8761180 Rimsky Korsakof Orchestration Printed Version

8/6/2019 8761180 Rimsky Korsakof Orchestration Printed Version

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Welcome!

I am pleased to welcome you to this Interactive Edition of "Principles ofOrchestration" based upon Nikolay Rimsky-Korsakov's celebrated text.Rimsky-Korsakov's genius for orchestration is unsurpassed and there mbetter source to learn about orchestration than to learn from what the gmaster himself taught.

A well-crafted orchestration is a thing of beauty. It is important for a wemusician to possess a basic knowledge of orchestration. Orchestration ifor film scoring, composing for interactive games, backgound tracks, arediting, critique, copying (notating), conducting, orchestral performancereading, teaching and many musical endeavors.

In this revised internet edition, we have attempted to remain faithful totranslated text which was written nearly a century ago. In the original wthe musical examples are referenced and provided in score form taken fRimsky-Korsakov's own works, but what was lacking was the ability to h

examples of his works.

Hear and See the Scores with Real-time Examples

One of the best ways to learn orchestration is by simultaneously listeninvisually following the score. This conveys concepts much better than vieon a printed page. Rimsky-Korsakov himself recommended: "The best pstudy full-scores, and listen to an orchestra, score in hand."

In this Interactive Edition we have provided the designated score excerpallows the learner to simultaneously listen and visually follow. Starting wNo. 4, there are some 275 audio enabled scores that are embedded witrelevant portions of the text. In a few cases a substitute or supplementwas provided if it could better highlight what was being conveyed. Manyillustrations were taken from the classic text. We also replaced the com"Rimsky-Korsakov algebra" with easily understood graphics and added v

illustrations for clarification and color. Also, we supplemented the text wof our own exercises to apply the principles and concepts that were taug

The ability to hear various orchestral realizations of the different exampRimsky-Korsakovs works, on-demand, is invaluable; and books alone cprovide this kind of instruction.

Welcome to the Garritan Interactive PRINCIPLES OF ORCHESTRATION by Rimsky-Korsakov - Northern Sound Source

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Course Structure - Community Learning and Self-Study

You are in good company with learning orchestration by self-study. Thismaster Rimsky-Korsakov himself learned orchestration! He taught himsorchestration so well, in fact, that he later wrote this book and even tauProkofiev, Glazunov and Stravinsky. May you reach such heights also!

Here's how it will work. First you read the Lesson. You watch and listen various animated score examples to understand the concepts. Then youexercises which may include some MIDI files, scores and MP3s that will experiment and apply what has been taught. We will discuss the lessonforum. You can also share your exercises on the forum and get feedbacothers. There will be online "professors" who will share their expertise aguide the discussions.

The "Interactive Principles of Orchestration" will initially be offered on thonly. The course is expected to consist of between twenty-five and thirtlessons. A new lesson will be posted every week. The lessons will be presystematic step-by-step approach as Rimsky-Korsakov approached it intext.

We will approach the material as Rimsky-Korsakov presented it and fromperspective. A lot has changed over the past century with the orchestraour best to go in accordance with the text, but we'll also take some inteexcursions on the lesson thread if it will enhance what is being taught. Wupdate or add supplemental material to elucidate a point.

If you come in late, start with Lesson 1. This course follows a logical ordnot beneficial to race through it. It is important to read, listen, follow thunderstand it. The lessons are offered in small segments so it will be eathe material. Each reading and listening example should be completed badvancing to the next. There's an abundance of complex information anto lose focus so stay with it. Some professors and educators will assist idiscussions. There should be plenty of resources and people to help.

Prerequisites

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




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in many colleges and universities. It is assumed the learner has some nbasic musical skills including some knowledge of music theory and practcourse is not for the casual learner or beginning learner and requires a commitment.

First it is a pre-requisite that you are able to read music. This course refollowing scores and being able to read treble, bass and alto clef is impo

Rimsky-Korsakov assumed the reader had a basic knowledge of the instthe orchestra. Instrumentation is only briefly touched upon in the first fThere are excellent courses and books available if you required additionabout the instruments of the orchestra. This course will not cover the ladealing with opera and voice although we may add these chapters laterchoir library is complete.

If you are unsure about your level of proficiency it will not hurt to try soto see if they are right for you. Learn at your own pace and try to supplknowledge in areas that are lacking. If you have mastery of material beplease try to help others who are learning.

The course is offered free of charge and there is no obligation to buy anAlthough every example was done with Garritan Personal Orchestra, GPrequired 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 flascores. Macromedia has recently released their latest version of the Flash Player Plugin (V

can download the latest Flash Players here.

To benefit from this course it is recommended for learners to be registered with the forum

questions or contribute in discussions. You can register to be a member of the Northern So

forum here.

Some Guidelines

This will be an open virtual classroom and people should feel free to visat any time.

A few guidelines: We are here to learn so please be courteous to othersConstructive criticism is welcomed - especially if it will improve the courprovide for a better education. Encouragement helps learners much mounbridled negativity. Try to be helpful to others and avoid demeaning leexperienced learners. Please do not flame, name-call, banter or disrupt experience for others. This course is offered as a free service and if onefor competitive, philosophical, political, religious or psychological reason


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rather you do not participate. Just like a bricks and mortar class, disrupmay lead to being suspended or expelled.

We reserve the right to make changes if circumstances so dictate. We rright to change the dates, change the structure of the course, or to withpart 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-Korsakas a courtesy and may be withdrawn at any time. Garritan reserves thecharge for hardopy and other versions and media of the material. You ause this material for personal education purposes only. It excludes any

use (including professional or promotional uses) without written permisimage, artwork, score, textual contents, sound files, mp3s, MIDI files ormaterial on this web site may be copied, reproduced, displayed, alteredtransmitted, sold or distributed in whole or in part, or for any purpose oindividual viewing of this web site, without the express prior written conGarritan Corp. None of the demos may be copied, reproduced, displayedposted, transmitted, distributed, or linked in whole or in part, for any puthan individual learning without the express prior written consent of Gapart of the materials may be copied for resale or other commercial use,with other software, or posted on other public bulletin boards, web sitesvenues without written permission.

Acknowledgements

This online course would not have been possible without the help of somtalented and dedicate people. First and foremost thanks to Robert DavisHerculean task of realizing and sequencing all the scores with GPO. A bi

to Alan Belkin for his annotations. Thanks to Sean Hannifin for doing allwork so that the music follows the score. Thanks to Terry Dwyer, Alan BAndy Brick for reviewing and serving as the teacher/moderators for theThanks to those who made the various scores in Finale and Sibelius; naDe Celle, Lukasz Stasinski, Jamie Kowalski, Tim Cohen, Edward J. Fiebke JrBudde, Jim Williams, Steve Martin, David Mauney, David O'Rourke, Jonaand Tom Prince. Thanks to David Sosnowski for technical guidance. ThaKury for the video editing and realization and Michael Sandberg for illusthanks to Mark Simon and Dave Burnett for hosting this course on Nort




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Orchestration Competition at the End of the Course

At the end on this course, when the last lesson is posted, we plan to anOrchestration Competition whereby learners will be afforded the opportapply what they have learned. The top winners of the competition will h

works performed by a real symphony orchestra. More details will be prohope 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 exampl

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 fundaorchestration in a new and interactive way. This course is initially being

of charge and it is our way of giving back to the musical community. I beducation is more important than just products and we are committed tevery musician the means to improve their knowledge and skills.

Please spread the word about this extraordinary learning opportunity. Myour friends or on forums, blogs, chats, publications as well as to anyonbenefit from this course.

I hope you will use these principles of orchestration in your own music awhat 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 byq




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Rimsky-Korsakov

Lesson 1 - GENERAL REVIEW - Strings & Woodwindsq

Lesson 2 - GENERAL REVIEW - Brass, Percussion & Other Instrumentsq

Lesson 3 - MELODY - Strings - Melody in Stringed Instrumentsq

Lesson 4 - MELODY - Strings - Grouping in Unisonq

Lesson 5 - MELODY - Strings - Doubling, Thirds & Sixthsq

Lesson 6 - MELODY - Wood-wind - Melody in Wood-windq

Lesson 7 - MELODY - Wood-wind - Unison & Octavesq

Lesson 8 - MELODY - Brass - Melody, Unisons & Octavesq

Lesson 9- MELODY - Different Groups of Instruments Combinedq

Lesson 10- MELODY - Different Groups of Instruments (Cont.)q

Lesson 11- HARMONY - General Observationsq

Lesson 12- HARMONY - String Harmonyq

Lesson 13- HARMONY - Wood-wind Harmonyq

Lesson 14 - HARMONY - Wood-wind - Several Parts & Duplicationq

Lesson 15 - HARMONY - Brass Harmonyq

Lesson 16 - HARMONY - Combined Groups - Wind & Brassq

Lesson 17- HARMONY - Combined Groups - Wind & Brass (cont.)

q

Lesson 18- HARMONY - Combined Groups - Strings & Wind, Three Groupsq

Lesson 19 - COMPOSITION - Orchestrating the Same Musicq

Lesson 20 - COMPOSITION - Tuttiq

Lesson 21- COMPOSITION - Soliq

Lesson 22- COMPOSITION - Range Limits, Transference, Alternating Chordsq

Lesson 23- COMPOSITION - Volume of Tone Qualities, Repetition, Sfz, Emphasiq

Lesson 24- COMPOSITION - Cresencdo and Diminuendoq

Lesson 25- COMPOSITION - Effects, Rhythm & Colorq

Lesson 26 - VOICE & ORCHESTRA - General Overviewq

| | | |

Garritan


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rthern 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)

rritan 03-31-2006 10:

sson 1 - GENERAL REVIEW - Strings & Woodwinds

GARRITAN INTERACTIVE

PRINCIPLES OF ORCHESTRATION

by Nikolay Rimsky-Korsakov

LESSON 1 NOTES:In the first two lessons we will provide a general overview of the instruments of theorchestra. 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 ofthe 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:

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

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Click on Play Button below to Play from the Score

Chapter I

GENERAL REVIEW OF ORCHESTRAL GROUPS

A. Stringed Instrum ents.

e following is the formation of the string quartet and the number of players required in present day orchestras, eitthe theatre or concert-room:

larger orchestras, the number of first violins may amount to 20 and even 24, the other strings being increasedoportionately. But such a great quantity of strings over-powers the customary wood-wind section, and entailsenforcing the latter. Sometimes orchestras contain less than 8 first violins; this is a mistake, as the balance betweings and wind is completely destroyed. In writing for the orchestra it is advisable to rely on a medium-sized body ings. Played by a larger orchestra a work will be heard to greater advantage; played by a smaller one, the harm donll be minimized.




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Suggestion Position of Strings in the Orchestra

ors 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

henever a group of strings is written for more than five parts-without taking double notes or chords intonsideration-these parts may be increased by dividing each one into two, three and four sections, or even more (divnerally, one or more of the principal parts is split up, the first or second violins, violas or violincellos. The players

en divided by desks, numbers 1, 3, 5 etc. playing the upper part, and 2, 4, 6 etc., the lower; or else the musician on ht-hand of each desk plays the top line, the one on the left the bottom line. Dividing by threes is less easy, as thember of players in one group is not always divisible by three, and hence the difficulty of obtaining proper balance.

vertheless there are cases where the composer should not hesitate to employ this method of dividing the strings,aving it to the conductor to ensure equality of tone. It is always as well to mark how the passage is to be divided in ore; 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 pssages, 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-




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ractically 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 than the first, thereby guaranteeing greater unity in power and execution.

e reader will find all manner of divisions in the musical examples given in Vol. II. Where necessary, some explanato the method of dividing strings will follow in due course. I dwell on the subject here in order to show how the usmposition of the string quartet may be altered.

ringed instruments possess more ways of producing sound than any other orchestral group. They can pass, better

her instruments from one shade of expression to another, the varieties being of an infinite number. Species of bowch as legato, detached, staccato, spiccato, portamento, martellato, light staccato, saltando, attack at the nut and

int, and V V V(down bow and up bow), in every degree of tone, fortissimo, pianissimo, crescendo,minuendo, sforzando, morendo-all this belongs to the natural realm of the string quartet. (*2)

e fact that these instruments are capable of playing double notes and full chords across three and four strings-to sthing 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 ofbowing does not come with

ope ofthe present book.

om the point of view of activity and flexibility the violin takes pride of place among stringed instruments, then, inder, come the viola, 'cello and double bass. In practice the notes of extreme limit in the string quartet should be fixlows:

gher notes given in Table A, should only be used with caution, that is to say when they are of long value, in tremolw, flowing melodies, in not too rapid sequence of scales, and in passages of repeated notes. Skips should always b

oided.

Note: In quick passages for stringed instruments long chromatic figures are never suitable; they are difficult to play and soundindistinct and muddled. Such passages are better allotted to the wood-wind.

imit should be set to the use of a high note on any one of the three lower strings on violins, violas and 'cellos. Thisould be the one in the fourth position, either the octave note or the ninth of the open string.

obility, warmth, and equality of tone from one end of the scale to the other are qualities common to all stringedstruments, and render them essentially superior to instruments of other groups. Further, each string has a distinctaracter of its own, difficult to define in words. The top string on the violin (E) is brilliant in character, that of the v) is more biting in quality and slightly nasal; the highest string on the 'cello (A) is bright and possesses a 'chest-voi

mbre. TheAand D strings on the violin and the D string on the violas and 'cellos are somewhat sweeter and weakene than the others. Covered strings (G), on the violin (G and C), on the viola and 'cello are rather harsh. Speakingnerally, the double bass is equally resonant throughout, slightly duller on the two lower strings (E and A), and monetrating on the upper ones (D and G).




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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 withthe 'cellos, or else doubling the bassoons. The quality of the double bass tone is therefore seldom heard by itself and the character of itsdifferent strings is not so noticeable.

e rare ability to connect sounds, or a series of sounds, the vibration of stopped strings combined with theirove-named qualities-warmth and nobility of tone-renders this group of instruments far and away the best orchestedium of melodic expression. At the same time, that portion of their range situated beyond the limits of the humanice, e. g. notes on the violin higher than the extreme top note of the soprano voice, from

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

(written sound)

e in expression and warmth of tone. Open strings are clearer and more powerful but less expressive than stoppedings.

mparing the range of each stringed instrument with that of the human voice, we may assign: to the violin, the sopd contralto voice plus a much higher range; to the viola, the contra alto and tenor voice plus a much higher registee 'cello, the tenor and bass voices plus a higher register; to the double bass, the bass voice plus a lower range.

e use of harmonics, the mute, and some special devices in bowing produce great difference in the resonance and tality of all these instruments. (*3)

armonics, frequently used to day, alter the timbre of a stringed instrument to a very appreciable extent. Cold andnsparent in soft passages, cold and brilliant in loud ones, and offering but little chance for expression, they form n

ndamental part of orchestral writing, and are used simply for ornament. Owing to their lack of resonant power theould be used sparingly, and, when employed, should never be overpowered by other instruments. As a rule harmoe employed on sustained notes, tremolando, or here and there for brilliant effects; they are rarely used in extreme

mple melodies. Owing to a certain tonal affinity with the flute they may be said to form a kind of link between strinod-wind instruments.

other radical change is effected by the use of mutes. When muted, the clear, singing tone of the strings becomes dft passages, turns to a slight hiss or whistle in loud ones, and the volume of tone is always greatly reduced. (*4)

e position of the bow on the string will affect the resonance of an instrument. Playing with the bow close to the briul ponticello), chiefly used tremolando, produces a metallic sound; playing on the finger-board (sul tasto, flautandeates 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 xylop




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a hollowpizzicato. It is discussed under the heading of instruments of little sustaining power.

e five sets of strings with number of players given above produce a fairly even balance of tone. If there is any surplength it must be on the side of the first violins, as they must be heard distinctly on account of the important part t

ay in the harmonic scheme. Besides this, an extra desk of first violins is usual in all orchestras, and as a general ruley possess a more powerful tone than second violins. The latter, with the violas, play a secondary part, and do not t so prominently. The 'cellos and double basses are heard more distinctly, and in the majority of cases form the bataves.

conclusion, it may be said that the group of strings, as a melodic element, is able to perform all manner of passage

pid and interrupted phrases of every description, diatonic or chromatic in character. Capable of sustaining notesthout difficulty, of playing chords of three and four notes; adapted to the infinite variety of shades of expression, asily divisible into numerous sundry parts, the string group in an orchestra may be considered as a harmonic elemerticularly 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




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B. W ind Instrumen ts.

Wood-wind.

art from the varying number of players, the formation of the string group, with its five constituent parts remainsnstant, satisfying the demands of any orchestral full score. On the other hand the group of wood-wind instrumentries both as regards number of parts and the volume of tone at its command, and here the composer may choose all. The group may be divided into three general classes: wood-wind instruments in pair's, in three's and in four's (sble below).

abic numerals denote the number of players on each instrument; roman figures, the parts (1st, 2nd etc.). Instrumehich do not require additional players, but are taken over by one or the other executant in place of his usual instrume enclosed in brackets. As a rule the first flute, first oboe, first clarinet and first bassoon never change instrumentsnsidering the importance of their parts it is not advisable for them to turn from one mouthpiece to another. The pitten for piccolo, bass flute, English horn, small clarinet, bass clarinet and double bassoon are taken by the second

rd players in each group, who are more accustomed to using these instruments of a special nature. (*5)

e formation of the first class may be altered by the permanent addition of a piccolo part. Sometimes a composer wr two piccolos or two English horns etc. without increasing the original number of players required (in three's or fo

Note:1: Composers using the first class in the course of a big work (oratorio, opera, symphony, etc.) may introduce specialinstruments, called extras, for a long or short period of time; each of these instruments involves an extra player not required throughout the




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entire work. Meyerbeer was fond of doing this, but other composers, Glinka for example, refrain from increasing the number of performersby employing extras (Eng. horn part inRousslan). 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, TheLegend 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 isused with a varying number of extras. The Christmas Night, with its two oboes, and two bassoons, three flutes and three clarinets, forms anintermediate class

Considering the instruments it comprises, the string group offers a fair variety of color, and contrast incompass, but this diversity of range and timbre is subtle and not easily discerned. In the wood-winddepartment, however, the difference in register and quality of flutes, oboes, clarinets and bassoons is strikingto 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)

each wind instrument I have defined the scope of greatest expression, that is to say the range in which the instrumbest qualified to achieve the various grades of tone, (forte, piano, cresc., dim., sforzando, morendo, etc.)-the regishich admits of the most expressive playing, in the truest sense of the word. Outside this range, a wind instrument iore notable for richness of color than for expression. I am probably the originator of the term "scope of greatestpression". It does not apply to the piccolo and double bassoon which represent the two extremes of the orchestralmpass. They do not possess such a register and belong to the body of highly-colored but non-expressive instrumen

e four kinds of wind instruments: flutes, oboes, clarinets and bassoons may be generally considered to be of equalwer. The same cannot be said of instruments which fulfill a special purpose: piccolo, bass flute, English horn, smarinet, bass clarinet and double bassoon, Each of these instruments has four registers: low, middle, high and extre

gh, each of which is characterized by certain differences of quality and power. It is difficult to define the exact limit

ch register; adjacent registers almost blend together and the passage from one to another is scarcely noticeable. Buhen the instrument jumps from one register to another the difference in power and quality of tone is very striking.

e 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); andb) instruments of "chest-voice" quality and bright tone-flutes and clarinets (piccolo, bass flute, small clarinet,bass clarinet).

ese characteristics of color and resonance-expressed in too simple and rudimentary a form-are especially noticeabe middle and upper registers. The lower register of the oboes and bassoons is thick and rough, yet still nasal in quae very high compass is shrill, hard and dry. The clear resonance of the flutes and clarinets acquires something nasa




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rk in the lower compass; in the very high register it becomes somewhat piercing.




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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 registerare not defined absolutely. The note G fixes the register of flutes and oboes, C for the clarinets and bassoons. In the very high compass thosenotes are only given which can really be used; anything higher and not printed as actual notes are either too difficult to produce or of noartistic value. The number of sounds obtainable in the highest compass is indefinite, and depends, partly on the quality of the instrumentitself, partly on the position and application of the lips. The signs > < are not to be mistaken for crescendo and diminuendo; they indicatehow 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).

utes and clarinets are the most flexible wood-wind instruments (the flutes in particular), but for expressive power btlety in nuances the clarinet supersedes them; this instrument can reduce volume of tone to a mere breath. The nstruments, oboe and bassoon, are less mobile and supple; this is accounted for by their double reed, but, having toect all sorts of scales and rapid passages in common with the flutes and clarinets, oboes and bassoons may bensidered melodic instruments in the real sense of the word, only of a more cantabile and peaceful character. In veick passages they often double the flutes, clarinets or strings.

e four families are equally capable oflegato and staccato playing and changing from one to the other in different wt distinct and penetrating staccato passages are better suited to the oboes and bassoons, while the flutes and claricel in well-sustained legato phrases. Composite legato passages should be allotted to the first two instruments,

mposite staccato passages to the latter pair, but these general directions should not deter the orchestrator fromopting the opposite plan.

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 asingle 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 oboesand bassoons.




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ood-wind players cannot manage extremely long sustained passages, as they are compelled to take breath; care muken therefore to give them a little rest from time to time. This is unnecessary in the case of string players. In thedeavor to characterize the timbre of each instrument typical of the four families, from a psychological point of viewnot hesitate to make the following general remarks which apply generally to the middle and upper registers of eac

strument:

a) Flute: Cold in quality, specially suitable, in the major key, to melodies of light and graceful character; inthe 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.

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 ordistressed can be aroused by one single isolated timbre; it depends more upon the general melodic line, the harmony, rhythm, and dynamicshades of expression, upon the whole formation of a given piece of music. The choice of instruments and timbre to be adopted depends onthe position which melody and harmony occupy in the seven-octave scale of the orchestra; for example, a melody of light character in thetenor register could not be given to the flutes, or a sad, plaintive phrase in the high soprano register confided to the bassoons. But the easewith 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 slightlymelancholy timbre of the flute is some-what related to the feeling of sorrow and distress with which the passage is to be permeated. The caseof a melody coinciding in character with the instrument on which it is played is of special importance, as the effect produced cannot fail tobe successful. There are also moments when a composer's artistic feeling prompts him to employ instruments, the character of which is atvariance with the written melody (for eccentric, grotesque effects, etc.).

e following remarks illustrate the characteristics, timbre, and employment of special instruments:

e duty of the piccolo and small clarinet is, principally, to extend the range of the ordinary flute and clarinet in the gister. The whistling, piercing quality of the piccolo in its highest compass is extraordinarily powerful, but does noelf to more moderate shades of expression. The small clarinet in its highest register is more penetrating than thedinary clarinet. The low and middle range of the piccolo and small clarinet correspond to the same register in thermal flute and clarinet, but the tone is so much weaker that it is of little service in those regions. The double basso

tends the range of the ordinary bassoon in the low register. The characteristics of the bassoon's low compass are strther accentuated in the corresponding range of the double bassoon, but the middle and upper registers of the lattno means so useful. The very deep notes of the double bassoon are remarkably thick and dense in quality, verywerful 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 thelow C, 16 ft. contra octave), the piccolo forms an indispensable constituent of the wind-group; similarly, it is recognized that the doublebassoon is capable of supplying valuable assistance. The small clarinet is rarely employed and only for color effects.

e English horn or alto oboe (oboe in F) is similar in tone to the ordinary oboe, the listless, dreamy quality of its timing sweet in the extreme. In the low register it is fairly penetrating. The bass clarinet, though strongly resembling dinary clarinet, is of darker color in the low register and lacks the silvery quality in the upper notes; it is incapable




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yful expression. The bass flute is an instrument seldom used even today; it possesses the same features as the flutes colder in color, and crystalline in the middle and high regions. These three particular instruments, apart fromtending the low registers of the instruments to which they belong, have their own distinctive peculiarities of timbrd 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; thelatter, however, was neglected after Beethoven's death and did not reappear until towards the end of the 19th century. The Eng. horn andbass clarinet were employed initially during the first half of the same century by Berlioz, Meyerbeer, and others, and for some time retainedtheir position as extras, to become, later on, permanent orchestral factors, first in the theatre, then in the concert room. Very few attemptshave been made to introduce the small clarinet into the orchestra (Berlioz etc.); this instrument together with the bass flute is used in myopera-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).late years the habit of muting the wood-wind has come into fashion. This is done by inserting a soft pad, or a piecled-up cloth into the bell of the instrument. Mutes deaden the tone of oboes, Eng. horns, and bassoons to such an

tent that it is possible for these instruments to attain the extreme limit ofpianissimo playing. The muting of clarinnecessary, as they can play quite softly enough without artificial means. Is has not yet been discovered how to mutes; such a discovery' would render great service to the piccolo. The lowest note on the bassoon:

and on the oboe and English horn:

e 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.

ofessor 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 havebecome 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




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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 wasavailable. 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 windinstrument 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.

.




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ming Next Lesson: Lesson 2 - GENERAL REVIEW - Brass, Percusson and Other Instruments.

ant to learn more?

the GPO Tutorials Page there is additional information.

stic Orchestration- by Professor Alan Belkin

O Ensemble Building Tutorial- by R. Davister Class GPO STRINGS Tutorial - by R. Davis

O Scoring for Woodwind Tutorial - by Terry Dwyer

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 toRimsky-Korsakov

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rthern Sound Source (http://northernsounds.com/forum/index.php)

Principles of Orchestration On-line (http://northernsounds.com/forum/forumdisplay.php?f=77)

- Lesson 2 - GENERAL REVIEW - Brass, Percussion & Other Instrumentstp://northernsounds.com/forum/showthread.php?t=45356)

rritan 04-12-2006 08:5

sson 2 - GENERAL REVIEW - Brass, Percussion & Other Instruments

GARRITAN INTERACTIVE

PRINCIPLES OF ORCHESTRATION

by Nikolay Rimsky-Korsakov

Northern Sound Source - Lesson 2 - GENERAL REVIEW - Brass, Percussion & Other Instruments

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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)

GEN ERAL REVIEW OF ORCH ESTRALGROUPS

Brass.

he formation of the group of brass instruments, like that of the wood-wind is not absolutely uniform, and variefferent scores. The brass group may be divided into three general classes corresponding to those of the wood-wn pair's, in three's, and in four's).




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he directions are the same as in the preceding table for wood-wind. It is evident that in all three classes thermation may vary as the composer wishes. In music for the theatre or concert room page after page may be wrthout the use of trumpets, trombones and tuba, or some instrument may be introduced, temporarily as an extthe above table I have given the most typical formations, and those which are the most common at the preseny.

Note1:Besides the instruments given above, Richard Wagner used some others in The Ring, notably the quartet of tenor andbass tubas, and a contra-bass trombone. Sometimes these additions weigh too heavily on the other groups, and at other times theyrender the rest of the brass ineffective. For this reason composers have doubtless refrained from employing such instruments, andWagner 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 valveinstruments. 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.

hought far less flexible than the wood-wind, brass instruments heighten the effect of other orchestral groups beir powerful resonance. Trumpets, trombones, and tubas are about equal in strength; cornets have not quite tme force; horns, in forte passages, are about one half as strong, but piano, they have the same weight as otherass instruments played softly. To obtain an equal balance, therefore, the marks of expression in the horns shoone degree stronger than in the rest of the brass; if the trumpets and trombones playpp, the horns should be

arked p. On the other hand, to obtain a proper balance in forte passages, two horns are needed to one trumpee trombone.




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Suggested Position of Brass in an Orchestra

itions may vary depending on the work,the venue, the orchestra and other factors) (*2)

Video of the Brass Playing in an Orchestra

ass instruments are so similar in range and timbre that the discussion of register is unnecessary. As a generalality becomes more brilliant as the higher register is approached, andvice versa,with a decrease in tone. Playthe resonance is sweet; played ffthe tone is hard and "crackling". Brass instruments possess a remarkable

pacity for swelling from pianissimo to fortissimo, and reducing the tone inversely, the sf > p effect being exce

he following remarks as to character and tone quality may be added:

a) T r u m p e t s:

1. T r u m p e t (Bb-A). Clear and fairly penetrating in tone, stirring and rousing inforte passages; in piano phrases the high notes are full and silvery, the low notestroubled, as though threatening danger.

2. A lt o t r u m p e t (in F). An instrument of my own invention, first used by me inthe opera-ballet Mlada. In the deep register (notes 2 to 3 in the trumpet scale) itpossesses a fuller, clearer, and finer tone. Two ordinary trumpets with an altotrumpet produce greater smoothness and equality in resonance than threeordinary 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 inthree's.

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

3. S m a ll t r u m p e t (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 andrange 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 yetappeared in musical literature.

b) C o r n e t s (in B - A). Possessing a quality of tone similar to the trumpet, but softer andweaker. It is a beautiful instrument though rarely employed today in theatre or concert room.Expert players can imitate the cornet tone on the trumpet, andvice versa.

c) H o r n (in F). The tone of this instrument is soft, poetical, and full of beauty. In the lower




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register it is dark and brilliant; round and full in the upper. The middle notes resemble thoseof the bassoon and the two instruments blend well together. The horn, therefore, serves as alink 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) T r o m b o n e .Dark and threatening in the deepest register, brilliant and triumphant in thehigh compass. The piano is full but somewhat heavy, the forte powerful and sonorous. Valvetrombones are more mobile than slide trombones, but the latter are certainly to be preferredas regards nobility and equality of sound, the more so from the fact that these instrumentsare rarely required to perform quick passages, owing to the special character of their tone.

e) T u b a .Thick and rough in quality, less characteristic than the trombone, but valuable forthe strength and beauty of its low notes. Like the double bass and double bassoon, the tuba iseminently useful for doubling, an octave lower, the bass of the group to which it belongs.Thanks to its valves, the tuba is fairly flexible.

he group of brass instruments, though uniform in resonance throughout its constituent parts, is not so wellapted to expressive playing (in the exact sense of the word) as the wood-wind group. Nevertheless, a scope ofeatest expression may be distinguished in the middle registers. In company with the piccolo and double bassonot given to the small trumpet (Eb-D) and tuba to play with any great amount of expression. The rapid andythmical repetition of a note by single tonguing is possible to all members of the brass, but double tonguing caly be done on instruments with a small mouthpiece, trumpets and cornets. These two instruments can executpid tremolando without difficulty. The remarks on breathing, in the section devoted to the wood-wind, apply wual force to the brass.

he use of stopped notes and mutes alters the character of brass tone. Stopped notes can only be employed onumpets, cornets and horns; the shape of trombones and tubas prevents the hand from being inserted into the hough mutes are applied indiscriminately to all brass instruments in the orchestra, tubas rarely posses them.opped and muted notes are similar in quality. On the trumpet, muting a note produces a better tone than stop

the horn both methods are employed; single notes are stopped in short phrases, muted in longer ones. I do nopose to describe the difference between the two operations in detail, and will leave the reader to acquire theowledge for himself, and to form an opinion as to its importance from his own personal observation. Sufficieny that the tone is deadened by both methods, assuming a wild "crackling" character in forte passages, tender all in piano. Resonance is greatly reduced, the silvery tone of the instrument to lost and a timbre resembling th

e oboe and English. horn is approached. Stopped notes (con sordino) are marked + underneath the note,metimes followed byo, denoting the resumption of open sounds, senza sordini. Brass instruments, when muoduce an effect of distance. (*5)




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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.




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The black notes are dry and hard, without resonance, and

should only be used when doubled with the wood-wind.

he Harp .




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the orchestra, the harp is almost entirely a harmonic or accompanying instrument. The majority of scores reqly one harp part, but in recent times composers have written for two or even three harps, which are sometimempressed 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, andThe Golden Cockerel are designed for two harps, Mlada for three.

Video of HarpPlaying in an Orchestra (with flute)

he special function of the harp lies in the execution of chords, and the florid figures springing from them. As onur notes at the most can be played by each hand, the notes of a chord should be written close together, with noeat a space between one hand and the other. The chords must always be broken (arpeggiato) should the compsh otherwise he should notify it (non arpeggiato). In the middle and lower octaves the resonance of the stringghtly prolonged, and dies away gradually. In changes of harmony the player stops the vibration of the strings s hands, but, in quick modulations, this method is not feasible, and the mixture of one chord with anotheroduces a discordant effect. It follows that more or less rapid figures can only be realized clearly and neatly in tper register of the harp, where the strings are shorter and harder in tone.

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

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

he harp is essentially a diatonic instrument, since all chromatic passages depend on the manipulation of the per this reason the harp does not lend itself to rapid modulation, and the orchestrator is advised to bear this facnd. 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, certainmodulations from one key to another one, adjacent to it can only be accomplished enharmonically. For instance, the transition from Cflat, 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 tostart enharmonically from the keys of B, F sharp or C sharp, major. Similarly, on account of double sharps, it is impossible to changefrom 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




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starting-points.

Note 2: A chromatic harp without pedals has now been invented in France (Lyons system) on which the most abruptmodulations are possible.

he technical operation known as glissando is peculiar to the harp alone. Taking for granted that the reader isnversant with the methods of acquiring different scales by means of double-notched pedals, it will be sufficienmark that glissando scales produce a discordant medley of sound owing to the length of time the strings contivibrate, and therefore, as a purely musical effect, glissando can only be used in the upper octaves, quite pian

here the sound of the strings is sufficiently clear, yet not too prolonged. Forte glissando scales, entailing the u

e lower and middle strings are only permissible as embellishments. Glissando passages in chords of the sevend ninth, enharmonically obtained, are much more common, and as the above reservations do not apply, everynamic shade of tone is possible. Chords in harmonics can only consist of three notes written close together, twr the left hand and one for the right.

he tender poetic quality of the harp is adapted to every dynamic shade, but it is never a very powerful instrumed the orchestrator should treat it with respect.

least three, if not four harps in unison are necessary, if they are to be heard against a full orchestra playing fohe more rapidlya g lissando passage is played, the louder it will sound. Harmonic notes on the harp have greatarm but little resonance, and are only possible played quite softly. Speaking generally, the harp, like the stringartet, pizzicato, is more an instrument of color than expression.

Percussion instrumen ts produ cing determinate sounds, keyed instrum en

Kettle-drums ( T im p a n i)

ttle-drums, indispensable to every theatre and concert orchestra occupy the most important place in the grourcussion instruments. A pair of kettle-drums (Timpani), in the tonic and dominant keys, was the necessarytribute of an orchestra up to, and including Beethoven's- time, but, from, the middle of the 19th' century onwawestern Europe and in Russia, an ever-increasing need was felt for the presence of three or even fourttle-drums, during the whole course or part of a work. If the expensive chromatic drum, permitting instant turarely met with, still, in the majority of good orchestras, three screw drums are generally to be found. Themposer can therefore take it for granted that a good timpanist, having three kettle-drums at his command, wile to tune at least one of them during a pause of some length. (*7)




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

these days it is difficult to define the precise extent of high compass in the kettle-drums, as this depends entirthe 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 theDb of the fourth octave.

ttle-drums are capable of every dynamic shade of tone, from thundering fortissimo to a barely perceptibleanissimo. In tremolando they can execute the most gradual crescendo, diminuendo, the sfp and morendo.

deaden the sound, a piece of cloth is generally placed on the skin of the drum, according to the instruction:mpani coperti (muffled drums)

Piano an d Celesta

he use of a piano in the orchestra (apart from pianoforte concertos) belongs almost entirely to the Russian sch

he object is two-fold: the quality of tone, either alone, or combined with that of the harp, is made to imitate a

pular instrument, the guzli, (as in Glinka), or a soft peal of bells. When the piano forms part of an orchestra, nolo instrument, an upright is preferable to a grand, but today the piano it is gradually being superseded by thlesta, first used by Tchaikovsky. In the celesta, small steel plates take the place of strings, and the hammers fathem produce a delightful sound, very similar to the glockenspiel. The celesta is only found in full orchestras

hen it is not available it should be replaced by an upright piano, and not the glockenspiel. (*9)




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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)

he glockenspiel (campanelli) may be made of steel bars, or played with a keyboard. (*10) The first type is the motisfactory and possesses greater resonance. The use of the glockenspiel is similar to the celesta, but its tone is illiant and penetrating. Big bells in the shape of hollow discs or metal tubes (1) , or real church bells of moderae may be considered more as theatrical properties than orchestral instruments.

he xylophone is a species of harmonica composed of strips or cylinders of wood, struck with two little hammeroduces a clattering sound, both powerful and piercing. (*11)




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complete this catalogue of sounds mention should be made of the strings playing col legno, that is with the wback of the bow. The sound produced is similar to the xylophone, and gains in quality as the number of playe

creased.

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

Per cussion instru m ents produ cing indefinitesounds




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Suggestion Position of Percussion in an Orchestra(positions may vary depending on the work,the venue, the orchestra and other factors)

struments in this group, such as triangle, castanets, little bells, tambourine, switch or rod (Rute. Ger.), side orlitary drum, cymbals, bass drum, and Chinese gong do not take any harmonic or melodic part in the orchestrd can only be considered as ornamental instruments pure and simple. They have no intrinsic musical meanin

d are just mentioned by the way. The first three may be considered as high, the four following as medium, anst two as deep instruments. This may serve as a guide to their use with percussion instruments of determinateunds, playing in corresponding registers. (*12)

Compar ison of resona nce in orchestral groups andcom bination of different tone qu alities




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comparing the resonance of the respective groups of sound-sustaining instruments we arrive at the followingproximate conclusions:

the most resonant group, the brass, the strongest instruments are the trumpets, trombones and tuba. In loudssages the horns are only one-half as strong, 1 Trumpet = 1 Trombone = 1 Tuba = 2 Horns. Wood-wind

struments, in forte passages, are twice as weak as the horns, 1 Horn = 2 Clarinets = 2 Oboes = 2 Flutes = 2ssoons; but, in piano passages, all wind-instruments, wood or brass are of fairly equal balance.

is more difficult to establish a comparison in resonance between wood-wind and strings, as everything depende number of the latter, but, in an orchestra of medium formation, it may be taken for granted that in piano

ssages, the whole of one department (all 1st Violins or all 2nd Violins etc.) is equivalent in strength to one winstrument, (Violins I = 1 Flute etc.), and, in forte passages, to two wind instruments, (Violins I = 2 Flutes = 1 O1 Clarinet, etc.).(*13)

is still harder to form a comparison with instruments of little sustaining power, for too great a diversity inoduction and emission of sound exists. The combined force of groups of sustained resonance easily overpowee strings played pizz. or col legno, the piano played softly, or the celesta. As regards the glockenspiel,bells, an

lophone, their emphatic tone will easily prevail over other groups in combination. The same may be said of thttle-drums with their ringing, resounding quality, and also of other subsidiary instruments. (*14)

he influence of the timbre of one group on another is noticeable when the groups are doubled; for instance, whe wood-wind timbre is closely allied to the strings on the one hand, and to the brass on the other. Re-enforcinth, the wind thickens the strings and softens the brass. The strings do not blend so well with the brass, and whe two groups are placed side by side, each is heard too distinctly. The combination of the three different timbrison produces a rich, mellow and coherent tone.

l or several wind instruments in combination will absorb one department of added strings:

ne department of strings added to the wood-wind in unison produces a sweet coherent quality, the wood-windmbre still predominating; but the addition of one wind instrument to all or part of the strings in unison, onlyickens the resonance of the latter, the wood-wind timbre being lost in the process:




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uted strings do not combine so well with wood-wind, as the two tone qualities remain distinct and separate.niting plucked strings and percussion with instruments of sustained resonance results in the following: windstruments, wood and brass, strengthen and clarifypizzicato strings, harp, kettle-drums and percussion genere latter lending a touch of relief to the tone of the wood-wind. Uniting plucked strings and percussion with bostruments does not produce such a satisfactory blend, both qualities being heard independently. The combinaplucked strings with percussion alone, is excellent; the two blend perfectly, and the consequent increase insonance yields an admirable effect.

he relationship which exists between string harmonics and the flute or piccolo constitutes a link between the tw

oups in the upper range of the orchestra. Moreover, the timbre of the viola may be vaguely compared to the mgister of the bassoonand the lowest compass of the clarinet; hence, in the medium orchestral range, a point ofntact is established between the quartet of strings and the wood-wind.

he bassoon and horn provide the connection between wood-wind and brass, these two instruments beingmewhat analogous in character when played piano or mezzo-forte; the flute also, in its lowest register, recallsanissimo trumpet tone. Stopped and muted notes in horns and trumpets are similar in quality to the oboe andng. horn, and blend tolerably well with the latter instrument.

ncluding this survey of orchestral groups I add a few remarks which seem to me of special importance.

he principal part in music is undertaken by three instrumental groups of sustained resonance, representing th

ree primary elements, melody, harmony and rhythm. Instruments of little sustaining power, though sometimed independently, are chiefly employed for ornament and color; instruments producing indeterminate sounday no melodic or harmonic part, their functions being purely rhythmical.

glancing at the order in which the six orchestral groups are placed, strings, wood-wind, brass, plucked stringrcussion producing definite, and those producing indefinite sounds, the reader will be able to determine the payed by each in the art of orchestration, from the secondary standpoint of color and expression. As regardspression, the strings come first, and the expressive capacity of the other groups diminishes in the above orderlor being the only attribute of the last group of percussion instruments.

he same order obtains from the standpoint of general effect in orchestration. We can listen to strings for an almdefinite period of time without getting tired, so varied are their characteristics (vide the number of string quarites, serenades etc. written for strings alone). The addition of a single group of strings will add lustre to a passr wind instruments. On the other hand, the quality of wind instruments soon becomes wearisome; the same msaid of plucked strings, and also percussion of every kind which should only be employed at reasonable intervorchestral composition.

cannot be denied that the constant use of compound timbres, in pairs, in three's etc. eliminates characteristicne, and produces a dull, neutral texture, whereas the employment of simple, elementary combinations givesfinitely greater scope for variety in color. (*15)




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Take anInteractive Tour of Orchestral Instruments

See and hear the orchestral instruments of Personal Orchestra in this interactive guide.

omments from the Professors:

Professor Belkin Comments: Wagner Tubas - The real significance of the Wagner tubas is pointed out by Tovey: Wa

ats the brass as consisting of 3 subgroups, each one of perfectly homogeneous tone: horns, trumpets plus trombones, and

bas. It is also worth mentioning (as RK does later) that horns are sometimes used as intermediaries between woodwinds

e heavier brass; they blend well with either, if registers are well chose.

Professor Belkin Comments: Position of Brass in Orchestra - The main principle involved in the physical position of

ass is simply to place them father back than strings and woodwind, because they are so much louder.

Professor Dwyer Comments: Not only is the sf > p very effective in brass, as Rimsky says, but even more effective isf

r even more powerful:ffpp < ff

Professor Belkin Comments: the Horn - The most common mistake of beginning orchestrators using the horn is to tre

a bass instrument, which it is NOT. If should be thought of as a tenor/alto voice. The horn is only appropriate for the basw moving or static pedal. (In this role it has the advantage of being softer than the bassoon in its lowest register.)

Professor Belkin Comments: Brass Mutes - Brass instruments with mutes are best treated as a supplementary family,

eir sound is so different from open brass.

Professor Belkin Comments: Pizzicato - This may not be entirely accurate; e.g. a G major chord sounds perfectly fine

en strings. The point is simply to realise that open strings are more resonant and to avoid inadvertent accents where not

propriate.

Professor Belkin Comments: Timpani - Today all professional orchestras use fully tuneable timpani.

Professor Belkin Comment: Piano - This of course is no longer the case. Piano no longer belongs exclusively to the

ssian School.

Professor Belkin Comment: Celesta - The celesta is normally played by the pianist of the orchestra, and is now used fo

ite different effects. Whereas the piano is especially useful for accent, the celesta adds gentle, silvery color to many (qui

mbinations.

. Professor Belkin Comment: Glockenspiel - Today the norm is to be played with mallets.

. Professor Belkin Comment: Marimba - The marimba has become very common as a lower extension of the same typ

und.

. Professor Belkin Comment: Combining Percussion Instruments - A basic rule for combining percussion instrumen

th others in the orchestra: place them in the same register, e.g. basses can combine with bass drum, timpani, tam-tam, et

hile piccolos would combine with celesta, xylophone, etc.. Breaking this rule will result in the effect of TWO distinct mu

anes of tone, which will usually seem unrelated.

. Professor Belkin Comments: Balance - These balance equations are to be taken as very approximate, and as holdine ONLY WHEN THE INSTRUMENTS INVOLVED ARE PLAYING THE SAME KIND OF MATERIAL. The ear

rmally follows activity, and thus a violin section will attract more attention when playing a lively figure than when playi

ld notes. This is one of the elements making orchestral balance very hard to quantify. Another problem is that winds andange tone more in different registers than strings do, so, for example, combining low flutes with violins is quite a differe

atter than high flutes.

. Professor Belkin Comment: However, all these instruments are percussive, and therefore soon fade away. This points

ry important orchestral distinction, not based on timbre, namely between sustained sounds and percussive sounds.

. Professor Belkin Comment: The single most common beginners defect in orchestration is overuse of doubled timbre

K points out, this is a quick route to dull, grey sound.]

xt Lesson: Lesson 3 - Melody in the Stringed Instruments.


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