds or other strings, unless it be for reasons of tonal balance. 5. Professor Dwyer Comments: The spelling in the original text of "violoncello" is correct. Italian has several ways of denoting a diminutive word, or an enlargement. "Piccolo" actually means "small" and the complete phrase "Flauto Piccolo", meaning "Small flute" has got shortened to just "Piccolo". In the same way "cello" also means small, and the word "violoncello" means "Small Violon(e)", - obviously not "Violincello" = "small violin"! So what is a Violone? It is the old equivalent of the Double Bass, and the word Violone derives from "Viola", plus the suffix "-one" which means "large". So the word Violoncello actually means "Little large viola"!! 6. Professor Belkin Comments: This is no longer quite as true. Good bass players can produce quite beautiful tone. But as a NORM, RKs principle remains valid.
Next Lesson: Melody in the Strings (continued) - unisons, octaves, thirds and sixths.
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Northern Sound Source - Lesson 4 - MELODY - Strings - Grouping in Unison
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Garritan Lesson 4 - MELODY - Strings - Grouping in Unison
04-14-2006 11:58 PM
Lesson Notes: In this lesson we will continue to discuss melody in the Stringed Instruments. This lesson will cover Grouping in Unison, Doubling in Octaves, Doubling in Three and Four Octaves and Melody in Thirds and Sixths.
Chapter II (Continued)
MELODY
Part 1 - Stringed Instruments (Continued) Grouping in unison.
a) Violins I and Violins II It goes without saying that this combination entails no alteration in color; 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.
No. 12. Sheherazade, beginning of the 3rd movement - Cantabile for Violins I and II in unison on the D string.
No. 13. The Golden Cockerel, Section 170 - Violins I + II con sordino in unison.
References: The May Night, Overture D. Quick piano melody, beginning cantabile and divided later in octaves (Violins I & II in octaves) with florid embellishment.
b) Violins and 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.
Score References & Musical Example Using GPO:
No. 14. Sadko, Section 208 - Violins I and II and Violas (G string) in unison. Quiet cantabile melody pp with the altos and tenors of the chorus.
Other References:
The Golden Cockerel, Section 142 - Same combination.
c) Violas and Cellos Produces a rich full resonance, the 'cello quality predominating.
No. 15. Snegourotchka, Section 5 -Apparition of Spring - Violas and Cellos (and English horn) in unison. The same melody, mezzo-forte cantabile as in Ex. 9; but in a brighter key, a third higher, its resonance is more brilliant and tense. The addition of the Eng. horn makes no essential difference to the compound tone; the 'cellos stand out above the rest.
No. 16. The Golden Cockerel, Section 71 - Violas and Cellos (con sordino) in unison
Other References: cf. Example 15: The Legend of Kitesh, Section 330.
and Cellos d) Violins A combination similar to the preceding one. The 'cello tone prevails and the resonance is fuller.
No. 17. Snegourotchka, Section 288,"Spring descends upon the Lake." Violins I & II and 'Cellos in unison(with English. horn). The same cantabile as in Example 9 and 15. The English horn is absorbed in the musical texture, the principal color being that of the 'cellos. Still more powerful in resonance.
No. 18. The May Night. Act III, Section Chorus of Roussalki The combination of the solo Cello with the Violins gives the latter a touch of the 'cello timbre.
e) Violins I and Violins II and Violas and Cellos Combining violins, violas and 'cellos in unison is not possible except in the alto-tenor register; this process unites the full resonance of the instruments into an ensemble of complex quality, very tense and powerful in forte passages, extremely full and rich in
piano. Score References & Musical Example Using GPO:
No. 19. Sheherazade, 2nd movement, Section P - Violins I & II, Violas and Cellos. Energetic Phrase ff.
Other References: Mlada, Lithuanian dance, before 36; Mlada, Act. III. 40. Cleopatra's dance. Cantabile embellished in oriental fashion.
f) Cellos
and Double Basses
A combination of rich full resonance, used occasionally for phrases in the very low register. Score References & Musical Examples Using GPO:
No. 20. Sadko, Section 260 - Cellos and Double Basses. A persistent forte figure, severe in character.
No. 21. Legend of the Invisible City of Kitesh, Section 240 Cellos and Double Basses. A pianissimo phrase, sinister and horrible in character.
Professor Comments:
Professor Belkin Comments: This is the moment to introduce the concept of normal dispositions. When combining instruments WITHIN THE SAME TIMBRAL FAMILY, a good analogy is the choir of human voices. There are 4 basic groups, organised in order of register; their blending requires no special effort. (The double bass is very rarely a separate part, normally being used to double the cello at the octave.) The doublings which are most innocuous are always the adjacent ones, e.g. vln. 1 + vln. 2, vla. + cello, etc.. Doublings involving non-adjacent instruments are generally more distinctive, since one of the instruments is usually playing in a more extreme register. Distinctive doublings (i.e. those which attract attention) are mainly used for foreground material, and must be chosen for their specific character.
Next Lesson: Melody in the Wood-wind
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Garritan Lesson 5 - MELODY - Strings - Doubling, Thirds & Sixths
04-15-2006 01:33 AM
MELODY
Part 1 - Stringed Instruments (Continued)
Lesson Notes: In this lesson we will finish the discussion on melody as it pertains to the stringed instruments. We will delve into doubling the stringed instruments in octaves, melody in double octaves, doubling in three and four octaves and melody in thirds and sixths.
Chapter II
Stringed Instruments doubling in octaves.
a) Violins I
and Violins II
in octaves.
This is a very common process used for all kinds of melodic figures in particular those in the very high register. It has already been stated that the E string diminishes in fullness of tone the higher it ascends from the limits of the soprano voice. Moreover, melodic figures in the very high register of the violins become too isolated from the rest of the ensemble unless doubled in octaves. Such doubling secures expression, fullness 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. (*1) Score References & Musical Examples Using GPO:
No. 22. The Tsar's Bride, Section 166 - Violins I and Violins II in octaves. Cantabile, piano.
No. 23. The Legend of Tsar Saltan, Section 227 - Violins I and Violins II in octaves. Melody with reiterated notes, dolce, express. e cantabile.
No. 24. The Christmas Night , Section 210. Violins I and Violins II doubling the melody in octaves. 1st Violins play the melody in the upper octave, and the 2nd Violins can play the octave below. In this way the predominant higher 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.
No. 25. Ivan the Terrible, Act III, Section 63 - Violins I and Violins II in octaves.
Other References: The Tsar's Bride, Section 206. Cantabile, mezzo-piano; the lower part is in unison with the soprano voice; Sheherazade, 3rd movement, Section J , Cantabile in G major; dolce and cantabile (the same as Ex. 12); Sadko, Symphonic tableau, Section 12, Violins I and II (muted) in octaves. A short dance phrase pianissimo, given first to the violas, theta to the violins (cf. Ex. 6); * The Golden Cockerel, Section 156; * The Golden Cockerel, Section 165;
* Antar, 1st movement, Section 11;
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 especially 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. (*2) Score References & Musical Examples Using GPO:
No. 26. Snegourotchka, Section 238 - Chorus of Flowers - 2 Solo Violins and Violins divisi octaves. Pianissimo cantabile in two octaves, progressing with the women's chorus (Sopr. I), and given out earlier by the Engish horn. The flute and all the 1st Violins except two play in the lower octave, the two solo violins, only, in the upper. The solo desk will be sufficiently prominent owing to the general pianissimo.
Other References: Snegourotchka, Section 166. Violins I and Violins II divisi in octaves. mezzo-forte espressivo. Partial Doubling of Coupava's song (Sopr.) One flute and one oboe double the melody.
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.
Score References & Musical Examples Using GPO: No.27. Snegourotchka, Section 231 - Violins 1 and Violins II in unison, doubled an octave below by the Violas.
No. 28. Snegourotchka, Section 137, finale of Act I -Violins I, doubled an octave below by the Violins II in unison with Violas. Cantible phrase, transmitted in flute and clarinet (cf. Ex. 8).
Other References: Snegourotchka, Section 137, finale of Act I.Violins 1 and Violins in unison, doubled an octave below by the Violas. Quick Melody, piano.
The distribution: Violins 1 and Violins in unison, doubled an octave below by the Violas; and, Violins 1, doubled an octave below by the Violins II in unison with Violas - 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. and Violoncellos in octaves. d) Violas Of special use when the Violins are otherwise employed.
Other References: * Legend of Kitesh, Section 59, Violas and Cellos in octaves, doubled by bassoons.
e) Violins and Violoncellos in octaves. Used in very expressive passages where the 'cellos have to play on the A or D strings. This method produces a more resonant tone than the preceding one; instances of it are frequent.
No. 29. Antar, Section 43 - Violins I and Violins II in unison, doubled an octave below by the Cellos. Cantabile of Eastern origin.
No. 30. Shererazade, 3rd movement, before Section P - Violins I doubled an octave below by the Violins II and Cellos in unison; and Violins I and Violins II in unison, doubled an octave below by the Cellos. The first arrangement is rarely found.
Other References: Sheherazade, 3rd movement - Violins I and Cellos in octaves. Cantabile mezzo-forte appassionato (cf. Ex. 1); Pan Voyevoda, Section134 , nocturne "Moonlight" - Violins I and Cellos in octaves.. Cantibile melody given first to 'cellos alone (cf. Ex. 7); The May Night, Act III Le, 0,51 All Violins and Cellos in octaves. A forte melodic phrase.
f) Violoncellos and Double basses in octaves. The bass is usually constricted in this manner. Examples of it are to be found everywhere. Sometimes the double bass part is simplified in comparison with the 'cello part.
Other References: Snegourotchka, Section 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.
No. 31. Legend of Kitesh, Section 223 -Violas and Double basses in octaves.
h) Parts progressing in octaves, each part doubled in unison. Melodies situated in the middle orchestral range may be allotted to 1st and 2nd Violins in octaves with Violas and 'Cellos. This arrangement is constantly found, and produces a beautiful quality of tone, somewhat severe in character.
Other References: cf. Example No. 24: Sadko, Section 207. Snegourotchka, Sections 58, 60 , 65 and 68 . The same melody, played twice pianissimo, not doubled, then twice (mezzo-forte and forte), doubled in the wood-wind; Mlada, Act II, the beginning of the Lithuanian dance. A lively piano theme; Ivan the Terrible, Act II, Section 28.
Note: It may be of use to point out that melodies lying in the extreme upper register, e. g. those exceeding the middle of the 5th octave, are generally doubled an octave below, whilst those situated in the extreme low register (below the middle of the 15' octave) are doubled an octave higher.
Progression in octaves of divided strings of the same kind is generally to be avoided. For example, Violas 1 + Cellos 1 + Double basses 1 in unison, doubled an octave below by Violas + Cellos II + Double basses II, is to be avoided
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: The following distribution is ocassionally found:
Violas and Cellos I in unison, doubled an octave below by Cellos and Double basses.
Melody in double octaves.

a) Violins I and II and Violas in double octaves (or with Violins I and II and Cellos in double octaves)
Melody in double octaves by the Violins I and II and Violas (or with Violins I and II and Cellos) may be used for full cantabile melodies extremely tense in character, and in forte passages for choice. Score References & Musical Examples Using GPO:
No. 32. Antar, Section 223 - Violins I and II in octaves with the viola and celli an octave
down.
b) Violins in octaves doubled the octaves below with Cellos and Double basses (or double octaves with Violins and Violas, Cellos and Double basses; or Violins and Violas in octaves, doubled the octaves below by Cellos and Double basses).
These combinations are employed when the low register of each instrument in brought into play, and also to suit phrases of a rough and severe character. Score References & Musical Examples Using GPO:
No. 33. Snegourotchka, Section 215, Tumblers' Dance- Unison of 1st, 2nd violins and
violas, while the celli are an octave down, and the basses yet another octave below.
Note: The lack of balance with the Violins and Violas in octaves doubled the octaves below with Cellos and Double basses.
This is not of any great importance, for in such cases, the partial harmonics of one octave support the tone of the other, and vice versa.
Other References: * Legend of Kitesh, Section 66, opening of 2nd act.
Doubling in three and four octaves.

The distribution of Violins, Violas, Cellos and Double basses doubling in three and four octaves apart is rarely found, and as a rule, only when supported by wind instruments. (*3)
Other References: Legend of Kitesh, Section 150 (allargando); Sheherazade, 4rd movement, commencing on the 10th bar.
Melody in Strings: Three and Four Octave Displacement Exercise 1. Click and refer to the background score here 2. Load the background track MP3 in your MP3 player or sequencer. For the MP3 click here. For a dry version MP3, if you want a more intimate sound click here. 2. Load the Three or Four Octave MIDI file into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 3. Create melodic content preferably with all groups as described in the above section "Doubling in Three and Four Octaves" If using 3 octave displacement, one group would either have to be left out or used in unison with another.
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.
No. 34. Legend of Kitesh, Section 34 -Violins I playing the melody divisi in thirds, doubled an octave below with Violins II playing divisi in thirds.
Other References: cf. Example 31: Legend of Kitesh, Section 39, Violins I divisi playing
the melody in thirds with Violins II divisi, doubled an octave below with Violins I divisi playing the melody in thirds with Violins II divisi. Legend of Kitesh, Section 39, Violins I playing the melody in sixthes with Violas.
GPO Exercise - Melody in Strings Instruments: Thirds & Sixths Exercise 1. Refer to the background score and the melody score. For the background score click here. For the melody score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. For a dry version if you want a more intimate sound, click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 4. Take the given melody and place it in the Violins at the written pitch by notation or playing it into a sequencer. Now either write out or play in(depending on software used) with VLNs 1 the exact phrasing and rythmn using 3rds and 6ths below the melody(VLNs 1 divis). Once that is established you may want to add VLNs 2 an octave below doing the exact same thing. Here is but one possible example. Note: Use Example #34 for reference and feel free to copy the RK example and double VLNs 1 with flutes and VLNs 2 with clarinets. The midi is set up for this option.
(note, the MIDI are optimized for sequencers, however balance issues may vary from system to system)
Distribution in octaves, thirds, and sixths is usually regulated by the normal register of the respective instruments, so as to avoid any suggestion of mannerism resulting from the disturbance of balance. But such a departure from the recognised order may be permitted in special cases. For instance, in the following example of writing in sixths the upper part is allotted to the 'cellos, the lower part to the violins on the G string; this arrangement produces a quality of tone distinctly original in character.
No. 35. Spanish Capriccio, Section D - Cellos playing in sixths with Violins I and II.
Melody in Strings: Cellos Above Violins Exercise 1. Refer to the background score and the melody score here. For the background score click here. For the melody score click here. 2. Load the backgound track MP3 in your MP3 player or sequencer. For the MP3 click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 4. Take the given melody and place it in the cellos at the written pitch by notation or playing it into a sequencer. Now either write out or play in(depending on software used) with either VLNs 1 or VLNs 1+2 ect the exact phrasing and rythmn either a 3rd or 6th below(in this case tritone intervals can be used with certain backing harmonies, however the ability to keep it in 3rds and 6ths is possible. The whole point being keeping the violins melody below the cellos melody). Note: Here is but one possible example: You can also use example #35 for reference.
SUMMARY EXERCISES:
Melody in Strings Summary Exercise 1 In this exercise you will experiment with adding a various stringed instrument melodies to a background track of harp, bass, clarinets and
bassoons. 1. Click and refer to the background score. For the background score click here. 2. Load the backgound track MP3 in your MP3 player or sequencer. For the MP3 click here. This is an ambient version and if you want a dry more intimate version click here. 3. Load the given MIDI file into your sequencer or notation program load the respective GPO instruments. For the MIDI file click here. 4. Load the string instrument(s) into GPO. 5. Create a melodic line with the respective groups Violins 1, 2, violas or cellos and play along with the background MP3 track or MIDI file. It is recommended to keep the same melody throughout each group. Note: Here are some possible examples using various stringed instruments: Violins and Cello example and Cellos example. Try doing your own melodies as you try the different string instruments.
Melody in Strings Summary Exercise 2 In this exercise you will continue to add various stringed instrument melodies to a background track. 1. Click and refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the MP3 click here. This is an ambient version and if you want a dry more intimate version click here. 3. Load the given MIDI file into your sequencer or notation program load the respective GPO instruments. For the MIDI file click here. 4. Load the string instrument(s) into GPO. 5. Try to retain your melody from String Summary Exercise 1 above and create unisons(ui.e. VLNs/Cellos ect), octaves, and double octaves as described in the lessons. In the case of double octaves, if needed use Score #32 as a reference. Note: Here are some possible examples using various stringed instruments: Violins and Violas Example, Violins and Cellos Example and Violas and Cellos Example. Note: If by some reason your melodic content contains range issues in certain cases, try the following transposed versions: MIDI file, Wet MP3 Background Track, Dry MP3 Background Track, Possible Example Track
Professor Comments:
1. Professor Belkin Comments: RK touches on a larger issue here: extreme registers should be used ALONE relatively infrequently. They are quickly tiring to the ear, and unless doubled in the main (central) register via octave doubling tend to be perceived as completely separate planes of tone. 2. Professor Belkin Comments: Or when a deliberately thin and transparent effect is desired, for example when the divisi line is NOT meant to be in the foreground. 3. Professor Belkin Comments: This may also be used alone (i.e. without any other families of the orchestra playing) when an extremely heavy string melody is required. A common beginners mistake is to orchestrate the bass line in 3 octaves, with or without winds/brass. This should remain very uncommon; it is appropriate ONLY when the bass is intended to be heavy and ponderous. The violas are NOT normally bass instruments.
Next Lesson: Melody in the Wood-wind Copyright 2006
Northern Sound Source - Lesson 6 - MELODY - Wood-wind - Melody in Wood-wind
Northern Sound Source (http://northernsounds.com/forum/index.php) - Principles of Orchestration On-line (http://northernsounds.com/forum/forumdisplay.php?f=77) - - Lesson 6 - MELODY - Wood-wind - Melody in Wood-wind (http://northernsounds.com/forum/showthread.php?t=45837) Garritan Lesson 6 - MELODY - Wood-wind - Melody in Wood-wind 04-24-2006 06:08 PM
MELODY
Part 2 - Melody in the Wood-wind
Lesson Notes: In this lesson we will begin our discussion on melody in the Wood-wind instruments. Wood-wind instruments have the most diversity in tone color; more than any other instrument group in the orchestra. Professor Belkin Notes: There is in fact a good argument to be made that the WW are not one group at all, but rather, three (oboes and bassoons counting as one double reed - family, with the English horn as intermediary). Unlike the strings, woodwinds do NOT behave similarly to one another in various registers. For example, flutes get softer as they get lower, whereas oboes/bassoons get louder. This diversity of color and of register is the main cause of the difficulty in writing well for winds. The beginner is advised to think of each woodwind instrument as really three in one: a high instrument, a medium one, and a low one. Although the transitions between registers are of course not really so drastic, combinations of woodwinds with each other and with from other families work differently depending on register. For example, a low flute melody requires a different accompaniment from a high flute melody. This is also the reason that it is actually easier to score for a larger woodwind section than a smaller one: When the auxiliaries are available, the range available IN ANY GIVEN HOMOGENOUS TIMBRE is much increased. A chord scored for alto flute, regular flutes and piccolo will present less problems of blend and balance than one scored for 2 flutes and 2 oboes.
Chapter II
Of all the woodwinds, the oboe is one most likely to cause problems for the beginner. It is a natural prima donna and, while its melodic character can be wonderful in the right melody, it does not blend easily with most other timbres in the orchestra (exception: oboes blend quite well with SOFT, muted trumpets).
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 orchestrators own personal taste. Only the best methods of using the wood-wind in unison or octaves, and distributing a melody in thirds, sixths and mixed intervals, from the standpoint of resonance and tone quality will be indicated in this section of the work. Examples of the use of solo wood-wind are to be found in any score; the following are typical instances: Examples of solo wood-wind:
1) Piccolo: Score References & Musical Examples Using GPO:
No. 36. The Tsar Sultan, Section 216- Piccolo melody.

Other References: Serbian Fantasia, Section C . Snegourotchka , Section 54.
2) Flute: Score References & Musical Examples Using GPO:
No. 37. Sheherazade, 4th movement, before Section A - Flute melody in lower register.
Other References: The Tsar Sultan, Section 216.
Antar, Section 4. Servilia, Section 80. Snegourotchkar, Section 79, 183. A Fairy Tale , Section L.
The Christmas Night , Section 163. Flute (double tonguing) No. 38. Sheherazade, Section 240 - Flute flutter tongue.
Other References: Pan Voyevoda , Section 72.
Sheherazade, 4th Movement after Section V.
3) Bass Flute: Score References & Musical Examples Using GPO:
No. 39. Legend of Kitesh , Section 44 - Bass Flute melody.
4) Oboe: Score References & Musical Examples Using GPO:
No. 40. Sheherazade, 2nd movement, Section A - Oboe melody.
No. 41. Snegourotchka, Section 50 - Oboe melody.
No. 42. The Golden Cockerel, Section 57 - Oboe melody
No. 43. The Golden Cockerel, Section 97 - Oboe melody.
Other References: The May Night, Act III, Section Kk. Snegourotchka , Section 112,239. The Tzar's Bride, Section 108 (cf. Ex. 284).
5) English Horn: Score References & Musical Examples Using GPO:
No. 44. Spanish Capriccio, Section E - English Horn melody.
No. 45b. Extra Example: Tchaikovsky, Dance of the Reed Pipes - English Horn melody.
Other References: No. 45. The Golden Cockerel, Section 61 - English Horn melody. Snegourotchka, Section 97 & 283
6) Small (Eb) Clarinet: Score References & Musical Examples Using GPO:
No. 46. Mlada, Act II Section 33 and 37 - Eb Clarinet melody.

7) Clarinet: Score References & Musical Examples Using GPO: cf. No. 8. Snegourotchka, Section 231 - Clarinet melody.
cf. No. 43. The Golden Cockerel, Section 97 (4th measure in)- Clarinet melody in lowest register.
Other References: cf No. 8. Snegourotchka, Section 231. Serbian Fantasy, Section G. Spanish Capriccio, Section A. Snegourotchka, Sections 90, 99, 224 227. A Fairy Tale , Section M. A Tsar's Bride, Section 50 & 203. The Golden Cockerel, Section 97.
8) Bass Clarinet: Score References & Musical Examples Using GPO: No. 47. Snegourotchka, Section 243 - Bass Clarinet.
No. 48. Tchaikovsky, The Nutcracker, Dance of the Sugar Plum Fairy Bass Clarinet melody.
9) Bassoon:
Score References & Musical Examples Using GPO: No. 49. Vera Scheloga, Section 36 - Bassoon melody.
No. 50. The Golden Cockerel, Section 249 - Bassoon melody.
No. 51. Tchaikovsky, The Nutcracker, Arabian Dance - Bassoon melody.
cf- No. 40. Sheherazade, 2nd movement, Section A - Bassoon melodycounter to Oboe.
Other References: Antar, Section 59 (cf. also Ex. 78).
10) Double Bassoon (Contrabassoon): Score References & Musical Examples Using GPO: cf. No. 10 (51b). The Legend of the Invisible City of Kitesh - Double Bassoon and Double Bass solo.
cf. No. 21 (51c) The Legend of the Invisible City of Kitesh - Double Bassoon solo.
Other References: Legend of Kitesh, before Section 84 and Section 289
The normal order of wood-wind instruments and that which produces the most natural resonance is the following: Flutes, Oboes, Clarinets, Bassoons (the order used in orchestral full scores). Departure from this natural order, e.g. placing bassoons above clarinets and oboes, or flutes below oboes and clarinets, and especially below the bassoons, creates a far-fetched, unnatural tone, useful, however, in certain cases to attain certain special effects. I do not advise the student to make too free a use of this proceeding. (*1)
Professor Comments: 1. Professor Belkin: One can also leave out the oboes from this normal group with no problem, in the sense that flutes, clarinets, and bassoons alone will produce perfectly satisfactory resonance. As mentioned above, the oboe is the hardest instrument in the group to use well.
Next Lesson: Melody in the Wood-wind (cont.) - Unisons & Octaves Copyright 2006
Northern Sound Source - Lesson 7 - MELODY - Wood-wind - Unison & Octaves
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Garritan Lesson 7 - MELODY - Wood-wind - Unison & Octaves
04-24-2006 09:35 PM
MELODY
Part 2 - Unison & Octaves in the Wood-wind
Lesson Notes: In this lesson we will continue our discussion of Melody in the Wood-Wind. We well delve into unison and octaves in wood-wind melody. As mentioned in the previous lesson, wood-wind instruments have more diversity in tone color than any other instrument group in the orchestra
Chapter II
Combinations in unison.
The combination of two different wood-wind instruments in unison yields the following tone qualities:
a) Flute
and 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.
No. 52. Snegourotchka, Section 113 - Flute and Oboe in unison.

b) Flute
and 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.
No. 53. Legend of Kitesh, Section 330; also 339 and 342 - Flute and Clarinet in unison.
There are also instrument and full versions
c) Oboe
and Clarinet
A fuller quality than that of either instrument heard separately. The dark, nasal tone of the oboe will prevail in the low register, the bright, "chest" quality of the clarinet in the high compass.
No. 54. Snegourotchka, Section 115 - Oboe and Clarinet in unison.

Other References: Legend of Kitesh, Section 68, 70 & 84 - 2 Oboes and 3 Clarinets in unison (Ex. 199-201). Snegourotchka, Section 19.
d) Flute
and Oboe
and Clarinet
Very full in quality. The flute predominates in the low register, the oboe in the middle, and the clarinet in the high compass.
References: Mlada, Act I, Section 1. * Sadko, Section 58 - 2 Flutes, 2 Oboes and an Eb Clarinet in unison.
e) Bassoon
and Clarinet
Very full quality. The gloomy character of the clarinet prevails in the lower register, the sickly quality of the bassoon in the higher. References: Mlada, Act II, after Section 49.
f) Bassoon
and Oboe
and
g) Bassoon
and Flute
The combinations of f) and g) above, as well as Bassoon and Clarinet and Oboe; as well as Bassoon and Clarinet and 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
and Clarinet
and Oboe
and Flute
This combination is equally rare. The colour is rich, and difficult to define in words. The tone of each instrument will be separated from the others more or less in the manner detailed above.
No. 55. Snegourotchka, Section 301 - Flute and Oboe and Clarinet and Bassoon in unison.
Other References: The May Night, Act III , Section Qqq. * Russian Easter Fete, the beginning.
The process of combining two or more qualities of tone is unison, while endowing the music with greater resonance, sweetness and power, possesses the disadvantage of restricting the variety of colour and expression. Individual timbres lose their characteristics when associated with others. Hence such combinations should be handled with extreme care. Phrases or melodies demanding diversity of expression alone should be entrusted to solo instruments of simple timbres. The same applies to the coupling of two instruments of the same kind, such as 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. The quality of tone will lose nothing of its individuality, and will gain in power, but its capacity for expression will be diminished accordingly. An instrument enjoys greater independence and freedom when used as a solo than when it is doubled. The use of doubling and mixed timbres is naturally more frequent in loud passages than in soft ones, also where expression and colour is broad rather than individual or intimate in character. (*1) I cannot refrain from mentioning how greatly I dislike the method of duplicating all the wood-wind, in order to balance a group of strings, reinforced out of all reason, to 'suit the ever-growing dimensions of concert halls. I am convinced that, artistically speaking, a limit should be set to the size of both concert room and orchestra. The music performed at these super-concerts must be specially composed on a plan of its own a subject which cannot be considered here.
Combinations in octaves.
When the melody is entrusted to two wood-wind instruments in octaves, the usual arrangement producing natural resonance is:
The combination of flute and bassoon in octaves is rare on account of the widely separated registers of the two instruments. Deviation from the natural order, such as placing the bassoon above the clarinet or oboe, the clarinet above the oboe or flute etc., creates an unnatural resonance occasioned by the confusion of registers, the instrument of lower compass playing in its high register and vice versa. The lack of proper relationship between the different tone qualities then becomes apparent. (*2) Score References & Musical Examples Using GPO:
No. 56. Spanish Capriccio, Section O - Flutes and Oboes in octaves.

No. 57. Snegourotchka, Section 254 - Flutes and English Horn in octaves.
No. 58. Sheherazade, 3rd movement, Section E - Flutes and Clarinets in octaves.
No. 59. Vera Scheloga , Section 30 - Clarinets and Bassoons in Octaves.
Likewise any number of examples in the scores of many composers. Other References: Pan Voyevoda, Section 132 - Flutes and Clarinets in octaves. Tsar Sultan, Section 39 - Flutes and Clarinets in octaves.
The use of two instruments of the same colour in octaves, e. g. 2 flutes, 2 clarinets or 2 bassoons etc., if not exactly to be avoided is certainly not to be recommended, as the instruments, playing in different registers will not correspond one with the other. Nevertheless this method may be safely employed when stringed instruments, areo 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. (*3)
No. 60. Mlda, Act III. before Section 44 - Oboes and English Horn in octaves.
Other References: cf Example 21- Legend of Kitesh, Section 240 - Bassoons and Double Bassoons in octaves. cf Example 15 - Snegourotchka, Section 5 - Piccolo and Flutes in octaves. cf Example 36: Tsar Saltan, Section 216 - Piccolo and Flutes in octaves. Tsar's Bride, Section 133 - Piccolo and Flutes in octaves.
Sadko, after Section 59, Eb Clarinet and Bb Clarinet in octaves. 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. (*4)
No. 61. Mlada*, Act II, Lithuanian Dance, Section 32 - Piccolo and Eb Clarinet in octaves.
No. 62. Servilia, Section 168 - 2 Flutes and Oboe in unison playing an octave above 2 Clarinets & English Horn.
No. 63. The Tsar's Bride, Section 120 - 3 Flutes and Oboe playing an octave above a combination of 2 Clarinets and a Bassoon and an English Horn.
Other References: Tsar Saltan*, Section 39 - Piccolo and Oboe in octaves.

Sadko, Section 150 - Piccolo and Eb Clarinet in octaves. Pan Voyevoda , Section 134 - Clarinet and Oboe playing an octave above a Clarinet and English Horn. Mlada, Act III, Section 41 - Flute and Bass Flutes playing an octave above a Clarinet and Bass Clarinet.
* Mixed qualities of tone may be employed in doubling in octaves, the above remarks still holding good.
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:
Mixed timbres may also be employed. Score References & Musical Examples Using GPO:
No. 64. Spanish Capriccio, Section P- Melody in 4 octaves: Piccolo doubled the octave above 2 Flutes, which is doubled an octave above 2 Oboes and Clarinet, which is doubled above the Bassoon .
No. 65. Antar, 1st version, 3rd movement, the beginning - Piccolo and 2 Flutes doubled the octave above 2 Flutes and 2 Clarinets, which is doubled an octave above the
Bassoon.
*Here is a Winds-only MP3 version of No. 65 Antar: Click here. http://www.garritan.com/RK/mp3/65Antar-winds.mp3 No. 66. Sheherazade, 3rd movement, Section G - Piccolo doubled the octave above Clarinet I, which is doubled an octave above Clarinet II. (*5)
Other References: The Tsar's Bride, Section 141 - Melody in 3 octaves. Legend of Kitesh , Section 212 - 2 Clarinets Double an octave above a Bass Clarinet, which is doubled an octave above the Double Bassoon. Mlada, Act III, after Section 42 - Flute doubled an octave above the Oboe, which is doubled an octave above the English Horn. Examples of melody doubled in five octaves are extremely rare; in such cases the strings participate in the process.
Melody in the Wood-wind: Three and Four Octave Displacement Exercise 1. Click and refer to the background score. 2. Load the background track MP3 in your MP3 player or sequencer. For the MP3 click here. This is an ambient version and if you want a dryer, more intimate version, click here. 2. Load the Three or Four Octave MIDI file into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 3. Recreate your melody used for 3 and 4 octave displacement in strings to the specified structures (natural order) described on this page using winds. If needed, look at some of RK's examples for guidance. Note: Here is but one possible example using various stringed instruments. For the test example click here.
Melody in thirds and sixths .
Melodic progression in thirds and sixths demands either two instruments of the same colour (2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons) or instruments of different colours in the normal order of register:
If this order is inverted, e. g. Oboe with Flute in 3rds or 6ths below, Clarinet with Flute in 3rds or 6ths below, or Bassoon with Clarinet in 3rds or 6ths below; a strained and forced resonance is created. For progressions in thirds, the best method, from the standpoint of equality in tone is to use instruments of the same kind in pairs; for progressions in sixths instruments of different kinds are more suitable, but both courses are good and useful: They may also be employed for progressions in thirds and sixths, or thirds, fifths and sixths mixed, as for example: (*6)
No. 67. Spanish Capriccio, before V - various wood-wind in thirds and sixths.
*Here is a Winds-only MP3 version of No. 67 Spanish Capriccio: Click here. http://www.garritan.com/RK/mp3/67SpanishCapriccio-winds.mp3
Other References: Legend of Kitesh, Section 24 - different woodwinds in turn. The May Night, Act III, Section G - Clarinets playing in thirds. Sadko, Section 279-280 - Flutes playing in thirds. Servilia, Section 228 - Flutes playing in thirds. The Golden Cockerel, Section 232 - 2 Flutes playing a 3rd above 2 Oboes. Sadko, Section 279-280 - All wood-wind in turn, simple timbres. When the doubled parts progress in thirds or sixths, the following method is advisable:
In the case of tripling, the following arrangement may be adopted:
No. 68. The Christmas Night, Section 187 - Oboe and Clarinet playing in third with another Oboe and Clarinet.
Other References: Legend of Kitesh, Section 202-203 - Different mixed timbres.
GPO Exercise - Melody in the Wood-wind: Thirds & Sixths Exercise 1. Refer to the background score and the melody score. For the background score click here. For the melody score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. This is an ambient version and if you want a dryer, more intimate version, click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here.
4. Take the given melody and harmonize it according to the explanations in the "Melody in thirds and sixths" section above using various wind combonations in 3rds and 6ths and the same rhyhtmic value as the initial melody. Feel free to experiment with register and ornamentation. Use references if needed under this topic. Here is but one possible example.
Thirds and sixths together.
Apart from the obvious distribution:
There are certain complicated methods which involve doubling:
No. 69. Legend of Kitesh , Section 35 - Oboe/Oboe + Clarinet/Clarinet + Flute/Flute +
Oboe/Oboe.
SUMMARY EXERCISES:
Melody in Wood-wind Summary Exercise 1 In this exercise you will experiment with adding a various wood-wind instrument melodies to a background track of harp and strings. 1. Click and refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the MP3 click here. This is an ambient version and if you want a dryer, more intimate version, click here. 3. Load the given MIDI file into your sequencer or notation program load the respective GPO instruments. For the MIDI file click here. 4. Load the woodwind instrument(s) into GPO. 5. Go through the various instrument combos from solo winds to unisons and octaves in accordance with the above sections dealing with melody in the wood-wind, combinations in unison and combination in octaves. Note: Here are some possible examples using various wood-wind instruments: Flute & Oboe; 2 Oboes; Clarinet, Bassoon; Bassoon Octave Below Oboe; Wood-wind in Double Octaves. Try doing your own melodies as you try the different string instruments.
Melody in Strings Summary Exercise 2 focusing on Low Range Wood-winds In this exercise you will experiment with adding various low-ranged wood-wind instrument melodies to a background track of harp, flutes and strings. 1. Click and refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the MP3 click here. This is an ambient version and if you want a dryer, more intimate version, click here. 3. Load the given MIDI file into your sequencer or notation program load the respective GPO instruments. For the MIDI file click here. 4. Load the wood-wind instrument(s) into GPO. 5. Go through the various instrument combos from solo winds to unisons and octaves in accordance with the above sections dealing with melody in the wood-wind, combinations in unison and combination in octaves.
Note: Here are some possible examples using various low range wood-wind instruments: Bassoon; Bass Clarinet; Wood-wind in Double Octaves.
Professor Comments:
1. Professor Belkin Comments: Melodic doubling of the same instrument at the unison, e.g. 2 flutes in unison gives no really new timbre, and easily sounds out of tune (2 instruments are not enough to create the chorus effect seen in a string section). The result is also not very much louder than one instrument, and the effect of a solo woodwind as an intimate voice in the orchestra is lost. Overuse of this kind of doubling is a common beginners mistake and is best avoided. Note the we are here referring to a melody doubled ONLY in two instruments of the same kind. Combining, say, 2 flutes with a section of violins is fairly common: The goal here is not the flute timbre in itself but rather to soften the violin sound. Doubling woodwind at the unison with MORE than two of the same instrument, e.g. 4 clarinets in unison, is sometimes useful when a rather crude, rustic sound is desired. Of course is band scoring this practice is quite common. 2. Professor Belkin Comments: The melodic ombination of high flute and high bassoon, doubled at TWO octaves apart with nothing in between, is a favourite of Mozarts. 3. Professor Belkin Comments: This doubling is more neutral sounding, since there is little timbral variety. With discrete accompaniment, it can be quite useful on occasion. 4. Professor Belkin Comments: This is because pitch perception at extremes is harder than in the middle register. 5. Professor Belkin Comments: These examples illustrate the use of the woodwind as a MASSED CHOIR, rather than as soloists. There are actually various interesting sounds thus made available; however it should be remembered that the more colors one combines at once, the less effect they have afterwards. One of the simplest, but deepest, principles of Mozarts orchestration is: a wind instrument with an important solo often will rest for a while before, so the entry of the new color remains fresh. This is an important reason for avoiding overuse of doubled sounds in general. The grand master of heterogeneous wind doublings is Wagner. 6. Professor Belkin Comments: The use of flutes in thirds doubled two octaves lower by bassoons in thirds is often found in Sibelius.
Next Lesson: Melody in the Brass
Northern Sound Source - Lesson 8 - MELODY - Brass - Melody, Unisons & Octaves
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Garritan Lesson 8 - MELODY - Brass - Melody, Unisons & Octaves
04-28-2006 09:55 PM
MELODY
Part 3 - Melody in the Brass
Chapter II
Lesson Notes: In this lesson we will discuss unisons and octaves as they pertain to melody in the brass. We will also discuss brass in unison, in octaves, and in thirds and sixths. Rimsky-Korsakov seemed to use brass mostly as a texture and for color, and rarely for melodic content. Rimsky-Korsakov says of the brass that is has "not a wide range of expression". However, since the rise of Jazz, film music and popular music, brass has taken a far more prominent role.
The natural scale, the only one which brass instruments had at their disposal prior to the invention of valves was:
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 instruments. (*1) In modern music, thanks to the introduction of valves, this scale is now possible in all keys for every chromatic brass instrument, without it being necessary to change the key, and the addition of a few notes foreign to the natural scale has enriched the possibilities of these flourishes and fanfares, and endowed them with greater variety of expression. These phrases, either as solos, or in two or three parts, fall specially to the lot of the trumpets and horns, but they may also be given to the trombones. The full, clear, ringing notes of the middle and upper register of horns and trumpets are best suited to figures of this description. (*2) Score References & Musical Examples Using GPO:
No. 70. March for the Nutcracker, Petr Tchaikovsky
3 Trumpets
4 Horns
[Note: This replaces Legend of Kitesh, Section 68 from the original text.] Other References: Servilia, Section 20 - Trumpets. The Christmas Night, Section 82 - Horn, Trumpets. Verra Scheloga, beginning of Overture, and after Section 85 - Horn, Trumpets. Ivan the Terrible, Act III. Section 3 - Cornet.
Snegourotchka, Section 155 - Trumpets. Pan Voyevoda, Section 191 - 2 Trombones, Trumpet. * The Golden Cockerel, Section 20 - 2 Horns and Trumpets in unison, with horns playing an octave below (cf. further on). After fanfare figures, those melodies best suited to the brass quality are those of an unmodulated diatonic character, rousing and triumphant in the major key, dark and gloomy in the minor. (*3) Score References & Musical Examples Using GPO:
No. 71. Sadko, Section 342 - Trumpet
No. 72. Snegourotchka, Section 71 - Trumpet
Other References: cf. Example 44: Spanish Capriccio, Section E - Alternative use in the horn of open and stopped notes Sadko, before Section 181 - Trombones. Russian Easter Fete, Section M - Trombone. Ivan the Terrible, Act II, before Section 17 - Bass trumpet and 3 Horns a little further on; Mlada, Act II, Section 33 - Bass trumpet (cf.Example 46). The genial and poetic tone of the horn in the piano passages affords greater scope in the choice of may be entrusted to this instrument. (*4)
No. 73. Antar, Section 40 - Horn (piano)

Other References: The May Night, Overture, Section 13. The Christmas Night, Section 1. Snegourotchka, Section 86.
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 singularly beautiful on the brass. (*5) Score References & Musical Examples Using GPO:
No. 74. Sheherazade, 2nd movement, Section 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. (*6)
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. Score References & Musical Examples Using GPO:
No. 75. Sadko, Section 305 - 3 Trombones
Note: The composer has amended the score in the following manner: from the fifth to the ninth bar after Section 305, and also from the fifth to the ninth bar after Section 306, the three clarinets play in unison, the trumpet being marked forte instead of fortissimo; in the example, the first of these passages is corrected according to the composer's alteration. (Editor's note.)
No. 76. The May Night, beginning of Act III - 1, 2, 3, 4 Horns
No. 77. Mlada, Act II, Lithuanian dance - Horns in Unison.
[Editor's Note: This is from cf. No. 61 and substitutes No. 77 from the original text]. Other References: cf. No. 15: Snegourotchka, Section 5 - 4 Horns. cf. No. 70: Legend of Kitesh, end of Act I - 4 Horns. cf. No. 77. Sheherazade, 4h movement, Section. 204 - 3 Trombones Snegourotchka, Section 199 - 4 Horns and 2 Trumpets. Sadko, Section 175 - 1, 2, 3 Trumpets. 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:
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: (*7)
Score References & Musical Examples
Other References: cf. Example 38: Ivan the Terrible, Act III. Section 10 - A Trombone and Trumpet playing an octave
above 2 Trombones. cf. Example 95: Snegourotchka, Section 325-326 - Trumpet and Trombone playing an octave apart. Sadko, before Section 120 - Trumpets in octaves. Sadko, Section 5 - 2 trumpets playing an octave above 4 horns. Snegourotchka, Section 222 - 2 Trombones playing a octave below a Trombone and Tuba. The Golden Cockerel, Section 125 - Trumpet and Trombone playing an octave apart.
Melody in the Brass: Three and Four Octave Displacement Exercise 1. Click and refer to the background score. 2. Load the background track MP3 in your MP3 player or sequencer. For the MP3 click here. For a dry version MP3, if you want a more intimate sound click here. 2. Load the Three or Four Octave MIDI file into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 3. Use your previous melody from strings and winds 3 to 4 octave displacement but this time use brass instruments. A good reference if needed would be example 79 Mlada. In the MIDI, it is optional to use the harp/strings/piccolo in the backing as heard in the test. They are not notated since a conflict may arise with your melody. However, if you do decide to use them and there is no conflict, a good GPO technique for emulating fast chromatic strings is to use a trill half-step patch. In this case full strings trill half was used to conserve on loading. If there is a conflict simply delete the tracks or mute them. Note: Here is but one possible example using various stringed instruments. For the test example click here.
GPO Exercise - Melody in the Brass: Thirds & Sixths Exercise
1. Refer to the background score and the melody score. For the background score click here. For the melody score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. For a dry version if you want a more intimate sound, click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 4. Once again, use the melody given as a basis. In this case, feel free to extend beyond thirds and sixths. Experiment with different intervals such as tritones, fourths, and/or fifths playing the same rhythmic figure as the melody, but below it. Try to use thirds and sixths, as they
tend to sound more natural or "sweet". Rimsky-Korsakov does not go into great detail with brass in this area so there are not really many references to cite. In this case, F horns would probably produce a sweeter sonority; more so than other brass instruments. Feel free to experiment.
SUMMARY EXERCISES:
Melody in the Brass Instruments - Summary Exercise 1 In this exercise we will focus on the most common groups or solos of Trumpets, Trombones, and Horns. 1. Click and refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the MP3 click here. This is an ambient version and if you want a dry more intimate version click here. 3. Load the given MIDI file into your sequencer or notation program. For the MIDI file click here. 4. Load the respective instruments into GPO. 5. Select a solo brass instrument from GPO and play your melody from previous excercises; once again, over the top of the backing. Feel free to add vibrato or ornaments if desired to spice up the solo. Try the same with groupings in unison, but be carefull of the dynamics, as the backing suggests a more intimite setting. Summary 2 is recommended for larger brass groupings. Note: Here are some possible examples using various wood-wind instruments: Horn; Trombone; Trumpet; Unison Horns. Try doing your own as you try the different brass instruments.
Melody in the Brass Instruments - Summary Exercise 2 In this exercise we will focus on the most common groupings of Trumpets, Trombones, and Horns. 1. Click and refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the MP3 click here. This is an ambient version and if you want a dry more intimate version click here.
3. Load the given MIDI file into your sequencer or notation program. For the MIDI file click here. 4. Load the respective instruments into GPO. 5. Create a unison line with your melody using 4 horns, 2 or 3 trumpets, or 3 trombones independently. Note that GPO horn overlays can be used to give the sections a bit more power. After trying unisons for each group, try octave displacements. Feel free to change how your melody is played. For instance, you can have a flowing melody, or one with a more marcato feel. Secondly, feel free to experiment with doubling and combining different groups at unison or the octave.
(Note: The MIDI are optimized for sequencers, however balance issues may vary from system to system.)
PROFESSOR COMMENTS: 1. Professor Belkin Comments: It is worth mentioning that even now, when brass are used in short rhythmic figures built around a few notes, they always sound clear and vigorous. Such figures are often rhythmically doubled by percussion. In general, rhythmic motives sound well in brass, due to their crisp attack. (The horn in the lower register is an exception.) 2. Professor Belkin Comments: The trombone appears somewhat more rarely alone as a solo instrument; trombones tend to be herd animals. A calm melody, doubled at the unison with 3 or 4 trombones, can have a very noble character. 3. Professor Belkin Comments: Again, the legacy of the natural brass instruments. Such writing still has its uses. 4. Professor Belkin Comments: An important point: The horns main melodic role is as an alto/tenor instrument, NOT as a soprano or a bass (very common beginners mistakes). 5. Professor Belkin Comments: Although brass are now used very commonly in chromatic melodies, what DOES remain awkward for them is chromatic melody with large leaps. (Occasional leaps of an octave or a fifth are somewhat easier.) The brass is BY FAR the worst section for such leaping lines. If the players are not excellent, the notes will crack or not sound. Note also that brass have a particularly hard time starting a melody from an unprepared high note. 6. Professor Belkin Comments: Numerous passages in Wagner, Mahler, etc. contradict this. 7. Professor Belkin Comments: As RK notes, brass do not suffer from the blend problems common to woodwinds. The main risk in brass writing is: heaviness. A little goes a long way!
Next Lesson: Lesson 9 - MELODY - Different Groups of Instruments Combined
Northern Sound Source - Lesson 9 - MELODY - Different Groups of Instruments Combined
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Garritan Lesson 9 - MELODY - Different Groups of Instruments Combined
04-28-2006 10:30 PM
MELODY
Part 4 - Melody in different groups of instruments combined together
"The right music played by the right instruments at the right time in the right combination: that's good orchestration." --Leonard Bernstein
Chapter II
Lesson Notes: In this lesson we will discuss the combination of various groups of instruments. In previous lessons we discussed melody in each of the various instrument groups and in this lession we will focus on inter-group combinations. Knowing how the instrument groups combine is at the very heart of orchestration. Professor Belkin: In general the inter-group doublings can be divided into two types: those where the result is a new, blended, timbre, and those where the result is interesting because of the a clear CONTRAST of timbre. RK is mainly concerned here with the former, since they are technically more difficult to achieve.
Note also that these doublings are never very personal or intimate in character; the effect is always a (relatively) thicker timbre.
Melody in different groups of instruments.

A. Combination of wind and brass in unison. The combination of a wood-wind and brass instrument produces a complex resonance in which the tone of the brass predominates. This resonance is naturally more powerful than that of each instrument taken separately, but slightly sweeter than the brass instrument alone. The tone of the wood-wind blends with that of the brass, softens and rarefies it, as in the process of combining two wood-wind instruments of different colour. Instances of such doubling are fairly numerous, especially in forte passages. The trumpet is the instrument most frequently doubled: Trumpet + Clarinet, Trumpet +Oboe, Trumpet + Flute, as well as Trumpet + Clarinet + Oboe + Flute; the horn, less often: Horn + Clarinet, Horn + Bassoon. Trombones and Tuba may also be doubled: Trombone + Bassoon, Tuba + Bassoon. Combining the English horn, bass clarinet and double bassoon with the brass, in corresponding registers, presents the same characteristics. (*1)
Score & Musical Examples: References: Legend of Kitesh, Section 56 - Trombone and English Horn. Mlada, Act III, before Section 34 - 3 Trombones and Bass Clarinet. As a rule, the addition of a wind or a brass instrument yields a finer legato effect than when the latter instrument plays alone.
GPO Exercise - Melody in Different Groups: Brass and Winds in Unison - Exercise 1 In this exercise we will focus on the combination of wind and brass in unison. 1. Refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. For a dry version if you want a more intimate sound, click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 4. Load the brass and wind instruments into GPO. 5. Play your melody in different combinations of brass and wind instruments in unison to the backing track of strings, harp and flutes. Refer to the rulesets given by Rimsky-Korsakov under wind and brass combined in unison (section above) either into a sequencer or notation program supporting GPO and assign instruments accordingly. If needed, refer at some of RK's examples.
GPO Exercise - Melody in Different Groups: Brass and Winds in Unison - Exercise 2 This is another exercise focusing on the combination of wind and brass in unison. 1. Refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. For a dry version if you want a more intimate sound, click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 4. Load the brass and wind instruments into GPO. 5. Play your melody in different combinations of brass and wind instruments in unison to the backing track of strings, bassoons and clarinet. Refer to the rulesets given by Rimsky-Korsakov under wind and brass combined in unisons (section above) either into a sequencer or notation program supporting GPO and assign instruments accordingly. If needed, refer at some of RK's examples. Here are possible examples: Horn and Bassoon in Unison Trombone and 2 Bassoons in Unison Muted Trumpet and Flute in Unison B. Combination of wind and brass in octaves. Doubling the horns in octaves by clarinets, oboes or flutes often replaces the combination: (*2)
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 necessary above, especially in forte passages: (*3)
To double a trumpet in the upper octave three or four wind instruments are required, but in the top register two flutes will suffice.
Wood-wind instruments should not be used to double a trombone in the octave above; trumpets are more suitable. (*4) Score References & Musical Examples Using GPO:
No. 78. Mlada, Act III, after Section 25 - 2 Clarinets + 2 Horns + Trombone with Bass Clarinet +2 Horns + Trombone doubling an octave below (low register)
79. Mlada, Act III, after Section 355 - general unison.

Other References: Sheherazade, 4th Movement, 15th bar after Section W - 2 Flutes + 2 Oboes with Piccolo doubling an octave above and 2 Trumpets doubling an octave below. Mlada, Act III, beginning of Scene III - Trombone + Bass Clarinet with Tuba and Contrabassoon doubling an octave below. Legend of Tsar Salton, Section 228 - 2 Flutes + 2 Oboes with Piccolo doubling an octave above and Trumpet and English Horn doubling an octave below. Legend of Tsar Salton, before 180 - Oboe and Clarinet in unison, playing a sixth apart from another oboe and clarinet, doubled an octave below by the horns. * Mention should also be made of mixed timbres (wood and brass) in progression in octaves.
GPO Exercise - Melody in Different Groups: Brass and Winds in Octaves - Exercise 1 In this exercise we will focus on the combination of wind and brass in octaves . 1. Refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. For a dry version if you want a more intimate sound, click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 4. Load the brass and wind instruments into GPO. 5. Select a brass or wind instruments from GPO and play your melody in different combinations of brass and wind instruments in octaves to the backing track. Refer to the rulesets given by Rimsky-Korsakov under wind and brass combined in octaves (section above) either into a sequencer or notation program supporting GPO and assign instruments accordingly. If needed, refer at some of RK's examples. Here are two possible examples: Solo Horn doubled by oboe clarinet above. Trumpet doubled Oboe 2 flutes- higher register leap. This is described above. The melody starts in the lower
register thus has 2 flutes and an oboe above the trumpet. The oboe drops out when the big skip arrives to show what RK is talking about with lower register needing more doubling and higher just 2 flutes suffice.
GPO Exercise - Melody in Different Groups: Brass and Winds in Octaves - Exercise 2 This is another exercise focusing on the combination of wind and brass in octaves. 1. Refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. For a dry version if you want a more intimate sound, click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 4. Load the brass and wind instruments into GPO. 5. Select a brass or wind instruments from GPO and play your melody in different combinations of brass and wind instruments in octaves to the backing track. Refer to the rulesets given by Rimsky-Korsakov under wind and brass combined in octaves (section above) either into a sequencer or notation program supporting GPO and assign instruments accordingly. If needed, refer at some of RK's examples.Here is one possible example: 3 Octave Displace, Brass & Wind mixture
C. Combination of strings and wind. In commencing this section of the work I consider it necessary to lay down the following fundamental rules which apply equally to melody, harmony, counterpoint and polyphonic writing.
All combinations of strings and wood-wind are good; a wind instrument progressing in unison with a stringed instrument increases the resonance of the latter and amplifies its tone, while the quality of the strings softens that of the wood-wind. In such combinations the strings will predominate provided that the two' instruments are of equal power, e. g: when violins are coupled with an oboe, a bassoon with the 'cellos. If several wind instruments play in unison with one group of strings, the latter will be over-powered. As a rule all combinations refine the characteristics of each instrument taken separately, the wood-wind losing more than the strings. (*5) Doubling in unison. The best and most natural combinations are between instruments whose registers correspond the nearest:
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. Score References & Musical Examples Using GPO:
No. 80. The May Night, Act III, Section Bb - Violas and Clarinet.
No. 81. Sadko, Section 311 - Violins and Oboe.

No. 82. Sadko, Section 77 - Violas and English Horn.

83. Sadko, Section 123 - Violas and English Horn.

84. Tsar Saltan, Section 30, 10th Bar - Cellos and Violas and 3 Clarinets and Bassoon.
Other References: cf. Example 15: Snegourotchka, Section 5 - Cellos and Viola and English Horn. cf. Example 15: Snegourotchka, Section 28 - Violins I and Violins and Cellos and English Horn. Snegourotchka, Section 116 - Violins I and Violins II and Oboe and Clarinet. Snegourotchka, Section 288 - Violins I and Violins II and Oboe and Clarinet. Tsar Saltan, Section 30 - Violins I and Violins II and 2 Clarinets. Tsar Saltan, Section 156-159 - Violins I (detache) and Flute (legato). The Tsar's Bride, Section 10 - Violas and Cello and Bassoon. Servilia, Section 59 - Violins I (G String ) and Flute. Antar, 4th Movement, Section 63 - Cellos and 2 Bassoons. Sheherazade, 3rd Movement, Section H - Violas and Oboe and English Horn.
GPO Exercise - Melody in Different Groups: Violins and Winds in Unison In this exercise we will focus on the combination of violins and winds in unison. 1. Refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. For a dry version if you want a more intimate sound, click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 4. Load the string and wind instruments into GPO. 5. Try combining various groups of woodwinds (most common) in unison with the violin family using the same melody you have composed. Here is one possible example: Violins (con sordino) and oboe
GPO Exercise - Melody in Different Groups: Violas and Winds in Unison In this exercise we will focus on the combination of violas and winds in unison. 1. Refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. For a dry version if you want a more intimate sound, click here.
3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 4. Load the string and wind instruments into GPO. 5. Try different arrangments of cellos in combination with some of the more common unison doublings such as Oboe, English horn, Clarinet, and Bassoon with the melody you have composed. Here are two possible examples: Violas (con sordino) and Clarinet Violas (con sordino) and English horn
GPO Exercise - Melody in Different Groups: Cellos and Winds in Unison In this exercise we will focus on the combination of cellos and winds in unison. 1. Refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. For a dry version if you want a more intimate sound, click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 4. Load the string and wind instruments into GPO. 5. Try different arrangments of cellos in combination with unison doublings with the wind instruments suggested by Rimsky-Korsakov. Feel free to experiment (different solo cello and wind vs sections etc.). Here is one possible example: Cellos & English horn If you wish to try another exercise, here is a similar example with a different range and bassoons added to the background track: For the Score, click here. For the MP3 background track, click here. Dry version, click here. For the MIDI file, click here.
GPO Exercise - Melody in Different Groups: Double Basses and Winds in Unison In this exercise we will focus on the combination of double basses and winds in unison. 1. Refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. For a dry version if you want a more intimate sound, click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here.
4. Load the string and wind instruments into GPO. 5. Try different arrangments of basses in unison with the wind instruments suggested by Rimsky-Korsakov. Feel free to experiment (solo bass and wind vs sections etc.) as very low register, though uncommon in melody, has a very interesting texture. Here are two possible examples: Double basses and Bassoon Two basses and Contra bassoon (very low register)
Professor Comments:
1. Professor Belkin Comments: One might wonder WHY anybody would double a brass instrument with a woodwind, since the brass is almost always much louder. The main reason is to smooth out the brass timbre, to make it less aggresive. 2. Professor Belkin Comments: As we will see later when discussing harmony in combined groups, the brass has no representatives in the highest register. Properly disposed, woodwinds (unlike strings) can reinforce the harmonics of the brass instruments without sounding overly different in color. 3. Professor Belkin Comments: This is because winds by nature are not as loud as brass, and the louder they get, the more the brass stand out. 4. Professor Belkin Comments: Unlike horns, which can be considered transitional instruments between woodwinds and brass (notice their position in the score!), trombones have no non-brass family relationships. Trumpets suffer less from this problem, probably simply because there are so few choices anyway above their normal register. 5. Professor Belkin Comments: What RK means by refine here is: ATTENUATE! It is worth mentioning that in
pre-classical scores, before the formation of the orchestra became standardized, records frequently show ensembles with the winds far outnumbering the strings. (See Adam Carses books on the history of orchestration.)
Next Lesson: Lesson 10 - MELODY - Different Groups of Instruments (Cont.)
Northern Sound Source - Lesson 10 - MELODY - Different Groups of Instruments (Cont.)
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Garritan Lesson 10 - MELODY - Different Groups of Instruments (Cont.)
04-28-2006 11:56 PM
MELODY
Part 4 - Melody in different groups of instruments combined together (continued)
Chapter II
Lesson Notes: In this lesson we will continue our discussion on the combination of various groups of instruments. This lesson will conclude the lessons dealing with melody. After this lesson we will advance to harmony.
Melody in different groups of instruments.

Parts doubled in octaves.
Examples of strings in octaves doubled by wood-wind also in octaves are numerous, and do not require special description; they are used according to the rules already laid down. (*1) The following are examples of melody distributed over 1, 2, 3 and 4 octaves:
No. 85. Ivan the Terrible, Beginning of Overture - Violins and 2 Clarinets playing in unison, with
violas and cellos and 2 bassoons doubling an octave below.
No. 86. Sadko, Section 3 - Cellos and Bass Clarinet playing in unison, with double basses and
contrabassoon doubling an octave below.
Other References: cf. Example 22: The Tsar's Bride, Section 166 - Violins I and Flutes playing in unison, with Violins I and Oboes doubling an octave below. Sadko, Section 166 - Cellos and Bassoons playing in unison, with Double basses and Contrabassoon doubling an octave below. Sadko, Section 235 - Violas and 2 Clarinets playing in unison, with Double basses and Cellos and 2 Bassoons doubling an octave below. The Tsar's Bride, Section 14 - Cellos and Bassoons playing in unison, with Double basses and bassoon doubling an octave below. The Tsar's Bride, Section 81 - Violins I and Flutes playing in unison, with Violins I and Oboes doubling an octave below.
GPO Exercise - Melody in Different Groups: Violins and Winds in Octaves In this exercise we will focus on the combination of wind and violins in octaves 1. Refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. For a dry version if you want a more intimate sound, click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 4. Load the appropriate instruments into GPO.
5. Experiment with violins in octaves using respective wind instruments suggested by RK that are best suited for this family for doubling. Try using muted violins and non-muted. If the melody you wrote is in a very high register, often one or two violins may suffice for the upper part. Thirdly you may just want to double the violin melody an octave higher with, lets say, something from the flute family. Here is one possible example: Violins in Octaves Doubled by Oboe and Flute in Octaves
In three and four octaves: Score References & Musical Examples Using GPO:
No. 87. Marriage of Figaro, Mozart
Other References: Servilia, Section 93 - Violas and 2 oboes in unison, with Violins and 3 Flutes playuing in unison an octave higher; and Cellos and two bassons playing in unison an octave lower. (*2) Sheherazade, 3rd Movement, Section M - Violins II and Oboes in unison, with Violins I and Flutes playing in unison an octave higher, and Cellos and English Horn playing in unison an octave lower. Examples of Melody in thirds and sixths: Score References & Musical Examples Using GPO:
No. 88. Idomeneo, Mozart - Various blends of sixths, thirds and unisons in wind and strings (not just violins but violas as well). No. 87 and 88 replace the original cores in the text for better illustration.
No. 89. Servilia, Section 125 - Strings and woodwinds, in thirds and sixths.
Other References:
Servilia, Section 44 - Flutes and Oboes and Clarinets and Violins, divisi and in thirds. Kashtchel, Section 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;
No. 90. Sheherazade, 4th movement, Section U - 2 Clarinets playing an octave above Cellos and 2 Horns in unison.
Other References: Tsar Saltan, Section 102 - Piccolo and 2 Flutes in unison, with Violins and 3 Oboe playing in unison an octave higher. In the case of a melody in the low register demanding a sweet soft tone, the violoncellos and double basses should be made to - progress in octaves, the former doubled by a bassoon, the latter not doubled at all: Cellos and Basson in unison, with Double Basses playing an octave lower. Sometimes a composer is obliged to use this method on account of the very low register of the double bass, especially if a double bassoon is not included in his orchestral scheme.* (*3) *Note: The process of doubling strings and wood-wind in octaves (doubling flutes and violins playing an octave apart, doubling oboe and Cellos playing an octave apart, etc.) often used by the classics to obtain balance of tone, is not to be recommended, as the-tone quality of the two groups is so widely different. As a result of the ever-increasing tendency to profusion of colour, this method has recently come into fashion again, notably among the younger French composers. (Editor's note). (*4) Score References & Musical Examples Using GPO:
No. 91. Marriage of Figaro, Mozart

GPO Exercise - Melody in Different Groups: Violas, Cellos and Winds in Octaves In this exercise we will focus on the combination of wind, the cellos and violas in octaves. 1. Refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. For a dry version if you want a more intimate sound, click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 4. Load the appropriate instruments into GPO. 5. Try various combinations of cellos/violas in octaves with respective wind instrument doubling suggested by RK. Try various patches from GPO from muted to senza and notice the timbre difference.. Here is one possible example: Violas and Cellos (con sordino) octaves doubled with Bassoon & Clarinet
GPO Exercise - Cellos, Bases and Winds in Octaves In this exercise we will focus on the combination of wind, the cellos and double basses in octaves. . 1. Refer to the background score. For the background score click here. 2. Load the background track MP3 in your MP3 player or sequencer. For the background track MP3 click here. For a dry version if you want a more intimate sound, click here. 3. Load the given MIDI file either into a sequencer or notation program supporting GPO and assign instruments accordingly. For the MIDI file click here. 4. Load the appropriate instruments into GPO. 5. Try various combinations of basses/cellos and winds and the suggested doublings of those instruments. For example you could have one or two basses and cellos or a full group. Try con sordino (muted) patches as well as senza. Here is one possible example: Cellos and Basses + Contrabassoon + Bassoon octaves
D. Combination of strings and brass.
Owing to the dissimilarity between the quality of string and brass tone, the combination of these two groups in unison can never yield such a perfect blend as that produced by the union of strings and wood-wind. When a brass and a stringed instrument progress in unison, each can be heard separately, but the instruments in each group which can be combined with the greatest amount of success are those whose respective registers correspond the most nearly; Violin + Trumpet; Viola+ Horn; Cellos + Trombones + Double basses + Tuba (for massive heavy effects). (*5) The combination of horns and 'cellos, frequently employed, produces a beautifully blended, soft quality of tone. (*6) Score References & Musical Examples Using GPO:
No.92. The Golden Cockerel, Section 98 - Violas con sord. + Horn.
Other References: Tsar Saltan, Section 98 - Violins I + Violins II + 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:
In the above diagram some instruments can be substituted (Fr., Clar for the oboe, cellos for the viola, and English horn for the clarinet.
Such groupings are used for preference in loud passages or for a heavy piano effect. (*7)
No.93-94. Snegourotchka, Sections 218 and 219 - Violin I + Violin II + Clarinet + Horn; and Violin I +
Violin II + Clarinet + Trumpet.
No.95. Snegourotchka, Section 231 - Violins, 2 horns & Flute

Other references: cf. Snegourotchka, Section 231 - Cellos and Violas and Bassoon and Trombones, with Double Basses and Bassoon and Tuba doubling an octave below. (this was example 95 in the original text) cf. No. 90. Sheherazade, 4th movement, Section U - RK Never mentioned this as a cf example in the combination of 3 groups (brass/wind/strings). This example is {cellos/2 horns/2 clarinets} No.96. Ivan the Terrible , Act III, before Section 66 - Bass Clarinet and Horn, with Double Basses
and Contrabassoon and Tuba doubling an octave below.
Other References: Servilia, Section 168 - Cellos and Trombones and Bass Clarinet playing in unison, with Violas and Trombones doubling an octave above,and with Double basses and Tubas and Bassoon doubling an octave below. Pan Voyevoda, Section 224 - Violins and Bassoons and Horn and Violin and Clarinet and Trumpet in unison (Stopped notes in the brass) Mlada, Act III, after Section 23 - Violas and 2 Clarinets and Bass Trumpet in unison. Ivan the Terrible, Overture 4th bar after Section 9 - Violas and Cellos and English Horn and 2 Clarinets and Bass Clarinet and 2 Bassoons and 4 Horns in unison (the melody simplified in the horns). PROFESSOR COMMENTS:
1. Professor Belkin Comments: Such doublings are quite massive, and should be considered as part of tutti writing, where power and fullness take precedence over transparency. They are necessary at times, but can easily become monotonous if over-used. As a rule: the MORE instruments double a line, the LESS distinct its character. To keep the sound transparent, one possibility is heterophonic doubling: instead of doubling EXACTLY, one or more of the instruments will have slight rhythmic simplifications or ornamentations. For technical reasons, double bass parts are often simplified in this way, but the principle can be used elsewhere. Of course the main line must be balanced to dominate!
2. Professor Belkin Comments: Notice that in these cases the exact NUMBER of woodwind is not very important, since the sound is already quite thick. 3. Professor Belkin Comments: This particular doubling is also extremely common when the bass line has a vigorous character. The bassoons add bite to the line. Note that the contrabassoon adds MUCH more growl than the bassoon does. Its use is therefore more limited. 4. Professor Belkin Comments: Although to some extent these choices are a matter of style, the beginner should aim for TRANSPARENCY first. Overuse of doubling timbres easily engenders grayness. 5. Professor Belkin Comments: This is an important point: usually one combines colors for BLEND. Relatively few of the more heterogeneous combinations are effective. 6. Professor Belkin Comments: The cello adds poignancy to the sound; the horn adds nobility. 7. Professor Belkin Comments: Again, these are MASSIVE effects, for tutti passages. They are usually effective in INVERSE proportion to their quantity. Perhaps the most important principle of orchestral color is: SAVE IT UP, instead of using it all the time! Mozart is the master of this.
Next Lesson: Lesson 11 - HARMONY - General Observations
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Garritan Lesson 11 - HARMONY - General Observations
04-29-2006 04:30 PM
HARMONY
Part 1 - General Observations
Chapter III
Lesson Notes: In this brief lesson we will begin our discussion on harmony. There are no interactive scores in this lesson. The information provided in this lesson will set the goundwork for the following lessons dealing with harmony among the various instrument groups.
Professor Belkin Comments: Up till here, the discussion has focussed on melody, which normally means a foreground line. In this section, two important new situations will be examined: harmony as BACKGROUND, and chordal textures with no separate melodic line. In other words, for the first time we are talking about orchestrating with MULTIPLE LINES at the same time. The key issues here are: BLEND, and BALANCE. Without blend, the harmony will not be heard as a homogeneous unit; without balance, some parts will stick out inappropriately.
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. (*1)
1. Professor Belkin Comments: It is a commonplace, but requires repeating here: Without a thorough grounding in HARMONY, one cannot orchestrate with confidence, since harmony starts with the study of homogeneous, chordal, textures. The principles this learned, while originally intended for vocal writing, all apply equally well to instruments. However instruments ADD other resources as well. Note. There are people who consider orchestration simply as the art of selecting instruments and tone qualities, believing that if an orchestral score does not sound well, it is entirely due to the choice of instruments and timbres. But unsatisfactory resonance is often solely the outcome of faulty handling of parts, and such a composition will continue to sound badly whatever choice of instruments is made. So, on the other hand, it often happens that a passage in which the chords are properly distributed, and the progression of parts correctly handled, will sound equally well if played by strings, wood-wind or brass.
The composer should picture to himself the exact harmonic formation of the piece he intends to orchestrate. If, in his rough sketch, there exist any uncertainly as to the number or movement of harmonic parts, he is advised to settle this at once. It is likewise essential for him to form a clear idea as to the construction and musical elements of the piece, and to realise the exact nature and limitations of the themes, phrases and ideas he is going to employ. Every transition from one order of harmonic writing to another, from four-part harmony to three, or from five-part harmony to unison etc., must coincide with the introduction of a new idea, a fresh theme or phrase; otherwise the orchestrator will encounter many unforeseen and insurmountable difficulties. For example, if, during a passage written in four parts a chord in five-part harmony is introduced, a fresh instrument must needs be added to play this particular fifth part, and this addition may' easily damage the resonance of the chord in question, and render the resolution of a discord or the correct progression of parts impossible.
Number of harmonic partsDuplication.

In the very large majority of cases harmony is written in four parts; this applies not only to single chords or a succession of them, but also to the formation of the harmonic basis. Harmony which at first sight appears to comprise 5, 6, 7 and 8 parts, is usually only four part harmony with extra parts added. These additions are nothing more than the duplication in the adjacent upper octave of one or more of the three upper parts forming the original harmony, the bass being doubled in the lower octave only. (*2)
2. Professor Belkin Comments: There is also a kind of four-part writing with more complex added parts, but as RK says, these extra lines remain secondary. More on this later
The following diagrams will explain my meaning:
A. Close part writing
B. Widely-divided part-writing.
Note.In widely-spaced harmony only the soprano and alto parts may be doubled in octaves. Duplicating the tenor part is to be avoided, as close writing is thereby produced, and doubling the bass part creates an effect of heaviness. The bass part should never mix with the others: (*3)
3. Professor Belkin Comments: This is an important principle, often forgotten: While the bass may be doubled (rarely in more than ONE octave), if the higher octave crosses into the other middle parts, the bass line loses its clarity.
no music, since this kind of spacing is (necessarily) typical of piano writing. On account of the distance between the bass and the three other parts, only partial duplication is possible.
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: (*4)
4. Professor Belkin Comments: RK is talking here of REAL, independent parts, and NOT orchestral doublings.
Consecutive fifths resulting from the duplication of the three upper parts moving in chords of sixths are of no importance:
The bass of an inversion of the dominant chord should never be doubled in any of the upper parts: (*5)
5. Professor Belkin Comments: Put this way, the rule is too extreme. The underlying principle is: be cautious about doubling sensitive, active tones. They make for awkward part writing or momentary accents.
This applies also to other chords of the seventh and diminished seventh:
The rules of harmony concerning sustained and pedal passages apply with equal force to 'orchestral writing. As regards passing and auxiliary notes, echappees, considerable licence is permitted in rapid passages of different texture: (*6)
6. Professor Belkin Comments: especially when the timbres are varied.
A certain figure and its essentials; in simplified form, may proceed concurrently, as in the following example:
(*7)
7. Professor Belkin Comments:The double bass part is often simplified in this way, for ease of playing, when the
cello line is very quick and agile. 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: (*8)
8. Professor Belkin Comments: . and also the fact that they SUSTAIN.
In Vol. II of the present work many examples of the above methods will be found.
Distributionof notes in chords.

The normal order of sounds or the natural harmonic scale:
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:
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: (*9)
To be avoided:
9. Professor Belkin Comments: This serves mainly for BLEND. Large gaps encourage the ear to hear the result as
separate planes of tone. The use of sixths in the upper parts, and the practice of doubling the upper note in octaves are sometimes effective methods:
When correct progression increases the distance between the top and bottom notes of the upper parts, this does not matter:
But it would be distictly bad to fill in the second chord thus:
Hence it follows that the distribution of intermediate parts is a question of the greatest importance. Nothing is worse than writing chords, the upper and lower parts of which are separated by wide, empty intervals, especially in forte passages; in piano passages such distribution may be possible. Progression in contrary motion, the upper and lower parts diverging by degrees gives rise to the gradual addition of extra parts occupying the middle register: (*10)
When the voices converge, the middle parts are eliminated one by one:
10. Professor Belkin Comments:This is often a trap for beginners orchestrating piano music, since this kind of
spacing is (necessarily) typical of piano writing.
Next Lesson: Lesson 12 - HARMONY - String Harmony
Northern Sound Source - Lesson 12 - HARMONY - String Harmony
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Garritan Lesson 12 - HARMONY - String Harmony
04-29-2006 05:31 PM
HARMONY
Part 2 - String Harmony
Chapter III
Lesson Notes: In this lesson we discuss harmony as it relates to the stringed instruments. Professor Belkin: String harmony is the easiest to write and balance, and therefore forms the core of classical orchestration.
It is an incontrovertible rule that the resonance of different harmonic parts must be equally balanced, but this balance will be less noticeable in short sharp chords than in those which are connected and sustained. Both these cases will be studied separately. In the first case, in order to increase the number of harmonic parts, each instrument in the string group may be provided with double notes or chords of three and four notes. In the second case, the resources are limited to double notes unis, or division of parts. A. Short chords. Chords of three or four notes can only be executed rapidly on the strings. Note. It is true that the two upper notes of a chord can be sustained and held a long time; this, however, involves complications and will be considered later. Short chords, arco, only sound well when played forte (sf), and when they can be supported by wind instruments. In the execution of double notes and chords of three and four notes on the strings, balance, perfect distribution of tone, and correct progression of parts are of minor importance. What must be considered before everything is the resonance of the chords themselves, and the degree of ease with which they can be played. Those comprising notes on the gut strings are the most powerful. Chords played on several strings are usually assigned to 1st and 2nd violins and violas, the different notes being divided between them according to ease in execution and the demands of resonance. On account of its low register the 'cello is rarely called upon to play chords on three or four strings, and is usually allotted the lowest note of the chord in company with the double bass. Chords on the latter instrument are even more uncommon, but it may supply the octave on an uncovered string. (*1)
1. Professor Belkin Comment: Such chords are used for ACCENT. They also require a moment for the player to get into position and therefore cannot be played very fast. For example a 16th note run cannot seamlessly end in a quadruple stop chord.
No. 97. Snegourotchka, Section 171; cf. also before Section 140 and before Section 200.
Other References: Spanish Capriccio, before V. (cf. Ex. 67). Sheherazade, 2nd movement P (cf. Ex. 19.). No. 98. Tsar Salton, Section 135; cf. also before Section 141 and before Section 182.
Isolated chords may be added to a melodic figure in the upper part, accentuating, sforzando, certain rhythmical moments. No. 99. Snegourotchka, before Section 126; cf. also Section 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. (*2)
2. Professor Belkin Comment: This is the normal arrangement, by far the most frequent.
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., (*3)
3. Professor Belkin Comments: It is quite common to have the violas divided while the other sections are not. The ear seems to accept this because it is hidden in the middle of the texture. Fully divided strings are often found in Debussy, and the result is ethereal and refined.
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. Score References & Musical Examples Using GPO:
No. 100. The Christmas Night, Section 161 - Full divisi

No. 101. The Christmas Night, Section 210 - Violas div./Cellos div. - 4 part harmony.
No. 102. Snegourotchka, Section 187-188 - Four Part Harmony, Violins 1, Violins 2, Violas & Cellos
Other References: Snegourotchka, Section 243 - 4 Solo Cellos divisi Sheherazade, 2nd movement Beginning - 4 D. Bass. soli div. (cf. Ex. 40.) The Tsars's Bride, Section 179 - Chords on all strings (cf. Ex. 243).
No. 103. The Legend of Kitesh, Section 8 - Harmonic Basis in the strings
Other References: The Legend of Kitesh, Section 240 - (cf. Ex. 21). The Legend of Kitesh - Harmonic basis in the strings.
No. 104. The Golden Cockeral, Section 4 - Basis in the strings

Other References: The Golden Cockerel, Section 125 - Undulating rhythm in the strings as harmonic basis (cf. Ex. 271). In a forte or sfp chord, where one or two of the upper notes is held, either sustained or tremolando, the balance of tone must still be maintained, as in the following example:
Next Lesson: Harmony in the Wood-wind
Northern Sound Source - Lesson 14 - HARMONY - Wood-wind - Several Parts & Duplication
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Garritan Lesson 14 - HARMONY - Wood-wind - Several Parts & Duplication
04-29-2006 10:59 PM
Chapter III HARMONY

Part 3 - Harmony in several parts
Lesson Notes: In this lesson we discuss harmony in the wood-wind instruments in several parts and duplication. Professor Belkin Comments: By duplication Rimsky-Korsakov means doubling, mainly in octaves.
Harmony in several parts.
In writing chords of 5, 6, 7 and 8 part-harmony, whether they are independent, or constitute the harmonic basis, the' student should follow the principles outlined in the previous chapter, dealing with the progression of wood-wind instruments in octaves. As the 5th 6th, 7th and 8th notes are only duplications in octaves of lower notes of the real harmony (in 4 parts), instruments should be chosen which combine amongst themselves to give the best octaves. The process of crossing and enclosure of parts may also be used.
Professor Belkin Comments: Actually, the closer the spacing of the chords, the LESS important it is to use this best octaves principle, since the ear hears the whole as a unified mass, rather than the individual lines. Another important point: RK does not discuss a third method of handling these extra parts, which is however very commonly found. I call this pseudo-counterpoint. The main parts are set up as usual, but the gaps between them are filled in more freely with the remaining woodwinds (in their normal registers, of course). These extra parts will this NOT be full and consistent doublings of the main lines, but rather will take a few notes here and there from various lines, aiming only at remaining fairly conjunct, filling in holes in the chords, and avoiding over-doubling of active tones.
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:
Professor Belkin Comments: Once again, if the goal is to write HOMOGENEOUS woodwind chords, for use as harmonic background, close, tightly packed spacing is always best. The wider the spacing between adjacent notes becomes, the more one notices the individual timbres. While there are some interesting special effect colors available in this way, BLEND will never be the result. A word must be added here about the bassoons. The bassoons have 2 quite distinct roles in woodwind harmony, and the orchestrator needs to be clear which one he intends. The bassoons normal role, as their very name suggests, is to play the bass line. As such, they are often doubled at the unison or the octave, and may be placed a little farther away from the other, higher, woodwind parts. However if the bass line is more than an octave or so away from the upper parts, on average, the gap in the middle is best at least partially filled in, often with horns. If on the other hand, the bassoons do NOT play the bass line, they can be treated as simply extra voices for woodwind harmony in the middle register. Note. In the majority of cases this distribution is employed when the two upper harmonic parts have a special melodic duty to perform this question is discussed above. Professor Belkin Comments: What RK means here is that these upper parts are intended as a SEPARATE, NON-blending plane of tone.
B. Wood-wind in three's:
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:
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:
In chords of four-part harmony the classical method may be adopted:
In this case, though the high C in the flute is fairly powerful, the resonance of the G and E in the oboes is softened by the duplication of the 2nd flute and 1st clarinet, while the C in the 2nd clarinets (not doubted) 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:
These timbres may even originate from three-fold duplication:
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:
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.
Professor Belkin Comments: This is an important point: certain somewhat more open spacings can sometimes be effective in softer dynamics; in forte passages, they always sound thin and unsatisfactory.
2. As a general rule a chord of greatly extended range and in several parts is distributed according to the order of the natural scale, with wide intervals (octaves and sixths), in the bass part, lesser intervals (fifths and fourths) in the middle, and close intervals (3rds or 2nds) in the upper register:
Professor Belkin Comments: This basic acoustical rule applies to harmony in ANY family of the orchestra. 3. In many cases correct progression of parts demands that one of them should be temporarily doubled. In such cases the ear is reconciled to the brief overthrow of balance for the sake of a single part, and is thankful for the logical accuracy of the progression. The following example will illustrate my meaning:
In the second bar of this example the D is doubled in unison on account of the proximity of the three upper parts to their corresponding parts an octave lower. In the fourth bar the F is doubled in unison in both groups. 4. The formation of the harmonic basis, which is essentially in four parts, does not by any means devolve upon the wood-wind alone. One of the parts is often devoted to the strings, arco or pizz. More frequently the bass part is treated separately, the chords of greater value in the three upper parts being allotted to the wood-wind. Then, if the upper part is assigned to a group of strings, there remains nothing for the wind except the sustained harmony in the two middle parts. In the first case the three-part harmony in the wood-wind should form an independent whole, receiving no assistance from the bass; in this manner intervals of open fourths and fifths will be obviated. In the second case it is desirable to provide the intermediate parts with a moderately full tone, choosing no other intervals except seconds, sevenths, thirds or sixths.
Professor Belkin Comments: The principles RK sets forth here is fundamental: Each tonal family must be complete in itself. With only rare exceptions, a note in one family can NOT fill out an empty chord in another;
it will not be heard as being on the same plane.
All that has been said with regard to the use of wood-wind in the formation of harmony, and the division of simple and mixed timbres applies with equal force to sustained chords, or harmonic progressions interchanging rapidly with staccato chords. In short chords, separated by rests of some importance, the arrangement and division of timbres is not so perceptible to the ear, and 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 particular 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, Section 148 - Clarinet, 2 Bassoons
No. 106. The Christmas Night, Beginning - Oboe, Clarinet, Bassoon (crossing of parts)
Other References: Snegourotchka, Section 16 - 2 clarinet, Bassoon. Snegourotchka, 5th bar- 2 Oboes, 2 Bassoons (cf. Ex. 136).
No. 107. Snegourotchka, Section 197 - Piccolo, 2 Flutes (tremolando)

No. 108. Snegourotchka, Section 204 - 2 Flutes, 2 Oboe (high register)

No. 109. Sheherazade, beginning - Total wood-wind in different distribution
Other References: Russian Easter Fete, Section A - 3 Flutes (cf. Ex. 271). Tsar Saltan, Section 45 - Oboe, 2 Bassoons.
No. 110. Tsar Saltan, before Section 115 - mixed timbres

No. 111. Tsar Saltan, Section 115, and other similar passages - very sweet effect of wood-wind in
three's.
Other References: Tsar Saltan, Section 177 - 2 Oboe, 2 Bassoons. Sadko,Symphonic Tableau Section 9 - 2 Oboe, 2 Clarinets, Bassoon. Sadko, Opera Section 4 - English horn,, 2 Clarinets. Sadko, Opera, before Section 5 - Total wood-wind.
No. 112. Sadko, Section 72 - Chords in three-part harmony; simple and mixed timbres.
No. 113. The Tsar's Bride, Section 126 - Full Wind

No. 114. The Legend of Kitesh, before Section 90 - Enclosure of parts (Oboe 1 in high register).
No. 115. The Legend of Kitesh, before Section 161 - Wind and Brass alternately.
No. 116. The Legend of Kitesh, Section 167 - Full wind except oboe.
Other References: Legend of Kitesh, Section 269 - Flute, Clarinet, Bassoon. The Golden Cockeral , Section 125 - Various wind instruments, 4 part harmony (cf. ex. 271).. The Golden Cockeral , Section 218 - Oboe, English horn, bassoon, contrabassoon; cf. also Section 254.
No. 117. The Golden Cockeral, before Section 236 - Mixed timbre; 2 bassoons form the bass.
b) Harmonic basis (sometimes joined by the horns).
Other References: The May Night, Act III, Section L - 2 Fag., Eng. horn (cf. Ex. 18). Antar, Section 68 3 Flutes Snegourotchka, Section 20 2 CIarinets, high register. Snegourotchka, before Section 50 2 Flutes, Bassoon. Snegourotchka, Section 187 2 Oboe, 2 Basoons. Snegourotchka, Section 274 2 CIarinets, low register (cf. Ex. 9) Snegourotchka, Section 283 Flute, English horn, Clarinet, Bassoon (cf. Ex. 26)
No. 118. Snegourotchka, Section 292 - Widely-divided harmony and doubling of parts in the wind.
No. 119. Snegourotchka, Section 318-319 - 2 Flutes

Other References: Sheherazade, 2nd movement, Section B 2 Clarinets, Bassoon (sustained note in the horn) (cf. Ex. 1).. The Christmas Night, Section 1 3 Carinets Sadko, Section 1 CIarinet, Bass clarinet, Bassoon, Contrabassoon.
No. 120. Sadko, Section 49 - Oboe, Clarinet, Horn, Bassoon

Other References: Sadko, Section 99 - 2 Clarinets (cf. Ex. 289, 290)
No. 121. Sadko, Section 144 -Clarinet, Bassoon

No. 122. Sadko, Section 195-196 - 2 Clarinets, Bass clarinet.

Other References: The Tsar's Bride, Section 80 - Clarinet, Bassoon The Tsar's Bride, Section 166 - harmonic parts in motion, Flute and Clarinet (cf. Ex.22). Servilla, Section 59- Clarine (low register), Bassoon.
No. 123. Kashtchei the Immortal, Section 80 - Oboe, Bassoon (muted).

No. 124. Legend of Kitesh, Section 52 - Flute, Bassoon.

Other References: Legend of Kitesh, Section 55 - Flute, Oboe (cf. Ex. 197). Legend of Kitesh, Section 68 - English horn, Bassoon, Contrabassoon (cf. Ex. 199). Legend of Kitesh, Section 118 - mixed timbre: 2 Oboes, English horn and 3 Clarinets. Legend of Kitesh, Section 136 - harmonic parts in motion: Legend of Kitesh, before Section 185 - 3 Flutes (low register) and 2 Clarinets. Legend of Kitesh, Section 223 - Flute, Oboe, Clarinet (cf. Ex. 37).
No. 125. Legend of Kitesh, Section 247 - 2 Clarinets, Bass clarinet.

Other References: Legend of Kitesh, Section 273 - English horn, 2 Clarinets and Bass clarinet, Bassoon.
No. 126. Legend of Kitesh, Section 355 - English horn. muted, Clarinet, 3 Bassoons.
No. 127. The Golden Cockerel, Section 3 - Clarinet, Bass clarinet, Bassoon, Contrabassoon.
Other References: The Golden Cockerel, Section 441 - Bass clarinet, Bassoon; Flute, Clarinet; Clarinet, Bass clarinet.
No. 128. The Golden Cockerel, Section 156 - harmonic parts in motion: Flute and Clarinet.
Next Lesson: Lesson 15 - HARMONY - Brass Harmony
Northern Sound Source - Lesson 15 - HARMONY - Brass Harmony
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Garritan Lesson 15 - HARMONY - Brass Harmony
05-11-2006 05:40 PM
Chapter III HARMONY

Part 4 - Harmony in the Brass
Lesson Notes: In this lesson we discuss harmony in the brass instruments. Following the discussion on harmony in the wood-wind and stringed instruments, similar concepts will be discussed as they relate to brass instruments.
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.
Professor Belkin Comments: The reason, however, is different. Blend is not a great problem with brass instruments. But widely spaced brass harmony produces a curious effect: Perhaps because the colors are so rich and full, the gaps in the chords seem exaggerated.
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:
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.
Professor Belkin Comments: The only qualifications to this observation are: 1) The bass should not move too quickly; the horn is rather slow to speak in its low register. The tuba can also furnish an excellent bass to the horns, by itself, being of a similarly round character but more agile. In loud dynamics, the tuba should be marked one level lower than the horns. 2) The overall register should be mainly that of the tenor and alto voices. Horns are NOT suitable for passages of high or low harmony.
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:
Professor Belkin Comments: Trombones are more transparent in close harmony in the low register than horns.
I have often adopted the following combination of brass instruments, and consider it eminently satisfactory: 2 horns and tuba to form the bass in octaves, the three other parts given to the trombones:
(beautiful full resonance)
In the higher registers, four-part harmony, of which the two upper parts are given to the trumpets, may be completed by two trombones or four horns in pairs:
Professor Belkin Comments: Trombones and trumpets can be used together with virtually no problems of blend. Horns work well with either, but give a sound somewhat softer and rounder.
When 3 trumpets are available the fourth part should be allotted to one trombone, or two horns in unison:
Professor Belkin Comments: RKs principle of using 2 horns to balance one trumpet or trombone is only needed in the louder dynamics.
Enclosure of parts may be used in single chords:
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:
Professor Belkin Comments: Again, this applies mainly to loud passages, since the horns at their loudest are still weaker than trumpets and trombones at their maximum level.
Writing in several parts. When the whole group is used the number of horns should be doubled:
Professor Belkin Comments: This is true if the writing is really contrapuntal, aiming at EQUAL balance. If the horn parts are less important, one horns per part will suffice.
In seven, six, or five-part harmony certain instruments must be omitted:
Discords of the seventh or second are preferably entrusted to instruments of different tone colour:
Professor Belkin Comments: This favours euphony and a full, consonant, sound. If a more acid or strained sound is desired, using, say, 2 trumpets for a strong dissonance is very effective.
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:
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 resemble that of a chorale written for double or triple choir. For example:
Professor Belkin Comments: Here even single horns are enough to avoid the sensation of a GAP in the texture, especially since they are fat instruments, with very round tone.
Duplication in the brass.

Duplication in the brass group is most frequently effected by placing a chord for horns side by
side with the same chord written for trumpets or trombones. The soft round quality of the horns intensifies the tone, and moderates the penetrating timbre of the trumpets and trombones:
Professor Belkin Comments: It is also possible to give the horns the same harmony but NOT the same exact spacing.
Similar juxtaposition of trumpets and trombones:
is not so common, as this unites the two most powerful agents in the group. In handling an orchestra the brass is frequently employed to sustain notes in two or three octaves; this sphere of activity must not be ignored. The tenuto is generally given to two trumpets, or to two or four horns, in the octave, (in double octaves). The octave is sometimes formed by trumpets and horns acting together:
The trombone with its ponderous tone rarely takes part in such combinations. Sustained notes in double octaves are usually apportioned thus:
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:
Other References: Snegourotchka Section 74 3 Trombones, 2 Horns. Snegourotchka Section 140 3 Trombones, 2 Horns. Chords in different groups alternately (cf. Ex. 244). Snegourotchka Section 171 Full brass; further on 3 Trombones (cf.Ex.97). Snegourotchka Section 255 - 4 Horns (stopped).
No. 129. Snegourotchka, Section 289 - 4 Horns.

Other References: Snegourotchka, Section 289 - Full brass. Sadko, before Section 9 - Full brass (enclosure of parts).
No. 130. Sadko, Section 175 - Mixed timbres (juxtaposition) 3 Horns + 3 Trumpets.
Other References: Sadko, before Section 338 - Full brass except Tuba .
No. 131. Sadko, Section 191-193 - (full brass).

No. 132. The Christmas Night, Before Section 180 - Full muted brass.
Other References: The Christmas Night, Section 181 - 4 Horns + 3 Trombones + Tuba . The Tsar's Bride, Section 178 - Strings and brass alternately (cf. Ex.242).
No. 133. Tsar Saltan, Section 102, 7th bar - 2 Trumpets, 2 Trombones + 4 Horns
(juxtapoisition).
Other References: Tsar Saltan, Section 230 - Full brass, thickly scored (cf. Table of chords No.11 at the end of Vol. II, Ex. 12). Servilia, Section 154 Various brass instruments. Legend of Kitesh, Section 130 3 Trumpets, Trombone and Tuba.
No. 134. Legend of Kitesh, Section 199, Short chords (juxtaposition).

No. 135. The Golden Cockerel, Section 115 - Horns, Trombones (enclosure).
b) Harmonic basis:
No. 136. Snegourotchka, Section 79, 6th bar - 4 horns
Other References: Snegourotchka, Section 231 - 3 Trombones, soft & sweet (cf. Ex. 8). Antar, Section 6465 - 4 horns; later 3 trombones (cf. Ex. 32) * Sheherazade, la movement, Sections A, E, H , K , M Harmonic bases of different power and timbre (cf. Ex. 192195).
No. 137. Servilia 93 Full brass.

No. 138. Tsar Saltan, Section 127 - 4 muted Horns + 3 Trombones and Tuba con sord. pp
Other References: Tsar Saltan, Before Section 147 Full brass ff (the 2 Oboes and Eng. horn are of no particular importance). * Pan Voyevoda, Section 136, 9th bar 4 Horns, then Trombones, 2 Horns.
No. 139. Legend of Kitesh, Section 158 Trumpets, Trombones

No. 140. Legend of Kitesh, Section 248 3 Trombones

Other References: Legend of Kitesh, Before Section 362 Full Brass.
Next Lesson: Lesson 16 - HARMONY - Combined Groups - Wind & Brass
Northern Sound Source - Lesson 13 - HARMONY - Wood-wind Harmony
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Garritan Lesson 13 - HARMONY - Wood-wind Harmony
04-29-2006 05:51 PM
HARMONY
Part 3 - Wood-wind Harmony
Chapter III
Lesson Notes: In this lesson we discuss harmony in the wood-wind instruments. We laid down the general principles of harmony in the previous chapters discussing the process of orchestrating with multiple lines at the same time. There are no interactive scores in this lesson. The information provided in this lesson will set the groundwork for the following lessons dealing with harmony among the wood-wind instruments.
Wood-wind harmony.
Before entering upon this section of the work I would remind the reader of the general principles laid down in the beginning of the chapter. Harmonic texture, composed of plain chords or ornamental designs, simple or contrapuntal in character, must possess a resonance equally distributed throughout. This may be obtained by the following means: Professor Belkin Comment: By resonance equally distributed throughout RK means: BLEND. In the case of wood-wind this requires fooling the ear, so it accepts different timbres as more alike than they actually are. Note that this is more difficult in smaller orchestras than in large ones, since having only two of each instrument will not allow complete chords in one timbre. 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:
Professor Belkin Comment: This is because changes in the number of parts tend to attract attention. 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:
3. Corresponding or adjacent registers should be made to co-incide except for certain colour effects:
The second flute will sound too weak and the oboes too piercing.
Professor Belkin Comment: It is useful to think of each wood-wind instrument as really three instruments in one, high, medium, and low. Although the borders are not very sharp, treatment will vary in general according to register. So, for example, high flutes and oboes will blend, where low flutes and oboes will NOT. 4. Concords (octaves, thirds and sixths) and not discords (fifths, fourths, seconds and sevenths), should be given to instruments of the same kind or colour, except when discords are to be emphasised. This rule should be specially observed in writing for the oboe with its penetrating quality of tone:
Four-part and three-part harmony.
Harmonic writing for the wood-wind may be considered from two points of view: a) instruments in pairs, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons; and b) instruments in three's, 3 Flutes, 2 Oboes, English horn, 3 Clarinets, 2 Bassoons, Contrabassoon. A. In pairs. There are three ways of distribution: 1. Super-position or overlaying (strictly following the normal order of register), 2. Crossing, and 3. Enclosure of parts. The last two methods involve a certain disturbance of the natural order of register:
Professor Belkin Comment: All of these methods, apart from superposition, have in common that they aim to confuse the ear. For example, if oboes are simply placed above clarinets it is easier to hear the two distinct timbres than if they are overlapped. 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:
Professor Belkin Comment: Again, think of each instrument as three (registers) in one. 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:
Professor Belkin Comment: since, all other things being equal, the ear tends to notice movement. 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:
Professor Belkin Comment: However, widely spaced woodwind chords virtually never sound homogeneous. The normal way to arrange woodwinds in chords is in close position. Any other distribution will result unquestionably in a grievous lack of relationship between registers:
If one tone quality is to be enclosed, it must be between two different timbres:
It is possible to lend four distinct timbres to a chord in widely-divided four-part harmony, though such a chord will possess no uniformity in colour; but the higher the registers of the different instruments are placed, the less perceptible becomes the space which separates them:
Professor Belkin Comment: In the first fifth or so above the treble staff, flutes, oboes, and clarinets can be mixed freely. The high registers blend quite well (but: Avoid the shrill, top notes of the oboe and clarinet that is to say roughly above D, 2 ledgers above the staff). The use of four different timbres in close four-part harmony is to be avoided, as the respective registers will not correspond: Professor Belkin Comment: This is the most common beginners error.
Note. In Mozart and Salieri, which is only scored for 1 Fl., 1Ob., 1 CI. and I Fag., wood-wind chords in four-part harmony are of necessity devoted to these four different timbres. The same rules apply to writing in three-part harmony, which is the most customary form when it is a question of establishing a harmonic basis, the lowest register of which is entrusted to another group of instruments (strings arco or pizz., for example). Chords in three-part harmony are generally given to two instruments of one timbre and a third instrument of another, but never to three different timbres. Overlaying of parts is the best course to adopt:
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:
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:
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:
The method of using three instruments of the same timbre in widely divided three-part harmony is inferior:
Professor Belkin Comment: Again, woodwinds dont work well harmonically in open spacing! But if the third instrument is of low register (Bass flute, English horn, Bass Clarinet, or Contrabassoon), the resonance will be satisfactory:
In chords of four-part harmony, three instruments of the same timbre should be combined with a fourth instrument of another:
Next Lesson: Lesson 14 - HARMONY - Wood-wind - Several Parts & Duplication
Aleksandar Re: Lesson 13 - HARMONY - Wood-wind Harmony Lesson 13 is here. Excellent! Let's go. Aleksandar Sorahiko Re: Lesson 13 - HARMONY - Wood-wind Harmony
08-30-2006 08:53 AM
08-31-2006 01:54 PM
"Concords (octaves, thirds and sixths) and not discords (fifths, fourths, seconds and sevenths), should be given to instruments of the same kind or colour, except when discords are to be emphasised." Don't fifths fall under consonant?
Northern Sound Source - Lessson 16 - HARMONY - Combined Groups - Wind & Brass
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Garritan Lessson 16 - HARMONY - Combined Groups - Wind & Brass
05-11-2006 05:53 PM
Chapter III HARMONY

Part 5 - Harmony in Combined Groups
Lesson Notes: In previous lessons we discussed harmony with the individual families of instruments. In this lesson we discuss harmony in combined groups of instruments.
Harmony in Combined Groups
A. Combination of wind and brass.

Professor Belkin Comments: There are two general cases to be discussed here: a) using woodwind/brass to FILL each other OUT, and b) using them TOGETHER, as full masses, usually in a tutti situation. The two situations require different approaches. RK is here mainly interested in the first case. Using woodwind and brass to complete each others harmony should NOT be done indiscriminately, since the volume (=fatness of timbre) and force of the two groups are so unequal. On the other hand, there are many affinities, which can be exploited, especially in smaller ensembles, where a full complement of brass may not be available. For example, 2 bassoons and 2 horns playing interlocked, in 4 part harmony, is very close in sound to 4 horns, in all but the loudest dynamics. Muted trumpets and oboes are close in sound, again provided that the muted trumpets are not very loud. Bassoons can form an excellent bass to (even quite loud) trombones. These examples and many others, are very common, but they require detailed knowledge of the woodwind registers. Simply adding any woodwind to any brass can easily lead either to visual music (the woodwind will be seen but not heard), or gross tonal incompatibility (e.g. trying to make blended harmony from horns + oboes). The final case mentioned here by RK is using woodwind to SOFTEN the brass. This is valuable, but beginners should be warned that this should be occasional and intentional, not the default behaviour. Clear, pure, brass sound has an important place in good orchestration; softening it all the time will only tend to make the orchestration less colourful.
Wind and brass instruments may be combined by the method of placing a chord in one timbre side by side with the same chord in another timbre, or by any of the three methods already described: overlaying, crossing and enclosure of parts. 1. In unison (juxtaposition or contrast of tone qualities). This class of combination possesses the same features as combinations in the melodic line (cf. Chap. II). Wood-wind reinforces the brass, softens it and reduces its characteristic qualities. Arrangements such as the following are possible:
Also
As well as:
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.
No. 141. The Tsar's Bride, Section 50 4 Horns +2 Cl., 2 Fag

Other References: Snegourotchka, Section 315 2 Horns+2 Cl. and 2 Horns+2 Ob. (cf. Ex. 236).
No. 142. The Tsar's Bride, Section 142 - Juxtaposition of full wind and brass.
Other References: Ivan the Terrible, Act II, Section 30 Juxtaposition and enclosure (cf. Table of chords II, Ex. 8).
No. 143. The Christmas Night, Section 165 - 4 Horns -f- FL, Cl., Fag.
No. 144. Sadko, before 79 - Horn, Trumpet-I- doubled wood wind (1)
(1) In the full score a misprint occurs in the clarinet part; it is corrected in the example. (Editor's note.)
No. 145. Sadko, Section 242 Full brass +Flute, Clarinet.

Other References: Legend of Kitesk, beginning - Horn, Trombones + CI., Fag. (cf. also Section 5, Ex. 244)
No. 146. Legend of Kitesk, Section 10 English horn, 2 Clarinets, Bassoon legato + 4 Horns non-legato.
Other References: Legend of Kitesk, Section 324 Full brass + wind.
No. 147. The Golden Cockerel, Section 233 - Trumpets + Oboe playing an octave above Horn and Clarinet.
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. No. 148. Russian Easter Fete, p.11. Horn (+), Trumpets (low register) + Ob., Cl.
Other References: * The Christmas Night, before 154 Full muted brass + wind.
No. 149. Tsar Sultan, Section 129 - 2 Ob., Eng. horn, + 3 Trumpets muted (3 CL at the
bottom).
No. 150. Tsar Sultan, Section 131 17th bar. Same combination with added horns.
Other References: * The Christmas Night, before Section 154 Full muted brass + wind.
No. 151. Antar, Section 7 Ob., Eng. horn, 2 Fag. + 4 Horns (+)
A beautiful dark tone is derived from the combination of middle notes in stopped horns and deep notes in the clarinet:
If bassoons are substituted for clarinets the effect loses part of its character.
Other References: * Kashtchet the Immortal, Section 29 , 11th bar. -2Ob., 2Cl.+4Horns (+) * Kashtchet the Immortal, Section 107 , 6th bar. -2 CL, Fag. +- 3 Horns (+)
*The Christmas Night, p. 249 CI., Fag.+ 3 Horns (+). * Mlada, Act III, Section 19 3 Horns ( + ) + 3 Fag. and 3 Horns (+) + 3 Ob. (cf. Ex. 259).
Next Lesson:
Lessson 17 - HARMONY - Combined Groups - Wind & Brass (cont.)
Northern Sound Source - Lessson 17 - HARMONY - Combined Groups - Wind & Brass (cont.)
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Garritan Lessson 17 - HARMONY - Combined Groups - Wind & Brass (cont.)
05-11-2006 06:03 PM
Chapter III HARMONY

Lesson Notes: In this lesson we continue our discussion of harmony in the brass and wind instruments. This lesson will focus on the three methods of combination: overlaying, crossing and enclosure of parts.
Harmony in the wind and brass. 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:
Professor Belkin Comments: Another useful tip for combining winds and brass in such situations is to give OPEN intervals (e.g. octaves and fifths) to the brass; this helps keep the texture clear.
Bassoons may also be written inside the horns, but the inverse process is not to be recommended:
The same insetting of parts may be used for sustained trumpet notes in octaves. In soft passages, thirds played in the low register of the flutes, sometimes combined with clarinets, produce a beautiful mysterious effect between trumpets in octaves. In a chain of consecutive chords it is advisable to entrust the stationary parts to the brass, the moving parts to the wood-wind. Clarinets, on account of their tone quality should rarely be set inside the horns, but, in the upper register, and in the higher 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:
Professor Belkin Comments: Actually the clarinet is the BEST instrument for completing a chord when the notes are too high for the horns. Oboes sound too different, and flutes are too pale unless written quite a bit higher.
Played forte, the horns are more powerful than the wood-wind; balance may be established by doubling the
upper harmonic parts:
Professor Belkin Comments: This is not necessary unless the woodwind are adding notes NOT present in the brass.
a) Superposition. No. 152. Antar, Section 56 3 Fl., 4 Horns (basis)

Other References: * Sadko, Symphonic Tableau I, Section 1 and 9 - Fl., Ob., CI., Horn (basis). * Sadko, before Section 14 2 Fl., CI., Horns * Sadko, final chord - Fl., CI., Horn * Snegourotchka, Section 300. Full wind and horns. * Sheherazade Final chords of 1st and 4th movements. * Russian Easter Fete, Section D Fl, CI., Horn; later trumpets and trombones in juxtaposition (cf. Ex. 248).
No. 153. The Christmas Night, Section 212 , 10. bar. Wind and Horns; trumpets and trombones added later.
Other References: The Christmas Night, Section 215 - 3 FL + 3 Cl.doubled an octave below with 3 horns. Sadko, Opera Section 165 -Juxtaposition and Superposition.
No. 154. Sadko, Section 338 Same distribution.

No. 155. Sadko, Section 338 3 F1.+ 2 Ob.., Cl.. 4 Horns

No. 156. Legend of Kitesh, before Section 157 3 Flutes, 3 Trombones.
Other References: Legend of Kitesh, before Section 157 - final chord (cf. Table 111 of chords Ex. 15) The Golden Cockerel, before Section 219 - Mixed timbre of wood-wind, 4 Horns.
b) Crossing. No. 157. Antar, before Section 30 Wood-wind, Horns, then Trumpets.
Other References: The Christmas Night, before Section 53 - Horn, Fag. The Christmas Night, before Section 107 - cl.., Horn, Fag. Legend of Tsar Salton, before 62 Horn., Fag. The Golden Cockerel, Section 220 - 3 Trombones, 2 Fag., C-fag. (cf. Ex. 232).
c) Enclosure: No. 158. Ivan the Terrible, Act 133 Flutes within horns; later horns within bassoons.
No. 159. Snegourotchka, Section 183 Fl., 2 Cl. within Trumpets.

Other References: Sadko, symphonic tableau, Section 3 - 4 Horns withing Clarinet and bassoon. Antar, before Section 37 - 2 horna withing bassoon aand clarinet. Sadko, Opera before 155 Harmonic basis; oboes within trumpets (cf. Ex. 260).
No. 160. Sadko, Opera, before Section 155 Flutes within trumpets.
Other References: The Tsar's Bride, end of Overture Bassoons within horns (cf. Table III of chords, Ex. 14).
No. 161. Tsar Saltan, Section 50 Trumpets within wood-wind doubled.

No. 162. Tsar Saltan, Section 59 Flutes within trumpets; clarinets within horns.
No. 163. Legend of Kitesh, Section 82 Oboes and clarinets within trumpets.
The relationship which has been shown to exist between stopped horns and oboe or English horn authorizes the simultaneous use of these instruments in one and the same chord, played p or sfp:
No. 164. Legend of Kitesh, before Section256 - 2 Oboes, Eng. Horn an octave above 3 Horns
(+).
Other References: The Christmas Night, Section 78 3 Horns (+) + Oboe. The Tsar's Bride, Section 123 Ob., Eng. horn, Horn (+) (cf. Ex. 240). Legend of Kitesh, Section 244 Cl., 2 FL, -; 2 Ob., Eng. horn, 3 Horn (+) . Cf. also Tsar Saltan, before Section 115 - Horn (+) 2 Fl. +2 Fag. (Ex. 110) .
If trumpets and trombones take part in a chord, flutes, oboes and clarinets are better used to form the harmonic part above the trumpets. The following should be the arrangement:
Professor Belkin Comments: In effect, the idea here is to have complete harmony in the brass, and to use the woodwind to reinforce the upper harmonics, adding brilliance. Using the woodwind in UNISON with the brass adds almost no force and dulls the tone somewhat.
No. 165. The May Night, Act I, Section Ee 3 Trombones, 2 Ob. + 2 C1.+ 2 Fag.
Other References: Sadko, symphonic tableau, Section 20. The May Night, p. 325. Final chord, C maj. (cf. Table I of chords, Ex. 1).
No. 166. Snegourotchka, Section 198; cf. also Section 200 and before Section 210.
Other References: Sheherazade, 1st movement, Section E, 2nd movement, Section P. 3rd movement, Section M, 4th movement p. 203 (cf. Ex. 195, 19, 210, 77).
No. 167. The Christmas Night, Section 205; cf. also Section 161, Section 212, 14th bar. (Ex. 100, 153).
Other References: Mlada, end of Act 1 (cf. Chord Table II, Ex. 13). Act II 20.
No. 168-169. Sadko, Opera, before Section 249, Section 302; (cf. also Ex. 120).
No. 170. Sadko, Section 244 - Chord of widely extended range; bassoons at the limit of low compass. (Ex. 86).
Other References: Sadko, Opera Section 143, Section 239; cf. aalso Section 3 (Ex. 86). The Tsar's Bride, Section 179 (cf. Ex. 243). Antar, Section 65 Alternation of notes in horns and wood-wind on
trombone chords (cf. Ex. 32).
General observations. It is not always possible to secure proper balance in scoring for full wood-wind. For instance, in a succession of chords where the melodic position is constantly changing, distribution is subordinate to correct progression of parts. In practice, however, any inequality of tone may be counterbalanced by the following acoustic phenomenon: in every chord the parts in octaves strengthen one another, the harmonic sounds in the lowest register coinciding with and supporting those in the highest. In spite of this fact it rests entirely, with the orchestrator to obtain the best possible balance of tone; in difficult cases this may be secured by judicious dynamic grading, marking the wood-wind one degree louder than the brass.
Professor Belkin Comments: Another important principle is to keep the upper woodwind parts packed tightly together in such harmony. That way the details of their middle parts are less in evidence.
Next Lesson: Lessson 18 - HARMONY - Combined Groups - Strings & Wind, Three Groups
Northern Sound Source - Lessson 18 - HARMONY - Combined Groups - Strings & Wind, Three Groups
Northern Sound Source (http://northernsounds.com/forum/index.php) - Principles of Orchestration On-line (http://northernsounds.com/forum/forumdisplay.php?f=77) - - Lessson 18 - HARMONY - Combined Groups - Strings & Wind, Three Groups (http://northernsounds.com/forum/showthread.php?t=48872)
Garritan Lessson 18 - HARMONY - Combined Groups - Strings & Wind, Three Groups
05-11-2006 06:16 PM
Chapter III HARMONY

Lesson Notes: This brief lesson concludes our lessons on harmony. Here we will focus on combinations of the various groups of instruments.
Harmony in the strings and winds.

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:
Professor Belkin Comments: Actually, full and literal doubling should NOT be used for very long, as it produces a rather grey tone. The best method is to give each choir full harmony in itself, but with DIFFERENT VOICE LEADING. Momentary parallel octaves and fifths in the inner parts between groups are insignificant.
No. 171. Antar, Section 57 - String quartet divisi + wood-wind (cf. Ex. 151).
Other References: Sadko, Symphonic Tableau, before and at Section 4, 9th bar. Sheheraxade, 1st' movement, Section M - 6 Vns soli 2 Ob. (2 Fl.), CI. Legend of Kitesh, Section 295 the same; rhythmic motion in the wind, sustained harmony in the strings (cf. Ex. 213)
2. Owing to the complete absence of any affinity in tone quality, the combination of strings with brass is seldom employed in juxtaposition, crossing, or enclosure of parts.
Professor Belkin Comments: Again, since these sounds do not blend, it is best to make each choir complete in itself, but with independent voice leading. It should be mentioned here that when a particularly transparent effect is desired, the brass can be reduced in number (e.g. only horns, or trumpets), and written in mainly open intervals (octaves, fifths).
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.
Other References: Snegourotchka, Section 242Full brass +strings tremotando(cf.D Table of chords, Ex. 6) Legend of Kitesh, before Section 240 the same (Horn, Trumpet +). Sadko, Opera, before Section 34 Horn + Violas div., Trombones + 'Cellos div. (A splendid example of the combination of strings and brass may be found in the introduction to the 2nd scene of the 4th act of."Khovanstchina" by Moussorgsky, orchestrated by Rimsky-Korsakov. (Editor's note.)
C. Combination of the three groups.
The combination of strings, wood-wind and brass instruments, set side by side, produces a full, round and firm tone.
Professor Belkin Comments: But see above re overuse of literal doubling.
No. 172. The Tsar's Bride, before Section 145 Ob., Fag. + Horns + Strings.
Other References: The Tsar's Bride, - final chord (cf. Table I of chords, Ex. 5).
No. 173. Sadko, end of 15st tableau short chords. Last chords of the 1st, 3rd and 7th tableaux (cf. Table I and III, Vol. II, Ex. 9, 10, 18).
No. 174. The Christmas Night, Section 22 Wind + Brass c. sord. + tremolo strings.
Other References: Legend of Kitesh, Section 162 (cf. Ex. 250). Snegourotchka end of opera, (cf. Table III in Vol. it, Ex. 17) and a host of other examples.
General Observations. Balance and correct distribution of tone is much more important in dealing with long sustained chords or those of rhythmic design; in the case of short, disconnected chords resonance is a minor consideration, but one which should not be entirely neglected. I have endeavoured to outline the general principles to be followed, but I do not profess to deal with all the countless cases which may arise in the course of orchestration. I have given a few examples of well-sounding chords; for further information I advise the reader to study full scores with care, as this is the only method to acquire perfect knowledge of the distribution and doubling of various instruments.
Professor Belkin Comments: Note to beginners: By FAR the most common beginners mistake is to
overuse doubling. The best orchestration avoids doubling as a norm; it is better to learn various ways to differentiate the families in a tutti, even though this is more work!
Next Lesson:
Lessson 19 - COMPOSITION - Orchestrating the Same Music

Rimsky Korsakof Orchestration Printed Version

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GARRITAN INTERACTIVE

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Hear and See the Scores with Real-time Examples

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Course Structure - Community Learning and Self-Study

Rimsky-Korsakov's "Principles of Orchestration" remains a leading orchestratio

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Orchestration Competition at the End of the Course

Let the Course Begin...

Welcome to the Garritan Interactive PRINCIPLES OF ORCHESTRATION by

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Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

Garritan Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

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Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

GENERAL REVIEW OF ORCHESTRAL GROUPS

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Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

Suggestion Position of Strings in the Orchestra

String parts may be divided thus:

Possible combinations less frequently used are:

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Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

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Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

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Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

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Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

B. Wind Instruments. Wood-wind.

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Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

Suggested Position of Woodwinds in an Orchestra

Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

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Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

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Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

and on the oboe and English horn:

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Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

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Northern Sound Source - Lesson 1 - GENERAL REVIEW - Strings & Woodwinds

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Garritan Lesson 2 - GENERAL REVIEW - Brass, Percussion & Other Instruments

GENERAL REVIEW OF ORCHESTRAL GROUPS

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Suggested Position of Brass in an Orchestra

Video of the Brass Playing in an Orchestra

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C. Instruments of Little Sustaining Power.

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Video of HarpPlaying in an Orchestra (with flute)

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Percussion instruments producing determinate sounds, keyed instruments.

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The limits of possible change in Beethoven's time were considered to be: