Principles of Orchestration Part 5

Double ba.s.s.

[Music]

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

* Table E.

Glockenspiel, celesta, xylophone.

Glockenspiel (with keyboard).

Glockenspiel (ordinary).

Celesta.

Xylophone.

[Music]

Piano and Celesta.

The use of a piano in the orchestra (apart from pianoforte concertos) belongs almost entirely to the Russian school.[11] 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of an orchestra, not as a solo instrument, an upright is preferable to a grand, but today the piano is gradually being superseded by the celesta, first used by Tschaikovsky. In the celesta, small steel plates take the place of strings, and the hammers falling on them produce a delightful sound, very similar to the _glockenspiel_. The celesta is only found in full orchestras; when it is not available it should be replaced by an upright piano, and not the _glockenspiel_.

[Footnote 11: Rimsky-Korsakov's opera _Sadko_ and Moussorgsky's _Boris G.o.dounov_ are particularly interesting in this respect. (Translator's note.)]

Glockenspiel, Bells, Xylophone.

The _glockenspiel_ (_campanelli_) may be made of steel bars, or played with a keyboard. The first type is the more satisfactory and 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,[12] or real church bells of moderate size may be considered more as theatrical properties than orchestral instruments.

[Footnote 12: Recently, bells have been made of suspended metal plates possessing the rare quality of a fairly pure tone, and which are sufficiently portable to be used on the concert platform. (Editor's note.)]

The xylophone is a species of harmonica composed of strips or cylinders of wood, struck with two little hammers. It produces a clattering sound, both powerful and piercing.

To complete this catalogue of sounds mention should be made of the strings playing _col legno_, that is with the wood or back of the bow.

The sound produced is similar to the xylophone, and gains in quality as the number of players is increased.

A table is appended showing the range of the celesta, _glockenspiel_ and xylophone.

Percussion instruments producing indefinite sounds.

Instruments in this group, such as triangle, castanets, little bells, tambourine, switch or rod (_Rute._ Ger.), side or military drum, cymbals, ba.s.s 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.

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 bra.s.s, the strongest instruments are the trumpets, trombones and tuba. In loud pa.s.sages the horns are only one-half as strong, 1 Trumpet = 1 Trombone = 1 Tuba = 2 Horns.

Wood-wind instruments, in _forte_ pa.s.sages, are twice as weak as the horns, 1 Horn = 2 Clarinets = 2 Oboes = 2 Flutes = 2 Ba.s.soons; but, in _piano_ pa.s.sages, all wind-instruments, wood or bra.s.s 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_ pa.s.sages, 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_ pa.s.sages, to two wind instruments, (Violins I = 2 Flutes = 1 Oboe + 1 Clarinet, etc.).

It is still harder to form a comparison with instruments of little sustaining power, for too great a diversity in production and emission of sound exists. The combined force of groups of sustained resonance easily overpowers the strings played _pizz._ or _col legno_, the piano played softly, or the celesta. As regards the _glockenspiel_, bells, and xylophone, their emphatic tone will easily prevail over other groups in combination. The same may be said of the kettle-drums with their ringing, resounding quality, and also of other subsidiary instruments.

The influence of the timbre of one group on another is noticeable when the groups are doubled; for instance, when the wood-wind timbre is closely allied to the strings on the one hand, and to the bra.s.s on the other. Re-inforcing both, the wind _thickens_ the strings and _softens_ the bra.s.s. The strings do not blend so well with the bra.s.s, and when the two groups are placed side by side, each is heard too distinctly. The combination of the three different timbres in unison produces a rich, mellow and coherent tone.

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

2 Fl. + 2 Ob. + Vns I, or: 2 Ob. + 2 Cl. + Violas, or: 2 Cl. + 2 f.a.g. + 'Cellos.

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:

Vns I + Vns II + 1 Ob., or: Violas + 'Cellos + 1 Cl.

or: 'Cellos + D. ba.s.ses + 1 f.a.g.

Muted strings do not combine so well with wood-wind, as the two tone qualities remain distinct and separate. Uniting plucked strings and percussion with instruments of sustained resonance results in the following: wind instruments, wood and bra.s.s, 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 relations.h.i.+p which exists between string harmonics and the flute or piccolo const.i.tutes 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 ba.s.soon and the lowest compa.s.s 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 ba.s.soon and horn provide the connection between wood-wind and bra.s.s, these two instruments being somewhat a.n.a.logous 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 princ.i.p.al 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 colour; instruments producing indeterminate sounds play no melodic or harmonic part, their functions being purely rhythmical.

By glancing at the order in which the six orchestral groups are placed, strings, wood-wind, bra.s.s, 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 colour and expression.

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

The same order obtains from the standpoint of general effect in orchestration. We can listen to strings for an almost indefinite period of time without getting tired, so varied are their characteristics (_vide_ the number of string quartets, suites, serenades etc. written for strings alone). The addition of a single group of strings will add l.u.s.tre to a pa.s.sage for wind instruments. On the other hand, the quality of wind instruments soon becomes wearisome; the same may be said of plucked strings, and also percussion of every kind which should only be employed at reasonable intervals in orchestral composition.

It cannot be denied that the constant use of compound timbres, in pair's, in three's etc. eliminates characteristics of tone, and produces a dull, neutral texture, whereas the employment of simple, elementary combinations gives infinitely greater scope for variety in colour.

7 (20) June 1908.

Chapter II.

MELODY.

Whether it be long or short, a simple theme or a melodic phrase, melody should always stand out in relief from the accompaniment. This may be done by artificial or natural means; artificially, when the question of tone quality does not come into consideration, and the melody is detached by means of strongly accentuated dynamic shades; naturally, by selection and contrast of timbres, strengthening of resonance by doubling, tripling, etc., or crossing of parts (violoncellos above the violas and violins, clarinets or oboes above the flutes, ba.s.soons above the clarinets etc.).