Principles of Orchestration - LightNovelsOnl.com
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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:
[Music]
In Vol. II of the present work many examples of the above methods will be found.
Distribution of notes in chords.
The normal order of sounds or the natural harmonic scale:
[Music]
may serve as a guide to the orchestral arrangement of chords. It will be seen that the widely-s.p.a.ced intervals lie in the lower part of the scale, gradually becoming closer as the upper register is approached:
[Music]
The ba.s.s 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:
To be avoided: [Music]
The use of sixths in the upper parts, and the practice of doubling the upper note in octaves are sometimes effective methods:
[Music] [Music]
When correct progression increases the distance between the top and bottom notes of the upper parts, this does not matter:
Good: [Music]
But it would be distinctly bad to fill in the second chord thus:
Not good: [Music]
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_ pa.s.sages; in _piano_ pa.s.sages 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:
Schematic Example: [Music]
When the voices converge, the middle parts are eliminated one by one:
Schematic Example: [Music]
String harmony.
It is an incontrovertible rule that the resonance of different harmonic parts must be equally balanced, but this balance will be less noticeable in short sharp chords than in those which are connected and sustained. Both these cases will be studied 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 a.s.signed 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 ba.s.s. Chords on the latter instrument are even more uncommon, but it may supply the octave on an uncovered string.
_Examples:_
No. 97. _Snegourotchka_ [[171]]; cf. also before [[140]] and before [[200]].
* _Spanish Capriccio_, before [[V]] (cf. Ex. 67).
_Sheherazade_, 2nd movement [[P]] (cf. Ex. 19.)
* No. 98. _Tsar Saltan_ [[135]]; cf. also [[141]] and before [[182]].
Isolated chords may be added to a melodic figure in the upper part, accentuating, _sforzando_, certain rhythmical moments.
_Example:_
No. 99. _Snegourotchka_, before [[126]]; cf. also [[326]].
B. _Sustained and tremolando chords._ Chords sustained for a shorter or longer period of time, or tremolando pa.s.sages, often used as a subst.i.tute, 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 pa.s.sage in close four-part harmony, with the ba.s.s in octaves will also be uniformly resonant. When it is necessary to introduce notes to fill up the empty middle register, the upper parts being farther distant from the ba.s.s, 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 pa.s.sage 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.,
div. { Vns I/Vns I div. { Vns II/Vns II div. { Violas I/Violas II
If the harmony in the three upper parts, thus strengthened, is written for divided strings, the 'cellos and ba.s.ses, playing _non divisi_ will prove a trifle heavy; their tone must therefore be eased, either by marking the parts down or reducing the number of players.
In the case of sustained chords or _forte tremolando_ on two strings, the progression of parts is not always according to rule, the intervals chosen being those which are the easiest to play.
_Examples:_
No. 100. _The Christmas Night_ [[161]]--Full _divisi_.
No. 101. " " " [[210]]--Violas div./'Cellos div.} 4 part harmony.
No. 102. _Snegourotchka_ [[187-188]]--Four-part harmony, Vns I, Vns II, Violas and Violoncellos.
" [[243]]--4 Solo 'cellos _divisi_.
_Sheherazade_, 2nd movement, beginning.--4 D. ba.s.s soli div. (cf.
Ex. 40).
_The Tsar's Bride_ [[179]]--Chords on all strings (cf. Ex. 243).
No. 103. _Legend of Kitesh_ [[8]]--Harmonic basis in the strings.
" " " [[240]]--(Cf. Ex. 21).
" " " [[283]]--Harmonic basis in the strings (cf. Ex. 2).
No. 104. _The Golden c.o.c.kerel_ [[4]]--Basis in the strings.
