Principles Of Orchestration - free ebook by Nikolay Rimsky-Korsakov

NIKOLAY RIMSKY-KORSAKOV

[ Édition Russe de Musique , Paris, 1922]...

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Musical Examples

List of Works [ Édition Russe de Musique , Paris, 1922]...

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Editor’s Preface.

Rimsky-Korsakov had long been engrossed in his treatise on orchestration. We have in our possession a thick note book of some 200 pages in fine hand writing, dating from the years 1873-1874, containing a monograph on the question of acoustics, a classification of wind instruments and a detailed description of the construction and fingering of the different kinds of flute, the oboe, clarinet and horn. [1] In his "Memoirs of my musical life" (1 st edition, p. 120) the following passage occurs: "I

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Extract from the Author’s Preface (1891).

Our epoch, the post-Wagnerian age, is the age of brilliance and imaginative quality in orchestral tone colouring. Berlioz, Glinka, Liszt, Wagner, modern French composers—Delibes, Bizet and others; those of the new Russian school—Borodin, Balakirev, Glazounov and Tschaikovsky—have brought this side of musical art to its zenith; they have eclipsed, as colourists, their predecessors, Weber, Meyerbeer and Mendelssohn, to whose genius, nevertheless, they are indebted for their own progress. In writin

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Extract from the Preface to the last edition.

My aim in undertaking this work is to reveal the principles of modern orchestration in a somewhat different light than that usually brought to bear upon the subject. I have followed these principles in orchestrating my own works, and, wishing to impart some of my ideas to young composers, I have quoted examples from my own compositions, or given references to them, endeavouring to show, in all sincerity, what is successful and what is not. No one can know except the author himself the purpose an

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Chapter I.

GENERAL REVIEW OF ORCHESTRAL GROUPS. The following is the formation of the string quartet and the number of players required in present day orchestras, either in the theatre or concert-room. In larger orchestras, the number of first violins may amount to 20 and even 24, the other strings being increased proportionately. But such a great quantity of strings overpowers the customary wood-wind section, and entails re-inforcing the latter. Sometimes orchestras contain less than 8 first violins; this

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Table A. String group.

(These instruments give all chromatic intervals.) Table A [ Enlarge ] Black lines on each string denote the general range in orchestral writing, the dotted lines give the registers, low, medium, high, very high. The five sets of strings with number of players given above produce a fairly even balance of tone. If there is any surplus of strength it must be on the side of the first violins, as they must be heard distinctly on account of the important part they play in the harmonic scheme. Besides

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Wood-wind.

Apart from the varying number of players, the formation of the string group, with its five constituent parts remains constant, satisfying the demands of any orchestral full score. On the other hand the group of wood-wind instruments varies both as regards number of parts and the volume of tone at its command, and here the composer may choose at will. The group may be divided into three general classes: wood-wind instruments in pair's, in three's and in four's, (see table on page 13 ). Arabic num

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Note to Table B.

In the following Table B the top note in each register serves as the bottom note in the next, as the limits to each register are not defined absolutely. The note G fixes the register of flutes and oboes, C for the clarinets and bassoons. In the very high compass those notes are only given which can really be used; anything higher and not printed as actual notes are either too difficult to produce or of no artistic value. The number of sounds obtainable in the highest compass is indefinite, and d

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Table B. Wind group.

Flutes and clarinets are the most flexible wood-wind instruments (the flutes in particular), but for expressive power and subtlety in nuances the clarinet supersedes them; this instrument can reduce volume of tone to a mere breath. The nasal instruments, oboe and bassoon, are less mobile and supple; this is accounted for by their double reed, but, having to effect all sorts of scales and rapid passages in common with the flutes and clarinets, oboes and bassoons may be considered melodic instrume

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Brass.

The formation of the group of brass instruments, like that of the wood-wind is not absolutely uniform, and varies in different scores. The brass group may be divided into three general classes corresponding to those of the wood-wind (in pair's, in three's, and in four's). The directions are the same as in the preceding table for wood-wind. It is evident that in all three classes the formation may vary as the composer wishes. In music for the theatre or concert room page after page may be written

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Table C. Brass group.

These instruments give all chromatic intervals. [A] [B] Table C [ Enlarge ] Natural sounds are given in white notes. The upper lines indicate the scope of greatest expression. The group of brass instruments , though uniform in resonance throughout its constituent parts, is not so well adapted to expressive playing (in the exact sense of the word) as the wood-wind group. Nevertheless, a scope of greatest expression may be distinguished in the middle registers. In company with the piccolo and doub

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Plucked strings.

When the usual orchestral string quartet (Vn s I, Vn s II, Violas, 'Cellos, D. basses) does not make use of the bow, but plucks the strings with the finger, it becomes to my mind a new and inde pendent group with its own particular quality of tone. Associated with the harp, which produces sound in a similar manner, I consider it separately under the heading of plucked strings. Note. In this group may be classed the guitar, zither, balalaïka; instruments plucked with a quill, such as the domra, [

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Pizzicato.

Although capable of every degree of power from ff to pp , pizzicato playing has but small range of expression, and is used chiefly as a colour effect. On open strings it is resonant and heavy, on stopped strings shorter and duller; in the high positions it is rather dry and hard. In the orchestra, pizzicato comes into operation in two distinct ways: a) on single notes, b) on double notes and chords. The fingers of the right hand playing pizz. are far less agile than the bow; pizz. passages there

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Harp.

In the orchestra, the harp is almost entirely an harmonic or accompanying instrument. The majority of scores require only one harp part, but in recent times composers have written for two or even three harps, which are sometimes compressed into the one part. Note. Full orchestras should include three or even four harps. My operas Sadko , The Legend of the Invisible City of Kitesh , and The Golden Cockerel are designed for two harps, Mlada for three. The special function of the harp lies in the e

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Kettle-drums.

Kettle-drums, indispensable to every theatre and concert orchestra occupy the most important place in the group of percussion instruments. A pair of kettle-drums ( Timpani ), in the tonic and dominant keys, was the necessary attribute of an orchestra up to, and including Beethoven's time, but, from the middle of the 19 th century onward, in western Europe and in Russia, an ever-increasing need was felt for the presence of three or even four kettle-drums, during the whole course or part of a work

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Table D. Pizzicato.

Table D [ Enlarge ] The black notes are dry and hard, without resonance, and should only be used when doubled with the wood-wind. Table E [ Enlarge ]...

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* Table E. Glockenspiel, celesta, xylophone.

[ Enlarge ]...

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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 Tscha

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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. The xylophone is a species of harmonica composed of strips or c

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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, bass drum, and Chinese gong do not take any harmonic or melodic part in the orchestra, and can only be considered as ornamental instruments pure and simple. They have no intrinsic musical meaning, and are just mentioned by the way. The first three may be considered as high , the four following as medium , and the last two as deep instruments. This may ser

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Comparison of resonance in orchestral groups and combination of different tone qualities.

In comparing the resonance of the respective groups of sound-sustaining instruments we arrive at the following approximate conclusions: In the most resonant group, the brass, the strongest instruments are the trumpets, trombones and tuba. In loud passages the horns are only one-half as strong, 1 Trumpet = 1 Trombone = 1 Tuba = 2 Horns. Wood-wind instruments, in forte passages, are twice as weak as the horns, 1 Horn = 2 Clarinets = 2 Oboes = 2 Flutes = 2 Bassoons; but, in piano passages, all wind

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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 viola

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a) Violins.

Melody in the soprano-alto register and an extra-high compass usually falls to the lot of the 1 st Violins, sometimes to the 2 nd Violins or to both in unison, a process which produces fuller resonance without impairing quality of tone. Examples: The Tsar's Bride 84 . [C] — Pianissimo melody (Vn s I) of a troubled dramatic character. Harmonic accompaniment (Vn s II and Violas tremolando —middle parts; the Violoncellos forming the bass). Antar , before 70 .—Descending melodic phrase, Vn s I con s

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b) Violas.

Melody in the alto-tenor register and a still higher compass is assigned to the violas. Cantabile melodies however are not so frequently written for violas as for violins and 'cellos, partly because the viola tone is slightly nasal in quality and better fitted for short characteristic phrases, partly because the number of viola players in an orchestra is smaller. Melodies confided to the violas are generally doubled by other strings or by the wood-wind. Examples: No. 4. Pan Voyevoda , duet in Ac

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c) Violoncellos.

Violoncellos, representing the tenor-bass range + an extra-high compass are more often entrusted with tense passionate cantabile melody than with distinctive figures or rapid phrases. Such melodies are usually laid out for the top string ( A ) which possesses a wonderfully rich "chest" quality. Examples: Antar 56 . Cantabile on the A string. Antar 63 . The same melody in D♭ maj. on the D string (doubled by the bassoons). No. 7. Pan Voyevoda 134 , nocturne, "Moonlight". A broad melody dolce ed es

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d) Double basses.

Owing to its register— basso profondo + a still lower compass,—and its muffled resonance, the double bass is little capable of broad cantabile phrases and only in unison or in octaves with the 'cellos. In my own compositions there is no phrase of any importance given to the double bass without the support of 'cellos or bassoons. Examples: * No. 10. Legend of Kitesh 306 . Double bass solo, doubled first by the double bassoon, later by the bassoon. This example affords an instance of the rare use

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Grouping in unison.

a) Vn s I + Vn s II.—It goes without saying that this combination entails no alteration in colour; it gains in power and richness of tone by reason of the increased number of players, and is usually attended by doubling of the melody in some departments of the wood-wind. The large number of violins prevents the wood-wind predominating, and the tone quality remains that of the string quartet, enriched and amplified. Examples: No. 12. Shéhérazade , beginning of the third movement. Cantabile for Vn

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Melody in double octaves.

may be used for full cantabile melodies extremely tense in character, and in forte passages for choice. Example: No. 32. Antar 65 .— are employed when the low register of each instrument is brought into play, and also to suit phrases of a rough and severe character. Examples: Legend of Kitesh 66 , opening of the 2 nd Act. No. 33. Snegourotchka 215 . Tumblers' dance. Note. The lack of balance in the distribution: is not of any great importance, for, in such cases, the partial harmonics of one oct

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Doubling in three and four octaves.

The distribution is very seldom found, and as a rule, only when supported by wind instruments. Examples: The Legend of Kitesh 150 ( allargando ). * Shéhérazade , 4 th movement, commencing at the 10 th bar....

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Melody in thirds and sixths.

In confiding a melody in thirds to the strings it is frequently necessary to use the same quality of tone in both parts, but in the case of a melody in sixths different timbres may be employed. In writing thirds doubled in octaves, the first and second violins should be used. In spite of the difference in the quantity of players, the thirds will not sound unequal. The same arrangement may obtain in the viola and 'cello groups, but it is useless in the case of melody in sixths. Examples: * No. 34

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Combination in unison.

The combination of two different wood-wind instruments in unison yields the following tone qualities: a) Flute + Oboe. A quality fuller than that of the flute, sweeter than that of the oboe. Played softly, the flute will predominate in the low, the oboe in the upper register. Example: No. 52. Snegourotchka 113 . b) Flute + Clarinet. A quality fuller than that of the flute, duller than that of the clarinet. The flute will predominate in the lower, the clarinet in the higher register. Examples: No

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Combination in octaves.

When the melody is entrusted to two wood-wind instruments in octaves, the usual arrangement producing natural resonance is: The combination of flute and bassoon in octaves is rare on account of the widely separated registers of the two instruments. Deviation from the natural order, such as placing the bassoon above the clarinet or oboe, the clarinet above the oboe or flute etc., creates an unnatural resonance occasioned by the confusion of registers, the instrument of lower compass playing in it

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Doubling in two, three and four octaves.

In such cases the student should follow the above-mentioned rules, and should take care not to infringe the natural order: Mixed timbres may also be employed. Examples: No. 64. Spanish Capriccio P —melody in 4 octaves: The Tsar's Bride 141 —melody in 3 octaves. * Legend of Kitesh 212 — * No. 65. Antar , (1 st version) 3 rd movement, the beginning— also C , melody in 4 octaves (piccolo in the upper octaves). * Mlada , Act III, after 42 — No. 66. Shéhérazade , 3 rd movement G — Examples of melody

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Melody in thirds and sixths.

Melodic progression in thirds and sixths demands either two instruments of the same colour (2 Fl., 2 Ob., 2 Cl., 2 Fag.), or instruments of different colours in the normal order of register: If this order is inverted, e.g. a strained and forced resonance is created. For progressions in thirds, the best method, from the standpoint of equality in tone is to use instruments of the same kind in pairs; for progressions in sixths instruments of different kinds are more suitable, but both courses are g

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Thirds and sixths together.

music [ Listen ] Apart from the obvious distribution: there are certain complicated methods which involve doubling: The following is a complex instance somewhat vague in character: No. 69. Legend of Kitesh 35 — The natural scale, the only one which brass instruments had at their disposal prior to the invention of valves was: music [ Listen ] giving, in two part harmony: music [ Listen ] With the help of rhythm, these component parts have given rise to a whole series of themes and phrases named f

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Brass in unison, in octaves, thirds and sixths.

As, from its very nature, the brass is not called upon to realise a wide range of expression, kindred instruments of one group may be employed solo , as well as in unison. The combination of 3 trombones or 4 horns in unison is frequently met with, and produces extreme power and resonance of tone. Examples: Snegourotchka 5 —4 Horns (cf. Ex. 15 ). Snegourotchka 199 —4 Horns and 2 Trumpets. Sadko 175 —1, 2, 3 Trumpets. No. 75. Sadko 305 [13] —3 Trombones. No. 76. The May Night , beginning of Act II

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A. Combination of wind and brass in unison.

The combination of a wood-wind and brass instrument produces a complex resonance in which the tone of the brass predominates. This resonance is naturally more powerful than that of each instrument taken separately, but slightly sweeter than the brass instrument alone. The tone of the wood-wind blends with that of the brass, softens and rarefies it, as in the process of combining two wood-wind instruments of different colour. Instances of such doubling are fairly numerous, especially in forte pas

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B. Combination of wind and brass in octaves.

Doubling the horns in octaves by clarinets, oboes or flutes often replaces the combination This is done when it is a question of introducing a rich tone into the upper octave which the trumpet is not capable of imparting. If a single horn is used, the upper part is allotted to 2 clarinets, 2 oboes, or 2 flutes. But if there are two horns playing the lower octave in unison, three or four wind instruments will be necessary above, especially in forte passages: To double a trumpet in the upper octav

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Examples of doubling in octaves:

* Snegourotchka 71 — * Legend of Tsar Saltan , before 180 — * Mention should also be made of mixed timbres (wood and brass) in progression in octaves. Examples: Mlada , Act III, beginning of Scene III— No. 78. Mlada , Act III after 25 — No. 79. Mlada , Act III, before 35 —general unison. When it is desired to distribute the melody over three or four octaves, it is difficult to achieve perfect balance of tone. Examples: * Shéhérazade , 4 th movement, 15 th bar after W — * Legend of Tsar Saltan 22

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C. Combination of strings and wind.

In commencing this section of the work I consider it necessary to lay down the following fundamental rules which apply equally to melody, harmony, counterpoint and polyphonic writing. All combinations of strings and wood-wind are good; a wind instrument progressing in unison with a stringed instrument increases the resonance of the latter and amplifies its tone, while the quality of the strings softens that of the wood-wind. In such combinations the strings will predominate provided that the two

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D. Combination of strings and brass.

Owing to the dissimilarity between the quality of string and brass tone, the combination of these two groups in unison can never yield such a perfect blend as that produced by the union of strings and wood-wind. When a brass and a stringed instrument progress in unison, each can be heard separately, but the instruments in each group which can be combined with the greatest amount of success are those whose respective registers correspond the most nearly; Violin + Trumpet; Viola + Horn; (for heavy

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E. Combination of the three groups.

The combination of members of the three groups in unison is more common, the presence of the wood-wind imparting a fuller and more evenly blended tone. The question as to which group will predominate in timbre depends upon the number of instruments employed. The most natural combinations, and those most generally in use are: Such groupings are used for preference in loud passages or for a heavy piano effect. Examples: No. 93 - 94 . Snegourotchka 218 and 219 —Vn s I + II + Cl. + Horn and Vn s I +

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Chapter III.

HARMONY. The art of orchestration demands a beautiful and well-balanced distribution of chords forming the harmonic texture. Moreover, transparence, accuracy and purity in the movement of each part are essential conditions if satisfactory resonance is to be obtained. No perfection in resonance can accrue from faulty progression of parts. Note. There are people who consider orchestration simply as the art of selecting instruments and tone qualities, believing that if an orchestral score does not

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Number of harmonic parts—Duplication.

In the very large majority of cases harmony is written in four parts; this applies not only to single chords or a succession of them, but also to the formation of the harmonic basis. Harmony which at first sight appears to comprise 5, 6, 7 and 8 parts, is usually only four part harmony with extra parts added. These additions are nothing more than the duplication in the adjacent upper octave of one or more of the three upper parts forming the original harmony, the bass being doubled in the lower

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Distribution of notes in chords.

The normal order of sounds or the natural harmonic scale: music [ Listen ] may serve as a guide to the orchestral arrangement of chords. It will be seen that the widely-spaced intervals lie in the lower part of the scale, gradually becoming closer as the upper register is approached: music [ Listen ] The bass should rarely lie at a greater distance than an octave from the part directly above it (tenor harmony). It is necessary to make sure that the harmonic notes are not lacking in the upper par

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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 un

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Four-part and three-part harmony.

Harmonic writing for the wood-wind may be considered from two points of view: a) instruments in pairs, 2 Fl., 2 Ob., 2 Cl., 2 Fag.; and b) instruments in three's, 3 Fl., 2 Ob., Eng. horn, 3 Cl., 2 Fag., C-fag. A. In pairs. There are three ways of distribution: 1. Superposition or overlaying (strictly following the normal order of register), 2. Crossing , and 3. Enclosure of parts. The last two methods involve a certain disturbance of the natural order of register: Overlaying. Crossing. Enclosure

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Harmony in several parts.

In writing chords of 5, 6, 7 and 8 part-harmony, whether they are independent, or constitute the harmonic basis, the student should follow the principles outlined in the previous chapter , dealing with the progression of wood-wind instruments in octaves. As the 5 th , 6 th , 7 th and 8 th notes are only duplications in octaves of lower notes of the real harmony (in 4 parts), instruments should be chosen which combine amongst themselves to give the best octaves. The process of crossing and enclos

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Duplication of timbres.

A. If the wood-wind is in pairs it is a good plan to mix the doubled timbres as much as possible: music Excellent [ Listen ] In chords of four-part harmony the classical method may be adopted: music [ Listen ] In this case, though the high C in the flute is fairly powerful, the resonance of the G and E in the oboes is softened by the duplication of the 2 nd flute and 1 st clarinet, while the C in the 2 nd clarinets (not doubled) is feeble in comparison with the other notes. In any case the two e

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Remarks.

1. Modern orchestrators do not allow any void in the intermediate parts in writing close harmony; it was permitted to some extent by the classics: music [ Listen ] These empty spaces create a bad effect especially in forte passages. For this reason widely-divided harmony, which is fundamentally based on the extension of intervals, can be used but seldom and only in piano passages. Close writing is the more frequent form in all harmony devoted to the wood-wind, forte or piano . 2. As a general ru

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Four-part writing.

It is evident that the quartet of horns presents every facility for four-part harmony, perfectly balanced in tone, without doubling the bass in octaves: music [ Listen ] Note. In the diagrams of the present section the actual sounds of horns and trumpets are given, as in a piano score, for the sake of simplicity. When it is found necessary to double the bass in octaves, the too resonant trombone and tuba are seldom used, the duplication being effected by the bassoon, as explained further on. The

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Three-part writing.

The best combination is trombones, horns, or trumpets in three's. If the instruments are mixed the number of horns should be doubled: music [ Listen ]...

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Writing in several parts.

When the whole group is used the number of horns should be doubled: music [ Listen ] In seven, six, or five-part harmony certain instruments must be omitted: music [ Listen ] Discords of the seventh or second are preferably entrusted to instruments of different tone colour: music [ Listen ] When such chords are written for an orchestra which only includes two trumpets, it is impossible for the horns to proceed in pairs. In such cases the following arrangement may obtain, the horns being marked o

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Duplication in the brass.

Duplication in the brass group is most frequently effected by placing a chord for horns side by side with the same chord written for trumpets or trombones. The soft round quality of the horns intensifies the tone, and moderates the penetrating timbre of the trumpets and trombones: music [ Listen ] Similar juxtaposition of trumpets and trombones: music [ Listen ] is not so common, as this unites the two most powerful agents in the group. In handling an orchestra the brass is frequently employed t

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A. Combination of wind and brass.

Wind and brass instruments may be combined by the method of placing a chord in one timbre side by side with the same chord in another timbre, or by any of the three methods already described: overlaying, crossing and enclosure of parts. This class of combination possesses the same features as combinations in the melodic line (cf. Chap. II ). Wood-wind reinforces the brass, softens it and reduces its characteristic qualities. Arrangements such as the following are possible: Also music [ Listen ]

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B. Combination of strings and wind.

1. We frequently meet with the combination of strings and wood-wind in the light of comparison of one timbre with another, either in long sustained notes, or tremolando in the strings. Apart from the complete or partial doubling of the string quartet (two methods frequently used), the general and most natural arrangement is: Examples: * Sadko , Symphonic Tableau before 4 , and 4 , 9 th bar. * Shéhérazade , 1 st movement M 6 Vn s soli + 2 Ob. (2 Fl.), Cl. * Antar 7 —String quartet divisi + wood-w

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C. Combination of the three groups.

The combination of strings, wood-wind and brass instruments, set side by side, produces a full, round and firm tone. Examples: No. 172. The Tsar's Bride , before 145 —Ob., Fag. + Horns + Strings. " " " final chord (cf. Table I of chords , Ex. 5). * No. 173. Sadko , end of 1 st tableau—short chords. Last chords of the 1 st , 3 rd and 7 th tableaux (cf. Table I and III , Vol. II , Ex. 9, 10, 18). * No. 174. The Christmas Night 22 —Wind + Brass c. sord. + tremolo strings. Legend of Kitesh 162 (cf.

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Different ways of orchestrating the same music.

There are times when the general tone, character and atmosphere of a passage, or a given moment in an orchestral work point to one, and only one particular manner of scoring. The following simple example will serve for explanation. Take a short phrase where a flourish or fanfare call is given out above a tremolando accompaniment, with or without change in harmony. There is no doubt that any orchestrator would assign the tremolo to the strings and the fanfare to a trumpet, never vice versa . But

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Full Tutti.

The word tutti generally means the simultaneous use of all instruments, but the word "all" is used relatively, and it must not be inferred that every single instrument must necessarily be employed to form a tutti . In order to simplify the following illustrations I will divide the word into two classes, full tutti and partial tutti ,—independently of whether the orchestra is constructed in pairs, in three's, or a larger number of instruments. I call full tutti the combination of all melodic grou

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Tutti in the wind.

In many cases the wood-wind and brass groups can form a tutti by themselves for periods of varying length. Sometimes this is effected by the wood-wind alone, but more frequently with the support of horns. At other times the horns are found alone without the wood-wind, and, lastly, a tutti may be comprised of instruments of each group in varying numbers. The addition of kettle-drums and the rest of the percussion is quite common and constitutes what the Germans call "Janitscharenmusik", or Turkis

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Tutti pizzicato.

The quartet of strings ( pizzicato ), reinforced occasionally by the harp and piano, may, in certain cases constitute a particular kind of tutti , which can only attain any great degree of strength by support from the wood-wind. Without this support it is of medium power, though still fairly brilliant in quality. Examples: No. 216. Snegourotchka , before 128 ; cf. also 153 and before 305 . * No. 217. Russian Easter Fête K ; cf. also U and V . * Spanish Capriccio A , C , before S , before P ; cf.

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Tutti in one, two and three parts.

It often happens that a moderately full orchestral ensemble executes a passage composed of one or two harmonic parts, in unison or in octaves. Such melodic phrases call for more or less simple orchestration with the usual doubling of parts, or, in ornamental writing, admit of contrast in tone colouring, occasionally with the addition of sustained notes. Examples: Snegourotchka , before 152 , 174 , 176 . The Tsar's Bride 120-121 (cf. Ex. 63 ). The Golden Cockerel 215 . * No. 219 - 221 . Legend of

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Soli in the strings.

Although, in any orchestral piece, numerous instances are to be found of melodies and phrases entrusted to a solo wind instrument (generally the first of each group, wood-wind or brass), solos for stringed instruments, on the other hand, are extremely rare. Whilst the 1 st violin and 1 st 'cello are fairly frequently used in this manner, the solo viola is seldom found, and a solo on the double bass is practically unknown. Phrases demanding particular individuality of expression are entrusted to

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Limits of orchestral range.

It is seldom that the entire orchestral conception is centred in the upper register of the orchestra (the 5 th and 6 th octaves), still more rarely is it focussed wholly in the lowest range (octaves 1 and -1) where the proximity of harmonic intervals creates a bad effect. In the first case the flutes and piccolo should be used along with the upper notes of the violins, soli or divisi ; in the second case the double bassoon and the low notes of the bassoons, bass clarinet, horns, trombones and tu

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Transference of passages and phrases.

A phrase or a figure is often transferred from one instrument to another. In order to connect the phrases on each instrument in the best possible way, the last note of each part is made to coincide with the first note of the following one. This method is used for passages the range of which is too wide to be performed on any one instrument, or when it is desired to divide a phrase into two different timbres. Examples: * Snegourotchka 137 —The melody is transferred from the violins to the flute a

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Chords of different tone quality used alternately.

1. The most usual practice is to employ chords on different groups of instruments alternately. In dealing with chords in different registers care should be taken that the progression of parts, though broken in passing from one group to another, remains as regular as if there were no leap from octave to octave; this applies specially to chromatic passages in order to avoid false relation. Examples: No. 239. Ivan the Terrible , Act II 29 . No. 240 - 241 . The Tsar's Bride 123 , before 124 . * No.

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Amplification and elimination of tone qualities.

The operation which consists in contrasting the resonance of two different groups (* or the different timbres of one and the same group), either in sustained notes or chords, transforms a simple into a complex timbre, suddenly, or by degrees. It is used in establishing a crescendo . While the first group effects the crescendo gradually, the second group enters piano or pianissimo , and attains its crescendo more rapidly. The whole process is thereby rendered more tense as the timbre changes. The

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Repetition of phrases, imitation, echo.

As regards choice of timbre, phrases in imitation are subject to the law of register. When a phrase is imitated in the upper register it should be given to an instrument of higher range and vice versa . If this rule is ignored an unnatural effect will be produced, as when the clarinet in its upper range replies to the oboe in the lower compass etc. The same rule must be followed in dealing with phrases, actually different, but similar in character; repeated phrases of different character should

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Sforzando-piano and piano-sforzando chords.

Besides the natural dynamic process of obtaining these marks of expression, a process which depends upon the player, they may also be produced by artificial means of orchestration. a) At the moment when the wood-wind begins a piano chord, the strings attack it sforzando , a compound chord for preference, either arco or pizz. In the opposite case the sf in the strings must occur at the end of the wood-wind chord. The first method is also employed for a sf-dim. , and the second for a cresc.-sf eff

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Method of emphasising certain notes and chords.

In order to stress or emphasise a certain note or chord, besides the marks of expression decrescendo and sf , chords of 2, 3, and 4 notes can be inserted into the melodic progression by the instruments of the string quartet, each playing a single note; short notes in the wood-wind may also be used as well as a chain of three or four grace notes, in the form of a scale, either in strings or wood-wind. These unstressed notes (anacrusis), generally written very small, form a kind of upward glide, t

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Crescendo and diminuendo.

Short crescendi and diminuendi are generally produced by natural dynamic means; when prolonged, they are obtained by this method combined with other orchestral devices. After the strings, the brass is the group most facile in producing dynamic shades of expression, glorifying crescendo chords into the most brilliant sforzando climaxes. Clarinets specialise in diminuendo effects and are capable of decreasing their tone to a breath ( morendo ). Prolonged orchestral crescendi are obtained by the gr

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Diverging and converging progressions.

In the majority of cases, diverging and converging progressions simply consist in the gradual ascent of the three upper parts, with the bass descending. The distance separating the bass from the other parts is trifling at first, and grows by degrees. On the other hand, in converging progressions, the three upper parts, at first so far distant from the bass, gradually approach it. Sometimes these progressions involve an increase or a decrease in tone. The intermediate intervals are filled up by t

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Harmonic basis.

Melodic design comprising notes foreign to the harmony, passing or grace notes, embellishments etc., does not permit that a florid outline should proceed at the same time with another one, reduced to essential and fundamental notes: Melodic design. Fundamental notes. [ Listen ] If, in the above example, the upper part is transposed an octave lower, the discordant effect produced by the contact of appoggiaturas and fundamental notes will be diminished; the quicker the passage is played the less h

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Artificial effects.

I apply this name to some orchestral operations which are based on certain defects of hearing and faculty of perception. Having no wish to specify those that already exist or to foretell those which may yet be invented, I will mention, in passing, a few which have been used by me in my own works. To this class belong glissando scales or arpeggios in the harp, the notes of which do not correspond with those played simultaneously by other instruments, but which are used from the fact that long gli

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Use of percussion instruments for rhythm and colour.

Whenever some portion of the orchestra executes a rhythmic figure, percussion instruments should always be employed concurrently. An insignificant and playful rhythm is suitable to the triangle, tambourine, castanets and side drum, a vigourous and straightforward rhythm may be given to the bass drum, cymbals and gong. The strokes on these instruments should almost invariably correspond to the strong beats of the bar, highly-accented syncopated notes or disconnected sforzandi . The triangle, side

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Economy in orchestral colour.

Neither musical feeling nor the ear itself can stand, for long, the full resources of the orchestra combined together. The favourite group of instruments is the strings, then follow in order the wood-wind, brass, kettle-drums, harps, pizzicato effects, and lastly the percussion, also, in point of order, triangle, cymbals, big drum, side drum, tambourine, gong. Further removed stand the celesta, glockenspiel and xylophone, which instruments, though melodic, are too characteristic in timbre to be

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General remarks.

In accompanying the voice orchestral scoring should be light enough for the singer to make free use of all the dynamic shades of expression without hardness of tone. In overflowing lyrical moments, where full voice is required, the singer should be well supported by the orchestra. Opera singing may be divided into two general classes, lyric singing and declamation or recitative. The full, round, legato aria affords greater facility for tone production than florid music or recitative, and the mor

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Transparence of accompaniment. Harmony.

The group of strings is the most transparent medium and the one least likely to overpower the voice. Then come the wood-wind and the brass, the latter in the following order: horns, trombones, trumpets. A combination of strings, pizz. , and the harp forms a setting eminently favourable for the voice. As a general rule a singer is more easily overpowered by long sustained notes than by short detached ones. Strings doubled in the wood-wind and brass, and brass doubled by wood-wind are combinations

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Doubling voices in the orchestra.

Melodic doubling of voices by orchestral instruments (in unison or octaves) is of frequent occurrence, but incessant duplication for an extended period of time should be avoided; it is only permissible in isolated phrases. The most natural duplication in unison of womens' voices is performed by violins, violas, clarinets and oboes; that of mens' voices by violas, 'cellos, bassoons and horns. Doubling in octaves is usually done in the upper register. Trombones and trumpets overpower the voice and

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Recitative and declamation.

The accompaniment of recitative and melodic declamatory phrases should be light enough to allow the voice to come through without strain, and the words to be heard distinctly. The most convenient method is to employ sustained chords and tremolo on the strings or wood-wind, giving free latitude to the voice from a rhythmic point of view ( a piacere ). Examples: No. 287. Snegourotchka 16 . No. 288. The Tsar's Bride 124-125 . The following double examples, similar from a musical point of view, show

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Solo voice with chorus.

When an aria or recitative is coupled with the chorus great care must be taken in the choral writing. A woman's solo voice stands out well against a male voice chorus, likewise a solo male voice against a women's chorus, for in both cases, the timbre of the solo voice differs from the rest. But the combination of solo voice and chorus, of the same timbre, or mixed chorus, creates a certain amount of difficulty. In such cases the soloist should sing in a higher register than the chorus, the forme

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Instruments on the stage and in the wings.

The use of instruments on the stage or in the wings dates from distant times (Mozart, Don Giovanni , string orchestra in Act I, finale ). In the middle of last century orchestras of brass instruments, or brass and wood-wind combined, made their appearance on the stage (Glinka, Meyerbeer, Gounod and others). More modern composers have abandoned this clumsy practice, not only unfortunate from the spectators' point of view, but also detrimental to the mediaeval or legendary setting of the majority

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Technical Terms.

Among all the confused terms employed in singing to denote the compass, register and character of the human voice, there are four which may be said to represent elemental types: soprano, alto or contralto, tenor and bass. These names are used to denote the composition of the chorus with sub-divisions of firsts and seconds , to determine how the parts must be divided. (Sopr. I, Sopr. II etc.) While the range of an instrument is exactly governed by its construction, the compass of the voice, on th

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Range and register.

I advise the composer to be guided by Table F. which gives the approximate range of the six principal solo voices. A bracket under the notes defines the normal octave, the register in which the voice is generally used. Within these limits the composer may write freely without fear of hardening or tiring the voice. The normal octave applies also to declamatory singing and recitative; the notes above it are exceptional and should be used for the culminating points of a passage or for climaxes, the

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Vocalisation.

A good vocal melody should contain notes of at least three different values, minims, crotchets and quavers (or crotchets, quavers and semiquavers etc.). Monotony in rhythmic construction is unsuited to vocal melody; it is applicable to instrumental music, but only in certain cases. Cantabile melody requires a fair number of long notes, and a change of syllable in a word should occur at a moment when the voice quits a long sustained note. Short, single notes, changing with every syllable produce

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Table F. Voices.

Chorus Soloists Note. It must be remembered that there are some words upon which the voice may not dwell, or sing more than one or two notes. These words may be nouns, pronouns, numerals, prepositions, conjunctions and other parts of speech. It would be impossible and ridiculous, for instance, to write a sustained note on such words as "who", "he" etc. The voice may dwell on certain words which, so to speak, possess some poetical colour. [18] Examples: No. 303. Sadko 236 —Sadko's Aria (Tenor). "

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Vowels.

As regards vocalisation on one syllable, on long sustained notes and in the high register, the choice of vowels is a matter of some importance. The difference in the position of the mouth and lips in forming the open vowel a and the closed vowel ou is apparent to everyone. The series of vowels from the point of view of open sounds is: a , i , o , e , u . In women's voices the easiest vowel on high notes is a , for men it is o . The vowel i softens the penetrating quality of the top notes of a ba

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Flexibility.

Voices possess the greatest amount of flexibility in their normal octave. Women's voices are more supple than men's, but in all types, the higher voice is the more agile, sopranos in women, the tenor voice in men. Although capable of performing florid and complicated figures, different varieties of phrasing and the rapid change from staccato to legato, the human voice is infinitely less flexible than a musical instrument. In passages of any rapidity, diatonic scales and arpeggios in thirds come

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Colour and character of voices.

Note. After Meyerbeer, who was the first to write for a special type of heavy mezzo-soprano and baritone, Richard Wagner created a type of powerful dramatic soprano, of extensive range, combining the quality and scope of the soprano and mezzo-soprano voices; likewise a similar type of tenor, possessing the attributes and compass of the tenor and baritone together. To demand that voices shall be equally brilliant and resonant in the high and low register, that singers shall be endowed with a supe

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Duet.

The combinations most conducive to the proper movement of parts are those of two voices related within an octave Movement in tenths, sixths, thirds or octaves (the last very seldom) will always produce satisfactory ensemble , and if the parts progress polyphonically, it need not happen frequently that they are separated by more than a tenth, or that undesirable crossing of parts will result. Examples: Sadko 99-101 —Sopr. and Tenor (cf. Ex. 289 , 290 ). Servilia 143 —Sopr. and Tenor. Ivan the Ter

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Trios, quartets etc.

All that has been said regarding the relationship of voices in duet applies with equal force to the combination of three, four, five or more voices. An ensemble of several voices is seldom purely polyphonic; as a rule, although some parts move polyphonically, progression in thirds, sixths, tenths and thirteenths is used for the remainder. Declamation for some voices on notes forming the harmony is also possible. This variety of simultaneous movement of vocal parts renders the comprehension of th

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Range and register.

The range of choral voices is slightly more limited than that of soloists. The exceptional register may be considered as two notes above and below the normal octave. The dotted lines extended still further indicate the limits upon which a composer may rely in very exceptional cases, as every full chorus must contain a few voices of more than average compass, in this respect approaching the solo voice in character. In many choruses one or two bass singers may be found who are able to go still low

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Melody.

Melody is more limited in the chorus than in the solo voice, both as regards range as well as mobility. Choristers' voices are less "settled" and not so highly trained as those of soloists. Sometimes solo and choral melody are similar in point of range and technique, but more often the latter is lacking in freedom and variety of rhythm, restricted as it is to the repetition of short phrases, while the solo voice demands broader melodic outline and greater freedom in construction. In this respect

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Chorus in unison.

The simplest and most natural combination of voices is sopranos and altos, or tenors and basses. These combinations produce ample and vigourous tone, and the mixed timbres serve to give prominence to a melody in the upper or bass parts. In practice the other voices are often divided to thicken the harmony. The combination of altos and tenors produces a peculiar mixed tone quality, somewhat bizarre and seldom used. Examples: Snegourotchka 64 . Sadko 208 (cf. Ex. 14 )....

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Progression in octaves.

The most beautiful and natural combinations are sopranos and tenors altos and basses they produce a tone both brilliant and powerful. Progression of sopranos and altos, or tenors and basses is seldom practised. Though the latter combinations may occur in choruses for women and men alone, they can only be used in melodies of restricted length. The difference of register in which the voices move does not permit of the same balance of tone obtained by voices of a distinctive kind. Examples: Snegour

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Voices (divisi); harmonic use of the mixed chorus.

The purely harmonic progression of a four-part mixed chorus is more natural and resonant when the harmony is of the widely divided order, so that the volume of tone is equally distributed throughout. Example: No. 307. Sadko 144 —Beginning of 3 rd tableau. To secure a well-balanced forte chord in close part writing the following distribution is recommended: Three harmonic parts in the high register (2 sopranos and altos) are doubled an octave lower by 2 tenors and the 1 st basses. The lower part

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B. Men’s chorus and women’s chorus.

In writing a three-part female chorus the division should be either the same for men: The choice of distribution depends upon which voice is to predominate, or the register in which the group is to be placed. The manner of divid ing the parts may change, one following the other at will. In four-part harmonic writing the method of division is self-evident: To give prominence to a melody in the middle part in three-part harmony, the following method may be adopted: If, in three-part writing, the m

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W. BESSEL & CO., publishers, Petrograd.

"IVAN THE TERRIBLE", opera in 3 acts, 1894 edition. "SNEGOUROTCHKA", opera in prologue and 4 acts (1880-1881). "THE LEGEND OF TSAR SALTAN", opera in prologue and 4 acts (1899-1900). "SERVILIA", opera in 5 acts (1900-1901). "KASHTCHEÏ THE IMMORTAL", opera in 1 act of 3 scenes (1902). "PAN VOYEVODA", opera in 4 acts (1902-1903). "VERA SCHELOGA", prologue to "IVAN THE TERRIBLE", op. 54 (1898). "ANTAR", symphonic suite (2 nd symphony), new edition of 1897, published in 1913....

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P. JURGENSON, publisher, Moscow.

"SADKO", symphonic poem, 1891-1892 edition. "THE GOLDEN COCKEREL", opera in 3 acts (1906-1907)....

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M.P. BELAIEFF, publisher, Leipzig.

"THE MAY NIGHT", opera in 3 acts (1878-1879). "MLADA", opera-ballet in 4 acts (1889-1890). "THE CHRISTMAS NIGHT", opera in 4 acts (1894-1895). "SADKO", opera-legend in 7 scenes (1895-1896). "THE TSAR'S BRIDE", opera in 4 acts (1898). "THE LEGEND OF THE INVISIBLE CITY OF KITESH AND THE MAID FEVRONIA", opera in 4 acts (1903-1905). "SPANISH CAPRICCIO", op. 34 (1887). "SHEHERAZADE", symphonic suite from the "THOUSAND AND ONE NIGHTS", op. 35 (1888). "RUSSIAN EASTER FÊTE", Overture on Russian Church T

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No. 1. “Sheherazade,” 2nd movement. No. 1. „Shéhérazade,“ 2me mouvement.

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No. 2. “The Legend of the invisible city of Kitesh.” No. 2. „Légende de la ville invisible de Kitéj.“

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No. 3. “Spanish Capriccio.” No. 3. „Capriccio Espagnol.“

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No. 4. “Pan Voyevoda.” No. 4. „Pan le Voïevode.“

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No. 5. “The Golden Cockerel.” No. 5. „Le Coq d’Or.“

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No. 6. “Sadko,” symphonic tableau (p. 28). No. 6. „Sadko,“ tableau symphonique (p. 28).

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No. 7. “Pan Voyevoda,” nocturne. No. 7. „Pan le Voïevode,“ nocturne.

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No. 8. “Snegourotchka.” No. 8. „Sniégourotchka.“

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No. 9. “Snegourotchka.” No. 9. „Sniégourotchka.“

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No. 10. “The Legend of the invisible city of Kitesh.” No. 10. „Légende de la ville invisible de Kitéj.“

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No. 11. “The Golden Cockerel.” No. 11. „Le Coq d’Or.“

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No. 12. “Sheherazade,” 3rd movement (commencement). No. 12. „Shéhérazade,“ 3me mouvement (début).

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No. 13. “The Golden Cockerel” (p. 87). No. 13. „Le Coq d’Or“ (p. 87).

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No. 14. “Sadko.” No. 14. „Sadko.“

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No. 15. “Snegourotchka.” No. 15. „Sniégourotchka.“

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No. 16. “The Golden Cockerel” (p. 88). No. 16. „Le Coq d’Or“ (p. 88).

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No. 17. “Snegourotchka.” No. 17. „Sniégourotchka.“

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No. 18. “The May Night,” Act III. No. 1. „La Nuit de Mai,“ 3me acte.

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No. 19. “Sheherazade,” 2nd movement. No. 19. „Shéhérazade,“ 2me mouvement.

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No. 20. “Sadko.” No. 20. „Sadko.“

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No. 21. “The Legend of the invisible city of Kitesh.” No. 21. „Légende de la ville invisible de Kitéj.“

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No. 22. “The Tsar’s Bride.” No. 22. „La Fiancée du Tsar.“

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No. 23. “The Legend of Tsar Saltan.” No. 23. „Légende du Tsar Saltan.“

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No. 24. “Sadko” (p. 336). No. 24. „Sadko“ (p. 336).

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No. 25. “Ivan the Terrible,” Act III. No. 25. „La Pskovitaine,“ 3me acte.

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No. 26. “Snegourotchka.” No. 26. „Sniégourotchka.“

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No. 27. “Sadko” (p. 296). No. 27. „Sadko“ (p. 296).

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No. 28. “Snegourotchka.” No. 28. „Sniégourotchka.“

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No. 29. “Antar.” No. 29. „Antar.“

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No. 30. “Sheherazade,” 3rd movement (p. 131). No. 30. „Shéhérazade,“ 3me mouvement (p. 131).

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No. 31. “The Legend of the invisible city of Kitesh.” No. 31. „Légende de la ville invisible de Kitéj.“

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No. 32. “Antar.” No. 32. „Antar.“

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No. 33. “Snegourotchka.” No. 33. „Sniégourotchka.“

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No. 34. “The Legend of the invisible city of Kitesh.” No. 34. „Légende de la ville invisible de Kitéj.“

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No. 35. “Spanish Capriccio.” No. 35. „Capriccio Espagnol.“

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No. 36. “The Legend of Tsar Saltan.” No. 36. „Légende du Tsar Saltan.“

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No. 37. “Sheherazade,” 4th movement (p. 140). No. 37. „Shéhérazade,“ 4me mouvement (p. 140).

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No. 38. “Ivan the Terrible,” Act III (p. 236). No. 38. „La Pskovitaine,“ 3me acte (p. 236).

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No. 39. “The Legend of the invisible city of Kitesh.” No. 39. „Légende de la ville invisible de Kitéj.“

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No. 40. “Sheherazade,” 2nd movement (p. 43). No. 40. „Shéhérazade,“ 2me mouvement (p. 43).

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No. 41. “Snegourotchka.” No. 41. „Sniégourotchka.“

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No. 42. “The Golden Cockerel” (p. 75). No. 42. „Le Coq d’Or“ (p. 75).

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No. 43. “The Golden Cockerel” (p. 119). No. 43. „Le Coq d’Or“ (p. 119).

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No. 44. “Spanish Capriccio.” No. 44. „Capriccio Espagnol.“

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No. 45. “The Golden Cockerel.” No. 45. „Le Coq d’Or.“

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No. 46. “Mlada,” Act II (p. 206). No. 46. „Mlada,“ 2me acte (p. 206).

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No. 47. “Snegourotchka.” No. 47. „Sniégourotchka.“

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No. 48. “Snegourotchka.” No. 48. „Sniégourotchka.“

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No. 49. “Vera Scheloga.” No. 49. „La Boïarine Véra Chéloga.“

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No. 50. “The Golden Cockerel” (p. 330). No. 50. „Le Coq d’Or“ (p. 330).

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No. 51. “Mlada,” Act III (p. 359). No. 51. „Mlada,“ 3me acte (p. 359).

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No. 52. “Snegourotchka.” No. 52. „Sniégourotchka.“

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No. 53. “The Legend of the invisible city of Kitesh” (p. 491). No. 53. „Légende de la ville invisible de Kitéj“ (p. 491).

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No. 54. “Snegourotchka” (p. 133). No. 54. „Sniégourotchka“ (p. 133).

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No. 55. “Snegourotchka” (p. 365). No. 55. „Sniégourotchka“ (p. 365).

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No. 56. “Spanish Capriccio.” No. 56. „Capriccio Espagnol.“

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No. 57. “Snegourotchka” (p. 306). No. 57. „Sniégourotchka“ (p. 306).

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No. 58. “Sheherazade,” 3rd movement. No. 58. „Shéhérazade,“ 3me mouvement.

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No. 59. “Vera Scheloga.” No. 59. „La Boïarine Véra Chéloga.“

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No. 60. “Mlada,” Act III (p. 389). No. 60. „Mlada,“ 3me acte (p. 389).

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No. 61. “Mlada,” Act II (p. 205). No. 61. „Mlada,“ 2me acte (p. 205).

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No. 62. “Servilia.” No. 62. „Servilia.“

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No. 63. “The Tsar’s Bride.” No. 63. „La Fiancée du Tsar.“

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No. 64. “Spanish Capriccio” (p. 57). No. 64. „Capriccio Espagnol“ (p. 57).

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No. 65. “Antar,” 1st version, 3rd movement (commencement). No. 65. „Antar,“ première version, 3me mouvement (début).

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No. 66. “Sheherazade,” 3rd movement. No. 66. „Shéhérazade,“ 3me mouvement.

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No. 67. “Spanish Capriccio” (p. 79). No. 67. „Capriccio Espagnol“ (p. 79).

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No. 68. “The Christmas Night.” No. 68. „La Nuit de Noël.“

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No. 69. “The Legend of the invisible city of Kitesh.” No. 69. „Légende de la ville invisible de Kitéj.“

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No. 70. “The Legend of the invisible city of Kitesh.” No. 70. „Légende de la ville invisible de Kitéj.“

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No. 71. “Sadko.” No. 71. „Sadko.“

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No. 72. “Snegourotchka.” No. 72. „Sniégourotchka.“

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No. 73. “Antar,” 3rd movement. No. 73. „Antar,“ 3me mouvement.

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No. 74. “Sheherazade,” 2nd movement (p. 51). No. 74. „Shéhérazade,“ 2me mouvement (p. 51).

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No. 75. “Sadko” (p. 498). No. 75. „Sadko“ (p. 498).

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No. 76. “The May Night,” Act III (commencement). No. 76. „La Nuit de Mai,“ 3me acte (début).

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No. 77. “Sheherazade,” 4th movement (p. 204). No. 77. „Shéhérazade,“ 4me mouvement (p. 204).

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No. 78. “Mlada,” Act III (p. 350). No. 78. „Mlada,“ 3me acte (p. 350).

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No. 79. “Mlada,” Act III (p. 370). No. 79. „Mlada,“ 3me acte (p. 370).

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No. 80. “The May Night,” Act III. No. 80. „La Nuit de Mai,“ 3me acte.

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No. 81. “Sadko.” No. 81. „Sadko.“

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No. 82. “Sadko.” No. 82. „Sadko.“

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No. 83. “Sadko.” No. 83. „Sadko.“

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No. 84. “The Legend of Tsar Saltan” (p. 54). No. 84. „Légende du Tsar Saltan“ (p. 54).

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No. 85. “Ivan the Terrible,” overture (beginning). No. 85. „La Pskovitaine,“ ouverture (début).

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No. 86. “Sadko.” No. 86. „Sadko.“

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No. 87. “Kashtcheï the Immortal.” No. 87. „Kachtchéï l’Immortel.“

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No. 88. “Servilia.” No. 88. „Servilia.“

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No. 89. “Servilia.” No. 89. „Servilia.“

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No. 90. “Sheherazade,” 4th part. No. 90. „Shéhérazade,“ 4me partie.

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No. 91. “The Legend of Tsar Saltan.” No. 91. „Légende du Tsar Saltan.“

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No. 92. “The Golden Cockerel.” No. 92. „Le Coq d’Or.“

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No. 93. “Snegourotchka” (p. 269). No. 93. „Sniégourotchka“ (p. 269).

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No. 94. “Snegourotchka” (p. 271). No. 94. „Sniégourotchka“ (p. 271).

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No. 95. “Snegourotchka.” No. 95. „Sniégourotchka.“

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No. 96. “Ivan the Terrible,” Act III (p. 318). No. 96. „La Pskovitaine,“ 3me acte (p. 318).

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No. 97. “Snegourotchka.” No. 97. „Sniégourotchka.“

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No. 98. “The Legend of Tsar Saltan.” No. 98. „Légende du Tsar Saltan.“

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No. 99. “Snegourotchka” (p. 145). No. 99. „Sniégourotchka“ (p. 145).

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No. 100. “The Christmas Night.” No. 100. „La Nuit de Noël.“

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No. 101. “The Christmas Night.” No. 101. „La Nuit de Noël.“

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No. 102. “Snegourotchka.” No. 102. „Sniégourotchka.“

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No. 103. “The Legend of the invisible city of Kitesh.” No. 103. „Légende de la ville invisible de Kitéj.“

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No. 104. “The Golden Cockerel.” No. 104. „Le Coq d’Or.“

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No. 105. “The Christmas Night” (p. 247). No. 105. „La Nuit de Noël“ (p. 247).

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No. 106. “The Christmas Night,” Prelude. No. 106. „La Nuit de Noël,“ Prélude.

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No. 107. “Snegourotchka.” No. 107. „Sniégourotchka.“

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No. 108. “Snegourotchka.” No. 108. „Sniégourotchka.“

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No. 109. “Sheherazade,” 1st movement (p. 3). No. 109. „Shéhérazade,“ 1er mouvement (p. 3).

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No. 110. “The Legend of Tsar Saltan” (p. 197). No. 110. „Légende du Tsar Saltan“ (p. 197).

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No. 111. “The Legend of Tsar Saltan.” No. 111. „Légende du Tsar Saltan.“

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No. 112. “Sadko,” (opening of the 2nd tableau). No. 112. „Sadko,“ (début du 2me tableau).

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No. 113. “The Tsar’s Bride.” No. 113. „La Fiancée du Tsar.“

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No. 114. “The Legend of the invisible city of Kitesh” (p. 127). No. 114. „Légende de la ville invisible de Kitéj“ (p. 127).

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No. 115. “The Legend of the invisible city of Kitesh” (p. 257). No. 115. „Légende de la ville invisible de Kitéj“ (p. 257).

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No. 116. “The Legend of the invisible city of Kitesh.” No. 116. „Légende de la ville invisible de Kitéj.“

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No. 117. “The Golden Cockerel” (p. 315). No. 117. „Le Coq d’Or“ (p. 315).

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No. 118. “Snegourotchka.” No. 118. „Sniégourotchka.“

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No. 119. “Snegourotchka.” No. 119. „Sniégourotchka.“

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No. 120. “Sadko.” No. 120. „Sadko.“

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No. 121. “Sadko.” No. 121. „Sadko.“

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No. 122. “Sadko.” No. 122. „Sadko.“

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No. 123. “Kashtcheï the Immortal” (p. 119). No. 123. „Kachtchéï l’Immortel“ (p. 119).

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No. 124. “The Legend of the invisible city of Kitesh.” No. 124. „Légende de la ville invisible de Kitéj.“

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No. 125. “The Legend of the invisible city of Kitesh” (p. 392). No. 125. „Légende de la ville invisible de Kitéj“ (p. 392).

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No. 126. “The Legend of the invisible city of Kitesh” (p. 517). No. 126. „Légende de la ville invisible de Kitéj“ (p. 517).

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No. 127. “The Golden Cockerel.” No. 127. „Le Coq d’Or.“

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No. 128. “The Golden Cockerel.” No. 128. „Le Coq d’Or.“

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No. 129. “Snegourotchka” (p. 350). No. 129. „Sniégourotchka“ (p. 350).

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No. 130. “Sadko.” No. 130. „Sadko.“

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No. 131. “Sadko.” No. 131. „Sadko.“

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No. 132. “The Christmas Night” (p. 309). No. 132. „La Nuit de Noël“ (p. 309).

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No. 133. “The Legend of Tsar Saltan.” No. 133. „Légende du Tsar Saltan.“

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No. 134. “The Legend of the invisible city of Kitesh.” No. 134. „Légende de la ville invisible de Kitéj.“

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No. 135. “The Golden Cockerel” (p. 143). No. 135. „Le Coq d’Or“ (p. 143).

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No. 136. “Snegourotchka” (p. 97). No. 136. „Sniégourotchka“ (p. 97).

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No. 137. “Servilia.” No. 137. „Servilia.“

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No. 138. “The Legend of Tsar Saltan.” No. 138. „Légende du Tsar Saltan.“

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No. 139. “The Legend of the invisible city of Kitesh.” No. 139. „Légende de la ville invisible de Kitéj.“

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No. 140. “The Legend of the invisible city of Kitesh.” No. 140. „Légende de la ville invisible de Kitéj.“

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No. 141. “The Tsar’s Bride.” No. 141. „La Fiancée du Tsar.“

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No. 142. “The Tsar’s Bride” (p. 247). No. 142. „La Fiancée du Tsar“ (p. 247).

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No. 143. “The Christmas Night.” No. 143. „La Nuit de Noël.“

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No. 144. “Sadko” (p. 121; woodwind alone). No. 144. „Sadko“ (p. 121; instruments à vent seuls).

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No. 145. “Sadko.” No. 145. „Sadko.“

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No. 146. “The Legend of the invisible city of Kitesh.” No. 146. „Légende de la ville invisible de Kitéj.“

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No. 147. “The Golden Cockerel.” No. 147. „Le Coq d’Or.“

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No. 148. “Russian Easter Fête” (p. 11). No. 148. „La Grande Pâque Russe“ (p. 11).

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No. 149. “The Legend of Tsar Saltan.” No. 149. „Légende du Tsar Saltan.“

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No. 150. “The Legend of Tsar Saltan” (p. 219). No. 150. „Légende du Tsar Saltan“ (p. 219).

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No. 151. “Antar.” No. 151. „Antar.“

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No. 152. “Antar.” No. 152. „Antar.“

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No. 153. “The Christmas Night” (p. 376). No. 153. „La Nuit de Noël“ (p. 376).

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No. 154. “Sadko.” No. 154. „Sadko.“

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No. 155. “Servilia.” No. 155. „Servilia.“

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No. 156. “The Legend of the invisible city of Kitesh” (p. 252). No. 156. „Légende de la ville invisible de Kitéj“ (p. 252).

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No. 157. “Antar.” No. 157. „Antar.“

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No. 158. “Ivan the Terrible,” Act I. No. 158. „La Pskovitaine,“ 1er acte.

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No. 159. “Snegourotchka” (p. 223). No. 159. „Sniégourotchka“ (p. 223).

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No. 160. “Sadko” (p. 231). No. 160. „Sadko“ (p. 231).

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No. 161. “The Legend of Tsar Saltan” (p. 80). No. 161. „Légende du Tsar Saltan“ (p. 80).

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No. 162. “The Legend of Tsar Saltan” (p. 92). No. 162. „Légende du Tsar Saltan“ (p. 92).

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No. 163. “The Legend of the invisible city of Kitesh.” No. 163. „Légende de la ville invisible de Kitéj.“

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No. 164. “The Legend of the invisible city of Kitesh” (p. 400). No. 164. „Légende de la ville invisible de Kitéj“ (p. 400).

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No. 165. “The May Night,” Act I (p. 105). No. 165. „La Nuit de Mai,“ 1er acte (p. 105).

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No. 166. “Snegourotchka.” No. 166. „Sniégourotchka.“

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No. 167. “The Christmas Night.” No. 167. „La Nuit de Noël.“

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No. 168. “Sadko.” No. 168. „Sadko.“

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No. 169. “Sadko” (p. 492). No. 169. „Sadko“ (p. 492).

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No. 170. “Sadko.” No. 170. „Sadko.“

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No. 171. “Antar.” No. 171. „Antar.“

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No. 172. “The Tsar’s Bride” (p. 252). No. 172. „La Fiancée du Tsar“ (p. 252).

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No. 173. “Sadko” (p. 112). No. 173. „Sadko“ (p. 112).

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No. 174. “The Christmas Night.” No. 174. „La Nuit de Noël.“

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No. 175a. “Vera Scheloga” (p. 49). No. 175.a. „La Boïarine Véra Chéloga“ (p. 49).

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No. 175b. Another possible orchestration. No. 175.b. Autre orchestration possible.

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No. 176. “Russian Easter Fête” (p. 5). No. 176. „La Grande Pâque Russe“ (p. 5).

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No. 177. “Russian Easter Fête” (p. 9). No. 177. „La Grande Pâque Russe“ (p. 9).

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No. 178. “The Tsar’s Bride” (p. 1-2). No. 178. „La Fiancée du Tsar“ (p. 1-2).

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No. 179. “The Tsar’s Bride.” No. 179. „La Fiancée du Tsar.“

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No. 180. “The Tsar’s Bride.” No. 180. „La Fiancée du Tsar.“

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No. 181. “The Tsar’s Bride.” No. 181. „La Fiancée du Tsar.“

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No. 182. “The Legend of Tsar Saltan.” No. 182. „Légende du Tsar Saltan.“

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No. 183. “The Legend of Tsar Saltan.” No. 183. „Légende du Tsar Saltan.“

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No. 184. “The Legend of Tsar Saltan.” No. 184. „Légende du Tsar Saltan.“

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No. 185. “The Legend of Tsar Saltan.” No. 185. „Légende du Tsar Saltan.“

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No. 186. “The Legend of Tsar Saltan.” No. 186. „Légende du Tsar Saltan.“

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No. 187. “The Legend of Tsar Saltan” (p. 306). No. 187. „Légende du Tsar Saltan“ (p. 306).

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No. 188. “The Legend of Tsar Saltan” (p. 416). No. 188. „Légende du Tsar Saltan“ (p. 416).

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No. 189. “The Legend of Tsar Saltan” (p. 367). No. 189. „Légende du Tsar Saltan“ (p. 367).

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No. 190. “Ivan the Terrible,” overture. No. 190. „La Pskovitaine,“ ouverture.

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No. 191. “Ivan the Terrible,” overture. No. 191. „La Pskovitaine,“ ouverture.

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No. 192. “Sheherazade” (p. 5). No. 192. „Shéhérazade“ (p. 5).

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No. 193. “Sheherazade” (p. 8). No. 193. „Shéhérazade“ (p. 8).

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No. 194. “Sheherazade” (p. 19). No. 194. „Shéhérazade“ (p. 19).

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No. 195. “Sheherazade” (p. 38-39). No. 195. „Shéhérazade“ (p. 38-39).

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No. 196. “The Legend of the invisible city of Kitesh.” No. 196. „Légende de la ville invisible de Kitéj.“

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No. 197. “The Legend of the invisible city of Kitesh.” No. 197. „Légende de la ville invisible de Kitéj.“

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No. 198. “The Legend of the invisible city of Kitesh.” No. 198. „Légende de la ville invisible de Kitéj.“

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No. 199. “The Legend of the invisible city of Kitesh.” No. 199. „Légende de la ville invisible de Kitéj.“

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No. 200. “The Legend of the invisible city of Kitesh.” No. 200. „Légende de la ville invisible de Kitéj.“

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No. 201. “The Legend of the invisible city of Kitesh.” No. 201. „Légende de la ville invisible de Kitéj.“

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No. 202. “The Golden Cockerel” (p. 298-299). No. 202. „Le Coq d’Or“ (p. 298-299).

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No. 203. “The Golden Cockerel” (p. 309-310). No. 203. „Le Coq d’Or“ (p. 309-310).

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No. 204. “Snegourotchka” (p. 267). No. 204. „Sniégourotchka“ (p. 267).

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No. 205. “Sadko.” No. 205. „Sadko.“

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No. 206. “Sadko.” No. 206. „Sadko.“

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No. 207. “The Christmas Night.” No. 207. „La Nuit de Noël.“

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No. 208. “The Christmas Night.” No. 208. „La Nuit de Noël.“

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No. 209. “Sheherazade” (p. 123). No. 209. „Shéhérazade“ (p. 123).

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No. 210. “Snegourotchka” (p. 176-177). No. 210. „Sniégourotchka“ (p. 176-177).

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No. 211. “Snegourotchka” (p. 179-180). No. 211. „Sniégourotchka“ (p. 179-180).

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No. 212. “Ivan the Terrible,” Act II. No. 212. „La Pskovitaine,“ 2me acte.

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No. 213. “The Legend of the invisible city of Kitesh.” No. 213. „Légende de la ville invisible de Kitéj.“

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No. 214. “The Legend of the invisible city of Kitesh.” No. 214. „Légende de la ville invisible de Kitéj.“

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No. 215. “The Golden Cockerel.” No. 215. „Le Coq d’Or.“

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No. 216. “Snegourotchka” (p. 148). No. 216. „Sniégourotchka“ (p. 148).

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No. 217. “Russian Easter Fête.” No. 217. „La Grande Pâque Russe.“

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No. 218. “The May Night” (p. 140). No. 218. „La Nuit de Mai“ (p. 140).

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No. 219. “The Legend of the invisible city of Kitesh.” No. 219. „Légende de la ville invisible de Kitéj.“

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No. 220. “The Legend of the invisible city of Kitesh.” No. 220. „Légende de la ville invisible de Kitéj.“

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No. 221. “The Legend of the invisible city of Kitesh.” No. 221. „Légende de la ville invisible de Kitéj.“

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No. 222. “Snegourotchka.” No. 222. „Sniégourotchka.“

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No. 223. “Snegourotchka.” No. 223. „Sniégourotchka.“

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No. 224. “The Legend of the invisible city of Kitesh.” No. 224. „Légende de la ville invisible de Kitéj.“

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No. 225. “Snegourotchka.” No. 225. „Sniégourotchka.“

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No. 226. “The Golden Cockerel.” No. 226. „Le Coq d’Or.“

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No. 227. “Mlada,” Act II. No. 227. „Mlada,“ 2me acte.

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No. 228. “The Legend of Tsar Saltan.” No. 228. „Légende du Tsar Saltan.“

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No. 229. “The Golden Cockerel” (p. 227). No. 229. „Le Coq d’Or“ (p. 227).

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No. 230. “Russian Easter Fête.” No. 230. „La Grande Pâque Russe.“

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No. 231. “The Legend of the invisible city of Kitesh.” No. 231. „Légende de la ville invisible de Kitéj.“

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No. 232. “The Golden Cockerel” (p. 282). No. 232. „Le Coq d’Or“ (p. 282).

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No. 233. “The Golden Cockerel” (p. 141). No. 233. „Le Coq d’Or“ (p. 141).

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No. 234. “Sheherazade” (p. 61). No. 234. „Shéhérazade“ (p. 61).

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No. 235. “Snegourotchka” (p. 307). No. 235. „Sniégourotchka“ (p. 307).

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No. 236. “Snegourotchka.” No. 236. „Sniégourotchka.“

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No. 237. “The Christmas Night” (p. 312). No. 237. „La Nuit de Noël“ (p. 312).

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No. 238. “The Golden Cockerel” (p. 19). No. 238. „Le Coq d’Or“ (p. 19).

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No. 239. “Ivan the Terrible,” Act II. No. 239. „La Pskovitaine,“ 2me acte.

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No. 240. “The Tsar’s Bride.” No. 240. „La Fiancée du Tsar.“

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No. 241. “The Tsar’s Bride” (p. 210). No. 241. „La Fiancée du Tsar“ (p. 210).

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No. 242. “The Tsar’s Bride.” No. 242. „La Fiancée du Tsar.“

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No. 243. “The Tsar’s Bride.” No. 243. „La Fiancée du Tsar.“

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No. 244. “Snegourotchka.” No. 244. „Sniégourotchka.“

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No. 245. “Snegourotchka.” No. 245. „Sniégourotchka.“

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No. 246. “Servilia.” No. 246. „Servilia.“

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No. 247. “The Tsar’s Bride.” No. 247. „La Fiancée du Tsar.“

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No. 248. “Russian Easter Fête.” No. 248. „La Grande Pâque Russe.“

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No. 249. “The Legend of the invisible city of Kitesh.” No. 249. „Légende de la ville invisible de Kitéj.“

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No. 250. “The Legend of the invisible city of Kitesh.” No. 250. „Légende de la ville invisible de Kitéj.“

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No. 251. “Spanish Capriccio.” No. 251. „Capriccio Espagnol.“

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No. 252. “Sadko.” No. 252. „Sadko.“

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No. 253. “The Legend of the invisible city of Kitesh.” No. 253. „Légende de la ville invisible de Kitéj.“

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No. 254. “The Tsar’s Bride” (p. 246-247). No. 254. „La Fiancée du Tsar.“ (p. 246-247).

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No. 255. “Sheherazade,” 2nd movement. No. 255. „Shéhérazade,“ 2me mouvement.

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No. 256. “The Tsar’s Bride.” No. 256. „La Fiancée du Tsar.“

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No. 257. “The Tsar’s Bride” (p. 186). No. 257. „La Fiancée du Tsar“ (p. 186).

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No. 258. “Mlada,” Act III. No. 258. „Mlada,“ 3me acte.

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No. 259. “Mlada,” Act III. No. 259. „Mlada,“ 3me acte.

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No. 260. “Sadko.” No. 260. „Sadko.“

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No. 261. “Sadko.” No. 261. „Sadko.“

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No. 262. “Antar.” No. 262. „Antar.“

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No. 263. “The Golden Cockerel.” No. 263. „Le Coq d’Or.“

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No. 264. “Pan Voyevoda,” introduction (p. 3). No. 264. „Pan le Voïevode,“ introduction (p. 3).

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No. 265. “The Legend of Tsar Saltan.” No. 265. „Légende du Tsar Saltan.“

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No. 266. “The Legend of Tsar Saltan.” No. 266. „Légende du Tsar Saltan.“

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No. 267. “The Legend of the invisible city of Kitesh” (p. 488). No. 267. „Légende de la ville invisible de Kitéj“ (p. 488).

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No. 268. “Kashtcheï the Immortal.” No. 268. „Kachtchéï l’Immortel.“

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No. 269. “Kashtcheï the Immortal.” No. 269. „Kachtchéï l’Immortel.“

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No. 270. “Mlada” (p. 166). No. 270. „Mlada“ (p. 166).

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No. 271. “The Golden Cockerel.” No. 271. „Le Coq d’Or.“

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No. 272. “The Legend of Tsar Saltan” (p. 179). No. 272. „Légende du Tsar Saltan“ (p. 179).

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No. 273. “The Legend of Tsar Saltan” (p. 269). No. 273. „Légende du Tsar Saltan“ (p. 269).

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No. 274. “The Legend of Tsar Saltan.” No. 274. „Légende du Tsar Saltan.“

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No. 275. “Pan Voyevoda.” No. 275. „Pan le Voïevode.“

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No. 276. “The Christmas Night” (p. 310). No. 276. „La Nuit de Noël“ (p. 310).

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No. 277. “Snegourotchka.” No. 277. „Sniégourotchka.“

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No. 278. “Sadko.” No. 278. „Sadko.“

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No. 279. “Snegourotchka.” No. 279. „Sniégourotchka.“

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No. 280. “The Tsar’s Bride.” No. 280. „La Fiancée du Tsar.“

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No. 281. “Sadko” (p. 516). No. 281. „Sadko“ (p. 516).

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No. 282. “The Tsar’s Bride” (p. 361). No. 282. „La Fiancée du Tsar“ (p. 361).

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No. 283. “The Tsar’s Bride.” No. 283. „La Fiancée du Tsar.“

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No. 284. “The Tsar’s Bride.” No. 284. „La Fiancée du Tsar.“

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No. 285. “The Golden Cockerel.” No. 285. „Le Coq d’Or.“

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No. 286. “The Tsar’s Bride.” No. 286. „La Fiancée du Tsar.“

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No. 287. “Snegourotchka.” No. 287. „Sniégourotchka.“

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No. 288. “The Tsar’s Bride.” No. 288. „La Fiancée du Tsar.“

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No. 289. “Sadko.” No. 289. „Sadko.“

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No. 290. “Sadko” (p. 150). No. 290. „Sadko“ (p. 150).

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No. 291. “Sadko.” No. 291. „Sadko.“

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No. 292a. “Sadko.” No. 292a. „Sadko.“

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No. 292b. “Sadko.” No. 292b. „Sadko.“

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No. 293. “The Tsar’s Bride” (p. 169). No. 293. „La Fiancée du Tsar“ (p. 169).

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No. 294. “Ivan the Terrible,” Act I (p. 111). No. 294. „La Pskovitaine,“ 1er acte (p. 111).

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No. 295. “Sadko.” No. 295. „Sadko.“

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No. 296. “Ivan the Terrible,” Act II. No. 296. „La Pskovitaine,“ 2me acte.

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No. 297. “Sadko” (p. 157). No. 297. „Sadko“ (p. 157).

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No. 298. “Snegourotchka.” No. 298. „Sniégourotchka.“

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No. 299. “Mlada,” Act III. No. 299. „Mlada,“ 3me acte.

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No. 300. “Mlada.” No. 300. „Mlada.“

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No. 301. “The Legend of the invisible city of Kitesh.” No. 301. „Légende de la ville invisible de Kitéj.“

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No. 302. “Sadko.” No. 302. „Sadko.“

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No. 303. “Sadko.” (p. 378). No. 303. „Sadko.“ (p. 378).

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No. 304. “Sadko.” No. 304. „Sadko.“

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No. 305. “The Legend of the invisible city of Kitesh.” No. 305. „Légende de la ville invisible de Kitéj.“

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No. 306. “The Golden Cockerel” (p. 351). No. 306. „Le Coq d’Or“ (p. 351).

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No. 307. “Sadko” (p. 210). No. 307. „Sadko“ (p. 210).

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No. 308. “Sadko” (p. 226). No. 308. „Sadko“ (p. 226).

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No. 309. “Ivan the Terrible” (p. 116). No. 309. „La Pskovitaine“ (p. 116).

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No. 310. “Ivan the Terrible” (p. 117). No. 310. „La Pskovitaine“ (p. 117).

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No. 311. “Sadko” (p. 441). No. 311. „Sadko“ (p. 441).

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No. 312. “Ivan the Terrible,” Act III (the end). No. 312. „La Pskovitaine,“ 3me acte (fin).

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Appendix. Single tutti chords. Appendice. Accords isolés en tutti.

[ Vol. I p. 102 ] [ PDF ] NOTE. These diagrams are given in semibreves. They do not include percussion instruments of indeterminate sound or the human voice. NOTA. Ces exemples sont donnés sous forme demi-schématique, en rondes. Ils ne comportent ni les instruments de percussion à sons indéterminés, ni les voix humaines. Appendix I Appendix II Appendix III...

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