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NICOLAS RIMSKY-KORSAKOW 
 
 PRINCIPLES 
 
 OF 
 
 ORCHESTRATION 
 
 WITH MUSICAL EXAMPLES DRAWN FROM HIS OWN WORKS 
 
 EDITED BY 
 
 MAXIMILIAN STEINBERG 
 
 ENGLISH TRANSLATION BY 
 
 EDWARD AGATE 
 
 E. F. KALMUS ORCHESTRA SCORES, INC. 
 
 209 WEST 57th STREET 
 NEW YORK, N. Y. 
 
 Printed in U. S. A. 
 
 MUSIC LIBRARY 
 
 UNIVERSITY or COUi^^CTlCUT 
 
 STORRS, C0.*4N^CriCUT 
 
rc\T 
 
 no 
 
CONTENTS 
 
 page 
 
 Editor's Preface VII— XII 
 
 Extract from the Author's preface (1891) 1 
 
 Extract from the Preface to the last edition 5 
 
 T'hapter I. — General review of orchestral groups 
 
 A. String-ed instruments 6 
 
 B. Wind instruments: 
 
 Wood-wind 12 
 
 Brass 21 
 
 C. Instruments of little sustaining power: 
 
 Plucked strings 26 
 
 Pizzicato 27 
 
 Harp 27 
 
 Percussion instruments producing determinate sounds, keyed 
 instruments 
 
 Kettle-drums , , 29 
 
 Piano and Celesta 30 
 
 Glockenspiel, Bells, Xylophone 32 
 
 Percussion instruments producing indefinite sounds 32 
 
 Comparison of resonance in orchestral groups, and combination 33 
 
 of different tone qualities 
 
 Chapter II. — Melody 
 
 Melody in stringed instruments 36 
 
 Grouping in unison 39 
 
 Stringed instruments doubling in octaves 40 
 
 Melody in double octaves 44 
 
 «4 Doubling in three and four octaves 45 
 
 fX Melody in thirds and sixths 45 
 
 Melody in the wood-wind 46 
 
 ~"^ Combination in unison 47 
 
 Combination in octaves 49 
 
 Doubling in two, three and foiir octaves 51 
 
 Melody in thirds and sixths 52 
 
 Thirds and sixths together 53 
 
 Melody in the brass 53 
 
 '^ Brass in unison, in octaves, thirds and sixths ....... 55 
 
IV 
 
 page 
 
 Melody in different groups of instruments combined together . 56 
 
 A. Combination of wind and brass in unison 56 
 
 B. Combination of wind and brass in octaves 57 
 
 C. Combination of strings and wind 58 
 
 D. Combination of strings and brass 61 
 
 E. Combination of the three groups 61 
 
 Chapter 111. — Harmony 
 
 General observations 63 
 
 Number of harmonic parts — Duplication 64 
 
 Distribution of notes in chords 67 
 
 String harmony 69 
 
 Wood-wind harmony 71 
 
 Four-part and three-part harmony 72 
 
 Harmony in several parts 76 
 
 Duplication of timbres 77 
 
 Remarks 78 
 
 Harmony in the brass 82 
 
 Four-part writing 82 
 
 Three-part writing 84 
 
 Writing in several parts 84 
 
 Duplication in the brass 85 
 
 Harmony in combined groups 88 
 
 A. Combination of wind and brass . . . . 88 
 
 1. In unison 88 
 
 2. Overlaying, crossing, enclosure of parts 90 
 
 B. Combination of strings and wind 94 
 
 C. Combination of the three groups 95 
 
 Chapter IV. — Composition of the orchestra 
 
 Different ways of orchestrating the same music 97 
 
 Full Tutu 101 
 
 Tutti in the wind 103 
 
 Tuiti pizzicato 103 
 
 Tutti in one, two and three parts 104 
 
 Soli in the strings 104 
 
 Limits of orchestral range 106 
 
 Transference of passages and phrases 107 
 
 Chords of different tone quality used alternately 108 
 
 Amplification and elimination of tone qualities 109 
 
 Repetition of phrases, imitation, echo 110 
 
 Sforzando-piano and piano- sf or zando chords HI 
 
 Method of emphasising certain notes and chords Ill 
 
 Crescendo and diminuendo 112 
 
 Diverging and converging progressions 113 
 
 Tone quality as a harmonic force. Harmonic basis 114 
 
 Artificial effects 116 
 
 Use of percussion instruments for rhythm and colour .... 117 
 
 Economy in orchestral colour 118 
 
V 
 
 page 
 Chapter V. — Combination of the human voice with orchestra. 
 The Stage band 
 
 Orchestral accompaniment of solo voices 119 
 
 General remarks 119 
 
 Transparence of accompaniment. Harmony 120 
 
 Doubling voices in the orchestra 122 
 
 Recitative and declamation 125 
 
 Orchestral accompaniment of the chorus 126 
 
 Solo voice with chorus 128 
 
 Instruments on the stage and in the wings 129 
 
 Chapter VI (Supplementary) — Voices 
 
 Technical terms 132 
 
 Soloists 133 
 
 Range and register 133 
 
 Vocalisation 134 
 
 Vowels 136 
 
 Flexibility 137 
 
 Colour and character of voices 137 
 
 Voices in combination 139 
 
 Duet 139 
 
 Trio, quartet etc 139 
 
 Chorus 142 
 
 Range and register 142 
 
 Melody 144 
 
 A. Mixed chorus 145 
 
 Chorus, in unison 145 
 
 Progression in octaves 145 
 
 Voices divisi; harmonic use of the mixed chorus 146 
 
 B. Men's chorus and Women's chorus 148 
 

 ST0RI»» 
 
 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" (li* edition, p. 120) the 
 following passage occurs: "1 had planned to devote all my energies 
 to the compilation of a full treatise on orchestration. To this end 
 I made several rough copies, jotting down explanatory notes detailing 
 the technique of different instruments. What 1 intended to present to 
 the world on this subject, was to include everything. The writing 
 of this treatise, or, to be more exact, the sketch for it took up 
 most of my time in the years 1873 and 1874. After reading the 
 works of Tyndall and Helmholtz, 1 framed an introduction to my 
 work, in which I endeavoured to expound the laws of acoustics 
 as applied to the principles governing the construction of musical 
 instruments. My manual was to begin with a detailed list of 
 instruments, classified in groups and tabulated, including a de- 
 scription of the various systems in use at the present day. I had 
 not yet thought of the second part of the book which was to be 
 devoted to instruments in combination. But 1 soon realised that 
 I had gone too far. With wind instruments in particular, the 
 different systems were innumerable, and each manufacturer favoured 
 his own pet theory. By the addition of a certain key the maker 
 endowed his instrument with the possibility of a new trill, and 
 
 (I) This manuscript was gfiven to me by Alexander Glazounov; if a Rimsky- 
 Korsakov museum is ever founded it will be placed there. 
 
VIII 
 
 made s^nic difficult passages more playable than on an instrument 
 of another kind. * 
 
 There was no end to such complications. In the brass, I found 
 instruments with three, four, and five valves, the mechanism 
 varying according to the make. Obviously, I could not hope to 
 cover so large a field; besides, of What value would such a 
 treatise be to the student? Such a mass of detailed description of 
 the various systems, their advantages and drawbacks, could not 
 but fail to confuse the reader only too eager to learn. Naturally he 
 would wish to know what instrument to employ, the extent of its 
 capabilities etc., and getting no satisfactory information he would 
 throw my massive work aside. For these reasons my interest in 
 the book gradually waned, and finally I gave up the task." 
 
 In 1891 Rimsky-Korsakov, now an artist of standing, the com- 
 poser of Snegourotchka, Mlada, and Sheherazade, a master of 
 the orchestral technique he had been teaching for twenty years, 
 returned to his handbook on instrumentation. He would seem to 
 have made notes at different times from 1891 to 1893, during 
 which period, after the first performance of Mlada, he gave up 
 composition for a while. These notes, occasionally referred to 
 in his Memoirs, are in three volumes of manuscript-paper. They 
 contain the unfinished preface of 1891, a paragraph full of clear, 
 thoughtful writing, and reprinted in this book. (1) 
 
 As" the author tells us in his Memoirs (p. 297), the progress of 
 his work was hampered by certain troublesome events which 
 were happening at the time. Dissatisfied with his rough draft, he 
 destroyed the greater part of it, and once more abandoned his task. 
 
 In 1894 he composed The Christmas Night; this was the 
 beginning of his most fertile period. He became entirely engrossed 
 in composition, making plans for a fresh opera as soon as the 
 one in hand was completed. It was not until 1905 that his 
 thoughts returned to the treatise on orchestration, his musical 
 output remaining in abeyance through no fault of his own. Since 
 1891 the plan of the work had been entirely remodelled, as 
 proved by the rough drafts still extant. The author had given up 
 the idea of describing different instruments from their technical 
 
 (1) This preface had already been published in his Notes and Articles on 
 Music (St. Petersburgh, 1911). 
 
IX 
 
 standpoint, and was more anxious to dwell upon the value of 
 tone qualities and their various combinations. 
 
 Among the author's papers several forms of the book have been 
 found, each widely differing in detail from the other. At last, in 
 the summer of 1905 Kimsky-Korsakov brought his plans to a 
 head, and outlined the six chapters which form the foundation of 
 the present volume. But the work suffered a further interruption, 
 and the sketches were once more laid aside. In his Memoirs, 
 Rimsky-Korsakov explains the fact by lack of interest in the work 
 and a general feeling of weariness: "The treatise remained in 
 abeyance. To start with, the form of the book was not a success, 
 and I awaited the production of Kitesh, in order to give some 
 examples from that work" (p. 360). 
 
 Then came the autumn of 1906. The composer experienced 
 another rush of creative energy; his opera. The Golden Cockerel 
 made rapid strides, and kept him busy all that winter and the 
 following summer. When it was finished, in the autumn of 1907, 
 his thoughts reverted to the treatise on orchestration. But the 
 work made little progress. The author had his doubts as to the 
 adequacy of the plan he had adopted, and, in spite of the entreaties 
 of his pupils and friends, he could not bring himself to broach 
 the latter part of the book. Towards the end of 1907 Rimsky- 
 Korsakov was constantly ailing in health, and this materially 
 affected his energy. He spent the greater part of his time reading 
 old notes and classifying examples. About the 20*li of May he 
 set out for his summer residence in Lioubensk, and having just 
 recovered from a third severe attack of inflammation of the lungs, 
 began to work on the first chapter of the treatise in its present, 
 final form. This chapter was finished on June 7/20, about 4 o'clock 
 in the afternoon; the same night, the composer was seized with a 
 fourth attack which proved fatal. 
 
 The honour fell on me to prepare this last work of Rimsky- 
 Korsakov for publication. Now that Principles of Orchestration 
 has appeared in print I think it necessary to devote a few words 
 to the essential features of the book, and to the labour imposed 
 upon me in my capacity as editor. 
 
 On the first point I will say but little. The reader will observe 
 from the Contents that the work differs from others, not merely by 
 
reaston of its musical examples, but more especially in the systematic 
 arrangement of material, not according to orchestral division in 
 groups (the method adopted by Gevaert for instance), but accord- 
 ing to each constituent of the musical whole, considered separately. 
 The orchestration of melodic and harmonic elements (Chapters II 
 and III) receives special attention, as does the question of orches- 
 tration in general (Chapter IV). The last two chapters are devoted 
 to operatic music, and the sixth takes a supplementary form, 
 having no direct bearing on the previous matter. 
 
 Rimsky-Korsakov altered the title of his book several times, and 
 his final choice was never made. The title I have selected seems 
 to me to be the one most suitable to the contents of the work, "prin- 
 ciples" in the truest sense of the word. Some may expect to find 
 the "secrets" of the great orchestrator disclosed; but, as he himself 
 reminds us in his preface, "to orchestrate is to create, and this is 
 something which cannot be taught." 
 
 Yet, as invention, in all art, is closely allied to technique, this 
 book may reveal much to the student of instrumentation. Rimsky- 
 Korsakov has often repeated the axiom that good orchestration 
 means proper handling of parts. The simple use of tone-colours 
 and their combinations may also be taught, but there the science of 
 instruction ends. From these standpoints the present book will 
 furnish the pupil with nearly everything he requires. The author's 
 death prevented him from discussing a few questions, amongst 
 which I would include full polyphonic orchestration and the 
 scoring of melodic and harmonic designs. But these questions 
 can be partly solved by the principles laid down in Chapters II 
 and III, and I have no wish to overcrowd the first edition of this 
 book with extra matter which can be added later, if it is found 
 to be necessary. I had first of all to prepare and amplify the 
 sketches made by Rimsky-Korsakov in 1905; these form a connected 
 summary throughout the whole six chapters. Chapter I was com- 
 pleted by the author; it is published as it stands, save for a few 
 unimportant alterations in style. As regards the other five chap- 
 ters, I have tried to keep to the original drafts as far as possible, 
 and have only made a few changes in the order, and one or two 
 indispensable additions. The sketches made between 1891 and 
 1893 were too disconnected to be of much use, but, in point 
 
XI 
 
 of fact, they corresponded very closely to the final form of 
 the work. 
 
 The musical examples are of greater importance. According to 
 the original scheme, as noted on the 1891 MS., they were to be 
 drawn from the works of Glinka and Tschaikovsky; those of 
 Borodin and Glazounov were to be added later. The idea of 
 choosing examples solely from his own works only came to 
 Rimsky-Korsakov by degrees. The reasons for this decision are 
 partly explained in the unfinished preface of 1905, but other 
 motives may be mentioned. If Rimsky-Korsakov had chosen his 
 examples from the works of these four composers, he would have 
 had to give some account of their individual, and often strongly 
 marked peculiarities of style. This would have been a difficult 
 undertaking, and then, how to justify the exclusion of West-Eu- 
 ropean composers, Richard Wagner, for example, whose orches- 
 tration Rimsky-Korsakov so greatly admired? Besides, the latter 
 could hardly fail to realise that his own compositions afforded 
 sufficient material to illustrate every conceivable manner of scoring, 
 examples emanating frorfl one great general principle. This is not 
 the place to criticise his method; RimsT^y-Korsakov's "school" is 
 here displayed, each may examine it for himself. The brilliant, 
 highly-coloured orchestration of Russian composers, and the scoring 
 of the younger French musicians are largely dev^opments of the 
 methods of Rimsky-Korsakov, who, in turn, looked upon Glinka 
 as his spiritual father. 
 
 The table of examples found among the author's papers was far 
 from complete; some portions were badly explained, others, not at 
 all. The composer had not mentioned which musical quotations 
 were to be printed in the second volume, and which examples 
 were to indicate the study of the full score, further, no limit was 
 fixed to the length of quotation. All this was therefore left to the 
 editor's discretion. I selected the examples only after much doubt 
 and hesitation, finding it difficult tp keep to those stipulated by the 
 composer, as every page of the fnaster's works abound in appro- 
 priate instances of this or that method of scoring. 
 
 I was guided by the following considerations which agreed 
 with the opinions of the author himself: in the first place the 
 examples should be as simple as possible, so as not to distract 
 
XII 
 
 the student's attention from the point under discussion; secondly, 
 it was necessary that one example should serve to illustrate several 
 sections of the book, and lastly, the majority of quotations should be 
 those mentioned by the author. These amount to 214, in the second 
 volume; the remaining 98 were added by me. They are drawn, as far 
 as possible, from Rimsky-Korsakov's dramatic music, since operatic 
 full-scores are less accessible than those of symphonic works. 
 
 At the end of Vol. II I have added three tables showing diffe- 
 rent ways of scoring full chords; all my additions to the text are 
 marked with asterisks. I consider that the careful study of the 
 examples contained in the second volume will be of the greatest 
 use to the student without replacing the need for the study of other 
 composers' scores. Broadly speaking, the present work should 
 be studied together with the reading of full scores in general. 
 
 A few words remain to be said regarding Rimsky-Korsakov's 
 intention to point out the faulty passages in his orchestral works, 
 an intention expressed in his preface to the last edition. The 
 composer often referred to the instructional value of such exami- 
 nations. His purpose however was never achieved. It is not for me 
 to select these examples, and 1 shall only mention two which were 
 pointed out by the composer himself: 1. The Legend of Tsar Saltan 
 71ii bar— the theme in the brass is not sufficiently prominent 
 
 220 
 
 the trombones being tacet (a mistake easily rectified); 2. The 
 
 Golden Cockerel 233 , bars 10 — 14, if the marks of expression are 
 observed in the brass, the counter- melody on the violas and 
 violoncellos doubled by the wood-wind will hardly be heard. 
 Example 75 may also be mentioned, to which the note on page 63, 
 in the text, refers. I will confine myself to these examples. 
 
 In conclusion I desire to express my deep gratitude to Madame 
 Rimsky-Korsakov for having entrusted me with the task of editing 
 this work, thereby providing me with the opportunity of performing a 
 duty sacred to the memory of a master, held so deeply in reverence. 
 
 St. Peter sburgh, December 1912. 
 
 MAXIMILIAN STEINBERG. 
 
Extract from the Author's Preface (1891). 
 
 Our epoch, the post-Wagnerian age, is the age of brilliahce 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 prede- 
 cessors, Weber, Meyerbeer and Mendelssohn, to whose genius, 
 nevertheless, they are indebted for their own progress. In writing 
 this book my chief aim has been to provide the well-informed 
 reader with the fundamental principles of modern orchestration 
 from the standpoint of brilliance and imagination, and I have 
 devoted considerable space to the study of tonal resonance and 
 orchestral combination. 
 
 1 have tried to show the student how to obtain a certain quality 
 of tone, how to acquire uniformity of structure and requisite power. 
 I have specified the character of certain melodic figures and 
 designs peculiar to each instrument or orchestral group, and 
 reduced these questions briefly and clearly to general principles; 
 in short I have endeavoured to furnish the pupil with matter and 
 material as carefully and minutely studied as possible. Never- 
 theless I do not claim to instruct him as to how such information 
 should be put to artistio use, nor to establish my examples in 
 their rightful place in the poetic language of music. For, just as 
 a handbook of harmony, counterpoint, or form presents the student 
 with harmonic or polyphonic matter, principles of construction, 
 formal arrangement, and sound technical methods, but will never 
 endow him with the talent for composition, so a treatise on or- 
 chestration can demonstrate how to produce a well-sounding chord 
 
 1 
 
— 2 — 
 
 of certain tone-quality, uniformly distributed, how to detach a 
 melody from its harmonic setting, correct progression of parts, 
 and solve all such problems, but will never be able to teach the 
 art of poetic orchestration. To orchestrate is to create, and this 
 is something which cannot be taught. 
 
 It is a great mistake to say: this composer scores well, or, that 
 composition is well orchestrated, for orchestration is part of the 
 very soul of the work. A work is thought out in terms of the 
 orchestra, certain tone-colours being inseparable from it in the 
 mind of its creator and native to it from the hour of its birth. 
 Could the essence of Wagner's music be divorced from its orches- 
 tration? One might as well say that a picture is well drawn in colours. 
 
 More than one classical and modern composer has lacked the 
 capacity to orchestrate with imagination and power; the secret of 
 colour has remained outside the range of his creative faculty. 
 Does it follow that these composers do not know how to orches- 
 trate? Many among them have had -greater knowledge of the 
 subject than the mere colourist. Was Brahms ignorant of orches- 
 tration? And yet, nowhere in his works do we find evidence of 
 brilliant tone or picturesque fancy. The truth is that his thoughts 
 did not turn towards colour; his mind did not exact it. 
 
 The power of subtle orchestration is a secret impossible to trans- 
 mit, and the composer who possesses this secret should value it 
 highly, and never debase it to the level of a mere collection of 
 formulae learned by heart. 
 
 Here I may mention the case of works scored by others from 
 the composer's rough directions. He who undertakes such work 
 should enter as deeply as he may into the spirit of the composer, 
 try to realise his intentions, and develop them in all their essential 
 features. 
 
 Though one's own personality be subordinate to that of another, 
 such orchestration is nevertheless creative work. But on the other 
 hand, to score a composition never intended for the orchestra, is 
 an undesirable practice. Many musicians have made this mistake 
 and persist in it. (1) In any case this is the lowest form of in- 
 
 (1) In the margin of the MS. a question mark is added here. 
 
 (Editor's note.) 
 
— 3 — 
 
 strumentation, akin to colour photography, though of course the 
 process may be well or badly done. 
 
 As regards orchestration it has been my good fortune to belong 
 to a first-rate school, and I have acquired tha most varied ex- 
 perience. In the first place I have had the opportunity of hearing 
 all my works performed by the excellent orchestra of the St. Peters- 
 burgh Opera. Secondly, having experienced leanings towards 
 different directions, I have scored for orchestras of different sizes, 
 beginning with simple combinations (my opera The May Night 
 is written for natural horns and trumpets), and ending with the 
 most advanced. In the third place, I conducted the choir of the 
 Military Marine for several years and was therefore able to study 
 wind-instruments. Finally I formed an orchestra of very young 
 pupils, and succeeded in teaching them to play, quite competently, 
 the works of Beethoven, Mendelssohn, Glinka, etc. All this has 
 enabled me to present this work to the public as the result of 
 long experience. 
 
 As a starling-point I lay down the following fundamental axioms: 
 I. In the orchestra there is no such thing _^as ugly quality of tone. 
 
 II. Orchestral writing should be easy to play; a composer's 
 work stands the best chance when the parts are well written. (1) 
 
 III. A work should be written for the size of orchestra that is to 
 perform it, not for some imaginary body, as many composers 
 persist in doing, introducing brass instruments in unusual keys 
 upon which the music is impracticable because it is not played 
 in the key the composer intends. 
 
 It is difficult to devise any method of learning orchestration 
 without a master. As a general rule it is best to advance by 
 degrees from the simplest scoring to the most complicated. 
 
 The student will probably pass through the following phases: 1. the 
 phase during which he puts his entire faith in percussion instru- 
 
 (1) A. Glazounov has well expressed the various degrees of excellence in 
 scoring-, which he divides into three classes: 1. When the orchestra sounds 
 well, playing from sight; magnificent, after a few rehearsals. 2. When effects 
 cannot be brought off except with the greatest care and attention on the part 
 of conductor and players. 3. When the orchestra never sounds well. Evi- 
 dently the chief aim in Orchestration is to obtain the first of these results. 
 
 (Author's note.) 
 1* 
 
— 4 — 
 
 ments, believing that beauty of sound emanates entirely from this 
 branch of the orchestra — this is the earliest stage; 2. the period 
 when he acquires a passion for the harp, using it in every possible 
 chord; 3. the stage during which he adores the wood-wind and 
 horns, using stopped notes in conjunction with strings, muted or 
 pizzicato; 4. the more advanced period, when he has come to 
 recognise that the string group is the richest and most expressive 
 of all. When the student works alone he must try to avoid the 
 pitfalls of the first three phases. The best plan is to study full- 
 scores, and listen to an orchestra, score in hand. But it is diffi- 
 cult to decide what music should be studied and heard. Music 
 of all ages, certainly, but, principally, that which is fairly modern. 
 Fairly modern music will teach the student how to score — classical 
 music will prove of negative value to him. Weber, Mendelssohn, 
 Meyerbeer (The Prophet), Berlioz, Glinka, Wagner, Liszt, and 
 modern French and Russian composers — these will prove his best 
 guides. It is useless for a Berlioz or a Gevaert to quote examples 
 from the works of Gluck. The musical idiom is too old-fashioned 
 and strange to modern ears; such examples are of no further use 
 today. The same may be said of Mozart and of Haydn (the father 
 of modern orchestration). 
 
 The gigantic figure of Beethoven stands apart. His music 
 abounds in countless leonine leaps of orchestral imagination, but 
 his technique, viewed in detail, remains much inferior to his 
 titanic conception. His use of the trumpets, standing out above 
 the rest of the orchestra, the difficult and unhappy intervals he 
 gives to the horns, the distinctive features of the string parts and 
 his often highly- coloured employment of the wood-wind,— these 
 features will combine causing the student of Beethoven to stumble 
 upon a thousand and one points in contradiction. 
 
 It is a mistake to think that the beginner will light upon no simple 
 and instructive examples in modern music, in that of Wagner and 
 others. On the contrary, clearer, and better examples are to be 
 found amongst modern composers than in what is called the 
 range of classical music. 
 
— 5 — 
 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, en- 
 deavouring to show, in all sincerity, what is successful and what 
 is not. No one can know except the author himself the purpose 
 and motives which governed him during the composition of a 
 certain work, and the practice of explaining the intentions of a 
 composer, so prevalent amongst annotators, however reverent and 
 discreet, appears to me far from satisfactory. They will attribute 
 a too closely philosophic, or excessively poetic meaning to a plain 
 and simple fact. Sometimes the respect which great composers' 
 names command will cause inferior examples to be quoted as 
 good; casfco of carelessness or ignorance, easily explained by the 
 imperfections of current technique, give rise to whole pages of 
 laborious exposition, in defence, or even in admiration of a faulty 
 passage. 
 
 This book is written for those who have already studied instru- 
 mentation from Gevaert's excellent treatise, or any other well-known 
 manual, and who have some knowledge of a number of orches- 
 tral scores. 
 
 I shall therefore only just touch on such technical questions as 
 fingering, range, emission of sound etc. (1) 
 
 The present work deals with the combination of instruments in 
 separate groups and in the entire orchestral scheme; the different 
 means of producing strength of tone and unity of structure; the 
 sub-division of parts; variety of colour and expression in scoring, 
 — the whole, principally from the standpoint of dramatic music. 
 
 (1) A short review of these various questions forms the first chapter of the 
 book. (Editor's note.) 
 
Chapter 1. 
 
 GENERAL REVIEW OF ORCHESTRAL GROUPS. 
 
 A. Stringed Instruments. 
 
 The following is the formation of the string quartet and the 
 number of players required in present day orchestras, either in the 
 theatre or concert-room. 
 
 
 Full 
 orchestra 
 
 Medium 
 orchestra 
 
 Small 
 orchestra 
 
 Violins I . . . . 
 » 11 ... . 
 
 Violas 
 
 Violoncellos . . 
 Double basses . . 
 
 16 
 14 
 12 
 10 
 8-10 
 
 12 
 10 
 
 8 
 
 6 
 4-6 
 
 8 
 6 
 4 
 3 
 2-3 
 
 In larger orchestras, the number of first violins may amount to 
 20 and even 24, the other strings being increased proportionately. 
 Bat such a great quantity of strings over-powers the customary 
 wood-wind section, and entails re-inforcing the latter. Sometimes 
 orchestras contain less than 8 first violins; this is a mistake, as 
 the balance between strings and wind is completely destroyed. 
 In writing for the orchestra it is advisable to rely on a medium- 
 sized body of strings. Played by a larger orchestra a work will 
 be heard to greater advantage; played by a smaller one, the harm 
 done will be minimised. 
 
— 7 — 
 
 Whenever a group of strings is written for more than five 
 parts — without taking double notes or chords fnto consideration — 
 these parts may be increased by dividing each one into two, three 
 and four sections, or even more (divisi). Generally, one or more 
 of the principal parts is split up, the first or second violins, violas 
 or violoncellos. The players are then divided by desks, numbers 1, 
 3, 5 etc. playing the upper part, and 2, 4, 6 etc., the lower; or 
 else the musician on the right-hand of each desk plays the top 
 line, the one on the left the bottom line. Dividing by threes is 
 less easy, as the number of players in one group is not always 
 divisible by three, and hence the difficulty of obtaining proper 
 balance. Nevertheless there are cases where the composer should 
 not hesitate to employ this method of dividing the strings, leaving 
 it to the conductor to ensure equality of tone. It is always as 
 well to mark how the passage is to be divided in the score; 
 Vni I, 1, 2, 3 desks, 6 'Cellos div. a 3, and so on. Division into 
 four and more parts is rare, but may be used in piano passages, 
 as it greatly reduces volume of tone in the group of strings. 
 
 Note. In small orchestras passages sub-divided into many parts are very 
 hard to realise, and the effect obtained is never the one required. 
 
 String parts may be divided thus: 
 
 'Cellos div. 
 basses div. 
 
 rVni I div. . (Vnill div. /Violas div. f'Ce 
 
 ^ I Vni II div. ^ I Violas div. ^ I 'Cellos div. ^ I D. 
 
 Possible combinations less frequently used are: 
 
 fVn^I div. rVnill div. f Violas div. 
 
 ^ I Violas div. ' I 'Cellos div. ^ I D. basses div. 
 
 Note. It is evident that the tone quality in b and e will be similar. Still b 
 is preferable since the number of Vni II (14 — 10 — 6) and Violas (12 — 8 — 4) 
 is practically the same, the respective r61es of the two groups are more closely 
 allied, and from the fact that second violins generally sit nearer to the violas 
 than the first, thereby guaranteeing greater unity in power and execution. 
 
 The reader will find all manner of divisions in the musical 
 examples given in Vol. II. Where necessary, some explanation as 
 to the method of dividing strings will follow in due course. I dwell 
 on the subject here in order to show how the usual composition 
 of the string quartet may be altered. 
 
— 8 — 
 
 Stringed instruments possess more ways of producing sound than 
 any other orchestral group. They can pass, better than other 
 instruments from one shade of expression to another, the varieties 
 being of an infinite number. Species of bowing such as legato, 
 detached, staccato, spiccato, portamento, martellato, light staccato, 
 saltando, attack at the nut and at the point, n n H and V V V (down 
 bow and up bow), in every degree of tone, fortissimo, pianissimo, 
 crescendo, diminuendo, sforzando, morendo — all this belongs to the 
 natural realm of the string quartet. 
 
 The fact that these instruments are capable of playing double 
 notes and full chords across three and four strings — to say nothing 
 of sub-division of parts — renders them not only melodic but also 
 harmonic in character (1). 
 
 From the point of view of activity and flexibility the violin 
 takes pride of place among stringed instruments, then, in order, 
 come the viola, 'cello and double bass. In jyactice the notes of 
 extreme limit in the string quartet should be fixed as follows: 
 
 for violins: (fe , for violas: ^ 
 
 u. 
 
 for 'cellos: V' , for double basses: ^ 
 
 Higher notes given in Table A, should only be used with caution, 
 that is to say when they are of long value, in tremolando, slow, 
 flowing melodies, in not too rapid sequence of scales, and in 
 passages of repeated notes. Skips should always be avoided. 
 
 Note. In quick passages for stringed instruments long chromatic figures 
 are never suitable; they are difficult to play and sound indistinct and muddled. 
 Such passages are better allotted to the wood-wind. 
 
 A limit should be set to the use of a high note on any one of 
 the three lower strings on violins, violas and 'cellos. This note 
 should be the one in the fourth position, either the octave note 
 or the ninth of the open string. 
 
 (1) To give a list of easy three and four-note chords, or to explain the different 
 methods of bowing does not come within the scope of the present book. 
 
Nobility, warmth, and equality of tone from one end of the scale to 
 the other are qualities common to all stringed instruments, and render 
 them essentially superior to instruments of other groups. Further, 
 each string has a distinctive character of its own, difficult to define 
 in words. The top string on the violin (E) is brilliant in character, 
 that of the viola (A) is more biting in quality and slightly nasal; 
 the highest string on the 'cello (A) is bright and possesses a 
 "chest-voice" timbre. The A and D strings on the violin and the 
 D string on the violas and 'cellos are somewhat sweeter and 
 weaker in tone than the others. Covered strings (G)y on the 
 violin (G and C), on the viola and 'cello are rather harsh. Speak- 
 ing generally, the double bass is equally resonant throughout, 
 slightly duller on the two lower strings (E and A), and more 
 penetrating on the upper ones (D and G). 
 
 Note. Except in the case of pedal notes, the double bass rarely plays an 
 independent part, usually moving- in octaves or in unison with the 'cellos, or else 
 doubling the bassoons. The quality of the double bass tone is therefore seldom 
 heard by itself and the character of its different strings is not so noticeable. 
 
 The rare ability to connect sounds, or a series of sounds, the 
 vibration of stopped strings combined with their above-named 
 qualities — warmth and nobility of tone — renders this group of 
 instruments far and away the best orchestral medium of melodic 
 expression. At the same time, that portion of their range situated 
 beyond the "limits of the human voice, e. g. notes on the violin 
 higher than the extreme top note of the soprano voice, from 
 
 « 
 
 upwards, and notes on the double bass below the range of the 
 bass voice, descending from 
 
 (written sound) 
 
 lose in expression and warmth of tone. Open strings are clearer 
 and more powerful but less expressive than stopped strings. 
 
 Comparing the range of each stringed instrument with that of 
 the human voice, we may assign: to the violin, the soprano and 
 
— 10 — 
 
 contralto voice plus a much higher range; to the viola, the con- 
 tralto and tenor voice plus a much higher register; to the 'cello, 
 the tenor and bass voices plus a higher register; to the double 
 bass, the bass voice plus a lower range. 
 
 The use of harmonics, the mute, and some special devices in 
 bowing produce great difference in the resonance and tone quality 
 of all these instruments. 
 
 Harmonics, frequently used to day, alter the timbre of a stringed 
 instrument to a very appreciable extent. Cold and transparent in 
 soft passages, cold and brilliant in loud ones, and offering but 
 little chance for expression, they form no fundamental part of or- 
 chestral writing, and are used simply for ornament. Owing to 
 their lack of resonant power they should be used sparingly, and, 
 when employed, should never be overpowered by other instruments. 
 As a rule harmonics are employed on sustained notes, tremolando., 
 or here and there for brilliant effects; they are rarely used in 
 extremely simple melodies. Owing to a certain tonal affinity with 
 the flute they may be said to form a kind of link between string 
 and wood-wind instruments. 
 
 Another radical change is effected by the use of mutes. When 
 muted, the clear, singing tone of the strings becomes dull in soft 
 passages, turns to a slight hiss or whistle in loud ones, and the 
 volume of tone is always greatly reduced. 
 
 The position of the bow on the string will affect the resonance 
 of an instrument. Playing with the bow close to the bridge (sul 
 ponticello), chiefly used tremolando, producer a metallic sound; 
 playing on the finger-board (sul tasto, flautando) creates a dull, 
 veiled effect. 
 
 Note. Another absolutely different sound results from playing with the back 
 or wood of the bow {col legno). This produces a sound like a xylophone or 
 a hollow pizzicato. It is discussed under the heading of instruments of little 
 sustaining power. 
 
 The five sets of strings with number of players given above 
 produce a fairly even balance of tone. If there is any sur- 
 plus of strength it must be on the side of the first violins, 
 as they must be heard distinctly on account of the important 
 part they play in the harmonic scheme. Besides this, an extra 
 desk of first violins is usual in all orchestras, and as a general 
 
11 — 
 
 • 
 
 S 
 
 5 
 
 « 
 
 o 
 
 .s 
 
 u 
 
 o 
 
 be 
 
 "S 
 
 
 E 
 
 be 
 
 s 
 
 C 
 
 
 •w 
 
 
 
 ^ 
 
 C/3 
 
 ^ 
 
 
 *& 
 
 • 
 < 
 
 c 
 
 
 B 
 
 o 
 
 1 
 
 S 
 
 CO 
 
 e 
 
 03 
 
 
 H 
 
 s 
 
 
 jS 
 
 
 f- 
 
 E 
 
 "3 
 « 
 
 E 
 
 o 
 
 bfl 
 
 > 
 'bit 
 
 o 
 
 be 
 
 be 
 
 o 
 
 o 
 c 
 a> 
 
 •o 
 
 be 
 
 C 
 
 > 
 
 > 
 
 c 
 
 > 
 
 3 
 
 s 
 o 
 Q 
 
 .E be 
 
 So > 
 
 b« 
 
— 12 — 
 
 rule they possess a more powerful tone than second violins. 
 The latter, with the violas, play a secondary part, and do not 
 stand out so prominently. The 'cellos and double basses are 
 heard more distinctly, and in the majority of cases form the bass 
 in octaves. 
 
 In conclusion it- may be said that the group of strings, as a 
 ipelodic element, is able to perform all manner of passages, rapid 
 and interrupted phrases of every description, diatonic or chromatic 
 in character. Capable of sustaining notes without difficulty, of 
 playing chords of three and four notes; adapted to the infinite 
 variety of shades of expression, and easily divisible into numerous 
 sundry parts, the string group in an orchestra may be considered 
 as an harmonic element particularly rich in resource. 
 
 B. Wind instruments. 
 
 ' Wood-wind. 
 
 Apart from the varying number of players, the formation of the 
 string group, with its five constituent parts remains constant, satis- 
 fying 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 numerals denote the number of players on each instru- 
 ment; roman figures, the parts (isl, 2^ etc.). Instruments which 
 do not require additional players, but are taken over by one or the 
 other executant in place of his usual instrument, are enclosed in 
 brackets. As a rule the first flute, first oboe, first clarinet and first 
 bassoon never change instruments; considering the importance of 
 their parts it is not advisable for them to turn from one mouthpiece 
 to another. The parts written for piccolo, bass flute, English horn, 
 small clarinet, bass clarinet and double bassoon are taken by the 
 second and third players in each group, who are more accustomed 
 to using these instruments of a special nature. 
 
— 13 
 
 Wood-wind 
 
 Wood-wind 
 
 Wood-wind 
 
 in pair's 
 
 in three's 
 
 in four's 
 
 (II — Piccolo). 
 
 (III — Piccolo). 
 
 1 Piccolo (IV). 
 
 2 Flutes I. II. 
 
 3 Flutes I. II. III. 
 
 3 Flutes I. II. III. 
 
 
 (II — Bass flute). 
 
 (Ill — Bass flute). 
 
 2 Oboes I. II. 
 
 2 Oboes I. II. 
 
 3 Oboes I. II. III. 
 
 (II — Eng. horn). 
 
 1 Eng. horn (III). 
 
 1 Eng. horn (IV). 
 
 
 (II — Small clarinet). 
 
 (II — Small clarinet). 
 
 2 Clarinets I. II. 
 
 3 Clarinets I. II. III. 
 
 3 Clarinets I. II. III. 
 
 (II— Bass clarinet). 
 
 (Ill — Bass clarinet). 
 
 1 Bass Clarinet (IV). 
 
 2 Bassoons I. II. 
 
 2 Bassoons I. II. 
 
 3 Bassoons I. II. III. 
 
 
 1 Double bassoon (III). 
 
 1 Double bassoon (IV). 
 
 The formation of the first class may be altered by the perma- 
 nent addition of a piccolo part. Sometimes a composer writes 
 for two piccolos or two Eng. horns etc. without increasing the 
 original number of players required (in three's or four's). 
 
 Note I. Composers using the first class en the course of a big work (oratorio, 
 opera, symphony, etc.) may introduce special instruments, called extras, for a 
 long or short period of time; each of these instruments involves an extra player 
 not required throughout the entire work. Meyerbeer was fond of doing this, 
 but other composers. Glinka for example, refrain from increasing the number 
 of performers by employing extras (Eng. horn part in Roussldn). Wagner uses 
 all three classes in the above table (in pair's: Tanhduser — in three's: Tristan 
 —in four's: Tfte Ring). 
 
 Note II. Mlada is the only work of mine involving formation b^ four's. 
 Ivan the Terrible, Sadko, The Legend of Tsar Saltan, The Legend of the 
 Invisible City of Kitesh and The Golden Cockerel all belong to the second 
 class, and in my other works, wood-wind in pair's is used with a varying 
 number of extras. The Christmas Night, with its two oboes, and two bassoons, 
 three flutes and three clarinets, forms an intermediate class. 
 
 Considering the instruments it comprises, the string group offers 
 a fair variety of colour, and contrast in compass, but this diver- 
 sity of range and timbre is subtle and not easily discerned. In 
 the wood-wind department, however, the difference in register 
 and quality of flutes, oboes, clarinets and bassons is striking to a 
 degree. As a rule, wood-wind instruments are less flexible than 
 
— 14 — 
 
 strings; they lack the vitality and power, and are less capable of 
 different shade of expression. 
 
 In each wind instrument I have defined the scope of greatest 
 expression, that is to say the range in which the instrument is 
 best qualified to achieve the various grades of tone, {forte, piano, 
 cresc, dim., sforzando, morendo, etc.)— the register which admits 
 of the most expressive playing, in the truest sense of the word. 
 Outside this range, a wind instrument is more notable for richness 
 of colour than for expression. I am probably the originator of 
 the term "scope of greatest expression". It does not apply to the 
 piccolo and double bassoon which represent the two extremes of 
 the orchestral compass. They do not possess such a register and 
 belong to the body of highly-coloured but non-expressive instru- 
 ments. 
 
 The four kinds of wind instruments: flutes, oboes, clarinets and 
 bassoons may be generally considered to be of equal power. The 
 same cannot be said of instruments which fulfil a special purpose: 
 piccolo, ba^s flute, Eng. horn, small clarinet, bass clarinet and 
 double bassoon. Each of these instruments has four registers: low, 
 middle, high and extremely high, each of which is characterised 
 by certain differences of quality and power. It is difficult to define 
 the exact limits of each register; adjacent registers almost blend 
 together and the passage from one to another is scarcely noticeable. 
 But when the instrument jumps from one register to another the 
 difference in power and quality of tone is very striking. 
 
 The four families of wind instruments may be divided into 
 two classes: a) instruments of nasal quality and dark resonance— 
 oboes and bassoons (Eng. horn and double bassoon); and b) in- 
 struments of "chest-voice" quality and bright tone — flutes and 
 clarinets (piccolo, bass flute, small clarinet, bass clarinet). 
 
 These characteristics of colour and resonance — expressed in 
 too simple and rudimentary a form — are specially noticeable in 
 the middle and upper registers. The lower register of the oboes 
 and bassoons is thick and rough, yet still nasal in quality; the 
 very high compass is shrill, hard and dry. The clear resonance 
 of the flutes and clarinets acquires something nasal and dark in the 
 lower compass; in the very high register it becomes somewhat 
 piercing. 
 
Note to Table B. 
 
 In the 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 depends, partly on the quality of the instrument 
 itself, partly on theposition and application of the lips. The signs r==— — =:: 
 are not to be mistaken for crescendo and diminuendo; they indicate how the 
 resonance of an instrument increases or diminishes in relation to the characte- 
 ristic quality of its timbre. The scope of greatest expression for each typical 
 
 instrument is marked thus, I 1 under the notes ; the range is the same 
 
 in each instrument of the same type. 
 
3 
 O 
 
 c 
 
 GO 
 
— 18 — 
 
 Note. It is a difficult matter to define tone quality in words; we must 
 encroach upon the domain of sight, feeling, and even taste. Though borrowed 
 from these senses, I have no doubt as to the appropriateness of my comparisons, 
 but, as a general rule definitions drawn from other sources are too elementary 
 to be applied to music. No condemnatory meaning however should be attached 
 to my descriptions, for in using the terms thick, piercing, shrill, dry, etc. my 
 object is to express artistic fitness in words, rather than material exactitude. 
 Instrumental sounds which have no musical meaning are classed by me in the 
 category of useless sounds, and I refer Jo them as such, giving my reasons. 
 With the exception of these, the reader is advised to consider all other orchestral 
 timbres beautiful from an artistic point of view, although it is necessary, at 
 times, to put them to other uses. 
 
 Further on, a table of wind instruments is appended, outlining the approximate 
 limit of range, defining different qualities of tone and indicating the scope of 
 greatest expression (the piccolo and double bassoon excepted). 
 
 Flutes and clarinets are the most flexible wood-wind instruments 
 (the flutes in particular), but for expressive power and subtlety 
 in nuances the clarinet supersedes them; tfiis instrument can reduce 
 volume of tone to a mere breath. The nasal instruments, oboe 
 and bassoon, are less mobile and supple; this is accounted for 
 by their double reed, but, having to effect all sorts of scales and 
 rapid passages in common with the flutes and clarinets, oboes 
 and bassoons may be considered melodic instruments in the real 
 sense of the word, only of a more cantabile and peaceful character. 
 In very quick passages they often double the flutes, clarinets or strings. 
 
 The four families are equally capable of legato and staccato 
 playing and changing from one to the other in different ways, 
 but distinct and penetrating staccato passages are better suited to the 
 oboes and bassoons, while the flutes and clarinets excel in well- 
 sustained legato phrases. Composite legato passages should be 
 allotted to the first two instruments, composite stacca'.o passages 
 to the latter pair, but these general directions should not deter 
 the orchestrator from adopting the opposite plan. 
 
 In comparing the technical indivitualities of the wood-wind the 
 following fundamental differences should be noted: 
 
 a) The rapid repetition of a single note by single tonguing is com- 
 •n*in to all wind instruments; repitition of a single note by means 
 
 ' double tonguing is only possible on the flute, a reedless instrument. 
 
 b) On account of its construction the clarinet is not well adapted 
 to sudden leaps from one octave to another; these skips are 
 easier on flutes, oboes and bassoons. 
 
— 19 — 
 
 c) Arpeggios and rapid alternation of two intervals legato sound 
 well on flutes and clarinets, but not on oboes and bassoons. 
 
 Wood-wind players cannot manage extremely long sustained 
 passages, as they are compelled to take breath; care must be 
 taken therefore to give them a little rest from time to time. This 
 is unnecessary in the case of string players. 
 
 In the endeavour to characterise the timbre of each instrument 
 typical of the four families, from a psychological point of view, I 
 do not hesitate to make the following general remarks which apply 
 generally to the middle and upper registers of each instrument: 
 
 a) Flute. — Cold in quality, specially suitable, in the major key, to 
 melodies of light and graceful character; in the minor key, to 
 slight touches of transient sorrow. 
 
 b) Oboe. — Artless and gay in the major, pathetic and sad in 
 the minor. 
 
 c) Clarinet. — Pliable and expressive, suitable, in the major, to 
 melodies of a joyful or contemplative character, or to outbursts of 
 mirth; in the minor, to sad and reflective melodies or impassioned 
 and dramatic passages. 
 
 d) Bassoon. — In the major, an atmosphere of senile mockery; 
 a sad, ailing quality in the minor. 
 
 In the extreme registers these instruments convey the following 
 impressions to my mind: 
 
 Low register Very high register 
 
 a) Flute— Dull, cold Brilliant 
 
 b) Oboe— Wild Hard, dry 
 
 c) Clarinet— Ringing, threatening Piercing 
 
 d) Bassoon— Sinister Tense. 
 
 Note. It is true that no mood or frame of mind, whether it be joyful or sadj 
 meditative or lively, careless or reflective, mocking or distressed can be aroused 
 by one single isolated timbre; it dep^ds more upon the general melodic line, 
 the harmony, rhythm, and dynamic shades of expression, upon the whole for- 
 mation of a given piece of music. The choice of instruments and timbre to 
 be adopted depends on the position which m< lody and harmony occupy in the 
 seven-octave scale of the orchestra; for example, a melody of light character 
 in the tenor register could not be given to the flutes, or a sad, plaintive phrase 
 in the high soprano register confided to the bassoons. But the ease with which 
 tone colour can be adapted to expression must not be forgotten, and in the 
 first of these two cases it may be conceded that the mocking character of the 
 bassoon could easily and quite naturally assume a light-hearted aspect, and 
 
 2* 
 
— 20 — 
 
 in the second case, that the slightly melancholy timbre of the flute is some- 
 what related to the feeling of sorrow and distress with which the passage is 
 to be permeated. The case of a melody coinciding in character with the in- 
 strument on which it is played is of special importance, as the effect produced 
 cannot fail to be successful. There are also moments when a composer's 
 artistic feeling prompts him to employ instruments, the character of which is 
 at variance with the written melody (for eccentric, grotesque effects, etc.). 
 
 The following remarks illustrate the characteristics, timbre, and 
 employment of special instruments: 
 
 The duty of the piccolo and sm^ll clarinet is, principally, to 
 extend the range of the ordinary flute and clarinet in the high 
 register. The whistling, piercing quality of the piccolo in its highest 
 compass is extraordinarily powerful, but does not lend itself to 
 more moderate shades of expression. The small clarinet in its 
 highest register is more penetrating than the ordinary clarinet 
 The low and middle range of the piccolo and small clarinet 
 correspond to the same register in the normal flute and clarinet, 
 but the tone is so much weaker that it is of little service in those 
 regions. Tlie double bassoon extends the range of the ordinary 
 bassoon in the low register. The characteristics of the bassoon's 
 low compass are still further accentuated in the corresponding 
 range of the double bassoon, but the middle and upper registers 
 of the latter are by no means so useful. The very deep notes of 
 the double bassoon are remarkably thick and dense in quality, 
 very powerful in piano passages. 
 
 Note. Nowadays, when the limits of the orchestral scale are considerably 
 extended (up to the high C of the 7*h octave, and down to the low C, 16 ft. 
 contra octave), the piccolo forms an indispensable constituent of the wind-group; 
 similarly, it is recognised that the double bassoon is capable of supplying 
 valuable assistance. The small clarinet is rarely employed and only for colour 
 effects. 
 
 The English horn, or alto oboe (oboe in F) is similar in tone 
 to the ordinary oboe, the listless, dreamy quality of its timbre 
 being sweet in the extreme. In the low register it is fairly pene- 
 trating. The bass clarinet, though strongly resembling the ordinary 
 clarinet, is of darker colour in the low register and lacks the 
 silveiy quality in the upper notes; it is incapable of joyful ex- 
 pression. The bass flute is an instrument seldom used even today; 
 it possesses the same features as the flute, but it is colder in 
 
— 21 — 
 
 colour, and crystalline in the middle and high regions. These 
 three particular instruments, apart from extending the low registers 
 of the instruments to which they belong, have their own distinctive 
 peculiarities of timbre, and are often used in the orchestra, as solo 
 instruments, clearly exposed. 
 
 Note. Of the six special instruments referred to above, the piccolo and 
 double bassoon were the first to be used in the orchestra; the latter, however, 
 was neglected after Beethoven's death and did not reappear until towards the 
 end of the 191!l century. The Eng. horn and bass clarinet were employed initially 
 during the first half of the same century by Berlioz, Meyerbeer, and others, 
 and for some time retained their position as extras, to become, later on, 
 permanent orchestral factors, first in the theatre, then in the concert room. 
 Very few attempts have been made to introduce the small clarinet into the 
 orchestra (Berlioz etc.); this instrument together with the bass flute is used 
 in my opera-ballet Mlada (1892), and also in my most recent compositions. 
 The Christmas Night, and Sadko; the bass flute will also be found in The 
 Legend of the Invisible City of Kitesh, and in the revised version of "Ivan the 
 Terrible". 
 
 Of late years the habit of muting the wood-wind has come into 
 fashion. This is done by inserting a soft pad, or a piece of roUed- 
 up cloth into the bell of the instrument. Mutes deaden the tone of 
 oboes, Eng. horns, and bassoons to such an extent that it is possible 
 for these instruments to attain the extreme limit of pianissimo 
 playing. The muting of clarinets is unnecessary, as they can play 
 quite softly enough without artificial means. Is has not yet been 
 discovered how to mute the flutes; such a discovery would render 
 great service to the piccolo. The lowest note on the bassoon. 
 
 and on the oboe and Eng. horn 
 
 are impossible when the instruments are muted. Mutes have no 
 effect in the highest register of wind instruments. 
 
 Brass. 
 
 The formation of the group of brass instruments, like that of the 
 wood-wind is not absolutely uniform, and varies ih different scores. 
 The brass group may be divided into three general classes corres- 
 ponding to those of the wood-wind (in pair's, in three's, and in 
 four's). 
 
22 
 
 Group corresponding 
 
 to the wood- wind 
 
 in pair's 
 
 Group corresponding 
 
 to the wood-wind 
 
 in three's 
 
 Group corresponding 
 
 to the wood-wind 
 
 in four's 
 
 2 Trumpets I, II. 
 
 3 Trumpets I, II, III. 
 (Ill— Alto trumpet 
 
 or: 
 p Cornets 1, 11. 
 L2 Trumpets I, II. 
 
 (11 — Small trumpet). 
 
 3 Trumpets 1, II, III. 
 
 (Ill— Alto trumpet or 
 
 Bass trumpet. 
 
 4 Horns 1, 11, III, IV. 
 
 4 Horns I, II, III, IV. 
 
 6 or 8 Horns I, II, III,' 
 IV, V, Vi, VII, Vlll. 
 
 3 Trombones. 
 
 3 Trombones I, 11, III. 
 
 3 Trombones I, II, III. 
 
 1 Tuba. 
 
 1 Tuba (1). 
 
 1 Tuba. 
 
 The directions are the same as in tlie preceding table for wood- 
 wind. It is evident that in all three classes the formation may 
 vary as the composer wishes. In music for the theatre or concert 
 room page after page may be written without the use of trumpets, 
 trombones and tuba, or some instrument may -be introduced, temp- 
 orarily as an extra. In the above table I have given the most 
 typical formations, and those which are the most common at the 
 present day. 
 
 Note I. Besides the instruments given above, Richard Wagner used some 
 others in The Ring, notably the quartet of tenor and bass tubas, and a contra- 
 bass trombone. Sometimes these additions weigh too heavily on the other 
 groups, and at other times they render the rest of the brass ineffective. For 
 this reason composers have doubtless refrained from employing such instruments, 
 and Wagner himself did not include them in the score of Parsifal. Some 
 present-day composers (Richard Strauss, Scriabine) write for as many as five 
 trumpets. 
 
 Note II. From the middle of the 1911i century onward the natural brass 
 disappeared from the orchestra, giving place to valve instruments. In my second 
 opera. The May Night I used natural horns and trumpets, changing the keys, 
 and writing the best notes "stopped"; this was purposely done for practise. 
 
 Though far less flexible than the wood-wind, brass instruments 
 heighten the effect of other orchestral groups by their powerful 
 resonance. Trumpets, trombones, and tubas are about equal in 
 
 (1) Of late years sometimes two tubas are employed, by Glazounov for 
 instance in his Finnish Fantasia. (Editor's note.) 
 
— 23 — 
 
 strength; cornets have not quite the same force; horns, in forte 
 passages, are about one half as strong, but piano, they have 
 the same weight as other brass instruments played softly. To 
 obtain an equal balance, therefore, the marks of expression in the 
 horns should be one degree stronger than in the rest of the brass; 
 if the trumpets and trombones play pp, the horns should be 
 marked p. On the other hand, to obtain a proper balance in 
 forte passages, two horns are needed to one trumpet or one 
 trombone. « 
 
 Brass instruments are so similar in range and timbre that the 
 discussion of register is unnecessary. As a general rule quality 
 becomes more brilliant as the higher register is approached, and 
 vice versa, with a decrease in tone. Played pp the resonance is 
 sweet; played // the tone is hard and "crackling". Brass instru- 
 ments possess a remarkable capacity for swelling from pianissimo 
 to fortissimo, and reducing the tone inversely, the sf =— p effect 
 being excellent. 
 
 The following remarks as to character and tone quality may 
 be added: 
 
 a) 1. Trumpets (B\> — A). Clear and fairly penetrating in 
 tone, stirring and rousing in forte passages; in piano 
 phrases the high notes are full and silvery, the low notes 
 troubled, as though threatening danger. 
 
 2. Alto trumpet (in F). An instrument of my own invention, 
 first used by me in the opera — ballet Mlada. In the 
 deep register (notes 2 to 3 in the trumpet scale) it possesses 
 a fuller, clearer, and finer tone. Two ordinary trumpets 
 with an alto trumpet produce greater smoothness and 
 equality in resonance than three ordinary trumpets. Satis- 
 fied with the beauty and usefulness of the alto trumpet, 
 I have consistently written for it in my later works, com- 
 bined with wood-wind in three's. 
 
 Note. To obviate the difficulty of using: the alto trumpet in ordinary theatres 
 and some concert rooms, I have not brought into play the last four notes of 
 its lowest register or their neighbouring chromatics; by this means the alto 
 trumpet part may be played by an ordinary trumpet in Bl> or A. 
 
 3. Small trumpet (in E\>—D). Invented by me and used 
 for the first time in Mlada to realise the very high 
 
— 24 — 
 
 trumpet notes without difficulty. In tonality and range 
 the instrument is similar to the soprano cornet in a mili- 
 tary band. 
 
 Note. The small trumpet, {B\^ — A) sounding an octave higher than the 
 ordinary trumpet has not yet appeared in musical literature. 
 
 b) Cornets (m B\> — A). Possessing a quality of tone similar 
 to the trumpet, but softer and weaker. It is a beautiful 
 instrument though rarely employed today in theatre or 
 concert room. Expert players can imitate the cornet tone 
 on the trumpet, and vice versa. 
 
 c) Horn (in F). The tone of this instrument is soft, poetical, 
 and full of beauty. In the lower register it is dark and 
 brilliant; round and full in the upper. The middle notes 
 resemble those of the bassoon and the two instruments 
 blend well together. The horn, therefore, serves as a link 
 between the brass and wood-wind. In spite of valves 
 the horn has but little mobility and would seem to pro- 
 duce its tone in a languid and lazy manner. 
 
 d) Trombone. Dark and threatening in the deepest register, 
 brilliant and triumphant in the high compass. The piano 
 is full but somewhat heavy, the forte powerful and sono- 
 rous. Valve trombones are more mobile than slide trom- 
 bones, but the latter are certainly to be preferred as 
 regards nobility and equality of sound, the more so from 
 the fact that these- instruments are rarely required to 
 perform quick passages, owing to the special character of 
 their tone. 
 
 e) Tuba. Thick and rough in quality, less characteristic than 
 the trombone, but valuable for the strength and beauty 
 of its low notes. Like the double bass and double 
 bassoon, the tuba is eminently useful for doubling, an 
 octave lower, the bass of the group to which it belongs. 
 Thanks to its valves, the tuba is fairly flexible. 
 
 The group of brass instruments, though uniform in resonance 
 throughout its constituent -parts, is not so well adapted to expressive 
 playing (in the exact sense of the word) as the wood-wind group. 
 Nevertheless, a scope of greatest expression may be distinguished 
 
25 — 
 
 a 
 
 3 
 O 
 u 
 U 
 
 u 
 CO 
 
 a 
 
 E 
 o 
 
 (1> 
 
 > 
 
 'So 
 
 o - 
 
 
 x: 
 H 
 
— 26 — 
 
 in the middle registers. In company with the piccolo and double 
 bassoon it is not given to the small trumpet (E\j( — D) and tuba 
 to play with any great amount of expression. The rapid and 
 rhythmical repitition of a note by single tonguing is possible to 
 all members of the brass, but double tonguing can only be done 
 on instruments with a small mouth-piece, trumpets and cornets. 
 These two instruments can execute rapid tremolando without diffi- 
 culty. The remarks on breathing, in the section devoted to the 
 wood-wind, apply with equal force to the brass. 
 
 The use of stopped notes and mutes alters the character of 
 brass tone. Stopped notes can only be employed on trumpets, 
 cornets and horns; the shape of trombones and tubas prevents 
 the hand from being inserted into the bell. Though mutes are 
 applied indiscriminately to all brass instruments in the orchestra, 
 tubas rarely posses them. Stopped and muted notes are similar 
 in quality. On the trumpet, muting a note produces a better tone 
 than stopping it. 
 
 In the horn both methods are employed; single notes are stopped 
 in short phrases, muted in longer ones. I do not propose to describe 
 the difference between the two operations in detail, and will leave 
 the reader to acquire the knowledge for himself, and to form an 
 opinion as to its importance from his own personal observation. 
 Sufficient to say that the tone is deadened by both methods, 
 assuming a wild "crackling" character in forte passages, tender and 
 dull in piano. Resonance is greatly reduced, the silvery tone of the 
 instrument to lost and a timbre resembling that of the oboe and 
 Eng. horn is approached. Stopped notes (con sordino) are marked 
 -f- underneath the note, sometimes followed by 0» denoting the 
 resumption of open sounds, senza sordini. Brass instruments, when 
 muted, produce an effect of distance. 
 
 C. Instruments of little sustaining power. 
 
 Plucked strings. 
 
 When the usual orchestral string quartet (Vni I, Vni II, Violas, 
 'Cellos, D. basses) does not make use of the bow, but plucks thjC 
 strings with the finger, it becomes to my mind a new and inde- 
 
— 27 — 
 
 pendent group with its own particular quality of tone. Associated 
 with the harp, which produces sound in a similar manner, I con- 
 sider it separately- under the heading of plucked strings. 
 
 Note. In this group may be classed the gmids, zither, balalaika; instruments 
 plucked with a quill, such as the domra, (1) the mandoline etc., all of which may 
 be used in an orchestra, but have no place in the scope of the present book. 
 
 Pizzicato. 
 
 Although capable of every degree of power from // to pp, pizzi- 
 cato 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. 
 
 Table D on page 31 indicates the range in which pizzicato may 
 be used on each stringed instrument. 
 
 In the orchestra, pizzicato comes into operation in two distinct 
 ways: a) on single notes, b) on double notes and chords. The 
 fingers of the right hand playing pizz. are far less agile than the bow; 
 pizz. passages therefore can never be performed as quickly as those 
 played arco. Moreover, the speed of pizzicato playing depends upon 
 the thickness of the strings; on the double basses, for instance, 
 it must always be much slower than on the violins. 
 
 In pizzicato chords it is better to avoid open strings, which 
 produce a more brilliant tone than of covered strings. Chords of 
 four notes allow oi greater freedom and vigour of attack, as 
 there is no danger of accidentally touching a wrong note. Natural 
 harmonics played pizz. create a charming effect; the tone is weak 
 however, and they are chiefly successful on the violoncello. 
 
 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 
 
 (1) A russian instrument which, like the balalaika, is better known abroad. 
 
 (Translator's note.) 
 
— 28 — 
 
 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 t\yo harps, Mlada for three. 
 
 The special function of the harp lies in the execution of chords, 
 and the florid figures springing from them. As only four notes 
 at the most can be played by each hand, the notes of a chord 
 should be written close together, with not too great a space be- 
 tween one hand and the other. The chords must always be broken 
 (arpeggiato); should the composer wish otherwise he should 
 notify it (non arpeggiato). In the middle and lower octaves the 
 resonance of the strings is slightly prolonged, and dies away gra- 
 dually. In changes of harmony the player stops the vibration of 
 the strings with his hands, but, in quick modulations, this method 
 is not feasible, and the mixture of one chord with another produces 
 a discordant effect. It follows that more or less rapid figures can 
 only be realised clearly and neatly in the upper register of *he harp, 
 where the strings are shorter and harder in tone. 
 
 As a general rule, in the whole range of the harp: 
 
 8 bassa 
 
 only the notes of the first to the fourth octave are used; the extreme 
 notes in both compasses may be employed in special circumstances, 
 and for doubling in octaves. 
 
 The harp is essentially a diatonic instrument, since all chromatic 
 passages depend on the manipulation of the pedals. For this reason 
 the harp does not lend itself to rapid modulation, and the orches- 
 trator is advised to bear this fact in mind. But the difficulty may 
 be obviated by using two harps alternately. (1) 
 
 Note. I would remind the reader that the harp is not capable of double 
 sharps or double flats. For this reason, certain modulations from one key to 
 another one, adjacent to it can only be accomplished enharmonically. For 
 instance, the transition from C flat, G flat or D flat, major to their minor sub- 
 dominant chords or keys is not possible owing to double flats. It is therefore 
 
 (I) A chromatic harp without pedals has now been invented in France 
 (Lyon's system), on which the most abrupt modulations are possible. 
 
 (Translator's note.) 
 
— 29 — 
 
 necessary to start enharmonically from the keys of B, F sharp or C sharp, 
 major. Similarly, on account of double sharps, it is impossible to change from 
 A sharp, D sharp or G sharp, minor to their respective dominant major chords 
 or keys; B flat, E flat and A flat, minor must be the starting-points. 
 
 The technical operation known as glissando is peculiar to the harp 
 alone. Taking for granted that the reader is conversant with the 
 methods of acquiring different scales by means of double-notched 
 pedals, it will be sufficient to remark that glissando scales produce 
 a discordant medley of sound owing to the length of time the 
 strings continue to vibrate, and therefore, as a purely musical 
 effect, glissando can only be used in the upper octaves, quite piano, 
 where the sound of the strings is sufficienty clear, yet not too 
 prolonged. Forte glissando scales, entailing the use of the lower 
 and middle strings are only permissible as embellishments. Glis- 
 sando passages in chords of the seventh and ninth, enharmonically 
 obtained, are much more common, and as the above reservations 
 do not apply, every dynamic shade of tone is possible. Chords in 
 harmonics can only consist of three notes written close together^ 
 two for the left hand and one for the right. 
 
 The tender poetic quality of the harp is adapted to every dy- 
 namic shade, but it is never a very powerful instrument, and the 
 orchestrator should treat it with respect. 
 
 At least three, if not four harps in unison are necessary, if 
 they are to be heard against a full orchestra playing forte. The 
 more rapidly a glissando passage is played, the louder it will sound. 
 Harmonic notes on the harp have great charm but little resonance, 
 and are only possible played quite softly. Speaking generally, the 
 harp, like the string quartet, pizzicato, is more an instrument of 
 colour than expression. 
 
 Percussion instruments producing determinate 
 sounds, keyed instruments. 
 
 Kettle-drums. 
 
 Kettle-drums, indispensable to every theatre and concert orchestra 
 occupy the most important place in the group of percussion instru- 
 ments. A pair of kettle-drums (Timpani), in the tonic and domi- 
 nant keys, was the necessary attribute of an orchestra up to, and 
 
— 30 — 
 
 including Beethoven's* time, but, from, the middle of the WJl cen- 
 tury onward, in western Europe and in Russia, an ever-increasing 
 need was felt for the presence of three or even four kettle-drums, 
 during the whole course or part of a work. If the expensive 
 chromatic drum, permitting instant tuning is rarely met with, still, 
 in the majority of good orchestras, three screw drums are gene- 
 rally to be found. The composer can therefore tdke it for granted 
 that a good timpanist, having three kettle-drums at his command, will 
 be able to tune at least one of them during a pause of some length. 
 The limits of possible change in Beethoven's time was consi- 
 dered to be: 
 
 (chromaticatly) (cV»w»*^'^*'^ 
 
 Big 4|; Small 4y 
 
 kettle-drura : ^.^ ■— ^" kettle-drum: . P 
 
 In these days it is difficult to define the precise extent of high 
 compass in the kettle-drums, as this depends entirely on the size 
 and quality of the smallest one, of which there are many kinds, 
 but I advise the composer to select: 
 
 CcMomaV.ca«V^ 
 
 ^ 
 
 Note. A magnificent kettle-drum of very small size was made for my opera- 
 ballet Mlada; this instrument gave the Z)> of the fourtii octave. 
 
 Kettle-drums are capable of every dynamic shade of tone, from 
 thundering fortissimo to a barely perceptible pianissimo. In tre- 
 molando they can execute the most gradual crescendo, diminuendOy 
 the sfp and morendo. 
 
 To deaden the sound, a piece of cloth is generally placed on 
 the skin of the drum, according to the instruction: timpani coperti 
 (muffled drums). 
 
 Piano and Celesta. 
 
 The use of a piano in the orchestra (apart from pianoforte con- 
 certos) belongs almost entirely to the russian school (1). The object 
 is two-fold: the quality of tone, either alone, or combined with 
 
 (1) Rimsky-Korsakov's opera Sadko and Moussorgsky's Boris Godounov 
 are particularly interesting in this respect. (Translator's note.) 
 
— 31 — 
 
 Table D. 
 
 Pizzicato. 
 
 Violin. 
 
 Viola. 
 
 Violoncello. 
 
 Double bass. ^ 
 
 The black notes are dry and hard, without resonance, and should only be 
 used when doubled with the wood-wind. 
 
 * Table E. 
 
 Glockenspiel, celesta, xylophone. 
 
 Glockenspiel 
 
 (with keyboard!. 
 
 Glockenspiel 
 
 (ordinary). 
 
 Celesta. 
 
 Xylophone. 
 
 •) This note is often missing. 
 
— 32 — 
 
 that of the harp, is made to imitate a popular instrument, the guzli, 
 (as in Glinka), or a soft peal of bells. When the piano forms part 
 of an orchestra, not as a solo instrument, an upright is preferable 
 to a grand, but today the piano it is gradually being superseded by 
 the celesta, first used by Tschaikovsky. In the celesta, small steel 
 plates take the place of strings, and the hammers falling on them 
 produce a delightful sound, very similar to the glockenspiel. The 
 celesta is only found in full orchestras; when it is not available 
 it should be replaced by an upright piano, and not the glockenspiel. 
 
 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 posesses greater resonance. The use of the glockenspiel is 
 similar to the celesta, but its tone is more brilliant and pene- 
 trating. Big bells in the shape of hollow discs or metal tubes (1), 
 or real church bells of moderate size may be considered more as 
 theatrical properties than orchestral instruments. 
 
 The xylophone is a species of harmonica composed of strips or 
 cylinders of wood, struck with two little hammers. It produces a 
 clattering sound, both powerful and piercing. 
 
 To complete this catalogue of sounds mention should be made 
 of the strings playing col legno, that is with the wood or back of 
 the bow. The sound produced is similar to the xylophone, and 
 gains in quality as the number of players is increased. 
 
 A table is appended showing the range of 'the celesta, glocken- 
 spiel and xylophone. 
 
 Percussion instruments producing indefinite 
 
 sounds. 
 
 Instruments in this group, such as triangle, castanets, little bells, 
 tambourine, switch or rod {Rule. Gen), side or military drum, cym- 
 bals, 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 
 
 (1) Recently, bells have been made of suspended metal plates possessing the 
 rare quality of a fairly pure tone, and which are sufficiently portable to be used 
 on the concert platform. (Editor's note.) 
 
- 33 - 
 
 musical meaning, and are just mentioned by the way. The first 
 three m^ay be considered as high, the four following as medium^ 
 and the last two as deep instruments. This may serve as a guide 
 to their use with percussion instruments of determinate sounds, 
 playing in corresponding registers. 
 
 Comparison of resonance in orchestral groups and 
 combination of different tone qualities. 
 
 In comparing the resonance of the respective groups of sound- 
 sustaining instruments we arrive at the following approximate con- 
 clusions: 
 
 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 prte passages, are twice 
 as weak as the horns, 1 Horn = 2 Clarinets = 2 Oboes = 2 Flutes 
 = 2 Bassoons; but, in piano passages, all wind-instruments, wood 
 or brass are of fairly equal balance. 
 
 It is more difficult to establish a comparison in resonance between 
 wood-wind and strings, as everything depends on the number of the 
 latter, but, in an orchestra of medium formation, it may be taken for 
 granted that in piano passages, the whole of one department {all 
 151 Violins or all 2!ii Violins etc.) is equivalent in strength to one wind 
 instrument, (Violins I = 1 Flute etc.), and, in jorte passages, to two 
 wind instruments, (Violins I = 2 Flutes = 1 Oboe + 1 Clarinet, etc.). 
 
 It is still harder to form a comparison with instruments of little 
 sustaining power, for too great a diversity in production and emission 
 of sound exists. The combined force of groups of sustained resonance 
 easily overpowers the strings played pizz. or col legno, the piano 
 played softly, or the celesta. As regards the glockenspiel, bells, and 
 xylophone, their emphatic tone will easily prevail over other groups in 
 combination. The same may be said of the kettle-drums with their 
 ringing, resounding quality, and also of other subsidiary instruments. 
 
 The influence of the timbre of one group on another is noticeable 
 when the groups are doubled; for instance, when the wood-wind 
 timbre is closely allied to the strings on the one hand, and to the 
 brass on the other. Re-inforcing both, the wind thickens the strings 
 
34 
 
 and softens the brass. The strings do not blend so well with the 
 brass, and when the two groups are placed side by side, each is 
 heard too distinctly. The combination of the three different timbres 
 in unison produces a rich, mellow and coherent tone. 
 
 All, or several wind instruments in combination will absorb one 
 department of. added strings: 
 
 2 Fl. +2 Ob. + Vni I, 
 or: 2 Ob. + 2 CI. + Violas, 
 or: 2 CI." 4- 2 Fag. 4- 'Cellos. 
 
 One department of strings added to the wood-wind in unison 
 produces a sweet coherent q^uality, the wood-wind timbre still 
 predominating; but the addition of one wind instrument to all or 
 part of the strings in unison, only thickens the resonance of the 
 latter, the wood-wind timbre being lost in the process: 
 
 Vni I + Vni II -f 1 Ob., 
 or: Violas + 'Cellos + 1 CI. 
 or: 'Cellos -j- D. basses + 1 F^g- 
 
 Muted strings do not combine so well with wood-wind, as the 
 two tone qualities remain distinct and separate. Uniting plucked 
 strings and percussion with instruments of sustained resonance 
 results in the following: wind instruments, wood and brass, strengthen 
 and clarify pizzicato strings, harp, kettle-drums and percussion 
 generally, the latter lending a touch of relief to the tone of the 
 wood-wind. Uniting plucked strings and percussion with bowed 
 instruments does not produce such a satisfactory blend, both qualities 
 being heard independently. The combination of plucked strings 
 with percussion alone, is excellent; the two blend perfectly, and the 
 consequent increase in resonance yields an admirable effect. 
 
 The relationship which exists between string harmonics and the 
 flute or piccolo constitutes a link between the two groups in the 
 upper range of the orchestra. Moreover, the timbre of the viola 
 may be vaguely compared to the middle register of the bassoon 
 and the lowest compass of the clarinet; hence, in the medium 
 orchestral range, a point of contact is established between the 
 quartet of strings and the wood-wind. 
 
 The bassoon and horn provide the connection between wood- 
 wind and brass, these two instruments being somewhat analogous 
 
 ^ 
 
- 35 — 
 
 in character when played piano or mezzo- forte; the flute also, in its 
 lowest register, recalls the pianissimo trumpet tone. Stopped 
 and muted notes in horns and trumpets are similar in quality to 
 the oboe and Eng. horn, and blend tolerably well with the latter 
 instrument. 
 
 Concluding this survey of orchestral groups I add a few remarks 
 which seem to me of special importance. 
 
 The principal part in music is undertaken by three instrumental 
 groups of sustained resonance, representing the three primary ele- 
 ments, melody, harmony and rhythm. Instruments of little sustaining 
 power, though sometimes used independently, are chiefly employed 
 for ornament and colour; instruments producing indeterminate sounds 
 play no melodic or harmonic part, their functions being purely 
 rhythmical. 
 
 By glancing at the order in which the six orchestral groups are 
 placed, strings, wood-wind, brass, plucked strings, percussion pro- 
 ducing definite, and those producing indefinite sounds, the reader 
 will be able to determine the part played by each in the art of 
 orchestration, from the secondary standpoint of colour and expression. 
 As regards expression, the strings come first, and the expressive 
 capacity of the other groups diminishes in the above order, colour 
 being the only attribute of the last group of percussion instruments. 
 
 The same order obtains from the standpoint of general effect in 
 orchestration. We can listen to strings for an almost indefinite 
 period of time without getting tired, so varied are their characteristics 
 {vide the number of string quartets, suites, serenades etc. written 
 for strings alone). The addition of a single group of strings will 
 add lustre to a passage for wind instruments. On the other hand, 
 the quality of wind instruments soon becomes wearisome; the same 
 may be said of plucked strings, and also percussion of every kind 
 which should only be employed at reasonable intervals in orchestral 
 composition. 
 
 It cannot be denied that the constant use of compound timbres, 
 in pair's, in three's etc. eliminates characteristics of tone, and pro- 
 duces a dull, neutral texture, whereas the employment of simple, 
 elementary combinations gives infinitely greater scope for variety 
 
 '" '=°"'"- 7 (20) June 1908. 
 
Chapter II. 
 
 MELODY. 
 
 Whether it be long or short, a simple theme or a melodic phrase, 
 melody should always stand out in relief from the accompaniment. 
 This may be done by artificial or natural means; artificially, when 
 the question of tone quality does not come into consideration, and 
 the melody is detached by means of strongly accentuated dynamic 
 shades; naturally, by selection and contrast of timbres, strengthening 
 of resonance by doubling, tripling, etc., or crossing of parts (violon- 
 cellos above the violas and violins, clarinets or oboes above the 
 flutes, bassoons above the clarinets etc.). 
 
 Melody planned in the upper parts stands out from the very 
 fact of position alone, and likewise, to a less degree when it is 
 situated in the low register. In the middle of the orchestral range 
 it is not so prominent and the methods referred to above come 
 into operation. They may also be employed for two part melody 
 (in thirds and sixths) and for polyphonic writing. 
 
 Melody in stringed instruments. 
 
 Instances of the melodic use of stringed instruments are in- 
 numerable. The reader will find many examples in the pre- 
 sent treatise. With the exception of the double basses, — dull 
 in tone and of little flexibility, chiefly employed in unison or in 
 octaves with the violoncellos, — each of the other stringed in- 
 struments, taken independently, is qualified to assume full respon- 
 sibility for the melodic line. 
 
— 37 — 
 
 a) Violins. 
 
 Melody in the soprano-alto register and an extra-high compass 
 usually falls to the lot of the 151 Violins, sometimes to the 2ni Vio- 
 lins or to both in unison, a process which produces fuller re- 
 sonance without impairing quality of tone. 
 
 Examples: 
 
 The Tsar's Bride [84j. — Pianissimo melody (Vnil) of a troubled, 
 dramatic character. Harmonic accompaniment (Vn?-!! and Vio- 
 las tremolando — middle parts; the Violincellos forming the bass). 
 
 Antar, before 70 . — Descending melodic phrase, Vn^I con sor- 
 dini piano. 
 
 No. 1. Sheherazade 2iil movement B . A piano melody (Vnil) 
 graceful in character. 
 
 Antar 12 . Light graceful melody, oriental in style; a dance 
 measure (Vnil con sord.), the mutes producing a dull ethereal 
 quality of tone. 
 
 No. 2. The Legend of the Invisible City of Kiiesh [283 
 
 No. 3. Spanish Capriccio [T\. Vni I in the upper register 
 
 doubling the high register of the wood-wind. Choice resonance. 
 
 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 be- 
 cause 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 vio- 
 las are generally doubled by other strings or by the wood-wind. 
 
 Examples: 
 
 No. 4. Pan Voyevoda, duet in Act II 145 . A long cantabile 
 
 melody in the violas, dolce, in unison with the mezzo soprano voice. 
 
 No. 5. The Golden Cockerel 193 . — Flowing cantabile. 
 
 No. 6. Sadko. Symphonic tableau 12. — Muted violas. A short 
 
 dance theme, piano in D\> major. (The same theme in Eng. horn 
 
— 38 — 
 
 in the 6i!i ^ene of the opera Sadko is slightly more penetrating 
 in tone). 
 
 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 me- 
 lodies are usually laid out for the top string (A) which possesses 
 a wonderfully rich "chest" quality. 
 
 Examples: 
 
 Cantabile on the A string. 
 
 The same melody in Dl> maj. on the D string 
 (doubled by the bassoons). 
 
 Antar [56 
 Antar [63 
 
 No. 7. Pan Voyevoda 134 , nocturne, "Moonlight". A broad 
 melody dolce ed espressivo, afterwards doubled by the first violins 
 an octave higher. 
 
 No. 8. Snegourotchka 231 . At the fifth bar, a melody on the 
 A string cantabile ed espressivo, imitating the first clarinet. 
 
 No. 9. Snegourotchka [274J. Melodic phrase with embellishments. 
 
 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 im- 
 portance 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 of the alto clef (in the last 
 few notes). 
 
 *No. 11. The Golden Cockerel 120 . — D. basses + D- bassoons. 
 
— 39 — 
 
 Grouping in unison. 
 
 a) Vnil -j- Vnill. — 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. Sfieherazade, beginning of the third movement, Cantabile 
 for Vnil and I! on the D string, then on the A. 
 
 The May Night, overture D . Quick piano melody, beginning 
 
 cantabile and divided later in octaves (vnsn]^) with florid em- 
 bellishment. 
 
 No. 13. The Golden Cockerel no . — Vnil + II muted 
 
 b) Violins -j- Violas. — The combination of violins and violas 
 presents no special characteristics, as in the preceding case. The 
 violins remain predominant, and the resonance is rich and full. 
 
 Examples: 
 
 No. 14. Sadko [2O8J. — Vnil + II + Violas (G string). Quiet 
 cantabile melody pp, in unison with the altos and tenors of the 
 chorus. 
 
 The Golden Cockerel 142 . — Same combination. 
 
 c) Violas + 'Cellos. — Produces a rich full resonance, the 'cello 
 quality predominating. 
 
 Examples: 
 
 No. 15. Snegourotchka |T]. — Apparition of Spring. Violas -[- 
 'Cellos 4" Eng. horn. The same melody, mezzo-forte cantabile as in 
 Ex. 9; but in a brighter key, a third higher, its resonance is more 
 brilliant and tense. The addition of the Eng. horn makes no 
 essential differer'ce to the compound tone; the 'cellos stand out 
 above the rest. 
 
 No. 16. The Golden Cockerel [t^. Violas + 'Cellos muted. 
 
 \ 
 
40 
 
 d) Violins -)- 'Cellos. — A combination similar to the preceding 
 one. The 'cello tone prevails and the resonance is fuller. 
 
 Examples: 
 
 Nr. 17. Snegourotchka |288| . "Spring descends upon the lake." 
 Vni. 1 + Vni- 11 + 'Cellos -f Eng. horn. The same cantabile as in 
 Ex.9, and 15. The Eng. horn is absorbed in the musical texture, the 
 principal colour being that of the 'cellos. Still more powerful in 
 resonance. 
 
 No. 18. The May Night. Act III [T]. Chorus of Roussdlki. 
 The combination of the solo 'cello with the violins gives the latter 
 a touch of the 'cello timbre. 
 
 e) Vn5- 1 -j- H -|- Violas -f- 'Cellos. — Combining violins, violas and 
 'cellos in unison is not possible except in the alto-tenor register; 
 this process unites the full resonance of the instruments into an 
 ensemble of complex quality, very tense and powerful in forte passa- 
 ges, extremely full and rich in piano. 
 
 Examples: 
 No. 19. Sheherazade, 2ni movement P . — Energetic phrase //. 
 Mlada, Lithuanian dance, before [adj. 
 
 Mlada, Act. III. 40 . — Cleopatra's dance. Cantabile embellished 
 in oriental fashion. 
 
 f) Violoncellos -|- E^- basses. — A combination of rich full reso- 
 nance, used occasionally for nhrases in the very low register. 
 
 Examples: 
 
 No. 20. Sadko 260|. — A persistent forte figure, severe in 
 character. 
 
 No. 21. Legend of Kitesh [240] . — A pianissimo phrase, sinister 
 and horrible in charaqter. 
 
 Stringed instruments doubling in octaves. 
 
 a) Vnil and Vn^-ll in octaves. 
 
 This is a very common process used for all k.nds of melodic 
 figures, in particular those in the very high register. It has al- 
 ready been stated that the £. string diminishes in fulness of tone 
 
— 41 — 
 
 the higher it ascends from the limits of the soprano voice. More- 
 over, melodic figures in the very high register of the violins become 
 too isolated from the rest of the ensemble unless doubled in octaves. 
 Such doubling secures expression, fulness of tone and firmness of 
 timbre. The reader will find numerous examples of violins in 
 octaves; a few are added below, chiefly broad and expressive 
 phrases. 
 
 Examples : 
 
 No. 22. The Tsar's Bride 166 . Cantabile, piano 
 
 The Tsar's Bride |206| . Cantabile, mezzo-piano; the lower part 
 is in unison with the soprano voice. 
 
 Sheherazade, 3^ movement [T[. Cantabile in G major; dolce and 
 cantabile (the same as Ex. 12). 
 
 No. 23. The Legend of Tsar Saltan \221j. Melody with reite- 
 rated notes, dolce, espress. e cantabile. 
 
 Sadko, Symphonic tableau 12 . yUf-iJ] 8 muted, A short dance 
 phrase pianissimo, given first to the violas, thei; to the violins 
 (cf. Ex. 6). 
 
 No. 24. Sadko, opera 207 . Perhaps an unique example of 
 
 its kind; violins playing in the very extremity of the high register. 
 
 Note. This passage is difficult but nevertheless quite playable. One or two 
 desks of the Isl Violins are sufficient to double the melody in the upper octave, 
 all the other 151 Violins can play the octave below. In this way the piercing 
 quality of the highest notes will be diminished, the melody will acquire a clearer 
 and more pleasant sound, and the expressive tone quality of the lower octave 
 will be strengthened. 
 
 * The Golden Cockerel 156 
 
 165 
 
 11 
 
 * Antar, 1-^ movement 
 
 * No. 25. Ivan the Terrible, Act III [63 
 
 b) Violins divisi in octaves. 
 
 First and second violins divided in two parts and progressing 
 in octaves will deprive the melody of resonance, since the number 
 of players is diminished by half, the consequences being specially 
 noticeable in small orchestras. Nevertheless the method can be 
 used occasionally when the strings are doubled by the wood-wind, 
 and when the melody falls in a sufficiently high register. 
 
— 42 — 
 
 Examples. 
 Snegourotchka \^. — vns'iij ^ mezzo-forte espressivo. Partial 
 
 doubling of Coupava's song (Sopr.). One flute and one oboe double 
 the melody. 
 
 No. 26. Snegourotchka [^. — Chorus of Flowers — vn\""-f fi i] ^• 
 Pianissimo cantabile in two octaves, progressing with the women's 
 chorus (Sopr. I), and given out earlier by the Eng. horn. The flute 
 and all the l^i Violins except two play in the lower octave, the 
 two solo violins, only, in the upper. The solo desk will be suffi- 
 ciently prominent owing to the general pianissimo. 
 
 c) Violins and Violas in octaves. 
 
 First and second Violins progressing with the Violas in octaves 
 is a common method, especially when the lower octave in the 
 melody happens to go below the open G string on the violins. 
 
 . VniOorlin,, 
 ^' Violas J ^• 
 
 Example: 
 Snegourotchka [TaT] , finale of Act 1. Quick melody, piano. 
 
 ry Vni I + in -, Vnl I 1 „ 
 
 2- Violas J^ ^"^ 3- Vnlll + ViolasJ^- 
 
 These two distributions are not exactly the same. The first 
 
 should be used to obtain greater brilliance in the upper part, the 
 
 second to give the lower part a fuller and more cantabile quality. 
 
 Examples: 
 No. 27. Sadko, before [TsT]. — yfjj^'s^ "] 8. Quick animated 
 
 passage, forte, introducing reiterated notes. 
 No. 28. Snegourotchka [Ta?], finale to Act I — vSl n + vioiasj ^• 
 
 Cantabile phrase, transmitted to the flute and clarinet (cf. Ex. 8). 
 
 d) Violas and Violoncellos in octaves. 
 
 Of special use when the Violins are otherwise employed. 
 
 Example: 
 * Legend of Kitesh [so], cSios] ^' ^^^^^^^ ^y bassoons. 
 
 e) Violins and Violoncellos in octaves. 
 
 Used in very expressive passages where the 'cellos have to play 
 on the .4 or D strings. This method produces a more resonant 
 tone than the preceding one; instances of it are frequent. 
 
— 43 — 
 
 Examples: 
 No. 29. ^nfar [43]. -y^"|l/^+V"^"]8. Cantabile of Eastern 
 
 origin. 
 Sheherazade, S'-^ movement [hI. — X."^,' ] 8. Cantabile mezzo- 
 
 •CellosJ 
 
 forte appassionato (cf. Ex. 1). 
 
 * No. 30. Shererazade, 3'A movement, before [p] — ^[]J ,J ^ -cenos] ^ 
 and ^liios '] 8- The first arrangement is rarely found. 
 
 Pan Voyevoda |i34| , nocturne "Moonlight" — ^q'^I^^ 8. Canta- 
 
 bile melody given first to 'cellos alone (cf. Ex. 7). 
 
 The Mcy Night, Act III |b,c,d] — ^0^,0+^"-"] 8- A forte me- 
 
 lodic phrase. 
 
 f) Violoncellos and Double basses in octaves. 
 
 The bass is usually constructed in this manner. Examples of 
 it are to be found everywhere. Sometimes the double bass part 
 is simplified in comparison with the 'cello part. 
 
 Example: 
 Snegourotchka [9], Fairy Spring's Aria. 
 
 g) Violas and Double basses in octaves. 
 
 This combination seldom arises and is only used when the 
 'cellos are otherwise employed. 
 
 Example: 
 No. 31. Legend of Kitesh 
 
 223 
 
 h) Parts progressing in octaves, each part doubled in unison. 
 Melodies situated in the middle orchestral range may be allotted- 
 to 151 and 22^ Vni, in octaves with Violas and 'Cellos. This arrange- 
 ment is constantly found, and produces a beautiful quality of tone, 
 somewhat severe in character. 
 
 Examples: 
 Snegoarotchka\^, feol, [65] and [is]. The same melody, played 
 
 twice pianissimo, not doubled, then twice (mezzo-forte and forte), 
 doubled in the wood-wind. 
 
~ 44 — 
 
 Mlada, Act II, the beginning of the Lithuanian dance. A lively 
 piano theme. 
 
 Ivan the Terrible, Act II 
 
 28 
 
 Note I. It may be of use to point out that melodies lying in 
 the extreme upper register, e. g. those exceeding the middle of the 
 5t!L octave, are generally doubled an octave below, whilst those 
 situated in the extreme low register (below the middle of the 
 l2l octave) are doubled an octave higher. 
 
 Examples: 
 
 Sadko [207j (cf. Ex. 24). 
 
 Note II. Progression in octaves of divided strings of the same 
 kind is generally to be avoided: 
 
 Violas I 'Cellos I D. basses 11 <j 
 Violas ir' 'Cellos H ' D. basses IlJ ^' 
 
 for, in such cases the parts are played on strings which do not 
 
 correspond, and unity of tone is impaired. This, however, does 
 
 not apply to violins. 
 
 Note III. The following distribution is occasionally found: 
 
 Violas + 'Cellos I] „ 
 D. basses + 'Cellos IlJ °' 
 
 Melody in double octaves. 
 
 Vns I] 8 Vni I ] 8 
 
 a) Vni in a or vni. nig may be used for full cantabile melodies 
 
 ViolasJ ° 'CellosJ ° 
 extremely tense in character, and in forte passages for choice. 
 
 Example: 
 
 No. 32. Antar 
 
 65 
 
 Vni I ] 8. 
 
 Violas + 'CellosJ ^* 
 
 — Vni 11 
 
 Violas ] 8 Vns I + II ] 8 Vni I + II + Violas 
 
 b) 'Cellos 1 8 or Violas + 'Cellos] g or 'Cellos 
 D. bassesj D. basses J D. basses 
 
 are employed when the low register of each instrument in brought 
 
 into play, and also to suit phrases of a rough and severe character. 
 
 Examples: 
 
 Legend of Kitesh 66 , opening of the 2iii Act. 
 
 No. 33. Snegourotchka [2j5j. Tumblers' dance. 
 
— 45 — 
 
 Note. The lack of balance in the distribution: 
 
 Vni I +11 + Violas] 8 
 'Cellos 1 g 
 
 D. basses J 
 
 is not of any great importance, for, in such cases, the partial har- 
 monics of one octave support the tone of the other, and vice versa. 
 
 Doubling in three and four octaves. 
 
 Vni 1 1 8 
 Vnlll 18 
 The distribution violas \ „ is very seldom found, and as a rule, 
 'Cellos I ^ 
 D. basses J 8 
 
 only when supported by wind instruments. 
 
 Examples: 
 
 The Legend of Kitesh 150 (allargando) 
 
 * Sheherazade, 4i!i movement, commercing at the lO'iibar. 
 
 Vnil 1 
 
 Vns II \ ^ 
 
 Violas + 'Cellos \ °* 
 D. basses ] 
 
 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. Legend of Kitesh g - Vn|,} ^Jv.)^ ^j g 
 
 * Legend of Kitesh 
 
 IS n 
 liii / 
 
 Cf. also Legend of Kitesh 
 
 _ Vni I "i , 
 
 ViolasJ • 
 Vns 
 Vni 
 
 223 
 
 Vns 1 \ , 
 
 Vni II ; -^ 
 
 8 (Ex. 31). 
 
 Distribution in octaves, thirds, and sixths is usually regulated by 
 the normal register of the respective instruments, so as to avoid 
 
46 — 
 
 any suggestion of mannerism resulting from the disturbance of 
 balance. But such a departure from the recognised order may be 
 permitted in special cases. For instance, in the following example 
 of writing in sixths the upper part is allotted to the 'cellos, the 
 lower part to the violins on the G string; this arrangement produces 
 a quality of tone distinctly original in character. 
 
 Example- 
 No. 35. Spanish Capriccio 
 
 'Cellos 1 . 
 Vnil + IlJ^- 
 
 Melody in the wood-wind. 
 
 *The choice of instruments for characteristic and expressive 
 melody is based on their distinctive qualities, discussed minutely 
 in the foregoing chapter. To a large extent the question is left to 
 the orchestrator s own personal taste. Only the best methods of 
 using the wood-wind in unison or octaves, and distributing a melody 
 in thirds, sixths and mixed intervals, from the standpoint of reso- 
 nance and tone quality will be indicated in this section of the 
 work. Examples of the use of solo wood-wind are to be found 
 in any score; the following are typical instances: 
 
 Examples of solo wood-wind: 
 
 1. Piccolo: Serbian Fantasia 
 Snegourotchka [54] . 
 
 2. Flute: Antar [T|; Servilia 
 
 No. 36. Tsar Saltan 
 
 216 
 
 80 
 
 Snegourotchka 
 
 79 
 
 163 
 
 Fairy Tale [l]; The Cht^stmas Night 
 
 4^ movement, before [ajn(F/. a 2 in the low register). 
 F/ufe (double tonguing): Pan Voyevoda 
 
 183 
 
 No. 37. Sheherazade, 
 
 72 
 
 ; Sheherazade, 4ln move- 
 
 10 
 
 ment, after |T]; No. 38. Ivan the Terrible, Act III, after 
 
 3. Bass flute: No. 39. Legend of Kitesh [44]. 
 
 4. Oboe: No. 40. Sheherazade, 2ii^ movement [a]; The May Nighty 
 ; No. 41. Snegourotchka [so]; Snegourotchka 
 
 Kk 
 
 112 
 
 239 
 
 Act HI 
 
 The Tsar's Bride [m\ (cf. Ex. 284), No. 42 and 43. The Golden 
 Cockerel 57 and [97" . 
 
 5. Eng.horn: Snegourotchkaf^, [283 (cf. Ex. 26); No. 44. Spanish 
 Capriccio 
 
 No. 45. The Golden Cockerel 61 
 
— 47 
 
 6. Small Clarinet: No. 46. Mlada, Act II [33]; M/flda, Act III [37]. 
 
 7. Clarinet: Serbian Fantasia [g]; Spanish. Capriccio [a]; 5ne- 
 gourotchka [90], [99], [224], [227], [231] (cf. Ex. 8); T/i^ May Night, 
 
 ; >^ Ffliry To/e 
 (lowest 
 
 Act I, before x ; Sheherazade, 3i^ movement 
 
 D 
 
 203 
 
 The Golden Cockerel 
 
 97 
 
 [m]; T/ie Tsar's 5nd^ |^, 
 register, cf. Ex. 43). 
 8. Bass clarinet: No. 47 and 48. Snegourotchka 243 and [246- 2'47 
 
 9. Bassoon: Antar [59]; No. 49. Vera Scheloga [36]; Sheherazade, 
 2n^ movement, beginning (cf. Ex. 40); No. 50. The Golden Cockerel 
 ; No. 51. Mlada, Act III, after [29]; cf. also Ex. 78. 
 
 ; cf. also 
 
 249 
 
 84 
 
 289 
 
 10. Double bassoon: Legend of Kitesh, before 
 Ex. 10 (D. bassoon ~\- D. bass solo). 
 
 The normal order of wood-wind instruments and that which 
 produces the most natural resonance is the following: Flutes, Oboes, 
 Clarinets, Bassoons (the order used in orchestral full scores). De- 
 parture from this natural order, e.g. placing bassoons above clarinets 
 and oboes, or flutes below oboes and clarinets, and especially 
 below the bassoons, creates a far-fetched, unnatural tone, useful, 
 however, in certain cases to attain certain special effects. I do 
 not advise the student to make too free a use of this proceeding. 
 
 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 |TT3~|. 
 
 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. 53. Legend of 
 Kitesh 1 330 1; also 
 
 339 
 
 and 
 
 342 
 
 c) Oboe -h Clarinet. A fuller quality than that of either instrument 
 heard separately. The dark, nasal tone of the oboe will prevail in 
 the low register, the bright, "chest" quality of the clarinet in the 
 
 high compass. Examples: Snegourotchka |_i9j; No. 54. Snegourotchka 
 
— 48 — 
 
 lis] . Cf. also Legend of Kitesh [os], [to], [iT] — 2 Ob. + 3 CI. 
 (Ex. 199—201). 
 
 d) Flute + Oboe + Clarinet. Very full in quality. The flute pre- 
 dominates in the low register, the oboe in the middle, and the 
 clarinet in the high compass. Examples: Mlada, Act I [T]; * Sadko 
 [58] (2 Fl. + 2 Ob. -f Small CI.). 
 
 e) Bassoon + Clarinet, Very full quality. The gloomy character 
 of the clarinet prevails in the lower register, the sickly quality of 
 the bassoon in the higher. Example: Mlada, Act II, after [49] . 
 
 f) Bassoon -f- Oboe, and 
 
 g) Bassoon + Flute. 
 
 The combinations / and g, as well as Bassoon + Clarinet -{- Oboe, 
 and Bassoon -\- Clarinet + Flute are very seldom found except in 
 certain orchestral tutti, where they produce increased resonance 
 without creating a fresh atmosphere. But in such combinations, 
 the range of which is practically restricted to the limits of the 
 third octave, the low notes of the flute will predominate in the 
 lower third of this register, and the high notes of the bassoon in 
 the middle third. The clarinet, weak in the middle compass will 
 not stand out prominently in this particular combination. 
 
 h) Bassoon -\- Clarinet -\- Oboe -j- Flute. This combination is equally \ 
 
 rare. The colour is rich, and difficult to define in words. The j 
 
 tone of each instrument will be separated from the others more 
 or less in the manner detailed above. Examples: Russian Easter 
 Fite, the beginning; No. 55. Snegourotchka |30i| ; The May Night, 
 Act III 
 
 Oqq 
 
 The process of combining two or more qualities of tone is unison, 
 while endowing the music with greaterresonance,sweetness and power, 
 possesses the disadvantage of restricting the variety of colour and ex- 
 pression. Individual timbres lose their characteristics when associated 
 with others. Hence such combinations should be handled with 
 extreme care. Phrases or melodies demanding diversity of ex- 
 pression alone should be entrusted to solo instruments of simple timbres. 
 The same applies to the coupling of two instruments of the same 
 kind, such as 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. The quality 
 of tone will lose nothing of its individuality, and will gain in power, 
 but its capacity for expression will be diminished accordingly. An 
 
— 49 — 
 
 instrument enjoys greater independence and freedom when used 
 as a solo than when it is doubled. The use of doubling and 
 mixed timbres is naturally more frequent in loud passages than in 
 soft ones, also where expression and colour is broad rather than 
 individual or intimate in character. 
 
 I cannot refrain from mentioning how greatly I dislike jlhe method of dupli- 
 cating all the wood-wind, in order to balance a group of strings, reinforced 
 out of all reason, to suit the ever-growing dimensions of concert halls. I am 
 convinced that, artistically speaking, a limit should be set to the size of both 
 concert room and orchestra. The music performed at these super-concerts 
 must be specially composed on a plan of its own — a subject which cannot 
 be considered here. 
 
 Combination in octaves. 
 
 When the melody is entrusted to two wood-wind instruments 
 
 in octaves, the usual arrangement producing natural resonance is: 
 
 «rFl. Fl. PI. Ob. Ob. CI. la 
 °LOb. CI. Fag. CI. Fag. Fag.J ^• 
 
 The combination of flute and bassoon in octaves is fare on 
 account of the widely separated registers of the two instruments. 
 Deviation from the natural order, such as placing the bassoon 
 above the clarinet or oboe, the clarinet above the oboe or flute 
 etc., creates an unnatural resonance occasioned by the confusion 
 of registers, the instrument of lower compass playing in its high 
 register and vice versa. The lack of proper relationship between 
 the different tone qualities then becomes apparent. 
 
 Examples: 
 No. 56. Spanish Capriccio [o] — q^J 8. 
 No. 57. Snegourotchka \2m\ — ^n^^homj^- 
 *No. 58. Sheherazade, 3i^ movement [e] — ^]-] 8. 
 
 5arf/^^[l!3-Eng.horn]8- 
 
 Pan Voyevoda [T£] — ^[-J 8. 
 ci. -I « 
 
 Fag.J 
 
 Tsar Saltan 
 
 39 
 
 No. 59. Vera Scheloga [ao] — pig.]^' likewise any number of 
 examples in the scores of various composers. 
 
 The use of two instruments of the same colour in octaves, e. g. 
 2 flutes, 2 clarinets or 2 bassoons etc., if not exactly to be avoided 
 
— 50 — 
 
 is certainly not to be recommended, as the instruments, playing 
 in different registers will not correspond one with the other. Ne- 
 vertheless this method may be safely employed when stringed in- 
 struments, arco or pizzicato double the two members of the wood- 
 wind, and especially in the middle compass. The process is most 
 satisfactory for repeated notes or sustained passages. 
 
 Examples: 
 The May Night, Act I |T| — g;,}] 8. 
 * Sadko, after [T59] — gj; ,[] 3, doubled by pizz. strings. 
 
 * Servilia, after [21] — ^^|; jj] 8 -f pizz. strings. 
 
 Instruments of the same branch playing in octaves, e. g. 
 
 f. fFag. CI. Ob. Small cl. Flute Picc.1 „ 
 
 LC-Fag. Cl. basso Eng. horn Clar. Alto Fl. Fl. J ® 
 
 always produce a good effect. 
 
 Examples: 
 Snegourotchka \^ — pj'^'''] 8 (cf. Ex. 15). 
 The Tsar's Bride [Tii] — ^j"'] 8. 
 Tsar Saltan [2T6] — ^j|=''-] 8 (cf. Ex. 36). 
 Sadko, after [59] S^^" ^i-] 
 
 Legend of Kitesh [240] — c%g] ^ (cf- Ex. 21). 
 
 No 60. Mlada, Act III, before [44] - ^^-^ j^^ J 8. 
 
 As in the strings, so in the wood-wind it is advisable to double 
 in octaves any melody situated in the extremely high or low 
 compass; an octave lower in the first case, an octave higher in 
 the second. Thus the piccolo will be doubled by the flute, oboe 
 or clarinet an octaVe lower; the double bassoon will be doubled 
 by bassoon, clarinet or bass clarinet an octave higher. 
 
 a fPicc. Pice. Picc.1 ^ 
 °Lf1. Ob. Cl. J®- 
 
 ^ [Fag. Bass cl. CI. Cl. Fagr. Fag. ~| ^ 
 
 Lc-Fag-. Fag. Fag. Bass cl. Fag. Bass cl.J 
 
 Examples. 
 
 * Tsar Saltan 
 
 39 
 
 Pice"! « 
 ~ Ob. J ^• 
 
 *No. 61. Mlada, Act II, Lithuanian dance [iFI — ^jf^:, ,1 8 
 
 Small cl.J 
 
— 51 — 
 
 Sadko[i50\-^^^%,^,]8. 
 
 * Mixed qualities of tone may be employed in doubling in oc- 
 taves, the above remarks still holding good. 
 
 Examples : 
 Pan Voyevoda [T34] - g j] ^„'^. horn] ^ (cf. Ex. 7). 
 
 No. 62. Servilia [m] - \ g; + f^^_ ,^^ J 8. 
 
 No. 63. The Tsar's Bride [120] - ^ Fi- + Ob^^ ^ ^^^ ^^^ J 8 
 
 .M/arf., ActIII0-S:i^rssci.]^ 
 
 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: 
 
 Fl. Ob. Fi. Fl. 18 
 In 3 octaves: Ob. ci. Ci. Ob. 
 
 Cl. Fag-. Fag. Fag.J°' 
 
 Fl. ]8 
 In 4 octaves: ^l]8 
 
 Fag.] 8. 
 
 Mixed timbres may also be employed. 
 
 Examples: 
 
 No. 64. Spanish Capriccio [p] — melody in 4 octaves: 
 
 Pice. 1 8 
 
 2 Fl. i „ 
 
 2 Ob. + C1.J * 
 Fag. J 8. 
 
 The Tsar's Bride [l4i — ; melody in 3 octaves. 
 * Legend of Kitesh 
 
 212 
 
 2 Gl. 
 
 Bass cl. 1 
 D. bassoonJ ° 
 
 ]8 
 
 *No. 65. Antar, (l5i version) 3:^ movement, the beginning — 
 
 Pice. +2F1.]8 
 
 2 Ob. -4- 2 Cl.] „ also C , melody in 4 octaves (piccolo in the upper 
 2 Fag.' J8; ' — I 
 
 octaves). 
 
 *Mlada, Act III, after 
 
 42 
 
 Fl. 
 
 18 
 
 Eng. horn) ^^ 
 
 Pice.] 8 
 
 No. 66. Sheherazade, 3i^ movement Q — Ci. 1^ 
 
 ' — ' Cl. Ill 8- 
 
 Examples of melody doubled in five octaves are extremely rare; 
 in such cases the strings participate in the process. 
 
 4' 
 
52 — 
 
 Melody in thirds and sixths. 
 
 Melodic progression in thirds and sixths demands either two 
 
 instruments of the same colour (2 Fl., 2 Ob., 2 CI., 2 Fag.), or 
 
 instruments of different colours in the normal order of register: 
 
 FI. Fl. Ob. Cl. Ob. 1 
 
 Ob. CI. Cl. Fag. Fag.J 
 
 3 (6). 
 
 If this order is inverted, e. g. p,^' p,'; q.^'] 3 (6), a strained and 
 forced resonance is created. For progressions in thirds, the best 
 method, from the standpoint of equality in tone is to use instru- 
 ments of the same kind in pairs; for progressions in sixths in- 
 struments of different kinds are more suitable, but both courses 
 are good and useful. They may also be employed for progressions 
 in thirds and sixths, or thirds, fifths and sixths mixed, as for 
 example: 
 
 ^ 
 
 ei 
 
 Legend of Kitesh 
 
 24 
 
 Examples: 
 
 different wind instruments in turn. 
 
 The May Night, Act III [g\ — g;] 3. 
 
 SadkO 1 2 79-280 1 — ^[;] 3 (6). 
 
 No. 67. Spanish Capriccio, before 
 thirds and sixths. 
 
 various wood-wind in 
 
 Servilia [228] — ^];] 3 and ^j;] 3. 
 
 The Golden Cockerel [232] — \ ^'^ J 6. 
 
 SadkO 
 
 43 
 
 All wood-wind in turn, simple timbres. 
 When the doubled parts progress in thirds or sixths, the 
 following method is advisable: 
 
 R+obJ ^ ^^) °'" f1: t G1-] ^ ^^^ ^*''" ^' ""^^ ^'• 
 
 Fl. + Ob.] , (f. „, Ob. + F1.1 ^ ,.. . 
 In the case of tripling the following arrangement may be adopted: 
 
 Fl. + Ob. + C1.1 3 ... Ob. + 2 Fl.-] ... 
 Fl. + Ob. + Cl.J ^ ^^' ^^ Ob. + 2 Cl.J "^ ^^' ^^'^' 
 
 Examples: 
 
 * No. 68. The Christmas Night [Tst] — gj; + g[;] 3. 
 
 * Legend of Kitesh [202-203J different mixed timbres. 
 
j FFfPiiFfF F 
 
 — 53 — 
 
 Thirds and sixths together. 
 
 Apart from the obvious dis- 
 tribution: 
 
 Fl. Ob. 
 
 Ob. or CI. , there are certain 
 
 CI. Fag. 
 
 complicated methods which involve doubling: 
 
 Upper part. Ob. + FI. 
 Middle „ Fl. +C1. 
 Lower „ Ob. + CI. 
 
 The following is a complex instance somewhat vague in cha- 
 racter: 
 
 ,— , Ob. PU 
 
 No. 69. Legend of Kitesh \35\ — Ob. + Ci. and Fl. +0b. 
 ^ ' I — ' ci. Ob. 
 
 Melody in the brass^ 
 
 The natural scale, the only one which brass instruments had 
 at their disposal prior to the invention of valves was: 
 
 2 3* 
 
 5 e « » to ("' '^ :i 
 
 i^ « ^> 
 
 - - ^^ 
 
 - T5 
 
 giving, in two part harmony: 
 
 With the help of rhythm, these component parts have given rise to 
 a whole series of themes and phrases named fanfares, trumpet calls 
 or flourishes, best adapted to the character of brass insfruments. 
 
 In modern music, thanks tp the introduction of valves, this scale 
 is now possible in all keys for every chromatic brass instrument, 
 without it being necessary to change the key, and the addition of 
 a few notes foreign to the natural scale has enriched the possi- 
 bilities of these flourishes and fanfares, and endowed them with 
 greater variety of expression. 
 
 These phrases, either as solos, or in two or three parts, fall specially to 
 the lot of the trumpets and horns, but they may also be given to the 
 trombones. The full, clear, ringing notes of the middle and upper 
 register of horns and trumpets are best suited to figures of this 
 description. 
 
— 54 — 
 
 Examples: 
 
 Scrvilia 
 
 20 
 
 — Trumpets. 
 The Christinas Night[^ — Horn, Trumpets. 
 Verra Scheloga, be^nnning of Overture, and after [45] — Horn, 
 Trumpets. 
 
 Ivan the Terrible, Act III [T| — Cornet. 
 Snegoiirotchka [T55] ^- Trumpets. 
 
 No. 70. Legend of Kitesh [^s] an-d elsewhere. — 3 Trumpets, 
 4 Horns. 
 
 — 2 Trombones, Trumpet. 
 
 2 Horns and J{Z^^^^] ^ (^f. fur- 
 
 191 
 
 20 
 
 Pan Voyevoda 
 
 * The Golden Cockerel 
 ther on). 
 
 After fanfare figures, those melodies best suited to the brass 
 quality are those of an unmodulated diatonic character, rousing 
 and triumphant in the major key, dark and gloomy in the minor. 
 
 Examples : 
 No. 71. Sadko [342] — Trumpet. 
 Sadko, before 
 
 181 
 
 No. 72. Snegourotchka 
 Russian Easter Fete 
 Spanish Capriccio 
 
 71 
 
 M 
 
 Trombones (cf. Ex. 27). 
 — Trumpet. 
 - Trombone. 
 Alternative use in the horn of open 
 
 and stopped notes (cf. Ex. 44). 
 
 Jvan the Terrible, Act II, before [It] 
 3 Horns a little further on. 
 
 Mlada, Act II 
 
 Bass trumpet, and 
 
 33 
 
 Bass trumpet (cf. Ex. 46). 
 
 The genial and poetic tone of the horn in piano passages 
 affords greater scope in the choice of melodies and phrases that 
 may be entrusted to this instrument. 
 
 Examples: 
 The May Night, Overture [T3]. 
 The Christmas Night |T| . 
 Snegourotchka 
 Pan Voyevoda 
 
 86 
 
 37 
 
 No. 73. Antar 40 
 
— S5 — 
 
 Melodies involving chromatic or enharmonic writing are much 
 less suitable to the character of brass instruments. Nevertheless 
 such melodies may sometimes be allotted to the brass, as in the 
 music of Wagner, and the modern Italian realists, who however, 
 carry the proceeding to extremes. Vigonrous phrases in the form 
 of a fanfare, although introducing chromatic notes sound singu- 
 larly beautiful on the brass. 
 
 Example: 
 
 D 
 
 No. 74. Sheherazade, 22i movement 
 
 As a general rule, brass instruments lack the capacity to express 
 passion or geniality. Phrases charged with these sentiments be- 
 come sickly and insipid when confided to the brass. Energetic power, 
 free or restrained, simplicity and eloquence constitute the valuable 
 qualities of this group. 
 
 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 [J] — 4 Horns (cf. Ex. 15). 
 
 Snegourotchka 199 — 4 Horns and 2 Trumpets. 
 
 Sadko 175 — 1, 2, 3 Trumpets. 
 
 No. 75. Sadko [aosj (1) — 3 Trombones. 
 
 No. 76. The May Night, beginning of Act III — 1, 2, 3, 4 Horns. 
 
 Legend of Kitesh, end of Act I — 4 Horns (cf. Ex. 70). 
 
 No. 77. Sheherazade, 411i movement p. 204 — 3 Trombones. 
 
 Mlada; Lithuanian dance — 6 Horns (cf. Ex. 61). 
 
 (1) The composer has emen ded the score in the following manner: from 
 
 , and also from the fifth to the ninth bar 
 
 the fifth to the ninth bar after 
 after 
 
 306 
 
 305 
 
 , the three clarinets play in unison, the trumpet being marked forte 
 instead of fortissimo; in the example, the first of these passages is corrected 
 according to the composer's altoration. (Editor's note.) 
 
— 56 — 
 
 Owing to the resonant power of the entire group, the equality 
 
 and even gradation of tone between the dark colour of the deep 
 
 compass and the bright quality of the upper register, the use of 
 
 brass instruments of the same kind in octaves, thirds or sixths 
 
 invariably leads to satisfactory results. For the same reason the 
 
 employment of brass instruments of different kinds, arranged 
 
 according to normal order of register: 
 
 Trumpet Trumpet Trombone 2 Trombones 2 Trumpets 2 Horns 
 
 2 Horns Trombone Tuba Trombone -f- Tuba 2 Trombones Tuba 
 
 is likewise successful whether the instruments are doubled or not. 
 
 Another possible method, though not so reliable, is to combine 
 
 horns (above) with trombones, exclusively in octaves: 
 
 2 Horns ] e nr ^ Horns 1 ^ 
 1 Trombone] ° "' 2 Trombones] 
 
 Examples: 
 Sadko, before {m} - t™-p=;] «. 
 
 Snegourotchka \^ - ^Trllte + Tuba] «■ 
 
 Ivan the Terrible, Act 111 [To] ' ^^^S^j;^ + ■^^™''='] 8 (cf. Ex, 38 
 The Golden Cockerel [T26] - '\\lZt,V 
 
 Cf. also Snegourotchka |32S-^26| — TromboneJ ' (E"- ^^)- 
 
 Trombone! 
 
 Melody in different groups of instruments 
 combined togethier. 
 
 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 instru- 
 ment taken separately, but slightly sweeter than the brass instru- 
 ment 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 jorte passages. The 
 trumpet is the instrument most frequently doubled: Trumpet -|- CI., 
 Trumpet + Ob., Trumpet -f Fl., as well as Trumpet -r CI. + Ob. + Fl.; 
 
— 57 — 
 
 the horn, less often: Horn + CI., Horn + Fag. Trombones and Tuba 
 may also be doubled: Trombone -|- Fag., Tuba -f Fag. Combining 
 the Eng. horn, bass clarinet and double bassoon with the brass, in 
 corresponding registers, presents the same characteristics. 
 
 Examples: 
 
 Legend of Kitesh [56j — Trombone + Eng. horn. 
 * Mlada, Act III, before [34] — 3 Trombones + Bass cl. 
 As a rule, the addition of a wind to a brass instrument yields 
 a finer legato effect than when the latter instrument plays alone. 
 
 B. Combination of wind and brass in octaves. 
 
 Doubling the horns in octaves by clarinets, oboes or flutes often 
 replaces the combination 
 
 1 Trumpet "I « 
 
 1 Horn (or 2 Horns)J °' 
 
 This is done when it is a question of introducing a rich tone into 
 
 the upper octave which the trumpet is not capable of imparting. 
 
 If a single horn is used, the upper part is allotted to 2 clarinets, 
 
 2 oboes, or 2 flutes. But it there are two horns playing the lower 
 
 octave in unison, three or four wind instruments will be necessarj' 
 
 above, especially in forte passages: 
 
 rz Ob. or 2 Cl. or 2 Fl. j 1 Ob. + 1 Cl.l g. 2 Fl. + 2 Cl.-| g 
 ^ Ll Horn ^^ ^®" ^^ 1 Horn J "• 2 Horns J ^' 
 
 To double a trumpet in the upper octave three or four wind instru- 
 ments are required, but in the top register two flutes will suffice. 
 
 2F1. 2 Fl. 
 
 Ob 
 
 ^^^P"- ^ 
 
 Trumpet. Trumpet. 
 
 Wood-wind instruments should not be used to double a trombone 
 in the octave above; trumpets are more suitable. 
 
 Examples of doubling in octaves: 
 
 * Snegourotchka \n\ - Zrit^'']^- 
 
 * Legend of Tsar Saltan, before [18O — Y.^.J ^N 8. 
 
 Horn 
 Horn 
 
— 58 — 
 
 * Mention should also be made of mixed timbres (wood and brass) 
 in progression in octaves. 
 
 Examples: 
 
 Mlada, Act III, beginning of Scene III - xibaTci^^'' ''] ^• 
 
 No. 78. Mlada, Act III, after [25] - ISstV'rH^t +7^X00] « 
 
 No. 79. Mlada, Act III, before 35 — general unison. 
 
 (low register). 
 
 When it is desired to distribute the melody over three or four 
 octaves, it is difficult to achieve perfect balance of tone. 
 
 Examples: 
 
 Pice. 1 fi 
 
 * Sheherazade, 4± movement, 15lli bar after fwl — 2 Fi. + 2 Ob.j ^ 
 
 ' — ' 2 Trumpets J 8. 
 Pice. ] 8 
 
 * Legend of Tsar Saltan 228 — 2Fi. + 2 0b. \ 
 
 Trumpet + Eng. horn J ° 
 
 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 in- 
 creases the resonance of the latter and amplifies its tone, while 
 the quality of the strings softens that of the wood-wind. In such 
 combinations the strings will predominate provided that the two' 
 instruments are of equal power, e. g. when violins are coupled with 
 an oboe, a bassoon with the 'cellos. If several wind instruments 
 play in unison with one group of strings, the latter will be over- 
 powered. As a rule all combinations refine the characteristics of 
 each instrument taken separately, the wood-wind losing more than 
 the strings. 
 
 Doubling in unison. 
 
 The best and most natural combinations are between instruments 
 whose registers correspond the nearest: 
 Vni-f FI. (Bass fl., pice), Vni+Ob., Vni-hCl. (small CI.); 
 Violas 4- Ob. (Eng. horn), Violas + CI., Violas + Fag. 
 'Cellos + CI. (Bass cl.), 'Cellos + Fag.; 
 
59 
 
 D. basses -\- Bass cl., D. basses + Fag.; D. basses -f- C-fag. 
 
 The object of these combinations is: a) to obtain a new timbre 
 of definite colour; b) to strengthen the resonance of the strings; 
 c) to soften the quality of the wood-wind. 
 
 Snegourotchka |~5~| 
 
 No. 80. 
 No. 81. 
 No. 82. 
 No. 83. 
 Servilia 
 
 Examples : 
 'Cellos -f Violas + Eng. horn (cf. Ex. 15). 
 28J — Violas -f Ob. + Eng. horn, 
 [m] - Vni 1 -f II + Ob. + Cl. 
 
 Vni I + II + 'Cellos + Eng. horn (cf. Ex. 17). 
 Violas -f Cl. 
 
 Bb 
 
 The May Night, Act III 
 
 — Vni+Ob. 
 
 — Violas + Eng. horn. 
 
 — Violas -j- Eng. horn. 
 
 Sadko 
 
 311 
 77 
 123 
 
 59 
 
 Tsar Saltan [so] — 
 No. 84. Tsar Saltan 
 + Fag. 
 
 Tsar Saltan 
 
 Vni G string + Fl. 
 VniI + II-f2 Cl. 
 lOlii bar. — 
 
 30 
 
 'Cellos + Violas + 3 CL 
 
 156—159 
 
 — Vni detached -f Fl. legato. 
 The Tsar's Bride [To] Violas + 'Cellos + Fag. 
 Antar, 4^- movement 
 
 63 
 
 Sheherazade, Si^ movement 
 
 'Cellos + 2 Fag. 
 
 — Violas -|- Ob. + Eng. horn. 
 
 Parts doubled in octaves. 
 Examples of strings in octaves doubled by wood-wind also in 
 octaves are numerous, and do not require special description; they 
 are used according to the rules already laid down. The following 
 are examples of melody distributed over 1, 2, 3 and 4 octaves: 
 
 Examples : 
 
 No. 85. Ivan the Terrible, beginning of Overture — 
 Vni 1 + II + 2 Cl. ] o 
 
 Violas + 'Cellos + 2 Fag.J °' 
 
 No. 86. Saiko [U - StSi + C-fag ]«• 
 
 idko 
 
 166 
 
 
 
 » 
 
 235 
 
 D. basses -f" C 
 'Cellos HFagf. ig 
 D. basses + C-fag.J 
 Violas + 2 Cl. 
 'Cellos + D. basses + 2 Fag 
 
 .1 
 
 8. 
 
 The Tsar's Bride 
 
 14 
 
 'Cellos + Fag. ] 
 D. basses + Fag.J 
 
— 60 — 
 
 The Tsar's Bride [sT] — ^J|,j div. ']:^i,]B. 
 
 166 
 
 vSn|Sb.]Mcf.Ex.22). 
 
 In three and four octaves: 
 
 Vns + 3 Fl. 1 c 
 Servilia 93 — Violas + 2 Ob. i 
 'Cellos 4- 2 Fag.J 8- 
 
 Vnl I -f- Pice. la 
 
 No. 87. Kashtchei 105 — vm ii -V Fi. + Ob. \^ 
 
 Violas + 'Cellos + 2 Cl. + Eng. horn + Fag.J 8. 
 
 Vnl I + Fl. 18 
 
 Shihirazade, 3^ movement M — Vm ii + Ob. { „ 
 
 ' — ' 'Cellos + Engl, hornj 8. 
 
 Examples of melody in thirds and sixths: 
 
 s.m/,a0-^';+8S:tg::tvSH»- 
 
 No. 88. Servilia |ni| — Strings and wood-wind in thirds. 
 
 No. 89. „ 1 126 1 — same combination, in thirds and sixths. 
 
 Kashtchei 
 
 90 
 
 
 The same. 
 
 It is necessary* to pay more attention to cases where, of the two 
 parts in octaves, only one is doubled. When this method is applied 
 to a melody in the soprano register it is better to allow the wood- 
 wind to progress in octaves, the lower part only being doubled 
 by one of the string groups; p^+YnJ^- Ob. (Ci.) + Vn J ^• 
 
 Examples: 
 Tsar Saltan [m\ — v^i'i +7i + Ob.] ^ (^f- ^^- 1^)- 
 
 *No.90. Shdhirazade, 4«i movement [u] - ?ceiios + 2 Horns] 8- 
 In the case of a melody in the low register demanding a sweet 
 soft tone, the violoncellos and double basses should be made to 
 progress in octaves, the former* doubled by a bassoon, the latter 
 not doubled at all: d ^"as^ses ^*^ ] ^' Sometimes a composer is 
 obliged to use this method on account of the very low register of 
 the double bass, especially if a double bassoon is not included in 
 his orchestral scheme. (1) 
 
 (1) The process of doubling strings and wood-wind in octaves: y,' 8, 
 Cellos ^' ^^^'^ otten used by the classics to obtain balance of tone, is not 
 to be recommended, as the tone quality of the two groups is so widely different. 
 As a result of the ever-increasing tendency to profusion of colour, this method 
 has recently come into fashion again, notably among the younger French 
 composers. (Editor's note.) 
 
No. 91. Tsar Saltan 
 
 92 
 
 — 61 — 
 
 Example: 
 
 Violas + Fa,g. 1 g 
 — 'Cellos + Fag.] 
 D. Basses 1 ^• 
 
 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; ^^^^^,^^ + jibf °"'' (^^r 
 heavy massive effects). 
 
 The combination of horns and 'cellos, frequently employed, pro- 
 duces a beautifully blended, soft quality of tone. 
 
 Examples: 
 
 Tsar Saltan 29 — Vnil + II + Horn. 
 
 * No. 92. The Golden Cockerel 98 — Violas con sord. + Horn. 
 
 E. Combination of the three groups. 
 
 The combination of members of the three groups in unison is 
 more common, the presence of the wood-wind imparting a fuller 
 and more evenly blended tone. The question as to which group 
 will predominate in timbre depends upon the number of instruments 
 employed. The most natural combinations, and those most generally 
 in use are: Vni-[- Ob. (Fr., CI.) -f- Trumpet; Violas (or 'Cellos) + CI. 
 (Eng. horn) + Horn; D.talses + 2 Fag. + 3 Trombones ^- Tuba. 
 
 Such groupings are used for preference in loud passages or for 
 a heavy piano effect. 
 
 Examples: 
 
 No. 93—94. Snegourotchka [218] and [2T9] — Vni I + II + CI. 
 + Horn and Vni I + II -}- CI. + Trumpet. 
 
— 62 — 
 
 Servilia 
 
 168 
 
 No. 95. Snegourotchka 
 Pan Voyevoda [224] - 
 
 Violas + Trombones 1 g 
 
 'Cellos + Trombone + Bass Cl.J (cf. Ex. i2). 
 
 D, basses + Tuba + Fag. J 8 
 
 'Cellos + Violas + Fag. + Trombone 
 D. basses -|- Fag. -f- Tuba 
 
 325 
 
 Vni+ Fag. + Horn + Vn. + CI. -j 
 pet. (Stopped notes in the brass.) 
 
 Violas + 2 CI. -|- Bass trumpet 
 
 Trum- 
 
 Mlada, Act III, after 
 
 23 
 
 *No.96. Ivan the Terrible, Act III, before [66] — 
 Bass CI. + Horn 1 ,, 
 
 D. basses + G-fag. + TubaJ 
 
 * Ivan the Terrible, Overture, 41!i bar after [T] — Violas -\- 'Cellos 
 
 + Eng. horn + 2 CI. + Bass CI. + 2 Fag. + 4 Horns. (The melody 
 
 simplified in the horns.) 
 
Chapter III. 
 
 HARMONY. 
 
 General observations. 
 
 The art of orchestration demands a beautiful and well-balanced 
 distribution of chords forming the harmonic texture. Moreover, 
 transparence, accuracy and purity in the movement of each part 
 are essential conditions if satisfactory resonance is to be obtained. 
 No perfection in resonance can accrue from faulty progression 
 of parts. 
 
 Note. There are people who consider orchestration simply as the art of 
 selecting- instruments and tone qualities, believing that if an orchestral score 
 does not sound well, it is entirely due to the choice of instruments and timbres. 
 But unsatisfactory resonance is often solely the outcome of faulty handling of 
 parts, and such a composition will continue to sound badly whatever choice 
 of instruments is made. So, on the other hand, it often happens that a passage 
 in which the chords are properly distributed, and the progression of parts 
 correctly handled, will sound equally well if played by strings, wood-wind or brass. 
 
 The composer should picture to himself the exact harmonic 
 formation of the piece he intends to orchestrate. If, in his rough 
 sketch, there exist any uncertainty as to the number or movement 
 of harmonic parts, he is advised to settle this at once. It is 
 likewise essential for him to form a clear idea as to the con- 
 struction and musical elements of the piece, and to realise the 
 exact nature and limitations of the themes, phrases and ideas he 
 is going to employ. Every transition from one order of harmonic 
 writing to another, from four-part harmony to three, or from five- 
 part harmony to unison etc., must coincide with the introduction 
 of a new idea, a fresh theme or phrase; otherwise the orchestra- 
 tor will encounter many unforeseen and insurmountable difficul- 
 
— 64 — 
 
 ties. For example, if, during a passage written in four parts a chord 
 in five-part harmony is introduced, a fresh instrument must needs 
 be added to play this particular fifth part, and this addition may 
 easily damage the resonance of the chord in question, and render 
 the resolution of a discord or the correct progression of parts 
 impossible. 
 
 Number of harmonic 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 tour part harmony with extra parts added. These 
 additions are nothing more than the duplication in the adjacent 
 upper octave of one or more of the three upper parts forming the 
 original harmony, the bass being doubled in the lower octave only. 
 The following diagrams will explain my meaning: 
 
 A. Close part writing 
 
 Four part harmony. 
 
 Duplication of 1 part. 
 
 * 
 
 Duplication of 2 parts. 
 
 ft 
 
 n I I TT 
 
 Duplication of 3 parts. 
 
 ft 
 
 ^ 
 
 s 
 
 ^ 
 
 # 
 
 ^ 
 
 & " t 
 
 ^ 
 
 
 xr 
 
 B. Widely-divided part-writing. 
 
 Pour part harmony. Duplication of 1 part. Duplication of 2 parts. 
 
 A> <> i 
 
 II 
 
 
 If 
 
 -H- 
 
 f— o — 1 
 — n — 
 
 — » 
 
 -H— 
 
 
 i—o 1 
 
 £1. 
 
 — Q 
 
 
 ^=^ 
 
 1" 1 
 
 O 
 
 — e — 
 
 — o — 
 
 Tl — 1 
 
 U 
 
 — o 
 
 o 
 
 II 
 
 — « 
 
 o 
 
 
 
 
 
 
 
 
 
 
 
 
 
 •K 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 , >■ , 
 
 
 
 
 
 
 
 Note. In widely-spaced harmony only the soprano and alto parts may be 
 doubled in octaves. Duplicating the tenor part is to be avoided, as close 
 writing is thereby produced, and doubling the bass part creates an effect of 
 heaviness. The bass part should never mix with the others: 
 
Bad: 
 
 65 — 
 
 m 
 
 s 
 
 i 
 
 On account of the distance between the bass and the three other 
 parts, only partial dupHcation is possible. 
 
 Good: 
 
 g 
 
 ^m 
 
 [t ;;"i ^ 4 ' ^=^ 
 
 
 Note. Notes in unison resulting from correct duplication need not be avoided, 
 for although the tone in such cases is not absolutely uniform, the ear will be 
 satisfied with the correct progression of parts. 
 
 Consecutive octaves between the upper parts are not permissible: 
 
 Bad: 
 
 
 :^ 
 
 Consecutive fifths resulting from the duplication of the three 
 upper parts moving in chords of sixths are of no importance: 
 
 Good: 
 
 The bass of an inversion of the dominant chord should never 
 be doubled in any of the upper parts: 
 
 Good: 
 
 m 
 
 t^z 
 
 m 
 
 -o^ 
 
 ^ 
 
 ~w 
 
 Bad: 
 
 ^ §.. 
 
 m 
 
 Se- 
 
 S 
 
 XT 
 
 4 
 3 
 
 XT 
 
 4 
 8 
 
 This applies also to other chords of the seventh and diminished 
 seventh: 
 
— 66 
 
 Bad: 
 
 # 
 
 S 
 
 
 ^ 
 
 Good: 
 
 ♦ 
 
 :^ 
 
 # 
 
 m 
 
 S 
 
 The rules of harmony cpncerning sustained and pedal passages 
 apply with equal force to 'orchestral writing. As regards passing 
 and auxiliary notes, ecliappees, considerable licence is permitted 
 in rapid passages of different texture: 
 
 One textuce: 
 
 A different one: 
 
 II rrrrrifrr 
 
 One 
 texture: 
 
 A different 
 one: 
 
 A certain figure and its essentials^ in simplified form, may 
 proceed concurrently, as in the following example: 
 
 One texture: 
 
 A different one: 
 
 A third: 
 
 ^ 
 
 ^ 
 
 Upper and inner pedal notes are more effective on the orchestra 
 than in pianoforte or chamber music, owing to the greater variety 
 of tone colour: 
 
 » 
 
 -w 
 
— 67 — 
 
 In Vol. II of the present work many examples of the above 
 methods will be found. 
 
 Distribution of notes in chords. 
 
 The normal order of sounds or the natural harmonic scale: 
 
 < 
 
 'A ': i'. 
 
 
 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: 
 
 3fe 
 
 * 
 
 =S= 
 
 m 
 
 The bass should rarely lie at a greater distance than an octave 
 
 from the part directly above it (tenor harmony). It is necessary 
 
 to make sure that the harmonic notes are not lacking in the upper 
 parts: 
 
 To be avoided: 
 
 m 
 
 P 
 
 ran 
 
 =&: 
 
 Sz 
 
 S= 
 
 ^ 
 
 The use of sixths in the upper parts, and the practice of 
 doubling the upper note in octaves are sometimes effective methods: 
 
 ^ 
 
 =S: 
 
 O : " 
 
 y t\ — f 
 
 8= 
 
— 68 — 
 
 When correct progression increases the distance between the 
 top and bottom notes of the upper parts, this does not matter: 
 
 Good: 
 
 g 
 
 i^w4 
 
 But it would be distinctly bad to fill in the second chord this: 
 
 Not good: 
 
 ^ 
 
 ,(>ta 
 
 S 
 
 B=^ 
 
 IE 
 
 -k^ 
 
 S 
 
 Hence it follows that the distribution of intermediate parts is a 
 question of the greatest importance. Nothing is worse than wriiing 
 chords, the upper and lower parts of which are separated by 
 wide, empty intervals, especially in forte passages; in piano passages 
 such distribution may be possible. Progression in contrary motion, 
 the upper and lower parts diverging by degrees gives rise to the 
 gradual addition of extra parts occupying the middle register: 
 
 Schematic 
 Example: 
 
 i ,1 i j i - jj i f ff - 
 
 m 
 
 TT 
 
 C2 t 
 
 il 
 
 m 
 
 When the voices converge, the middle parts are eliminated one 
 by one: 
 
 Schematic 
 Example: 
 
 ? i f. y 
 
 ^^ 
 
 
 f 
 
 -§r 
 
— 69 — 
 
 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 sepa- 
 rately. 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 aniSy or division 
 of parts. 
 
 A. Short chords. Chords of three or four notes can only be 
 executed rapidly on the strings. 
 
 Note. It is true that the two upper notes- of a chord can be sustained and 
 held a long- time; this, however, involves complications and will be considered 
 later. 
 
 Short chords, arco, only sound well when played forte (sf), and 
 when they can be supported by wind instruments. In the execution 
 of double notes and chords of three and four notes on the strings, 
 balance, perfect distribution of tone, and correct progression of 
 parts are of minor importance. What must be considered before 
 everything is the resonance of* the chords themselves, and the degree 
 of ease with which they can be played. Those comprising notes on the 
 gut strings are the most powerful. Chords played on several strings 
 are usually assigned to isi and 2^ violins and violas, the different 
 notes being divided between them according to ease in execution 
 and the demands of resonance. On account of its low register the 
 'cello is rarely called upon to play chords on three or four strings, 
 and is usually allotted the lowest note of the chord in company 
 with the double bass. Chords on the latter instrument are even 
 more uncommon, but it may supply the octave on an uncovered 
 string. 
 
 Examples: 
 
 No. 97. Snegourotchka[^; cf. also before [ho] and before [200] . 
 
 * Spanish Capriccio, before [V] (cf. Ex. 67). 
 
 Sheherazade, 2^ movement \V\ (cf. Ex. 19.) 
 
 *No. 98. Tsar Saltan [Tis]; cf. also | i4i | and before 
 
 182 
 
— 70 — 
 
 Isolated chords may be added to a melodic figure in the upper 
 part, accentuating, sforzando, certain rhythmical moments. 
 
 Example: 
 
 No. 99. Snegourotchka, before 126 ; cf. also 
 
 326 
 
 B. Sustained and tremolando chords. Chords sustained for 
 a shorter or longer period of time, or tremolando passages, often 
 used as a substitute, demand perfect balance of tone. Taking for 
 granted that the different members of the string group are equal 
 in power, the parts being written according to the usual order of 
 register, (cf. Chap. I), it is patent that a passage in close four-part 
 harmony, with the bass in octaves will also be uniformly resonant. 
 When it is necessary to introduce notes to fill up the empty 
 middle register, the upper parts being farther distant from the bass, 
 doubled notes on the violins or violas should be used, or on both 
 instruments together. The method of dividing strings, which is 
 sometimes adopted, should be avoided in such cases, as certain 
 parts of the chord will be divided and others will not; but, on the 
 other hand, if a passage in six and seven-part harmony be written 
 entirely for strings divided in the same manner, the balance of 
 tone will be completely satisfactory, e.g., 
 
 H5v /Vnil 
 <Hv. (vnil 
 
 Hi„ /VnsII 
 ^•^•\Vnill 
 
 .. /Violas I 
 °'^' \ Violas II 
 
 If the harmony in the three upper parts, thus strengthened, is 
 written for divided strings, the 'cellos and basses, playing non divisi 
 will prove a trifle heavy; their tone must therefore be eased, either 
 by marking the parts down or reducing the number of players. 
 
 In the case of sustained chords or forte tremolando on two strings, 
 the progression of parts is not always according to rule, the intervals 
 chosen being those which are the easiest to play. 
 
 Examples: 
 
 No. 100. The Christmas Night i6i — Full divisi 
 
 No. 101. „ „ „ [210] -Vi°jf^^3^;;;:} 4 part harmony 
 
^ 
 
 — 71 — 
 
 No. 102. Snegourotchka |i 87— 188| — Four-part harmony, Vn?. I, 
 
 Vni II, Violas and Violoncellos. 
 „ [243] — 4 Solo 'cellos divisi. 
 
 Sheherazade, 2^ movement, beginning. — 4 D. bass soli div. 
 
 (cf. Ex. 40). 
 
 Chords on all strings (cf. Ex. 243). 
 - Harmonic basis in the strings. 
 
 The Tsar's Bride 
 
 179 
 
 No. 103. Legend of Kitesh 
 
 240 
 
 — (cf. Ex. 21). 
 „ „ „ [283J — Harmonic basis in the strings 
 (cf. Ex. 2). 
 No. 104. The Golden Cockerel \J] — Basis in the strings. 
 
 „ „ „ [T25] — Undulating rhythm in the 
 
 strings as harmonic basis (cf. Ex. 271). 
 
 In a forte or sfp chord, where one or two of the upper notes is 
 held, either sustained or tremolando, the balance of tone must still 
 be maintained, as in the following example: 
 
 Vnil 
 
 Vnill 
 
 Violas 
 
 D. basses 
 
 * 
 
 $ 
 
 J 
 
 P 
 ¥p^ 
 
 ^ 
 
 sfp 
 
 w 
 
 sfp 
 
 f 
 
 r 
 
 f 
 
 ^ 
 
 ^ 
 
 f 
 
 ^ 
 
 f 
 
 Wood-wind harmony. 
 
 Before entering upon this section of the work I would remind 
 the reader of the general principles laid down in the beginning of 
 the chapter. 
 
 Harmonic texture, composed of plain chords or ornamental designs, 
 simple or contrapuntal in character, must possess a resonance equally 
 distributed throughout. This may be obtained by the following means: 
 
— 72 — 
 
 1. Instruments forming chords must be used continuously in the 
 same way during a given passage, that is to say they must be 
 doubled or not throughout, except when one of the harmonic parts 
 is to be made prominent: 
 
 2 Fi 
 
 ;i Ob \ 
 
 To be avoided: :|: :^ciar. 4 - ^„ j r^"^"" ^ ''1 
 
 2 01 
 2 Fag 
 
 2. The normal order of register must be followed, except in the 
 case of crossing or enclosure of parts, which will be discussed 
 later on: 
 
 To be avoided: ^ »i^ Ig" " 
 
 i 
 
 ^^ 
 
 ^ 
 
 3. Corresponding or adjacent registers should be made to co- 
 incide except for certain colour effects: 
 
 ^1fi . 
 
 The second flute will sound loo weak and 
 To be avoided: ( ft>Q^ro the oboes too piercing. 
 
 4. Concords (octaves, thirds and sixths) and not discords (fifths, 
 fourths, seconds and sevenths), should be given to instruments of 
 the same kind or colour, except when discords are tc be empha- 
 sised. This rule should be specially observed in writing for the 
 oboe with its penetrating quality of tone: 
 
 To be avoided: ffi o^^ "^*^ 
 y Ci.[^ - 
 
 Four-part and three-part harmony. 
 
 Harmonic writing for the wood-wind may be considered from 
 two points of view: a) instruments in pairs, 2F1., 2 0b., 2 CI., 2 Fag.; 
 and b) instruments in three's, 3 Fl., 2 Ob., Eng. horn, 3 CI., 2 Fag., 
 C-fag. 
 
 A. In pairs. There are three ways of distribution: 1. Super- 
 position or overlaying (strictly following the normal order of register), 
 
— 73 — 
 
 2. Crossing, and 3. Enclosure of parts. The last two methods 
 involve a certain disturbance of the natural order of register: 
 
 Overlaying. Crossing. Enclosure. 
 
 In choosing one of these three methods the following points 
 must not be forgotten: a) the register of a particular isolated chord; 
 the soft and weak register of an instrument should not be coupled 
 with the powerful and piercing range of another: 
 
 Overlaying. Crossing. Enclosure. 
 
 ^fr^ 
 
 Oboe too Low notes Bassoon too 
 piercing of the flute prominent, 
 too weak 
 
 b) In a succession of chords the general progression of parts 
 must be considered; one tone quality should be devoted to the 
 stationary and another to the moving parts: 
 
 When chords are in widely-divided four-part harmony notes may 
 be allotted in pairs to two different tone qualities, adhering to the 
 normal order of register: 
 
 Good: 
 
 
 etc. 
 
 ^par- 
 
 Any other distribution will result unquestionably in a grievous 
 lack of relationship between registers: 
 
 To be avoided: 
 
 etc. 
 
— 74 — 
 
 If one tone quality is to be enclosed, it must be between two 
 different timbres: 
 
 Good: 
 
 i 
 
 Fl. 
 
 Ob. o 
 
 •/Fag- ■»• 
 
 FnnjT":^ 
 
 Fag ^CF 
 
 m 
 
 
 etc. 
 
 It is possible to lend four distinct timbres to a chord in widely- 
 divided four-part harmony, though such a chord will possess no 
 uniformity in colour; but the higher the registers of the different 
 instruments are placed, the less perceptible becomes the space 
 which separates them: . 
 
 i 
 
 Fl 
 
 Ub . o 
 
 Fl. -» 
 
 Fl.^ 
 Ob.n 
 
 Cl- ^ 
 
 Fag. TJ 
 
 L'l. o 
 
 Ka £•.•»• 
 Fairlygood Better 
 
 (Jl.o 
 
 Still better 
 
 The use of four different timbres in close four-part harmony is 
 to be avoided, as the respective registers will not correspond: 
 
 Fae/*^ 
 
 i--«^— 
 
 fc^ 
 
 =S= 
 
 Bad 
 
 Better 
 
 Still 
 slightly 
 better 
 
 Note. In Mozart and Saliiri, which is only scored for 1 Fl., 1 Ob., 1 Cl. 
 and 1 Fag., wood-wind chords in four-part harmony are of necessity devoted 
 to these four different timbres. 
 
 The same rules apply to writing in three-part harmony, which 
 is the most customary form when it is a question of establishing 
 a harmonic basis, the lowest register of which is entrusted to 
 another group of instruments (strings arco or pizz., for example). 
 Chords in three-part barm.ony are generally given to two instru- 
 ments of one timbre and a third instrument of another, but never 
 to three different timbres. Overlaying of parts is the best course 
 to adopt: 
 
 ►]F1. F"'- 
 
 Fag 
 
75 — 
 
 The use of crossing and enclosure of parts (which in a way 
 amount to the same thing) must depend on the manner of their 
 progression: 
 
 -Q^ 
 
 m 
 
 Enclosure ; 
 
 .T^§ ij 8 l l u. [ 
 
 ^ 
 
 ^ef=m^ 
 
 ^^ 
 
 ^^Oh 
 
 ^ 
 
 B. Wood-wind in three's. Here the distribution of chords in 
 close three-part harmony is self-evident; any grouping of three 
 instruments of the same timbre is sure to sound well: 
 
 §]3F1. 
 
 also: 
 
 S 
 
 ¥05; 
 
 §] » Clai 
 
 t'l fr ■ 
 
 Fl.picc. 
 ;]2 Fl. 
 
 i l^'-' ^s 
 
 CI. pice. 
 
 m 
 
 ^s^¥f; 
 
 ^^ 
 
 fe 
 
 ^s^Gj; 
 
 Fl.c-alto Cor.ingl. 
 
 '^ '«.:::; j i &j^!!^! 
 
 C-fag-. 
 
 Overlaying of parts is the best method to follow in writing 
 close four-part harmony; three instruments of the same timbre 
 with a fourth instrument of another. Crossing and enclosure of 
 parts may also be employed. Correspondence of timbres and the 
 progression of remote /parts must be kept in mind: 
 
 «-Fag 
 
 FaF^ 
 
 The method of using three instruments of the same timbre in 
 widely-divided three-part harmony is inferior: 
 
 «► Fl 
 3 Fl ^ 
 
 Sil-: 
 
 CI. 
 
 o-i 3 C I. 
 
 5P6¥^ 
 
 m 
 
 " Ob. 
 
 =3=^^ 
 
 ;]aF a g. 
 
 -»^ 
 
 "Fa{-. 
 Better 
 
 Not good Better Better 
 
 Not good Better 
 
76 — 
 
 But if the third instrument is of low register (Bass Fl., Eng. 
 horn, Bass cl., or C-fag.), the resonance will be satisfactory: 
 
 3^ 
 
 3=eC 
 
 31 
 
 *y Cl basbu " o 
 
 ] a Kgg. 
 
 Crfag. 
 
 ^^ 
 
 3:*:Bz 
 
 ■*■ Coringl. 
 
 Fl. t %alt 
 
 In chords of four-part harmony, three instruments of th^ same 
 timbre should be combined with a fourth instrument of another: 
 
 ^ 
 
 :]^^--^- II : : ] 
 
 «> (Jl-basGO 
 
 5 Cor. ingl. 
 
 \ i i Cl. 
 
 «• C-fag-. 
 
 o Cl-ba ^«o- 
 
 $ 
 
 ^ la Ob. 
 
 ^ Uor. ing-l 
 •»■ Cl 
 
 etc. 
 
 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% 6111, 711i and 811i notes are only duplications in octaves 
 of lower notes of the real harmony (in 4 parts), instruments 
 should be chosen which combine amongst themselves to give the 
 best octaves. The process of crossing and enclosure of parts 
 may also be used. 
 
 A. Wood-wind in pairs (close distribution): 
 
 In widely-divided harmony chords in several parts are to be 
 avoided as they will entail both close and extended writing: 
 
 Note. In the majority of cases this distribution is employed when the t>vo 
 upper harmonic parts have a special melodic duty to perform — this question 
 is discussed above. 
 
— 77 
 
 B. Wood-wind in three's: 
 
 m 
 
 3 Fl 
 
 Q13 Ob . 
 
 8 Coritt fri^ 
 
 b l a cji. II r o' 
 
 Fa^. 
 
 3F1 
 
 i 
 
 a 
 
 3 Fl. 
 
 ] a Ob. 
 
 ifm^ 
 
 LSSO «■ 
 
 ^m 
 
 m 
 
 H CI. 
 
 *^Cor.ingl. 
 
 Gh 
 
 * >:«>-aff.[g' 
 
 <» Cor, ingl. 
 
 CI. basso 
 
 etc. 
 
 l\-\ Myaff. 
 
 33 
 
 j 2 Fag. 
 
 ocibasso" z=: 
 
 C- fag. 
 
 C-faff. 
 
 Overlaying of parts is the most satisfactory method in dealing 
 with close three-part harmony. Crossing of parts is not so 
 favourable, as octaves will be produced contrary to the natural 
 order of register: 
 
 (mayag.r*€ 
 
 ^Gf 
 
 Here the arrangement 
 
 I 
 
 j^ 
 
 is bad. 
 
 •CTClar. 
 
 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: 
 
 2F1. 
 
 2 ..^0^-2 
 
 J^ob.cnRiviu. | |«ot>ioi'^^^]|n^nri]>i} l| ^ 
 
 Excellent 
 
 also: 
 
 ^2F1 
 
 =mm 
 
 »-ObT 
 
 •[^^jal^ag- 
 
 i»-Ffc=E^^3=3=0^ 
 
 
 2Cl.[--]2Fag. 
 
 In chords of four-part harmony the classical method may be 
 adopted: 
 
 .2 0b. 
 
 llifej 
 
 :s:cf; 
 
— 78 — 
 
 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^ flute and 1^1 clarinet, while the C in the 
 2^ clarinets (not doubled) is feeble in comparison with the other 
 notes. In any case the two extreme parts are the thinnest and 
 weakest in tone, the intermediate parts the fullest and strongest. 
 
 B. Wood -wind in three's admit of perfectly balanced mixed 
 timbres in chords of three-part harmony: 
 
 i 
 
 3FI.30b., 
 
 ^ 
 
 3F1.3C1. 
 
 3 0b.3Cl. 
 
 SOb.SFaR-. 
 
 m] I [jiin 
 
 1f» 
 
 m 
 
 3Faff 3C1. 
 
 These timbres may even originate from three-fold duplication; 
 
 ^ffi 
 
 30b.3Cl.3Fag- 
 
 ^^^F=^^ 
 
 /' I ^^ 
 
 ^^ 
 
 3Fl.30b.3Cl. 
 
 Remarks. 
 
 1. Modern orchestrators do not allow any void in the inter- 
 mediate parts in writing close harmony; it was permitted to some 
 extent by the classics: 
 
 * 
 
 a. 
 
 jt 
 
 &. 
 
 
 i 
 
 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 rule a chord of greatly extended range and in 
 several parts is distributed according to the order of the natural 
 scale, with wide intervals (octaves and sixths), in the bass part, 
 lesser intervals (fifths and fourths) in the middle, and close inter- 
 nals (3nli or 211^) in the upper register: 
 
— 79 — 
 
 * 
 
 M 
 
 3 Fi 
 
 §]j;o^ 
 
 Co r -inR' T^ 
 
 ' ■ ^ayn ( c . [ 
 
 ffi 
 
 «-Gi, 
 
 M 
 
 2 Fl. 
 
 ■c*. Fl.picc. 
 B3 2F1 
 
 ^5^ 
 
 s^es; 
 
 I^] a Koff. 
 
 ^JfCf 
 
 ! .} O b . 
 
 '3 3 Faff , 
 
 Xf C.-fag-. 
 
 3. In many cases correct progression of parts demands that 
 one of them should be temporarily doubled. In such cases the 
 ear is reconciled to the brief overthrow of balance for the sake 
 of a single part, and is thankful for the logical accuracy of the 
 progression. The following example will illustrate my meanings 
 
 i 
 
 m 
 
 sx 
 
 iS: 
 
 ■t*»*»h 
 
 i 
 
 m 
 
 ^ 
 
 itnn^ 
 
 ^ 
 
 In the second bar of this example the D is doubled in unison 
 on account of the proximity of the three upper parts to their 
 corresponding parts an octave lower. In the fourth bar the F is 
 doubled in unison in both groups. 
 
 4. The formation of the harmonic basis, which is essentially in 
 four parts, does not by any means devolve upon the wood-wind 
 alone. One of the parts is often devoted to the strings, arco or 
 pizz. More frequently the bass part is treated separately, the 
 chords of greater value in the three upper parts being allotted to 
 the wood- wind. Then, if the upper part is assigned to a group 
 of strings, there remairls nothing for the wind except the sustained 
 harmony in the two middle parts. In the first case the three-part 
 harmony in the wood-wind should form an independent whole, 
 receiving no assistance from the bass; in this manner intervals of 
 open fourths and fifths will be obviated. In the second case it 
 is desirable to provide the intermediate parts with a moderately 
 full tone, choosing no other intervals except seconds, sevenths, 
 thirds or sixths. 
 
 All that has been said with regard to the use of wood-wind in 
 the formation of harmony, and the division of simple and mixed 
 
— 80 — 
 
 timbres applies with equal force to sustained chords, or harmonic 
 progressions interchanging rapidly with staccato chords. In short 
 chords, separated by rests of some importance, the arrangement 
 and division of timbres is not so perceptible to the ear, and pro- 
 gression of parts attracts less attention. It would be useless, nay, 
 impossible to examine the countless combinations of tone colour, 
 all the varieties of duplication and distribution of chords. It has 
 been my aim to denote the fundamental principles upon which to 
 work, and to indicate the general rules to be followed. Once having 
 mastered these, if the student devote a little time to the study of 
 full scores, and listen to them on the orchestra, he will soon 
 learn when certain methods should be used and when to adopt 
 others. The pupil is advised, generally, to write for wood-wind 
 in its normal order of distribution, to take heed that each parti- 
 cular chord is composed entirely either of duplicated or non-dupli- 
 cated parts, (except in certain cases resulting from progression), 
 to use the methods of crossing and enclosure of timbres with full 
 knowledge of what he is doing, and finally to concentrate his 
 attention on close part-writing. 
 
 Examples of wood-wind harmony: 
 a) Independent chords. 
 
 No. 105. The Christmas Night [hs] — CI., 2 Fag. 
 No. 106. „ „ „ beginning — Ob., CI. Fag. (cross- 
 
 ing of parts). 
 Snegourotchka \^ — 2 CI., Fag. 
 
 5«Lbar. — 2 Ob., 2 Fag. (cf. Ex. 136). 
 
 79 
 
 *No. 107. Snegourotchka [T^ — Pice, 2 Fl. (tremolando) . 
 No. 108. „ [2041 — 2 Fl., 2 Ob. (high register). 
 
 No. 109. Shdherazade, beginning — Total wood-wind in different 
 distribution. 
 
 * Russian Easter Fite [a] — 3 Fl. tremolando (cf. Ex. 176). 
 
 * Tsar Saltan [45] Ob., 2 Fag. 
 
 No. 110. Tsar Saltan, before lis — mixed timbres 
 
 No. 111. „ „ 115 , and other similar passages — very 
 
 sweet effect of wood-wind in three's. 
 „ [nT] - 2 Ob., 2 Fag. 
 
81 
 
 Sadko, Symphonic Tableau [T] — Ob., 2 CI., Fag. 
 * Sadko, Opera [T] — Eng. horn, 2 CI. 
 
 „ , before [T] — Total wood-wind. 
 
 Chords in three-part harmony; simple 
 
 No. 112. Sadko 
 and mixed timbres 
 
 72 
 
 *No. 113. The Tsar's Bride [126] Full wind. 
 *No. 114. Legend of Kitesfi, before 
 
 No. 115. 
 
 90 — Enclosure of parts 
 (Ob. I in the high register), 
 before 
 
 161 
 
 No. 116. 
 
 * The Golden Cockerel 
 
 125 
 
 218 
 
 — Wind and brass 
 alternately. 
 [T67] — Full wind except oboe, 
 with chorus. 
 Legend of Kitesh [269] — Fl., CI., Fag. 
 
 — Various wind instruments, 4 part 
 harmony (cf. Ex. 271). 
 
 — Ob., Eng. horn, Fag., C-fag;; cf. 
 also [254] . 
 
 No. 117. The Golden Cockerel, before [235] — Mixed timbre; 
 
 2 Fag. form the bass, 
 b) Harmonic basis (sometimes joined by the horns). 
 The May Night, Act III [T] — 2 Fag., Eng. horn (cf. Ex. 18). 
 3 Flutes. 
 
 — 2 CI., high register, 
 before [so] — 2 Fl., Fag. 
 
 Antar 
 
 68 
 
 Snegourotchka 
 
 [Tst] - 2 Ob., 2 Fag. 
 
 2 CI., low register (cf. Ex. 9). 
 
 Fl., Eng. horn, CI., Fag. (cf. Ex. 26). 
 
 274 
 
 283 
 
 No. 118. Snegourotchka |292| — Widely-divided harmony and 
 
 doubling of parts in the wind. 
 No. 119. „ [3 18-31 9 1 — 2 Flutes. 
 
 Shihirazade, 2i^ movement [T] — 2 CI., Fag. (sustained note in 
 
 the horn) (cf. Ex. 1). 
 The Christmas Night [T] — 3 CI. 
 Sadko \T\ — CI., Bass cl., Fag., C-fag. 
 No. 120. Sadko [49] — Ob., Cl., Horn, Fag. 
 
 — 2 Cl. (cf. Ex. 289, 290). 
 
 Sadko 
 
 n 
 
 49 
 99 
 
— 82 — 
 No. 121. Sadko [ni] — CI., Fag. 
 
 No. 122. 
 
 The Tsar's Bride 
 
 80 
 
 Servilia 
 
 59 
 
 195-196] — 2 CI., Bass cl. 
 CI., Fag. 
 
 harmonic parts in motion, Fl. and 
 Cl. (cf. Ex. 22. 
 
 166 
 
 — Cl. (low. register), Fag. 
 * No. 123. Kashiche'i the Immortal 
 *No. 124. Legend of Kitesh 
 
 80 
 
 52 
 
 55 
 
 68 
 
 No. 124. 
 
 118 
 
 136 
 
 before 
 
 223 
 
 No. 125. 
 
 * No. 126. 
 
 247 
 
 273 
 
 355 
 
 * No. 127. The Golden Cockerel 
 
 No. 128. 
 
 Ob., Fag» muted. 
 
 — Fl. Fag. 
 
 — Fl., Ob. (cf. Ex. 197). 
 
 — Eng. horn, Fag., C-fag. (cf. 
 
 Ex. 199). 
 
 — niixed timbre: 2 Ob., Eng. 
 
 horn and 3 Cl. 
 
 — harmonic parts in motion: 
 
 — 3 Fl. (low register) 
 
 and 2 Cl. 
 
 — Fl., Ob., Cl. (cf. Ex. 31). 
 
 — 2 Cl., Bass cl. 
 
 — Eng. horn, 2 Cl. and Bass 
 
 cl.. Fag. 
 
 — Eng. horn, muted, CI., 2 Fag. 
 — Cl., Bass cl.. Fag., C-fag. 
 
 Bass cl., Fag.; Fl., Cl.; 
 
 Cl., Bass cl. 
 harmonic parts in motion: 
 Fl. and Cl. 
 
 40—41 
 
 [156] 
 
 Harmony in the brass. 
 
 Here, as in the wood-wind, part writing should be of the close 
 order with no empty spaces in the intervals. 
 
 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: 
 
83 
 
 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 quartet 
 of trombones and tuba is not often employed in close four-part 
 harmony; the third trombone and. the tuba usually form the bass 
 in octaves, and the three upper parts are generally allotted to the 
 two remaining trombones reinforced by a trumpet or two horns 
 in unison, so as to obtain a perfect balance of tone: 
 
 g 2Corni (ITr-ba) 
 
 Tuba •» 
 
 Tuba 
 
 or ^. Tuba 
 
 I have often adopted the following combination of brass instru- 
 ments, and consider it eminently satisfactory: 2 horns and tuba to 
 form the bass in octaves, the three other parts given to the trombones: 
 
 m 
 
 zsrt 
 
 3 Tr-bni 
 
 ** '-i Uorin 
 
 (beautiful full resonance). 
 
 Tuba 
 
 In the higher registers, four-part harmony, of which the two upper 
 parts are given to the trumpets, may be completed by two trom- 
 bones or four horns in pairs: 
 
 -ni »3^TI^.b0 
 
 tnUTr-bc 
 
 ^feTr.bui[^ 3 
 
 f^-O 
 
 4 Uorni i^r 
 
 When 3 trumpets are available the fourth part should be allotted 
 to one trombone, or two horns in unison: 
 
 * 
 
 \V\ a Tr.bc 
 
 »l3Tr-bo -H 
 
 1 Tr-bne •»■ 2 Corni 
 
 Enclosure of parts may be used in single chords: 
 
 4 Cor. 
 
 3 Tr.bc 
 
 g^ 
 
 "TPaiy-bn i-i 
 
 6* 
 
84 
 
 or in progression: 
 
 Three-part writing. 
 
 The best combination is trombones, horns, or trumpets in three's. 
 If the instruments are mixed the number of horns should be 
 doubled: 
 
 ^4Coi 
 
 a Tr-b e [ 
 
 ^ 
 
 ff^qg 
 
 2 Cor. 
 
 . ^ rt-. 2 Cor „ 
 
 paXn ib ni y . 
 
 etc. 
 
 Writing in several parts. 
 
 When the whole group is used' the number of horns should be 
 doubled: 
 
 I 
 
 g Tr-be [ - ^ j - 
 
 ,] 4 C orT ii 
 
 — 1.3Tr-bni 
 
 3E 
 
 » l''--bo C » 
 
 — 4 Corn i 
 
 ^TftrbfH- 
 
 i 
 
 !JTp.boC» 
 
 U] 4 Co m i 
 
 rT| .'^ Tr-bm _a 
 
 333 
 
 Hl '<' »V- W^^ 
 
 **■ 2 CornT 
 
 f"U-Tfe}HH| 
 
 etc. 
 
 Tub.i ^ 
 
 Tuba 
 
 Tuba «» 
 
 Tuba 
 
 In seven, six, or five-part harmony certain instruments must 
 be omitted: 
 
 1 Tp-bn ti 
 
 m 
 
 ^m 
 
 4 Co r ni 
 
 llTr.bni 
 
 \ \] A T p . b e =a ^r-bc "o -a-t^^»fm 
 
 3 Tp-bf 
 
 Hr^l-^H 
 
 l^ rf l>-t>m 
 
 «»• Tuba 
 
 «- Tuba 
 
 «■ Tuba 
 
 a Tr-hc- Ji 
 
 — «>1 , ., . 
 .»— ^ ITorni 
 
 ^ 
 
 n 1 i >-biio 
 
 ti ] U Tp.b S^ 
 
 ffi 
 
 1 ■ ? T i '-hn i 
 
 etc. 
 
 *^ Tuba 
 
 «■ Tuba 
 
 Discords of the seventh or second are preferably entrusted to 
 instruments of different tone colour: 
 
— 85 — 
 
 i 
 
 m 
 
 3 Tr-bni 
 
 ;* rp- b o 
 
 4Corni 
 
 TITf-lio [8 
 L -TT 
 
 — 4Corni 
 "J 
 
 3Tr.bD»( 
 
 Bl 
 
 Tuba 
 
 Tuba 
 
 When such chords are written for an orchestra which only 
 includes two trumpets, it is impossible for the horns to proceed in 
 pairs. In such cases the following arrangement may obtain, the 
 horns being marked one degree louder than the other instruments, 
 to secure balance of tone: 
 
 t 
 
 15Tp.bc 
 
 m 
 
 J g.]4Lorn=T^ 
 
 2 Tr-bni f— 
 
 §i^ 
 
 I 
 
 "^ Tuba/- 
 
 The same method .should be followed whenever the use of horns 
 in pairs fails to produce satisfactory tone. 
 
 When chords of widely-divided harmony are distributed through- 
 out several harmonic registers, the register occupied by the horns 
 need not be doubled; the arrangement of the chord will re- 
 semble that of a chorale written for double or triple choir. For 
 example: 
 
 Tuba zPJ 
 
 Tuba 
 
 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 tor 
 trumpets or trombones. The soft round quality of the horns inten- 
 sifies the tone, and moderates the penetrating timbre of the trum- 
 pets and trombones: 
 
— 86 — 
 
 i 
 
 a Tr-b 
 
 ^m 
 
 ^i — T ^TTT 4 Cop. 
 
 a Uior. 
 
 Tu b a 
 
 * 
 
 a T r -b *' 
 
 ;"tU'!;'[85]»1^^- 
 
 i 
 
 Similar juxtaposition of trumpets and trombones: 
 
 3Tr-be 
 
 wm 
 
 a Tr-bni 
 
 is not so common, as this unites tiie two most powerful agents 
 in the group. 
 
 In handling an orchestra the brass is frequently employed to sus- 
 tain notes in two or three octaves; this sphere of activity must not 
 be ignored. The tenuto is generally given to two trumpets, or to 
 two or four horns, in the octave, (in double octaves). The octave is 
 sometimes formed by trumpets and horns acting together: 
 
 fe 
 
 2Tr-he 
 
 2 Corni 
 
 4 Corni 
 
 1 Tr-ba 
 
 wry 
 
 «»-2Cor"rr 
 
 The trombone with its ponderous tone rarely takes part in such 
 combinations. Sustained notes in double octaves are usually 
 apportioned thus: 
 
 =°^Tf; 
 
 U'lVbo 
 
 
 it^OPMI 
 
 The imperfect balance arising from the duplication of the middle 
 note is compensated for by the mixture of timbres, which lends 
 some unity to the chord. 
 
 Examples of harmony in the brass: 
 a) Independent chords: 
 Snegourotchka [j^J — 3 Trombones, 2 Horns. 
 
 [140] — 3 Trombones, 2 Horns. Chords in different 
 groups alternately (cf. Ex. 244). 
 „ |i7i I — Full brass; further on 3Trombones (cf.Ex.97). 
 
 255 1 — 4 Horns (stopped). 
 
— 87 — 
 
 No. 129. Snegourotchka, before 
 
 28^ 
 
 289 
 
 — 4 Horns. 
 
 — Full brass. 
 
 *Sadko, before [T] — Full brass (enclosure of parts). 
 No. 130. Sadko |i75| — Mixed timbres (juxtaposition) 3 Horns 
 
 + 3 Trpmpets. 
 „ before [aas] — Full brass except Tuba. 
 
 (Full brass). 
 
 No. 131. 
 
 191 — 193 
 
 No. 132. The Christmas Night, before \m\ — Full muted brass. 
 „ „ ,,181 — 4 Horns + 3 Trombones 
 
 + Tuba (cf. Ex. 237). 
 
 Strings and brass alternately (cf.Ex.242). 
 7'-lL bar. — 2 Trumpets, 2 Trom- 
 bones -(- 4 Horns (juxtaposition). 
 — Full brass, thicHly scored (cf. 
 
 178 
 
 * The Tsar's Bride 
 
 * No. 133. Tsar Saltan 
 
 102 
 
 * Servilia 
 
 154 
 
 Table of chords No. II at the end of Vol. II, Ex. 12). 
 Various brass instruments. 
 
 — 3 Trumpets, Trombone and Tuba. 
 
 Short chords (juxtaposition). 
 
 130 
 
 199 
 
 115 
 
 — Horns, Trombones (en- 
 
 * Legend of Kitesh 
 No. 134. Legend of Kitesh 
 
 * No. 135. The Golden Cockerel 
 closure), 
 b) Harmonic basis: 
 
 No. 136. Snegourotchka [t?], 6t!i bar. — 4 Horns. 
 
 „ 231 — 3 Trombones, soft and sweet (cf. 
 
 Ex. 8). 
 Antar 
 
 64-65 
 
 4 Horns; later 3 Trombones (cf. Ex. 32). 
 
 H 
 
 > 
 
 K 
 
 * Shihirazade, I5i movement, [a], [e] , 
 bases of different power and timbre (cf. Ex. 192 
 No. 137 
 
 93 
 
 Servilia 
 * No. 138. Tsar Saltan 
 
 , [m] — Harmonic 
 —195). 
 — Full brass. 
 
 — 4 muted Horns + 3 Trombones 
 and Tuba con sard. pp. 
 „ „ before [mt] — Full brass // (the 2 Oboes 
 
 and Eng. horn are of no particular importance). 
 
 4 Horns, then Trombones, 2 Horns. 
 Trumpets, Trombones. 
 
 136, 
 
 ,9*Abar. 
 
 * Pan Voyevoda 
 
 •No. 139. Legend of Kitesh 
 
 No. 140. 
 
 158 
 
 1 248 1 — 3 Trombones, 
 before 1 362 1 — Full brass. 
 
Harmony in combined groups. 
 
 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. 
 
 1. In unison (juxtaposition or contrast of tone qualities). 
 This class of combination possesses the same features as combi- 
 nations in the melodic line (cf. Chap. II). Wood-wind reinforces 
 the brass, softens it and reduces its characteristic qualities. Arrange- 
 ments such as the following are possible: 
 
 2 Trumpets + 2 Fl.; 2 Trumpets + 2 Ob. 
 
 3 Trumpets + 3 Fl.; 3 Trumpets + 3 Ob. 
 Also 
 
 2 Fl 
 
 2 Trumpets + 2 CI. 
 
 3 Trumpets -f 3 CI. 
 
 i 
 
 S 
 
 2 Tr.be 
 
 !S C'orni - 
 
 etc. 
 
 2 Horns + 2 CI.; 
 
 3 Horns + 3 CI.; and: 
 
 as well as: 
 
 2 Horns + 2 Fag.; 
 
 3 Horns + 3 Fag.; 
 2 Horns -f 2 Fag. + 2 CI. etc. 
 
 The combination 3 Trombones -|- 3 Fag., or 3 Trombones -{- 3 CI. 
 are very rare. 
 
 A chord scored for full brass doubled by the same chords scored 
 for full wood-wind (in pairs) produces a magnificent and uniform tone. 
 
 Examples: 
 — 2 Horns + 2 CI. and 2 Horns-f 2 Ob. (cf. 
 
 315 
 
 50 
 
 142 
 
 — 4 Horns + 2 CI., 2 Fag. 
 
 — Juxtaposition of full wind 
 
 Snegourotchka 
 Ex. 236). 
 
 No. 141. The Tsar's Bride 
 
 No. 142. „ 
 and brass. 
 
 Ivan the Terrible, Act II [sol — Juxtaposition and enclosure (cf. 
 Table of chords II, Ex. 8). 
 
 No. 143. The Christmas Night [Tas] — 4 Horns -|- Fl., CI., Fag. 
 
— 89 - 
 
 * No. 144. Sadko, before [79] — Horn, Trumpet -[- doubled wood- 
 wind (1). 
 No. 145. „ [242] — Full brass + F1., CI. 
 Legend of Kitesh, beginning — Horn, Trombones -f CI., Fag. (cf. 
 also [5] — Ex. 24^). 
 
 No. 146. Legend of Kitesh |_ioJ — Eng. horn, 2 CI., Fag. legato 
 
 + 4 Horns non legato. 
 — Full brass -|- wind. 
 
 324 
 
 *No. 147. The Golden Cockerel [2^ - Horn + ct "^^^ ^^ 
 Stopped or muted notes in trumpets and horns resemble the 
 
 oboe and Eng. horn in quality; the combination of these instruments 
 
 produces a magnificent tone. 
 
 Examples: 
 
 No. 148. Russian Easter Fete, p. 11. — Horn (-t). Trumpets (low 
 register) + Ob., CI. 
 
 * The Christmas Night, before [T54] — Full muted brass -|- wind. 
 *No. 149. Tsar Saltan [129] — 2 Ob., Eng. horn, + 3 Trumpets 
 
 muted (3 CI. at the bottom). 
 *No. 150. „ „ [TaT], 171I1 bar. — Same combination with 
 
 added horns. 
 
 * No. 151. Antar \T\ — Ob., Eng. horn, 2 Fag. + 4 Horns (+). 
 A beautiful dark tone is derived from the combination of middle 
 
 notes in stopped horns and deep notes in the clarinet: 
 
 + 
 
 ^ .'Jl'oi-.[^g] iJClar. 
 
 If bassoons are substituted for clarinets the effect loses part of 
 its character. 
 
 Examples : 
 
 *Kashtchei the /m/wr/a/ [29], 11 lH bar. — 2 Ob., 2 CI. + 4 Horns (+). 
 
 , 6ili bar. — 2 CI., Fag. + 3 Horns (+). 
 
 107 
 
 The Christmas Night, p. 249 — CI., Fag. + 3 Horns (+). 
 
 * Mlada, Act III |_i9j — 3 Horns {+) + 3 Fag. and 3 Horns (+) + 
 3 Ob. (cf. Ex. 259). 
 
 (1) In the full score a misprint occurs in the clarinet part; it is corrected 
 in the example. (Editor's note.) 
 
— 90 
 
 2. Overlaying (superposition), crossing, enclosure of parts. 
 It has already been stated that the bassoon and horn are the 
 two instruments best capable of reconciling the groups of wood- 
 wind and brass. Four-part harmony given to two bassoons and 
 two horns, especially in soft passages, yields a finely-balanced tone 
 recalling the effect of a quartet of horns, but possessing slightly 
 greater transparence. In forte passages the horns overwhelm the 
 bassoons, and it is wiser to employ four horns alone. In the former 
 case crossing of parts is to be recommended for the purposes of 
 blend, the concords being given to the horns, the discords to the 
 bassoons: 
 
 
 and not: 
 
 S 
 
 2Fngrsi 
 
 
 ^J ^^'^''•- 
 
 Bassoons may also be written inside the horns, but the inverse 
 process is not to be recommended: 
 
 2Cor.rqQ.i2 Faff 
 
 The same insetting of parts may be used for sustained trumpet 
 notes in octaves. In soft passages, thirds played in the low register 
 of the flutes, sometimes combined with clarinets, produce a beauti- 
 ful mysterious effect between trumpets in octaves. In a chain of 
 consecutive chords it is advisable to entrust the stationary parts 
 to the brass, the moving parts to the wood-wind. 
 
 Clarinets, on account of their tone quality should rarely be set 
 inside the horns, but, in the Upper register, and in the higher har- 
 monic parts, a chord of four horns, (piano), may be completed 
 by clarinets as effectively as by oboes or flutes; the bassoon may 
 then double the base an octave below: 
 
 $ 
 
 ^ 
 
 4 Corni 
 
 m 
 
 S 
 
 3 Clar. ou 3 Olx 
 ott 3 Fli 
 
 Played forte, the horns are more powerful than the wood-wind; 
 balance may be established by doubling the upper harmonic parts: 
 
91 
 
 2 Ob 
 
 Fag- 
 
 Examples: 
 a) Superposition. 
 
 * Sadko, Symphonic Tableau [[] , — Fl., Ob., CI., Horn (basis). 
 
 before [u] — 2 Fi., CI., Horns, 
 final chord — Fl., CI., Horn. 
 
 * Antar |^2] — Fl., CI., Horns (basis). 
 
 No. 152. Antar [se] — 3 Fl., 4 Horns (basis). 
 
 * Snegourotchka |30o| — Full wind and horns. 
 
 * Sheherazade — Final chords of liL and 4^-^ movements. 
 
 * Russian Easter Fete [jT] — Fl., CI., Horn; later trumpets and 
 trombones in juxtaposition (cf. Ex. 248). 
 
 * No. 153. The Christmas Night [2i2] , lOiH bar. — Wind and Horns; 
 
 trumpets and trombones added 
 later. 
 
 ],. 
 
 215 
 
 3 FI.+ 3 CI. 
 3 Horns 
 
 * Sadko, Opera 1 165 1 — Juxtaposition ana Superposition. 
 No. 154. Sadko [ass] — Same distribution. 
 No. 155. Servilia \n\ ' "• +„2„0^;. O- 
 *No. 156. Legend of Kitesh, before 
 
 157 —3 Flutes, 3 Trombones. 
 „ „ „ final chord (cf. Table III of chords, 
 Ex. 15). 
 
 *TheGolden Cockerel, before |2i9| - Mixed timbre of wood-wind, 
 4 Horns. 
 
 b) Crossing. 
 
 * The Christmas Night, before [si] — Horn., Fag. 
 
 „ [Tot] — Clar., Horn., Fag. 
 
 * Legend of Tsar Saltan, before 
 
 * The Golden Cockerel 
 
 62 
 
 220 
 
 Horn., Fag. 
 — 3 Trombones, 2 Fag., C-fag. 
 (cf. Ex. 232). 
 * No. 157 Antar, before [io] — Wood-wind, Horns, then Trumpets. 
 
92 — 
 
 c) Enclosure: 
 
 No. 158. Ivan the Terrible, Act I 
 horns within bassoons. 
 
 No. 159. Snegourotchka [Tsa] — 
 
 33 
 
 . — Flutes within horns; later 
 
 *Sadko, symphonic tableau 
 
 Trumpet 
 Fl., 2 CI. 
 Trumpet 
 
 CI. + Fagr. 
 — 4 Horns 
 CI. + Fag. 
 
 * Antar before 
 
 37 
 
 105 
 
 Fag. 
 
 — 2 Horns (+) 
 CI. 
 
 — Harmonic basis; oboes within, trumpets 
 
 *Sadko, Opera 
 (cf. Ex. 260). 
 
 * No. 160. Sadko, Opera, before [T55] — Flutes within trumpets. 
 
 * The Tsar's Bride, end of Overture — Bassoons within horns 
 (cf. Table Jll of chords, Ex. 14). 
 
 *Nr. 161. Tsar Saltan so — Trumpets within wood-wind doubled. 
 
 No. 162. „ „ [59] — Flutes within trumpets; clarinets 
 within horns. 
 
 *Nr. 163. Legend of Kitesh [82] — Oboes and clarinets within 
 trumpets. 
 
 The relationship which has been shown to exist between stopped 
 horns and oboe or Eng. horn authorizes the simultaneous use of 
 these instruments in one and the same chord, played p or sfp: 
 
 i 
 
 rflii Ob. 
 
 ^P 
 
 f Uo r oo H^ 
 
 Examples: 
 * The Christmas Night [ts] — 3 Horns (+) + Oboe. 
 
 Ob., Eng. horn, Horn (+) (cf. Ex. 240). 
 — CI., 2 Fl., + 2 Ob., Eng. horn, 3 Horn (+). 
 
 The Tsar's Bride 
 * Legend of Kitesh 
 
 123 
 
 244 
 
 2 Ob., Eng. horn 1 „ 
 3 Horns (+) J °' 
 
 *Nr. 164. Legend of Kitesh, before [255] 
 
 *Cf.also Tsar Saltan, before [TIs] — 2FL'^2Vag. C^^- l^^)- 
 
 If trumpets and trombones take part in a chord, flutes, oboes 
 and clarinets are better used to form the harmonic part above the 
 trumpets. The following should be the arrangement: 
 
— 93 
 
 
 
 *ji20b. + 2 Fl 
 
 
 8]20b. + 2FI 
 — no anifi^ 
 
 
 Fl+Ob. 
 ^.FI +C1. 
 
 ^^iJTr.boC^^/ H 
 
 3 rr- bo rH ^-^^^^ j 
 
 eM 1 
 
 |Mi>.bCc„ ^-■-•■.g^ 
 
 ** 4Corni 
 
 3Tr.bni 
 *?^ ^— 
 
 p& 
 
 3Tr-bni 
 
 — 4 Corni 
 
 3Tr-bfii| 
 
 - 4 Cor. 
 
 [ft 
 
 
 [o 
 
 1 
 
 
 ' Tuba 1 
 
 ** ' n 
 
 C-faff «* 
 
 3F1. + 3 0b 
 
 fi3 2 Fl 
 
 2 0b.[e, 
 
 Tuba 
 
 2Fl.+ 2 0b. 
 
 I'r-bo c^n^g ^^F 
 
 aob. - fsci.c 
 
 Q Fl. pice. 
 ««• 2 Fl 
 
 Si; 
 
 eS 
 
 2Flt20b*2Ci 
 
 I'r-be 
 
 a (Jor- ^ 
 
 oJ ■i 'I'p-bo 
 
 S 
 
 :^ 
 
 >i Uor. 
 Sl3Tr-bni 
 
 4 Cur- 
 
 i t:!? Fa ti-. r° ^ 
 
 3 Tr-bni 
 
 ij^' 
 
 •^■• o ''"' rs gv. 
 
 Tuba L^ frr 
 
 2 Fag. __ = 
 L««- Tuba 
 
 •»«■ 2 Fag. 
 
 *Sadko, symphonic tableau [20]. 
 
 * No. 165. 7/ie May Night, Act I [e£| — 3 Trombones, 2 Ob. 
 
 + 2 CI. + 2 Fag. 
 „ „ „ p. 325. — Final chord, C maj. (cf. 
 
 Table I of chords, Ex. 1). 
 
 * No. 166. Snegourotchka |i98|; cf. also [200] and before 
 
 210 
 
 * Se'he'razade, 1- movement [e], 2^ movement P , 3i^ move- 
 , 41I1 movement p. 203 (cf. Ex. 195, 19, 210, 77). 
 
 ment 
 
 M 
 
 Nr. 167. The Christmas iV/g/z/ [205] ; cf. also [Tel], [2T2], r4'A bar. 
 (Ex. 100, 153). 
 
 *Mlada, end of Act 1 (cf. Chord Table 11, Ex. 13). Act II 
 
 20 
 
 No. 168—169. Sadko, Opera, before [249], [302]; cf. also E.\. 120). 
 
— 94 — 1 
 
 No. 170. Sadko, Opera 1 244 1 — Chord of widely extended range; 
 
 bassoons at the limit of low compass. 
 [T42] , [239] ; cf. also [3] (Ex. 86). 
 
 The Tsar's Bride [T79] (cf. Ex. 243). 
 
 Alternation of notes in horns and wood-wind on 
 
 Antar 
 
 65 
 
 trombone chords (cf. Ex. 32). 
 
 General observations. It is not always possible to secure proper 
 balance in scoring for full wood-wind. For instance, in a suc- 
 cession of chords where the melodic position is constantly chang- 
 ing, distribution is subordinate to correct progression of parts. 
 In practice, however, any inequaHty of tone may be counterbalanced 
 by the following acoustic phenomenon: in every chord the parts 
 in octaves strengthen one another, the harmonic sounds in the 
 lowest register coinciding with r.nd supporting those in the highest. 
 In spite of this fact it rests entirely with the orchestrator to obtain 
 the best possible balance of tone; in difficult cases this may be 
 secured by judicious dynamic grading, marking the wood-wind one 
 degree louder than the brass. 
 
 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: 
 
 Ob.(Ci.) + Vnidiv.; ^[^J; + 'Cellos -f Violas div., etc. 
 
 Examples: 
 * Sadko, Symphonic lableau before [T], andjT], 9*-l? bar. 
 
 * Sheherazade, l5i movement M 6 Vni soli -[- 2 Ob. (2 Fl.), CI. 
 
 * Antar |T] — String quartet divisi + wood-wind (cf. Ex. 151). 
 
 * No. 171. Antar [sTl — Vni II, Violas div. + Fl., Horn (florid 
 
 accompanifnent in the Clar.). 
 
 * Legeu:' of Kitesh 295 — the same; rhythmic motion in the 
 
 wind, sustained harmony in the strings (cf. Rx. 213). 
 
— 95 — 
 
 2. Owing to the complete absence of any affinity in tone quality, 
 the combination of strings with brass is seldom employed in juxta- 
 position, crossing, or enclosure of parts. 
 
 The first method may be used however when the harmony is 
 formed by the strings tremolando, and the brass is employed in 
 sustaining chords, also when the strings play short disconnected 
 chords, sforzando. Another possible exception may be mentioned; 
 the splendid effect of horns doubled by divided violas or 'cellos. 
 
 Examples: 
 
 Snegourotchka [242J — Full brass + strings fr^/no/and(?(cf.l5L Table 
 of chords, Ex. 6). 
 
 Legend of Kitesfi, before 240 — the same (Horn, Trumpet +). 
 
 *Sadko, Opera, before [34] — Horn + Violas div., Trombones -f- 
 'Cellos div. (1). 
 
 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 [hsJ — Ob., Fag. + Horns 
 
 + Strmgs. 
 „ „ „ final chord (cf. Table I of chords, 
 
 Ex. 5). 
 *No. 173. Sadko, end of I2i tableau — short chords. Last chords 
 of the 151, 31^ and 711i tableaux (cf. Table I and III, Vol. II, Ex. 9, 
 10, 18). 
 
 *No. 174. The Christmas Night [22J — W^ind + Brass csord. -\- 
 tremolo strings. 
 
 Legend of Kitesh [mj (cf. Ex. 250). 
 
 Snegourotchka — end of opera, (cf. Table III in Vol. II, Ex. 17) 
 and a host of other examples. 
 
 (1) A splendid example of the combination of strings and brass may be 
 found in the introduction to the 2jl^ scene of the 411l act of " Khovanstchina" 
 by Moussorgsky, orchestrated by Rimsky-Korsakov. (Editor's note.) 
 
— 96 — 
 
 General Observations. Balance and correct distribution of tone 
 is much more important in dealing with long sustained chords or 
 those of rhythmic design; in the case of short, disconnected chords 
 resonance is a minor consideration, but one which should not be 
 entirely neglected. 
 
 I have endeavoured to outline the general principles to be 
 followed, but I do not profess to deal with all the countless cases 
 which may arise in the course of orchestration. I have given a 
 few examples of well-sounding chords; for further information I 
 advise the reader to study full scores with care, as this is the 
 only method to acquire perfect knowledge of the distribution 
 and doubling of various instruments. 
 
Chapter IV. 
 
 COMPOSITION OF THE ORCHESTRA. 
 
 Different ways of orchestrating the same music. 
 
 There are times when the general tone, character and atmo- 
 sphere 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 taking this for 
 granted, the composer or orchestrator may still be left in doubt. 
 Is the fanfare flourish suitable to the range of a trumpet? Should 
 it be written for two or three trumpets in unison, or doubled by 
 other instruments? Can any of these methods be employed without 
 damaging the musical meaning? These are questions which I shall 
 endeavour to answer. 
 
 If the phrase is too low in register for the trumpets it should 
 be given to the horns (instruments allied to the trumpet); if the 
 phrase is too high it may be entrusted to the oboes and clarinets 
 in unison, this combination possessing the closest resemblance 
 to the trumpet tone both in character and power. The question 
 whether one trumpet or two should be employed must be decided 
 by the degree of power to be vested in the given passage. If a 
 big sonorous effect is required the instruments may be doubled, 
 tripled, or even multiplied by four; in the opposite case one solo 
 brass instrument, or two of the wood-wind will suffice (1 Ob. -f 1 CI.). 
 The question whether the tremolo in the strings should be supported 
 
— 98 — 
 
 by sustained harmony in tiie wood-wind depends upon the purpose 
 in view. A composer realises his intentions beforehand, others 
 who orchestrate his music can only proceed by conjecture. Should 
 the composer desire to establish a strongly-marked difference between 
 the harmonic basis and the melodic outline it is better not to 
 employ wood-wind harmony, but to obtain proper balance of tone 
 by carefully distributing his dynamic marks of expression, pp, p, 
 f and //. If, on the contrary, the composer desires a full round 
 tone as harmonic basis and less show of brilliance in the harmonic 
 parts, the use of harmony in the wood-wind is to be recommended. 
 The following may serve as a guide to the scoring of wood-wind 
 chords: the harmonic basis should differ from the melody not only 
 in fullness and intensity of tone, but also in colour. If the fanfare 
 figure is allotted to the brass (trumpets or horns) the harmony should 
 be given to the wood-wind; if the phrase is given to the wood-wind 
 (oboes and clarinets) the harmony should be entrusted to the horns. 
 To solve all these questions successfully a composer must have full 
 knowledge of the purpose he has in view, and those who orchestrate 
 his work should be permeated with his intentions. Here the question 
 arises, what should those intentions be? This is a more difficult 
 subject. 
 
 The aim of a composer is closely allied to the form of his 
 work, to the aesthetic meaning of its every moment and phrase 
 considered apart, and in relation to the composition as a whole. 
 The choice of an orchestral scheme depends on the musical matter, 
 the colouring of preceding and subsequent passages. It is im- 
 portant to determine whether a given passage is a complement 
 to or a contrast with what goes before and comes after, whether 
 it forms a climax or merely a step in the general march of musical 
 thought. It would be impossible to examine all such possible 
 types of relationship, or to consider the role played by each passage 
 quoted in the present work. The reader is therefore advised not 
 to pay too much attention to the examples given, but to study them 
 and their bearing on the context in their proper place in the full 
 scores. Nevertheless I shall touch upon a few of these points in 
 the course of the following outline. To begin with, young and 
 inexperienced composers do not always possess a clear idea of 
 what they wish to do. They can improve in this direction by reading 
 
— 99 — 
 
 good scores and by repeatedly listening to an orchestra, provided 
 they concentrate the mind to the fullest possible extent. The search 
 after extravagant and daring effects in orchesfration is quite a 
 different thing from mere caprice; the will to achieve is not sufficient; 
 there are certain things which should not be achieved. 
 
 The simplest musical ideas, melodic phrases in unison and 
 octaves, or repeated throughout several octaves, chords, of which 
 no single part has any melodic meaning are scored in various 
 ways according to register, dynamic effect and the quality of 
 expression or tone colour that may be desired. In many cases, 
 one idea will be orchestrated in a different way every time it 
 recurs. Later on I shall frequently touch upon this more compli- 
 cated question. 
 
 Examples: 
 
 * Snegourotchka 58 ; 65 and before [as] — sustained note in unison. 
 
 There are fewer possible ways of scoring more complex musical 
 ideas, harmonico-melodic phrases, polyphonic designs etc.; sometimes 
 there are but two methods to be followed, for each of the primary 
 elements in music, melody, harmony, and counterpoint possesses 
 its own special requirements, regulating the choice of instruments 
 and tone colour. The most complicated musical ideas sometimes 
 admit of only one manner of scoring, with a few hardly noticeable 
 variations in detail. To the following example, very simple in 
 structure 1 add an alternative method of scoring: 
 
 Example : 
 
 No. 175. Vera Scheloga, before |^ — a) actual orchestration, 
 *b) — another method. 
 
 It is obvious that the method b) will produce satisfactory tone. 
 But a 31^ and 4ili way of scoring would be less succes'sfui, and a 
 continuation of this process would soon lead to the ridiculous. For 
 instance if the chords were given to the brass the whole passage 
 would sound neavy, and the soprano recitative in the low and 
 middle register would be overpowered. If the F sharp in the 
 
 •7* 
 
100 
 
 double basses were played arco by 'cellos and basses together it 
 would sound clumsy, if it were given to the bassoons a comic 
 effect would be produced, and if played by the brass it would 
 sound rough and coarse, etc. . . . 
 
 The object of scoring the same musical phrase in different ways 
 is to obtain variety either in tone colour or resonance. In each 
 case the composer may resort to the inversion of the normal order 
 of instruments, duplication of parts, or the two processes in com- 
 bination. The first of these is not always feasible. In the preceding 
 sections of the book I have tried to explain the characteristics of 
 each instrument and the part which each group of instruments 
 plays in the orchestra. Moreover many methods of doubling are to 
 be avoided; these I have mentioned, while there are also some 
 instruments which cannot be combined owing to the great difference 
 in their peculiarities. Therefore, as regards the general composition 
 of the orchestra, the student should be guided by the general 
 principles laid down in the earlier stages of the present work. 
 
 The best means of orchestrating the same musical idea in various 
 ways is by the adaptation of the musical matter. This can be 
 done by the following operations: a) complete or partial trans- 
 ference into other octaves; b) repetition in a different key; c) extension 
 of the whole range by the addition of octaves to the upper and 
 lower parts; d) alteration of details (the most frequent method); 
 e) variation of the general dynamic scheme, e. g. repeating a phrase 
 piano, which has already been played forte. 
 
 These operations are always successful in producing variety of 
 orchestral colour. 
 
 Examples. 
 No. 176, 177. Russian Easter Fete 
 
 and 
 
 and [c], 
 
 158 
 
 179 
 
 The Christmas Nighty ^ 
 
 No. 178—181. The Tsar's Bride, Overture: beginning, |T|,p2~|,[T[. 
 
 (cf. Ex. 289, 290, and 75). 
 
 '0, 
 
 Sadko 
 
 99-101 
 
 and 
 
 305—307 
 
 No. 182—186. Tsar Saltan 
 No. 187—189 
 
 14 
 
 181 
 
 17 
 
 > 
 
 26 
 
 34 
 
 , [246], [220]. 
 
 *No. 190—191. Ivan the Terrible, Overture \J] and [T2] 
 Spanish Capriccio — compare 1^ and 3'-^ movement. 
 
— 101 
 
 *No. 192 — 195. Sheherazade, 1- movement — beginning of the 
 
 fl//£gro[A],|T], [m]. 
 „ 31^ movement — beginning |T]. [T] . 
 
 *No. 196—198. Legend of Kitesh 
 * No. 199-201 , 
 
 55 
 
 56 
 
 62 
 
 68 
 
 70 
 
 84 
 
 (Cf. also Ex. 213, 214. Legend of Kitesh 
 *No. 202— 203. The Golden Cockerel 
 
 294 
 
 and 
 
 312 
 
 .) 
 
 229 
 
 233 
 
 The process of scoring the same or similar ideas in different 
 ways is the source of numerous musical operations, crescendo, dimi- 
 nuendo, interchange of tone qualities, variation of tone colour etc., 
 and incidentally throws new light upon the fundamental composition 
 of the orchestra. 
 
 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 siinpHfy 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 instrumentSv I call full tutti the 
 combination of all melodic groups, strings, wind, and brass. By 
 partial tutti I mean passages in which the brass group only takes 
 part, whether two horns or two trumpets participate alone, or 
 whether two horns are combined with one or three trombones, 
 without tuba, trumpets, or the two remaining horns, etc.: 
 
 r4 Horns, 2 Horns 2 Horns -i 
 
 .... or 2 Trumpets, or etc. . 
 
 "-.... 3 Trombones J 
 
 In both species of tutti full wood-wind may be employed or not, 
 according to the register and musical context of the passage. For 
 instance, in the extreme high register it may be essential to include 
 the piccolo; in the low register flutes will be unnecessary, and yet 
 the passage can still be called tutti. The inclusion of kettle-drums, 
 harp, and other instruments of little sustaining power, as of the 
 percussion in general, does not come under discussion. 
 
102 — 
 
 The variety of orchestral operations increases with the number 
 of instruments forming a tutti, in fact, so great does it become 
 that it is impossible to consider all combinations. 1 can only give 
 a few examples of full and partial tutti, and leave the reader to 
 draw his own conclusions. Some of these examples fall under the 
 double heading of full and partial tutti, and the student is reminded 
 that the tutti, is used essentially in forte and fortissimo, rarely in 
 pianissimo and piano passages. 
 
 Snegourotchka^^ and 
 
 Examples: 
 62] — Partial and full Tufli, 
 
 231 
 
 Partial Tutti, without the trumpets (cf. Ex. 8). 
 No. 204. Snegourotchka [JFa] — Full Tutti. 
 
 125^6] — Full Tutti and chorus (cf. Ex.8). 
 
 239 
 
 173 
 
 Full Tutti (cf. Ex. 86). 
 
 — Full Tutti with chorus, diffe- 
 
 177 
 
 Sadko |1], [223], 
 
 No. 205—206. Sadko 
 rently scored. 
 
 -No. 207—208. The Christmas Night [m\ and [m] — Full Tutti, 
 orchestrated in different ways, with and without chorus. 
 
 * The Tsar's Bride, Overture [T| , [2] , [T| — Full and partial Tutti 
 
 (cf. Ex. 179—181). 
 
 141 
 
 Full Tutti. 
 
 177 
 
 Pan Voyevoda 
 *Antar 
 
 186 
 
 and 
 
 188 
 
 Full Tutti. 
 
 65 
 
 — (cf. Ex. 32). 
 
 * No. 209. Sheherazade, 3il movement [m]; cf. also 1^1 movement 
 [a], [e], [h]; 2si movement [k], [p], [r]; 3i^ movement [g], 
 
 [o] ; 41I1 movement \g\, [p], [w] and farther on to [T| (No. 193, 
 194, 19, 66, 77). 
 
 * Spanish Capriccio[B\, 0, 0, 0, 0' [x^ (cf. Ex. 3). 
 
 * Russian Easter Fete [f] , [T| , before [T], [y], up to the end. 
 *j!^ Symphony, lH movement [p], | R— T | , [x] ; 2ii^ movement 
 
 [a] , [¥] ; 4'A movement [a] , \~h 
 
 * Sadko, Symphonic tableau 
 
 20—24 
 
 *Mlada, Act 111 [12] (cf. Ex. 258). 
 
 * For examples of Tutti chords, see special Tables at the end of Vol. II. 
 
— 103 — 
 
 Tuiii 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 n.ore 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 Turkish infantry music. 
 Violoncellos and double basses playing more or less impor- 
 tant pizz. notes are often added to wood-wind instruments (tutti), 
 likewise the remainder of the strings and the harps; this process 
 renders the sustained notes in the wood-wind more distinct. Tutti 
 passages in wood-wind and horns do not produce any great amount of 
 power in jorte passages, but, on the other hand tutti in the brass 
 groups alone may attain an extraordinary volume of tone. In the 
 following examples the formation of pedal notes by strings or wood- 
 wind in no way alters the general character of the Tutti: 
 
 Examples: 
 
 No. 210— 211. Snegourotclika 149 , I5i (compare) 
 
 Tsar Saltan 14 , 17 , 26 (cf. Ex. 182—184) 
 
 Pan Voyevoda [57], [Tse], [262] . 
 
 No. 212. Ivan the Terrible, Act II [lo]; cf. also Act. Ill [T]. 
 
 * No. 213— 214. Legend of Kitesh [294], [3T2] (compare). 
 
 * No. 2 15. The Golden Cockerel [He]; cf. also |^ and [sT]. 
 
 * Antar [37] (cf. Ex. 65). 
 
 TuUi 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. 
 
104 
 
 Examples: 
 No. 2 16. Snegourotchka,hefor& 
 * No. 217. Russian Easter Fete 
 
 128 
 
 cf. also 
 
 153 
 
 and before 
 
 ; cf. also [u] and |T|. 
 
 305 
 
 * Spanish Caphccio[A], [c], before [s], before [p]; cf.also 
 (Ex. 56). 
 Mlada, Act II [Ts]. 
 
 (cf. Ex. 295). 
 
 o 
 
 ' Sadko 
 
 220 
 
 * Legend of Kitesh [Toi]. 
 
 * No. 218. Tlie May Night, Act i, The Mayor's Song 
 nation of strings, arco and pizz. 
 
 combi" 
 
 Tutti in one, two and three parts. 
 
 It often happens that a moderately full orchestral ensemble exe- 
 cutes 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: 
 
 , [176]. 
 
 Snegourotchka, before \\^_ 
 The Tsar's Bride 
 
 174 
 
 120—121 
 
 (cf. Ex. 63). 
 
 215 
 
 The Golden Cockerel 
 
 * No. 219—221. Legend of Kitesh 
 Tutti, with different scoring. 
 
 142 
 
 144 
 
 147 
 
 3 part 
 
 Legend of Kitesh [Tas], |i39| — Tutti in one part 
 
 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^ violin and I5i 'cello are fairly frequently used in this manner, 
 the solo viola ist seldom found, and a solo on the double bass is 
 practically unknown. Phrases demanding particular individuality 
 
105 — 
 
 of expression are entrusted to solo instrumenta; likewise passages 
 that require extraordinary technique, beyond the scope of the 
 orchestral rank and file. The comparatively weak tone of the solo 
 instrument necessitates light, transparent accompaniment. Difficult 
 virtuoso solos should not be written, as they attract too much atten- 
 tion to a particular instrument. Solo stringed instruments are also 
 used when vigourous expression and technical facility are not 
 required, but simply in order to obtain that singular difference in 
 colour which exists between a solo stringed instrument and strings 
 in unison. Two solo instruments can be coupled together, e. g. 
 2 Violins soli, etc. and in very rare cases a quartet of solo strings 
 may be employed. 
 
 Examples . 
 
 Violin solo: 
 
 No. 222—223. Snegourotchka 
 The May Night, pp. 64—78. 
 Mlada, Act I 
 
 54 
 
 275 
 
 52 
 
 ; Act III, before 
 
 19 
 
 *A Fairy Tale |w|. 
 
 * Sheherazade, 12i movement 
 start of each movement. 
 
 * Spanish Capriccio 
 
 also the passages at the 
 
 * No. 224. Legend of Kitesh 
 
 310 
 
 and the cadence on p. 38. 
 - Vn. solo, on harmonic basis 
 
 of strings sul ponticello and wood-wind. 
 
 Snegourotchka 274 ,279—2 Vni soli (cf. Ex. 9) 
 
 Viola solo: 
 
 No. 225. Snegourotchka 
 Sadko 
 
 212 
 
 137 
 
 * No. 226. The Golden Cockerel 163 ; cf. also 174 , 177|. 
 
 Violoncello solo. 
 
 Snegourotchka [Tst] (cf. Ex. 102) 
 The Christmas Night, before 
 Mlada, Act III 
 
 29 
 
 36 
 
 * The Golden Cockerel [Ttt], [Tso] (cf. Ex. 229) 
 
— 106 — 
 
 Double bass solo. 
 
 • No. 227. Mlada, Act II |To-i^ 
 first string is tuned down. 
 
 Solo quartet: 
 
 a special instance where the 
 
 The Christmas Night 
 * No. 228. Tsar Saltan 
 
 222 
 
 248 
 
 Vn., Viola, 'Cello, D. bass. 
 Vn. I, Vn. II, Viola, 'Cello. 
 
 *The case of a solo stringed instrument doubled by the wood- 
 wind in unison must not be forgotten. The object is to attain 
 great purity and abundance of tone, without impairing the timbre 
 of the solo instrument (especially in the high and low registers), 
 or to produce a certain highly-coloured effect. 
 
 52 
 
 * Mlada, Act U 
 
 * The Christmas Night 
 
 * Pan Voyevoda 
 
 Examples: 
 — Vn. + Fl.; ActIV 
 
 31 
 
 Viol. + F1. 4- Harp. 
 
 212 
 
 67 
 
 Legend of Kitesh 
 
 306 
 
 309 
 
 * No. 229. The Golden Cockerel 
 
 — 2yni+ Fl. 4- Small CI. (cf. Ex. 153). 
 — 2 Vni + 2 Ob.; 2 Violas + 2 CI. 
 Bass cl. + C-fag. (cf. Ex. 10). 
 Vn. + FI. 
 
 ^ — Vn. -f Pice; 'Cello + Bass cl. 
 
 * As shown in Chap. II, 2 Vni soli or Violin solo -f Fl. (Pice.) are 
 often sufficient to double a melody in the upper register. 
 
 Examples : 
 
 ] — cf. Chap. II, p. 42 and Ex. 24. 
 
 Russian Easter File, p. 32 — 2 Solo violins (in har- 
 
 207 
 
 Sadko 
 
 * No. 230 
 monies). 
 
 * No. 231. Legend of Kitesh [297] — 2 Solo violins -f Pice. 
 
 Limits of orchestral range. 
 
 It is seldom that the entire orchestral conception is centred in 
 the upper register of the orchestra (the Sit and 6i!i 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 
 
— 107 
 
 case the double bassoon and the low notes of the bassoons, bass 
 clarinet, horns, trombones and tuba are brought into play. The 
 first method gives brilliant colour, the second combination is dark 
 and gloomy. The contrary would be fundamentally impossible. 
 
 Examnles: 
 
 122 
 
 Pan Voyevoda 
 Servilia [m], SiH bar. (cf. Ex. 62) 
 No. 232. The Golden Cockerel 
 * Snegourotchka, before 
 
 220 
 
 ; cf. also [iis] , 
 
 219 
 
 low 
 register. 
 
 25 
 
 34 
 
 high 
 register. 
 
 * Legend of Kitesh, before 
 
 * No. 233. The Golden Cockerel [na], \nT\ 
 •No. 234. Shiherazade, 2!i^ movement pp. 59—62 
 
 The upper and lower parts of a passage can seldom be widely 
 separated without the intermediate octaves being filled in, for this 
 is contrary to the first principles of proper distribution of chords. 
 Nevertheless the unusual resonance thus produced serves for strange 
 and grotesque effects. In the first of the following examples the 
 piccolo figure doubled by the harp and the sparkling notes of the 
 glockenspiel is set about four octaves apart from the bass, which 
 is assigned to a single Double bass and Tuba. But in the 3i^ octave, 
 the augmented fourths and diminished fifths in. the two flutes help 
 to fill up the intermediate space and lessen the distance between 
 the two extreme parts, thus forming some sort of link between 
 them. The general effect is fanciful. 
 
 Examples. 
 
 No. 235. Snegourotchka 
 * No. 236. 
 
 » 
 A Fairy Tale [a]. 
 
 255 
 
 315 
 
 274 
 
 , 5iJi and 611i bars, 
 (cf. Ex. 9). 
 
 The Golden Cockerel 179 , 9*li bar. (cf. Ex. 229) 
 
 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 
 
— 108 — 
 
 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 |i37| — The melody is transferred from the violins 
 
 to the flute and clarinet (cf. Ex. 28). 
 
 * „ before I9i — Solo violin — Solo 'cello. 
 
 Pan Voyevoda 57 — Trombones — Trumpets; Horn — Ob. -|- CI. 
 
 A similar operation is used in scoring passages covering the 
 entire orchestral scale, or a great portion of it. When one instru- 
 ment is on the point of completing its allotted part, another instru- 
 ment takes up the passage, starting on one or two notes common 
 to both parts, and so on. This division must be carried out to 
 ensure the balance of the whole passage. 
 
 Examples: 
 
 Snegourotchka 36 , 38 , I3i — Strings. 
 
 The Tsar's Bride 190 — Wood-wind 
 
 Sadko 72 — Strings (cf. Ex. 112). 
 
 [223] — Strings. 
 
 The Christmas Night, before |_i80j — Strings, wind and chorus 
 (cf. Ex. 132). 
 
 * No. 237. The Christmas Night, before |_i8£j — Shing figure. 
 
 * Servilia [m] — Strings (cf. Ex. 88). 
 
 [29], Sin bar. — Ob. — Fl.; CI. — Bass cl.. Fag. 
 No. 238. The Golden Cockerel, before \V\ — Wood-wind. 
 
 ,, [5] — Fag. — Eng. horn (+ 'Cellos 
 piiz^. 
 *- ■ 
 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 
 
— 109 — 
 
 as if there were no leap from octave to octave; tfiis applies specially 
 to chromatic passages in order to avoid false relation. 
 
 Examples : 
 No. 239. Ivan the Terrible, Act II 
 No. 240— 241. The Tsar's Bride 
 * No. 242— 243. „ 
 
 29 
 
 . 
 
 
 
 
 123 
 
 , before 
 
 124 
 
 178 
 
 1 
 
 179 
 
 
 
 • Note. The rules regulating pfogression of parts may sometimes be ignored, 
 when extreme contrast of timbre between two adjacent chords is intended. 
 
 Examples: 
 ' SMMrazade, SUi bar from the beginning) (the chromatic progression at 
 the 12111 bar is undertaken by the same instruments, the 22^ cl. is therefore 
 placed above the first in the opening) — cf. Ex. 109. 
 
 • 77ie Christmas Night, opening (cf. Ex. 106). 
 
 2. Another excellent method consists in transferring the same 
 chord or its inversion from one orchestral group to another. This 
 operation demands perfect balance in progression of parts as well 
 as register. The first group strikes a chord of short value, the 
 other group takes possession of it simultaneously in the same 
 position and distribution, either in the same octave or in another. 
 The dynamic gradations of tone need not necessarity be the same 
 
 in both groups. 
 
 Examples : 
 
 Ivan the Terrible, commencement of the overture (cf. Ex. 85). 
 
 No. 244. Snegourotchka 140 
 
 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 converse operation — the 
 transition from a complex to a simple timbre, by the suppression 
 of one of the groups, belongs essentially to the diminuendo. 
 
— 110 
 
 Examples : 
 
 No. 245. Snegourotchka [3T3] . 
 
 [ho] (cf. Ex. 244). 
 A Fairy Tale [v]. 
 
 Sheherazade, 2^ movement [d] (cf. Ex. 74). 
 * „ 41I1 movement p. 221. 
 
 No. 246. Servilia [223]; cf. also [44]. 
 
 The Christmas Night [lesj (cf. Ex. 143). 
 No. 247. The Tsar's Bride, before [205 
 
 * No. 248. Russian Easter Fete [p] . 
 
 * No. 249— 250. Legend of Kitesh [£\, [^67] , 
 
 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 follov/ed in dealing with 
 phrases, actually different, but similar in character; repeated phrases 
 of different character should be scored in a manner most suitable 
 to each. 
 
 Examples: 
 
 The Tsar's Bride [T57], [TeTj 
 
 Legend of Kitesh |4 0-4i 
 
 No. 251. Spanish Capriccio 
 
 In echo phrases, that is to say imitation entailing not only 
 decrease in volume of tone but also an effect of distance, the 
 second instrument should be weaker than the first, but the two 
 should possess some sort of affinity. An echo given to muted 
 brass following the same phrase not muted produces this distant 
 effect. Muted trumpets are eminently suited to echo a theme in 
 the oboes; flutes also may imitate clarinets and oboes successfully. 
 A wood-wind instrument cannot be used to echo the strings, or 
 
— Ill — 
 
 vice versa, on account of the dissimilarity in timbre. Imitation in 
 octaves (with a decrease in resonance) creates an effect resembling 
 an echo. 
 
 Examples: 
 
 Ivan the Terrible, Act 111 \T\. 
 
 No. 252. Sadko [264 
 
 * Spanish Capriccio E . — This example is not precisely an 
 
 echo but resembles one in character (c. Ex. 44). 
 
 * Sheherazade, 41ii movement before O 
 
 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. 
 effect. 
 
 b) It is not so effective, and therefore less frequent to give the 
 notes of sustained value to the strings, and the short chords to 
 the wood-wind. In such cases the tenuto chord is played tremo- 
 lando on the strings. 
 
 Examples: 
 
 Vera Scheloga, before fas], ffl, W^ bar. 
 
 No. 253. Legend of Kitesh, before |~1 5-16 
 
 Sheherazade, 2"^ movement, |T], 1411^ bar. 
 
 Method of emphasising certain notes and chords. 
 
 In order to stress or emphasise a certain note or chord, besides 
 the marks of expression ==— and sj, 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 
 
— 112 — 
 
 four grace noles, 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, the downward direction being 
 less common. As a rule they are connected to the main note by 
 a slur. In the strings they should not lead up to chords of three 
 or four notes, as this would be awkward for the bow. 
 
 Examples: 
 
 No. 254. The Tsar's Bride 142 — Anacrusis in the strings 
 
 *No. 255. Sheherazade, 2n^ movement [c] — Short pizz. chords. 
 „ „ „ [p] — Short wind chords 
 
 (cf. Ex. 19). 
 
 Crescendo and diminuendo. 
 
 Short crescendi and diminuendi are generally produced by na- 
 tural 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). Pro- 
 longed orchestral crescendi are obtained by the gradual addition 
 of other instruments in the following order: strings, wood-wind, 
 brass. Diminuendo effects are accomplished by the elimination 
 of the instruments in the reverse order (brass, wood-wind, strings). 
 The scope of this work does not lend itself to the quotation of 
 prolonged crescendo and diminuendo passages. The reader is re- 
 ferred, therefore, to the full scores: 
 
 * Sheherazade, pp. 5—7, 92—96, 192—200. 
 
 * Antar 
 
 51 
 
 The Christmas Night 
 Sadko 
 
 183 
 
 165-166 
 
 *The Tsar's Bride so-si 
 
 Many examples of shorter crescendi and diminuendi will be 
 found in Vol. II. 
 
— 113 - 
 
 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 trifhng 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 the introduction of fresh 
 parts as the distance widens, so that the upper parts become 
 doubled or trebled. In converging progressions the tripled and 
 doubled parts are simplified, as the duplicating instruments cease 
 to play. Moreover, if the harmony allows it, the group in the 
 middle region which remains stationary is the group to be retained, 
 or else the sustained note which guarantees unity in the operation. 
 Below, the reader will find double examples of both descriptions. 
 The first pair represents a diverging progression, 1. piano, in which 
 the human voice takes part; 2. a purely orchestral crescendo. The 
 second depicts two similar diverging progressions, firstly a gradual 
 crescendo, secondly dim., during which the strings become more 
 and more divided as the wind instruments cease to play. Ex. 258. 
 accompanies the apparition of Mlada, Ex. 259, its disappearance. 
 The atmosphere and colouring are weird and fanciful. The third 
 pair of examples forms instances of converging progressions. In 
 the first (Ex. 260) Princess Volkhova relates the wonders of the 
 sea. Then in the middle of a powerful orchestral crescendo the 
 Sea-King appears (Ex. 261). Both examples include a sustained 
 stationary chord of the diminished seventh. The handling of such 
 progressions requires the greatest care. 
 
 Examples: 
 No. 256—257. The Tsar's Bride [T02] and [Tot]. 
 No. 258—259. Mlada, Act III [12] and [To]. 
 
 No. 260—261. Sadko 105 and 
 
 119 
 
 Sadko [72j (cf. Ex. 112). 
 before |315 . 
 
— 114 — 
 
 *The Christmas Night, beginning (cf. Ex. 106). 
 *No. 262. Antar, end of 3:^ movement. 
 
 Note. A sustained note between the diverging parts does not 
 always allow the empty space to be more complety filled up. 
 
 Example: 
 No. 263. The Golden Cockerel, before [Toe] . 
 
 Tone quality as a harmonic force. 
 
 ilarmonic 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. 
 
 m 
 
 ^^ 
 
 m 
 
 ^^ 
 
 If, in the above example, the upper part is transposed an octave 
 lower, the discordant effect produced by the contact of appogia- 
 turas and fundamental notes will be diminished; the quicker the 
 passage is played the less harsh the effect will be, and vice versa. 
 But it would be ill-advised to lay down any hard and fast rule as 
 to the permissible length of these notes. There is no doubt that 
 the harmonic notes, the thirds of the fundamental one (E) are 
 more prominent from their proximity with the notes extraneous 
 to the harmony. If the number of parts is increased (for instance, 
 if the melodic figure is in thirds, sixths etc.), the question becomes 
 still more complicated, since, to the original harmonic scheme, 
 chords with different root bases are added, producing false relation. 
 
 Nevertheless, for the solution of such problems, orchestration 
 provides an element of the greatest importance: difference of 
 timbres. The greater the dissimilarity in timbre between the har- 
 monic basis on the one hand and the melodic design on the 
 other, the less discordant the notes extraneous to the harmony 
 
— 115 — 
 
 will sound. The best examjJle of this is to be found between the 
 human voice and the orchestra, next comes the difference of 
 timbres between the groups of strings, wood-wind, plucked strings 
 and percussion instruments. Less important differences occur 
 between wood-wind and brass; in thes6 two groups, therefore, the 
 harmonic basis generally remains an octave removed from the 
 melodic design, and should be of inferior dynamic power. 
 
 Examples of harmonic basis in chords: 
 
 No. 264. Pan Voyevoda, Introduction. 
 
 Legend of Kitesh, Introduction (cf. also Ex. 125 and 140). 
 
 *Mlada, Act 111 
 
 10 
 
 The harmonic basis may be ornamental in character, in which 
 case it should move independently of the concurrent melodic design. 
 
 Examples: 
 *No. 265— 266. Tsar Saltan [103-10 4 1, [m\ , \m], 
 
 162-165 
 
 (of. below). 
 
 Chords the most widely opposed in character may be used on 
 a simple, stationary harmonic basis, a basis, founded, for example, 
 on the chord of ihe tonic or diminished sevenih. 
 
 Examples : 
 
 No. 267. Legend of Kitesh 326-328 — Wood-wind and harps 
 on a string basis. 
 
 No. 268-269. Kashtche'i the Immortal [ss], [43]. 
 
 No. 270. Mlada, Act II, before Q?], [is]' 0- 
 
 No. 271. The Golden Cockerel [T25] — Chords of the diminished 
 seventh, on arpeggio basis (augmented fifth). 
 
 The effect of alternating harmony produced between two me- 
 lodic figures, e. g. one transmitting a note, held in abeyance, to 
 the other, or the simultaneous progression of a figure in augmen- 
 tation and diminution etc. becomes comprehensible and pleasant 
 to the ear when the fundamental si^ i iied harmony is different. 
 
 8* 
 
34 
 
 » 
 
 36 
 
 > 
 
 297 
 
 - 116 — 
 
 Examples: 
 
 (cf. Ex. 34 and 231). 
 
 147—148 
 
 Legend of Kitesh 
 
 No. 272—274. Tsar Saltan [m], 1 162-165 1 (cf. also 
 
 * Russian Easter Fetey before pv] . 
 
 The whole question as to what is allowed and what forbidden 
 in the employment of notes extraneous to the harmony is one of 
 the most difficuU in the whole range of composition; the per- 
 missible length of such notes is in no way established. In ab- 
 sence of artistic feeling, the composer who relies entirely on the 
 difference between two timbres will often find himself using the 
 most painful discords. Innovations in this direction in the latest 
 post-Wagnerian music are often very questionable; they depress 
 the ear and deaden the musical senses, leading to the unnatural 
 conclusion that what is good, taken separately, must necessarily 
 be good in combination. 
 
 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 instru- 
 ments, but which are used from the fact that long glissandi are 
 more resonant and brilliant than short ones. 
 
 Snegourotchka 
 
 325 
 
 Examples : 
 (cf. Ex. 95). 
 
 No. 275. Pan Voyevoda 
 
 * Shihirazade, 3i^ movement 
 
 * Russian Easter Fete 
 
 128 
 
 M 
 
 , 51lLbar (cf. Ex. 248). 
 
 (cf. Ex. 248). 
 
 Enharmonic glissando in the strings should also be mentioned. 
 
 No. 276. The Christmas Night [Tso], 131Iibar — 'Cellos glissando 
 
— 117 — 
 
 Use of percussion instruments for rhythrii 
 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 disconnec- 
 ted sforzandi. The triangle, side drum and tambourine are capable of 
 various rhythmic figures. Sometimes the percussion is used sepa- 
 rately, independently of any other group of instruments. 
 
 The brass and wood-wind are the two groups which combine the 
 most satisfactorily with percussion from the standpoint of colour. 
 The triangle, side drum, and tambourine go best with harmony in 
 the upper register; cymbals, bass drum and gong with harmony in the 
 lower. The following are the combinations most generally employed: 
 tremolo on the triangle and tambourine with trills in wood-wind and 
 violins; tremolo on the side drum, or cymbals struck with drum 
 sticks, and sustained chords on trumpets and horns; tremolo on the 
 bass drum or the gong with chords on trombones or low sustained 
 notes on 'cellos and double basses. It must not be forgotten that 
 the bass drum, cymbals, gong and a tremolo on the side drum, 
 played fortissimo, is sufficient to overpower any orchestral tutti. 
 
 *The reader will find instances of the use of percussion instruments 
 in any full score, and in several examples of the present work. 
 
 Examples: 
 * Sheherazade pp. 107 — 119, also many passages in 4'^ movement: 
 Antar [40], [43] (cf. Ex. 73, 29). 
 
 * Spanish capriccio [p] (cf. Ex. 64); the cadences to be studied 
 in the 4^ movement, where they are accompanied by various per- 
 cussion instruments. 
 
 * Russian Easter Fete [k] (cf. Ex. 217). 
 " The Tsar's Bride[m\. 
 
 Legend of Kitesh 1 96- 197 — "The Battle of Kerj^metz". 
 
 Pan Voyevoda 7i 72 
 
118 
 
 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 employed over frequently. 
 The same may be said of the piano and castanets. A quantity of 
 national instruments not included in the present work may be 
 incorporated into the orchestra; such are the guitar, the domra, 
 zither, mandoline, the oriental tambourine, small tambourine etc. 
 These instruments are employed from time to time for descriptive- 
 aesthetic purposes. 
 
 These instruments are most frequently used in the above-named 
 order. A group of instruments which has been silent for some 
 time gains fresh interest upon its reappearance. The trombones, 
 trumpets and tuba are occasionally tacet for long periods, the 
 percussion is seldom employed, and practically never all together, 
 but in single instruments or in two's and three's. In national 
 dances or music in ballad style, percussion instruments may be 
 used more freely. 
 
 After a long rest the re-entry of the horns, trombones and tuba 
 should coincide with some characteristic intensity of tone, either 
 pp or //; piano and forte re-entries are less successful, while re- 
 introducing these instruments mezzo-forte or mezzo-piano produces 
 a colourless and common-place effect. This remark is capable 
 of wider application. For the same reasons it is not good to 
 commence or finish any piece of music either mf or mp. The 
 scope of the musical examples in this work does not permit of 
 illustrating by quotation the use of economy in orchestral colour, 
 nor the re-entry of instruments thrown into prominence by prolonged 
 rests. The reader must examine these questions in full scores. 
 
 I 
 
 i 
 
Chapter V. 
 
 COMBINATION OF THE HUMAN VOICE WITH ORCHESTRA. 
 THE STAGE BAND. 
 
 Orchestral accompaniment of solo voices. 
 
 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 more movement and rhythmic detail contained 
 in the vocal part, the greater freedom and liberty must there be 
 given to the voice. In such a case the latter should not be 
 doubled by the orchestra, neither should rhythmical figures be written 
 for any instrument corresponding with those in the vocal part. In 
 accompanying the voice the composer should bear these points in 
 mind before turning his attention to the choice of orchestral colour. 
 A confused, heavy accompaniment will overpower the singer; an 
 accompaniment which is too simple in character will lack interest, 
 and one which is too weak will not sustain the voice sufficiently. 
 
 In modern opera it is rare that orchestral writing is confined 
 to accompaniment pure and simple. It frequently happens that the 
 principal musical idea, often complex in character, is contained 
 in the orchestra. Th? voice may then be said to form the accom- 
 paniment, exchanging musical for literary interest. It becomes 
 
— 120 — 
 
 subordinate to the orchestra, as though it were an extra part^ 
 subsequently added as an after-thought. But it is evident that great 
 care must be taken with orchestral writing in such cases. The 
 scoring must not be so heavy or complicated as to drown the 
 voice and prevent the words from being heard, thereby breaking 
 the thread of the text, and leaving the musical imagery unexplained, 
 Certain moments may require great volume of orchestral tone, so 
 great that a voice of even phenomenal power is incapable of 
 being heard. Even if the singer is audible, such unequal struggles 
 between voice and orchestra are most inartistic, and the composer 
 should reserve his orchestral outbursts for the intervals during 
 which the voice is silent, distributing the singer's phrases and 
 pauses in a free and natural manner, according to the sense of 
 the words. If a prolonged forte passage occurs in the orchestra 
 it may be used concurrently with action on the stage. All artificial 
 reduction of tone contrary to the true feeling of a passage, the sole 
 object being to allow the voice to come through, should be strictly 
 avoided, as it deprives orchestral writing of its distinctive brilliance. 
 It must also be remembered that too great a disparity in volume 
 of tone between purely orchestral passages and those which 
 accompany the voice create an inartistic comparison. Therefore, 
 when the orchestra is strengthened by the use of wood-wind in 
 three's or four's, and brass in large numbers, the division of tone 
 and colour must be manipulated skillfully and with the greatest care. 
 In previous sections I have frequently stated that the structure 
 of the orchestra is closely related to the music itself. The scoring 
 of a vocal work proves this relationship in a striking mnaner, and, 
 indeed, it may be stipulated that only that which is well written 
 can be well orchestrated. 
 
 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, trom- 
 bones, 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-wmd 
 
— 121 — 
 
 and brass, and brass doubled by wood-wind are combinations 
 liable to drown the singer. This may be done even more easily 
 by tremolando in the kettle-drums and other percussion instruments, 
 which, even by themselves are capable of overpowering any other 
 orchestral group of instruments. Doubling of wood-wind and 
 horns, and the use of two clarinets, two oboes or two horns in 
 unison to form one harmonic part is likewise to be avoided, 
 as such combinations will have a similar effect on the voice. The 
 frequent use of long sustained notes in the double basses is another 
 course unfavourable to the singer; these notes in combination 
 with the human voice produce a peculiar throbbing effect. 
 
 Juxtaposition of strings and wood-wind which overweights legato 
 or declamatory singing may nevertheless be employed if one of 
 the groups forms the harmony in sustained notes and the other 
 executes a melodic design,, when, for instance the sustaining 
 instruments are clarinet, and bassoon, or bassoon and horn, and the 
 melodic design is entrusted to violins or violas — or in the opposite 
 case, when the harmony is given to violas and 'cellos divisi, and 
 the harmonic figure to the clarinets. 
 
 Sustained harmony in the register of the second octave to the 
 middle of the third does not overpower women's voices, as these 
 develop outside this range; neither is it too heavy for men's 
 voices, which although opening out within the range itself sound 
 an octave higher, as in the case of the tenor voice. As a rule 
 women's voices suffer more than men's when they come in contact 
 with harmony in a register similar to their own. Taken separately, 
 and used in moderation, each group of orchestral instruments may 
 be considered favourable to each type of voice. But the combination 
 of two or three groups cannot be so considered unless they each 
 play an independent part and are not united together at full strength. 
 Incessant four-part harmony is to be deprecated. Satisfactory results 
 will be obtained when the number of harmonic parts is gradually 
 decreased, with some of them sustaining pedal, notes, and when 
 the harmony, interspersed with necessary pauses is confined to 
 the limits of one octave, distributed over several octaves, or dupli- 
 cated in the higher register. 
 
 These manipulations allow the composer to come to the singer's 
 aid; in voice-modulations, when the singer passes from the can- 
 
— 122 
 
 tabile to the declamatory style, the composer may reduce or 
 eliminate some harmony which is found to be too heavy as the 
 vocal tone diminishes, and conversely, support the voice by a 
 fuller orchestral tone in broad phrases and climaxes. 
 
 Ornamental writing and polyphonic accompaniment should never 
 be too intricate in character, entailing the use of an unnecessary 
 number of instruments. Some complicated figures are better partially 
 entrusted to pizz. strings and harp, as this combination has little 
 chance of overpowering the voice. Some examples of accompanying 
 an aria are given below. 
 
 Examples: 
 
 The Tsar's Bride, Lykow's supplementary Aria (Act III). 
 
 Griasnov's Aria. 
 
 16—19 
 
 No. 277. Snegoiirotchka 
 * Snegourotchka 
 
 45 
 
 187—188 
 
 212—213 
 
 the two Cavatinas of Tsar 
 
 Berendey (cf. extracts, Ex. 102, 225). 
 
 No. 278. Sadko 143 
 
 204-206 
 
 * Legend of Kitesh [39-41 
 
 * The Golden Cockerel 
 
 The Venetian's Song. 
 
 222-2231 (cf. Ex. 31). 
 
 153-157 
 
 163 
 
 Florid singing which limits volume of tone requires a light 
 accompaniment, simple in outline and colour, involving no dupli- 
 cation of instruments. 
 
 'Examples: 
 
 - Snegourotchka' s Aria (Prologue), 
 
 No. 279. Snegourotchka 
 Fragment. 
 "Sadko 
 
 42-48 
 
 195—197 
 
 — Hindoo Song (cf. Ex. 122). 
 — Oxana's Aria. 
 
 45-50 
 
 * The Christmas Night 
 
 * The Golden Cockerel |i3i— 136| — Aria of Queen Shemakha. 
 
 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 per- 
 missible in isolated phrases. The most natural duplication in 
 
— 123 — 
 
 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 cannot be used 
 for this purpose. Uninterrupted or too frequent duplication should 
 be avoided, not only because the operation deprives the singer of 
 full freedom of expression, but also because it replaces by a 
 mixed timbre the rare characteristic qualities of the human voice. 
 Doubling, when limited to a few special phrases supports the 
 voice and endows it with beauty and colour. It is only suitable 
 ki tempo; to apply it, in unison or octaves to a passage ad. lib. 
 is both ineffective and dangerous. 
 
 Examples: 
 
 Snegourotchka 50—52 — Snegourotchka's Arietta (cf. Ex. 41). 
 
 Sadko 1^09— 3ii\ — Volkhova's Cradle-song (cf. Ex. 81). 
 
 Besides the question of doubling the voice for the object of 
 colour there are instances when the singer executes only part of 
 a phrase, allotted in its entirely to an orchestral instrument. 
 
 Example: 
 Vera Scheloga [so], [aa] (cf. Ex. 49). 
 
 Lyrical climaxes, a plena voce, or dramatic passages for the 
 voice situated outside its normal range should be supported melo- 
 dically and harmonically by the orchestra, in the register in which 
 the voice is placed. The culminating point in such passages 
 often coincides with the entry or sudden attack of the trombones 
 or other brass instruments, or by a rush of strings. Strengthening 
 the accompaniment in this manner will soften the tone of the voice 
 
 Examples : 
 
 No. 280. The Tsar's Bride [206]. 
 Servilia [1 26-127 
 
 232 . 
 
 No. 281. Sadko [314 
 Vera Scheloga [^Tj. 
 
— 124 — 
 
 If the culminating point is soft in colour and outline it is better 
 left unsupported in the orchestra, but sometimes the wood-wind, 
 sustaining such passages with light transparent melody or harmony 
 may produce an entrancing effect. 
 
 Examples: 
 Snegourotchka [Tss], 
 
 [sis] (cf. Ex. 119). 
 No. 282. The Tsar's Bride \2u] . 
 
 It is a common practice to support voices in concerted numbers 
 by harmony and duplication; this operation makes for accuracy 
 and brilliance when applied to duets, trios, quartets etc. 
 
 Examples: 
 Snegourotchka [^92^293] — Duet (cf. Ex. 118). 
 
 Sadko 99-101 — Duet (cf. Ex. 289 and 290). 
 
 sextet. 
 
 No. 283. The Tsar's Bride 
 
 169 
 
 117 
 
 quartet. 
 
 Legend of Kitesh [341] — quartet and sextet (cf. Ex. 305). 
 
 The beautiful effect produced by a solo instrument accompanying 
 a cantabile aria cannot be denied. In such cases the instruments 
 used are generally the violin, viola, and 'cello, or the flute, oboe, 
 Eng. horn, clar., bass clar., bassoon, horn and harp. The accom- 
 paniment is often contrapuntal or composed of polyphonic designs. 
 The solo instrument either plays alone or as the leading melodic 
 voice in the ensemble. In combination with the voice, or asso- 
 ciated with some action on the stage, a solo instrument is a 
 powerful expedient for musical characterisation. Instances of this 
 description are numerous. 
 
 Examples : 
 
 Snegourotchka [50j — Soprano and oboe (cf. Ex. 41). 
 „ ~97J — Contralto and Eng. horn. 
 
 "243] , [245] — Baritone and bass clar. (cf. Ex. 47— 48)- 
 
 No. 
 
 284. The Tsar's Bride [Tos] — Soprano, 'cello and oboe. 
 
 The Golden Cockerel 163 — Soprano and viola (cf. Ex. 226). 
 
— 125 — 
 
 It is comparetively rare for percussion instruments to take part 
 in accompanying the voice. The triangle is occasionally used, the 
 cymbals less frequently. An accompaniment may be formed by a 
 figure or a tremolo on the kettle-drums. 
 
 Examples: 
 
 Snegourolchka [97], [224), [^ (Lell's m and 3il songs). 
 Tsar Saltan, before [?]. 
 
 161 
 
 > 
 
 197 
 
 *No 285. The Golden Cockerel \iS5j; cf. also 
 
 The following are examples of powerful and expressive orches- 
 tral passages, the voice tacet: 
 
 No. 286. The Tsar's Bride fill. 
 * Legend of Kitesh 
 
 282 
 
 298 
 
 *Servilia [iao]. 
 
 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). 
 
 Another excellent plan is to write short chords in the strings 
 combined with wood-wind in different ways. Sustained chords 
 and those entailing change of position should occur preferably 
 when the voice is silent, thus permitting both conductor and or- 
 chestra to keep a closer watch over the singer's irregularities of 
 rhythm in a piacere recitatives. If the accompaniment is more 
 complex in character, melodic, polyphonic or ornamental in design, 
 the recitative must be sung in tempo. Any phrase which it is 
 necessary to emphasise in accordance with the sense of the words 
 assumes a more cantabile character, and must be re-inforced by the 
 orchestra. Opera, today, besides demanding much greater care 
 in the treatment of the text than in the past, abounds in constant 
 transition from declamation to cantabile, or in the fusion of the 
 two. The orchestra offers more variety of texture and must be 
 
— 126 — 
 
 handled with greater regard to its relationship to the words, and 
 the action on the stage. This tlass of orchestration can only be 
 studied from lengthy examples. I refer the reader to operatic full 
 scores and content myself with giving one or short instances: 
 
 Examples: 
 
 16 
 
 No. 287. Snegourotchka 
 No. 288. The Tsar's Bride 
 
 124—125 
 
 The following double examples, similar from a musical point 
 a vieW; show different methods of handling an orchestra from the 
 standpoint of accompaniment to the voice, and the tutti form. 
 
 Examples: 
 No. 289—29 1 . Sadko |99— ioi| and 1 305-307 1 (compare also Ex. 75). 
 
 Vera Scheloga |3-7| and 
 
 28 
 
 Care should be taken not to score too heavily when accom- 
 panying singers in the wings. 
 
 Examples: 
 
 *No. 292. Sadko 
 
 316 
 
 318 
 
 320 
 
 * Legend of Kitesh 286-289 , 304 305 . 
 
 Orchestral accompaniment of the chorus. 
 
 The chorus, possessing much greater unity and power than the 
 solo voice, does not demand such careful handling in the accom- 
 paniment. On the contrary, too great a refinement of orchestral 
 treatment will prove harmful to the resonance of the chorus. As 
 a general rule orchestration of choral works follows the rules laid 
 down for purely instrumental scoring. It is obvious that dynamic 
 marks of expression must correspond in both bodies, but doubling 
 one orchestral group with another and coupling instruments of 
 the same kind in unison (2 Ob., 2 CI., 4 Horns, 3 Trombones etc.) 
 are both possible operations, if performed according to the re- 
 quirements of the musical context. Doubling choral parts by in- 
 struments is generally a good plan. In cantabile passages such 
 
— 127 — 
 
 duplication may be melodic in character, and the design more 
 ornamental in the orchestra than in the chorus. 
 
 Examples: 
 Ivan the Terrible, Act II |3-6| ; Act III 1 66-69 
 
 The May Night, Act I [x^y]; Act III [ I-Ee 
 
 Ddd— Ft! 
 
 Snegourotchka [6i-73j, 1 147-153 
 Mlada, Act II 
 
 323-328 
 
 22-3T], [45-63 1 ; Act IV 
 
 31-36 
 
 The Christmas Night 1 59-61 
 
 SadkO 1 37-39 I, 1 50-53 I, [79—86 
 
 115—123 
 
 173 
 
 177 
 
 187 
 
 189 
 
 218—221 
 
 233 
 
 270—273 
 
 The Tsar's Bride 
 Tsar Saltan 
 
 29—30 
 
 40-42 
 
 50-59 
 
 141 
 
 67—71 
 
 91—93 
 
 133—145 
 
 207—208 
 
 Legend of Kitesh 167 
 
 177-178 
 
 The Golden Cockerel 
 
 237-238 
 
 262-264 
 
 The reader will find instances of choral accompaniment in 
 many examples relating to other sections of the work. 
 
 In the case of solitary exclamations or phrases in recitative, 
 melodic doubling is not always suitable. It is better to support 
 the voice simply by harmonic duplication. 
 
 The repetition of notes — required by declamation — forming no 
 fundamental part of the rhythmical structure of a phrase or chord 
 should not be reproduced in the orchestra; the melodic or har- 
 monic basis alone should be doubled. Sometimes the rhythmical 
 structure of a choral phrase is simplified in comparison with its 
 orchestral duplication. 
 
 Examples : 
 
 No. 293. The Tsar's Bride [96], 
 
 No. 294. Ivan the Terrible, Act I, before [ts]. 
 
 Choral passages, the musical context of which is complete in 
 itself, forming a chorus a capella often remains undoubled by the 
 orchestra, accompanied solely by sustained notes or an indepen- 
 dent polyphonic figure. 
 
— 128 — 
 
 No. 295. Sadko [219]. 
 * Tsar Saltan 
 
 207 
 
 * Legend of Kttesh 167 
 
 Examples: 
 
 (cf. Ex. 116). 
 
 The Golden Cockerel 
 
 236 
 
 Heavier scoring is required for a mixed chorus; for a male 
 voice chorus the orchestration should be lighter; still more so for 
 women's voices alone. In scoring a certain passage the composer 
 should not lose sight of the number of choristers he is employing, 
 for scenic conditions may necessitate a reduction of that figure. 
 The approximate number should be marked in the full score as 
 a basis upon which to work. 
 
 No. 296. 
 * Sadko 
 
 Examples: 
 Ivan the Terrible, Act II 
 
 37 
 
 17 
 
 > 
 
 20 
 
 * Legend of Kitesh [ET] (cf. Ex. 198). 
 
 Note, It must also be remembered that a ff passage on an enlarged 
 orchestra, comprising wood-wind in fours, and numerous brass (sometimes 
 in three's), is capable of overpowering a large mixed chorus. 
 
 A chorus in the wings requires as light an accompaniment as 
 that employed for a solo singer on the stage. 
 
 Examples . 
 
 25—26 
 
 * Ivan the Terrible, Act I 
 
 * The May Night, Act I, before 
 
 * No. 297. Sadko [T02]. 
 
 90 
 
 Act III 
 
 13—14 
 
 ; Act III 
 
 Bbb— Ccc 
 
 * Legend of Kitesh [54-56 1 (cf. Ex. 196 and 197). 
 
 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 (imbre of 
 the solo voice differs from the rest But the combination of solo 
 
— 129 — 
 
 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 former a plena voce, 
 the latter piano. The soloist should stand as near to the footlights 
 as possible; the chorus up-stage. The orchestration should be 
 adapted to the soloist, not (o the chorus. 
 
 Examples : 
 No. 298. Snegourotchka " 
 
 143 
 
 Ivan the Terrible. Act II [st] (cf. Ex. 296). 
 
 When the chorus sings in the wings the soloist is always heard 
 
 distinctly. 
 
 Examples : 
 
 Ivan the Terrible, Act I 
 * The May Night, Act III 
 *Sadko [T02] , 
 
 25—26 
 
 Ccc 
 
 111 
 
 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 unfor- 
 tunate from the spectators' point of view, but also detrimental to 
 the mediaeval or legendary setting of the majority of operas. Only 
 those stage instruments are now used which suit the scene and 
 surroundings in which the opera is laid. As regards instruments 
 in the wings, invisible to the audience, the question is simple. 
 Nevertheless, for the musician of today the choice of these instru- 
 ments must be regulated by aesthetic considerations of greater 
 importance than those governing the selection of a military band. 
 The instruments are played in the wings, those visible on the stage 
 are only for ornament. Sometimes stage-instruments may be replicas 
 of those common to the period which the opera represents, (the 
 
 sacred horns in Mlada, for example). The orchestral accompaniment 
 
 9 
 
— 130 — 
 
 must vary in power according to the characteristics of the instru- 
 ments played in the wings. It is impossible to illustrate the use 
 of all the instruments mentioned below, and to outline suitable 
 accompaniments. I can only give a few examples and refer the 
 reader once again to the passages in the full scores. 
 
 a) Trumpets: 
 Servilia 
 
 12 
 
 25 
 
 * Legend of Kitesh 
 *Tsar Saltan 
 
 53 
 
 55 . 
 
 60 
 
 139 
 
 and further on. 
 
 b) Horns, in the form of hunting horns: 
 Pan Voyevoda 
 
 38—39 
 
 c) Trombones, leaving the orchestra to go on the stage; 
 
 Pan Voyevoda |i9i| . 
 
 d) Cornets: 
 
 Ivan the Terrible, Act III [T], [T]. 
 
 e) Sacred horns (natural brass instruments in various keys): 
 Mlada, Act II, pp. 179 onwards. 
 
 f) Small clarinets and piccolos: 
 
 No. 299— 300. Mlada, Act III 
 
 37 
 
 g) Pipes of Pan: instruments, specially made, with many holes 
 which are passed over the lips. These particular pipes pro- 
 duce a special enharmonic scale {B flat, C, D flat, E flat, E, F 
 sharp, G, A), which has the effect of a glissando: 
 Mlada, Act III \m\, [43] (cf. Ex. 300). 
 
 h) Harp, reproducing the effect of an aeolian harp: 
 
 Kashtchei the Immortal [32] and further on (cf. Ex. 268, 269). 
 
 i) Lyres. Instruments specially made and tuned so as to be able 
 to perform a glissando chord of the diminished seventh: 
 Mlada, Act III [39], 
 
 43 
 
 (cf. Ex. 300). 
 
 k) Pianoforte, grand or upright: 
 Mozart and Salieri 
 
 22—23 
 
 1) Gong, imitathig a church bell: 
 
 Ivan the Terrible, Act I 67 and farther on. 
 
— 131 — 
 m) Bass Drum (without cymbals) to imitate the sound of camion: 
 
 Tsar Saltan 
 
 139 
 
 and later. 
 
 n) Small kettle-drum, in D flat (3iil octave): 
 Mlada, Act III [41] and later (cf. Ex. 60). 
 
 0) Bells in various keys: 
 
 139 
 
 Sadko [T28] and 
 No. 301. Legend of Kitesh [78?] and further on. See also [241], 
 and later. 
 
 323 
 
 * Tsar Saltan [T39] and further on. 
 
 p) Organ: 
 
 No. 302. Sadko [^ 99-30o] . 
 
 Wood-w^ind and strings are comparitively seldom used on the 
 stage or in the wings. In Russian opera the strings are employed 
 in this way by Rubinstein {GoriouchaJ^ and in a splendidly cha- 
 racteristic manner by Serov (Hostile Power) : in the latter opera 
 the E flat clarinet is used to imitate the fife in the Carnival 
 procession. (1) 
 
 (1) Mention should be made of the happy use of a small orchestra in the 
 wings (2 pice, 2 cl., 2 horns, 1 tro mbone, tambourine, 4 Vni, 2 violas, 1 D-bass) 
 in The May Night, Act II, Sc. I. IjVl-Pj. (Editor's note.) 
 
Chapter VI (Supplementary). 
 
 VOICES. 
 
 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 
 secondSj 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 the other hand, 
 depends on the individuality of the singer. It is therefore im- 
 possible to define the exact limits of each of these vocal types. 
 When it is a question of dividing choristers into I2I and 2^ parts, 
 those with the higher voices are classed among the firsts and 
 vice versa. 
 
 Besides the principal terms mentioned above, the names mezzo- 
 soprano (between sop. and alto), and baritone (between tenor and 
 bass) are also employed. 
 
 Note. In the chorus mezzo-sopranos are classed with 2^ sopranos or 
 lii altos, baritones with 211^ tenors or first basses, according to quality and 
 timbre of voice. 
 
 Apart from these denominations which represent the six prin- 
 cipal solo voices, a quantity of others are in use to denote either 
 compass, timbre or technique, such as hght soprano, soprano 
 ^iusto, lyric soprano, dramatic soprano, light tenor, tenorino-altino, 
 bary ton-martin, lyric tenor, dramatic tenor, basso cantante ("singing 
 bass"), basso profondo (deep bass) etc. To this lengthy list must 
 
- 133 — 
 
 be added the term mezzo- car attere, of intermediate character 
 (between lyric and dramatic soprano, for example). 
 
 If we try to discover the real meaning of these designations it 
 soon becomes apparent that they are derived from widely different 
 sources — for instance, "light soprano" implies agility and mobility 
 in the voice; "dramatic tenor", the power to express strong dra- 
 matic feeling; basso profondo signifies great resonance in the 
 deep register. 
 
 Minute examination of all the methods of attack and emission 
 of sound lies within the province of the singing master and to 
 enumerate them here would only perplex the student. The same 
 applies to the position and exact limits of register (chest voice, 
 middle and head voice in women; chest voice, mixed voice and 
 falsetto in men). The work of a teacher of singing consists in 
 equalising the voice throughout its whole compass, so that the 
 transition from one register to another, on all the vowels, may be 
 accomplished imperceptibly. Some voices are naturally even and 
 flexible. The professor of singing must correct faults in breathing, 
 determine the range of the voice and place it, equalise its tone, 
 increase its flexibility, instruct as to the pronunciation of vowels, 
 modulation from one grade of expression to another, etc. A com- 
 poser should be able to rely upon flexible and equal voices 
 without having to trouble himself as to the abilities or defects of 
 individual singers. In these days a part is seldom written for a 
 particular artist, and composers and librettists do not find it ne- 
 cessary to entrust a certain role to fioriture singers, another to 
 heavy dramatic voices. Poetic and artistic considerations demand 
 greater variety of resource in the study of opera or vocal music 
 in general. 
 
 Soloists. 
 
 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. 
 
— 134 — 
 
 The normal octave applies aJso to declamatory singing and reci- 
 tative; the notes above it are exceptional and should be used for 
 the culminating points of a passage or for climaxes, the notes 
 below, for the fall or decline of a melody. Employing voices in 
 unusual registers for long periods of time will weary both singer 
 and listener, but these registers may occasionally be used for 
 brief intervals so as not to confine the voice too strictly to one 
 octave. A few examples are added to illustrate melody in different 
 types of voices. 
 
 Examples: 
 The Tsar's Bride 1 1 02- 109 1 (for extracts cf. Ex. 256, 280, 284) — 
 
 Marfa's Aria (Soprano). 
 I26— 18 — Griaznov's Aria (Baritone). 
 
 Snegomotchka — The 3 songs of Lell. (Contralto). 
 
 Sadko [46^49] (cf. extract, Ex. 120) — Sadko's Aria (Tenor). 
 
 [T 29-131I — Lioubava's Aria (Mezzo-sopr.). 
 
 [1 91—19 3] (cf. extract, Ex. 131) — Bass Aria. 
 
 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 wHh every syllable produce a har- 
 monious effect. Owing to the requirements of diction, extended 
 melodic figures sung legato on one syllable must be used with 
 care on the part of the composer; to perform these the singer 
 must possess greater command ov^r flexibility and technique. 
 The possibility of taking breath in the right place is one of the 
 conditions essential to all vocal writing. Breath cannot be taken 
 in the middle of a word, sometimes not even during the course 
 of a sentence or phrase in the text; hence the voice part must 
 be suitably interspersed with rests. 
 
— 135 — 
 
 Soprano. 
 Contralto. 
 
 Tenor. 
 Bass. 
 
 Table F. Voices. 
 Chorus : 
 
 except 
 
 Soloists: 
 
 Tenor. 
 
 Baritone. 
 
 •scept 
 
— 136 — 
 
 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 (1). 
 
 Examples: 
 No. 303. Sadko [iae] — Sadko's Aria (Tenor). 
 
 " r^09-3ii] (8ee extract, Ex. 81). Volkhova's Cradle 
 Song (Soprano). 
 Snegourotchka [V] — Fairy Spring's Aria (Mezzo-sopr.). 
 
 (see extracts, Ex. 102 and 225) 
 
 187—188 
 
 212—213 
 
 — the two Cavatinas of Tsar Berendey (Tenor). 
 [247] — Miskir's Aria (Baritone). 
 
 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 pene- 
 trating quality of the top notes of a bass voice, and the vowel a 
 adds to the extension of range in the very lowest compass. Lengthy 
 florid passages are often written on the interjection ah, or simply 
 
 (1) Here the author approaches a question so well known to the Russians 
 that it does not require any further elucidation for their guidance. But a whole 
 book would have to be written to form a compendium of practical rules 
 on this subject, and to point out the errors which nearly all French composers 
 openly commit — even those who are famous for their sense of diction and literary 
 style. We can only conclude that the question has come to be considered 
 of minor importance in France, perhaps on account of the lack of definite 
 stress on the syllables of words, which is characteristic of the French language. 
 It is not within the translator's province to discuss the question of French 
 versification or to elaborate the excellent maxims laid down by Rimsky-Kor- 
 sakov, the first, among many, to touch upon this delicate and important subject. 
 
 (Translator's note.) 
 
— 137 
 
 on the vowel a. Owing to the restrictions imposed by literary 
 and dramatic laws, the composer can only follow the above rules 
 to a limited extent. 
 
 Examples: 
 
 Snegourotchka [293], |318-319| (cf. Ex. 119). 
 No. 304. Sadko [83] . 
 
 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 6f 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 easiest to the voice. 
 Intervals bigger than fourths in quick succession and chromatic 
 scales are extremely difficult Skips of an octave or more starting 
 from a short note should always be avoided. Preparation should 
 precede any extremely high note either by leading up to it gradually, 
 or by the clear leap of a fourth, fifth or octave; but sometimes 
 the voice may attack a high note without any due preparation. 
 
 Snegourotchka 
 
 46—48 
 
 Examples: 
 (cf. extract, Ex. 279) — Snegourotchka's 
 
 96—97 
 
 Aria (Soprano). 
 
 Lell's first song (Contralto). 
 
 Sadko 
 
 196—193 
 
 203—206 
 
 Pan Voyevoda 20—26 
 
 (cf. extract, Ex. 122) — Hindoo song (Tenor). 
 — Venetian song (Baritone). 
 
 Maria's cradle song (Sopr). 
 
 Colour and character of voices. 
 
 The colouring of the voice, whether it be brilliant or dull, sombre 
 or sonorous depends upon the individual singer, and the composer 
 has no need to consider it. The chief question is interpretation 
 and may be solved by the judicious choice of artists. From the 
 
— 138 — 
 
 point of view of flexibility and expression voices may be divided 
 into two classes, lyric and dramatic. The latter is more powerful 
 and of greater range, the former possesses more suppleness and 
 elasticity and is more readily disposed to different shades of ex- 
 pression. Granted that the rare combination of the two classes is 
 the composer's ideal, he should nevertheless be content to follow 
 the main artistic purpose which he has set out the achieve. In 
 complicated and important works the composer should bear in 
 mind the characteristic^ of the various voices he employs; more- 
 over, if he use two voices of the same calibre, e. g. 2 Sopranos 
 or 2 Tenors, he should discriminate between the range and register 
 of their respective parts, writing for one slightly higher than the 
 other. It is no rare occurence to meet with voices of an inter- 
 mediate character (mezzo-carattere) combining the qualities of 
 each type to a modified extent. To such voices the composer 
 may assign roles demanding the characteristics of each class, 
 especially secondary roles. At the present day, besides the roles 
 suitable to the dramatic and lyric type of voice, it is customary 
 to give prominence to those demanding some special qualifications, 
 voices of a certain tenderness or power, a specified range or degree 
 of flexibility — attributes decided by the artistic object in view. In 
 casting secondary and minor roles the composer is advised to 
 employ a medium range and less exacting demands on technique. 
 
 Note. After Meyerbeer, who was the first to write for a special type of 
 heavy mezzo-soprano and baritone, Richard Wagoner created a type of powerful 
 dramatic soprano, of extensive rang^e, 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 super-poweriul breathing apparatus and 
 an extraordinary faculty for resistance tO fatigue (Siegfried, Parsifal, Tristan, 
 Briinhilda, Kundry, Isolda), is to exact something little short of the miraculous. 
 Such voices are to be found, but there are some singers with excellent though 
 not phenominal vocal powers, who, by the constant pursuit of Wagnerian parts 
 endeavour to increase their range and volume, and only succeed in depriving 
 the voice of correct intonation, beauty of tone, and all subtlety of nuances. 
 I believe that less exacting demands and greater perception of what is re- 
 quired, skilful and judicious use of the high and low registers of the voice, a 
 proper understanding of cantabile writing combined with orchestration which 
 never overpowers the vocal part will be of greater service to the composer, 
 from an artistic point of view, than the more elaborate methods of Richard 
 Wagner. 
 
139 — 
 
 Voices in combination. 
 
 Treating solo voices in a polyphonico-harmonic manner is the 
 best method of preserving their individual character in ensembles. 
 A distribution which is wholly harmonic or entirely polyphonic is 
 seldom found. The first plan, largely used in choral writing, 
 simplifies the movement of the voices too greatly, eliminating their 
 melodic character; the second method is wearisome and somewhat 
 disturbing to the ear. 
 
 As a general rule the voices are arranged according to the law 
 of normal register. Crossing of parts is rare and should only be 
 done with the intention of emphasising the melody in the ascending 
 voices above those adjacent in register, e. g. the tenor part above 
 contralto, the mezzo-soprano above the soprano, etc. 
 
 Duet. 
 
 The combinations most conducive to the proper movement of parts 
 are those of two voices related within an octave 8 [?°P^-, ^^^'^^'•, gat"** 
 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). 
 
 Servilla 143 — Sopr. and Tenor. 
 
 Ivan the Terrible, Act I 48—50 — Sopr. and Tenor. 
 
 Kashtchei the Immortal 62—64 . Mezzo-sopr. and Baritone. 
 
 Bass. 
 
 Voices related in fifths and fourths, 5 [I^p^Iq, 4 [j^^^'', 5 [[«"• 
 
 should progress nearer to one another; it is rare for them to move 
 in tenths, common in sixths and thirds; they may also proceed in 
 unison. The two voices are seldom separated at a greater distance 
 than ah octave, and certain cases will require crossing of parts, 
 which, however, should only be for periods of short duration. 
 
— 140 — 
 
 Examples : 
 Snegourotchka 263—264 — Soprano and Alto. 
 
 The Christmas Night 
 Legend of Kitesh 
 
 78—80 
 
 Alto and Tenor. 
 
 338 
 
 Tenor and Bass. 
 
 Voices related in thirds; 
 
 ^ rSopr. M.-sopr, Ten. Bar. 
 "^LM.-sopr. ' C.-alto 'Bass' Bass' 
 
 may move in unison, in thirds and sixths, and admit very largely 
 of the crossing of parts. Separation by more than an octave must 
 only be momentary, and is generally to be avoided. 
 
 Examples : 
 * The Tsar's Bride [T74] — Sopr. and Mezzo-sopr. 
 
 * Tsar Saltan 5—6 — Sopr. and Mezzo-sopr. 
 
 In the case of voices related in twelfths : 12 [l^^s , intervals approach- 
 ing one another do not create a good effect, for this transplants the 
 deeper voice into the upper register and vice versa. Singing in 
 unison is no longer possible, and thirds are to be avoided; the 
 use of sixths, tenths and thirteenths is recommended. The voices 
 will often be separated by more than a twelfth and crossing of 
 parts is out of the question. 
 
 Example : 
 * Tsar Saltan 1 254— 255 1 
 
 Relationship in tenths 10 [|^P'- or ^^^^^' is fairly common. The 
 explanations given above are also applicable in this case. 
 
 Example : 
 
 Snegourotchka 291-300 (cf. extract, Ex. 118) Sopr. and Bar. 
 
 The use of similar voices in pairs: g^PJ* , !fg[[' entails singing in 
 unison and thirds. They should rarely be separated beyond a sixth, 
 but crossing of parts is inevitable, as otherwise the resultant volume 
 of tone would be too weak. 
 
— 141 — 
 
 Note. Other possible combinations: ^'^f^^ f TeJf°'"^'» ca" *or no special 
 
 remarks. 
 
 Examples: 
 
 • The May Night, Act I pp. 59—64 — Mezzo-sopr. and Tenor. 
 
 *Sadko 
 
 322—324 
 
 Mezzo-sopr. and Tenor. 
 
 As a general rule, writing for two voices is only successful when 
 the progression of parts is clear, when discords are prepared by 
 a common note, or are the outcome of conveniently separated 
 movement and correctly resolved. Emply intervals of fourths and 
 perfect fifths, elevenths and twelfths should be avoided on the strong 
 beats of a bar, especially on notes of some value. If, however, 
 one of the voices assumes a melodic character, the other forming 
 the harmonic accompaniment in declamatory style, it is not ab- 
 solutely necessary to avoid the intervals mentioned above. 
 
 Note. It is not within the scope of the present work to consider the writing: 
 of vocal parts in closer detail. This question must be left to the professor 
 of free counterpoint. It remains to be noted that the human voice accom- 
 panied by the orchestra is always heard independently as something apart, 
 something: complete in itself. For this reason a composer may never rely 
 on the orchestra to fill up an empty space or correct a fault in the handling 
 of voices. All the rules of harmony and counterpoint, down to the last detail, 
 must be applied to vocal writing, which is never dependent upon orchestral 
 accompaniment. 
 
 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 polyphoni- 
 cally, 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 move- 
 ment of vocal parts renders the comprehension of the total effect 
 less difficult for the ear, and sanctions the distribution oT distinctive 
 and suitable figures or tone colouring to certain voices with other 
 figures 'or timbres which may be proceeding at the same time. 
 The skilful arrangement of pauses and re-entries facilitates the 
 understanding of the whole, and gives desirable prominence to 
 detail. 
 
142 
 
 Examples : 
 Snegourotchka [267] — Trio, Finale to Act III. 
 
 The Tsar's Bride 116— 118 — Quartet in Act II. 
 
 Sextet in Act III (cf. extract, Ex. 283). 
 
 168—171 
 
 Servilia \ 149-15 2] — Quintet in Act III. 
 
 The movement of solo voices is seldonr purely harmonic in 
 
 character with predominance given to the upper voices homophoni- 
 
 cally treated. The blending of all the parts into an harmonic whole, 
 
 without any distinctive predominant feature in any one part (as in 
 
 a chorale) is employed for songs or ensembles in traditional style, 
 
 prayers, hymns, etc. If this method is adopted for the quartet 
 Sopr. 
 
 of voices, yg° , it will be noted that widely-spaced part writing 
 
 Bass 
 
 is the most natural and suitable form (especially in forte passages), 
 as the four voices can sing together in their proper registers 
 (low, middle and high), while, in close part writing they may find 
 themselves at a given moment in registers, which are entirely 
 foreign. But both methods should be employed, as, otherwise, 
 it would be impossible to guarantee equality in even the shortest 
 succession of chords. 
 
 Examples : 
 
 Snegourotchka 178 Hymn of Tsar Berendey's subjects. 
 
 No. 305. Legend of Kitesh 
 
 341 
 
 The second half of the last example is an instance of six-part 
 harmonic writing; the upper voice stands out prominently, the rest 
 form a kind of accompaniment. 
 
 Chorus. 
 
 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 
 
— 143 — 
 
 voices of more than average compass, in this respect approaching 
 the solo voice in character. In many choruses on& or two bass 
 singers may be found who are able to go still lower than the 
 limit of the exceptional range (they are called octavists) . (l) 
 
 Note. These uncommonly deep notes must be moderately well sustained and 
 can only be used when the whole chorus is sing^in^ quite piano; they are 
 hardly applicable except in unaccompanied choruses (a capella). 
 
 The difference in range between the "firsts" and "seconds" in 
 each type may be fixed as follows: the normal octave and the 
 exceptionally low register should be allotted to the "seconds", the 
 same octave and the exceptionally high register to the "firsts". 
 
 The composition of the chorus is approximately as follows: for 
 a full chorus, 32 singers to each of the 4 parts sopr., alt., ten. and 
 bass; for a chorus of medium size, from 16 to 20, and for a small 
 chorus from 8 to 10 singers. The number of women will often 
 predominate, and more voices are given to the "firsts" than to the 
 "seconds". 
 
 On account of stage requirements a chorus may have to be 
 divided into two or even three separate parts. This is a great 
 disadvantage, especially with a small chorus, as each chorister 
 becomes more or less a soloist. 
 
 The methods of writing for operatic chorus are very numerous. 
 Besides the primary harmonico-polyphonic arrangement, containing 
 the whole musical idea, the voices may be made to enter separately, 
 singing or declaiming phrases of varying length; they may progress 
 in unison or in octaves; one vocal part may repeat certain notes 
 or the whole chorus reiterate certain chords; one melodic part 
 may predominate (the upper part for preference), the others form- 
 ing an harmonic accompaniment; isolated exclamatory phrases 
 may be given to the whole chorus or to certain portions of it, 
 and finally, the enUre chorus may be treated in a purely harmonic 
 manner in chords, with the essential, melodic design allotted to 
 the orchestra. Having outlined the principal methods of handling 
 the chorus, I advise the reader to study vocal and orchestral scores 
 where he will find many illustrations impossible to deal with here. 
 
 (1) Contrebasses voices as they are called when mentioned in French works 
 are peculiar to Russia, in which country they are plentiful. 
 
 (Translator's note.) 
 
— 144 — 
 
 There exists another most important operation, the division of 
 the chorus into different groups. The most natural method is to 
 divide it into men's chorus and women's chorus. Less frequent 
 combinations are altos, tenors and basses, or sopranos, altos and 
 tenors. There remains yet another point to be considered, the sub- 
 division of each part into two's and three's. Men's and women's 
 choruses, considered as distinct unities may alternate either one 
 with the other, or with the principal chorus. For this reason sub- 
 division increases the possibilities of choral writing, and, as I have 
 already remarked, it is only by the study of choral works that 
 the student will acquire mastery over this branch of composition, 
 the fundamental principles of which can only by faintly outlined 
 in the course of the present work. 
 
 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 choral melody more closely 
 resembles instrumental melody. Pauses for taking breath are not 
 so important with chorus singers as with soloists; the former do 
 not need to breathe all together and each singer may take a slight 
 rest from time to time, thus obviating the necessity for sudden 
 complete silences. The question of suitable vowels is likewise of 
 secondary importance. 
 
 The change from notes of short value to long, vocalisation on 
 syllables and others questions mentioned above are equally applic- 
 able to choral melody, but in a minor degree. Not more than 
 two or three notes should be written on one syllable except for 
 fanciful and whimsical effects. 
 
 Example: 
 No. 306. The Golden Cockerel [262]; see also before [T23]. 
 
— 145 — 
 
 A. Mixed chorus. 
 
 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 : 
 
 64 
 
 Snegourotcfika 
 
 Sadko \m] (cf. Ex. 14). 
 
 Progression in octaves. 
 
 The most beautiful and natural combinations are sopranos and 
 tenors 8 [fg^"^', altos and basses 8 [sasses' *^^y 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 re- 
 gister in which the voices move does not permit of the same 
 balance of tone obtained by voices of a distinctive kind. 
 
 Examples : 
 
 Snegourotchka 60 , 6i — Carnival Procession. 
 
 „ 113 — Wedding Ce'-emony. 
 
 Sadko [^ — Chorus of Guests, 151 Tableau. 
 
 Dividing kindred voices in octaves is seldom done, 8 [g^pj; n etc., 
 
 except perhaps in the basses « [l^sles IP ^^®" *^® progression of 
 parts demand it, or it is required to double the bass part in octaves. 
 
 Examples: 
 Ivan the Terrible, Act III [68] — Final chorus (cf. Ex. 312). 
 
 Sadko 341 — Final chorus. 
 
 10 
 
146 — 
 
 A beautifully round tone results from doubling men's and women s 
 voices in octaves 8 [fX+Bas«3. 
 
 Snegourotchka 
 
 323 
 
 Example: 
 Final chorus. 
 
 Brilliance and vigour is achieved when sopranos and altos pro- 
 gress In thirds doubled in octaves by tenors and basses also in 
 
 thirds: 8 
 
 Sopr, "1^ 
 Altos r 
 Ten. I3 
 -BassesJ 
 
 Examples : 
 
 Mlada, Act I 24 ; Act II, before 
 
 31 
 
 The Golden Cockerel 
 
 235 
 
 On the rare occasions when the whole chorus progresses in 
 
 double octaves the usual arrangement is: 
 
 Sopr. + Altos "1 tj « rSopr. 
 
 ^ fTen. J **' or else ° [Altos + Ten. "I „ 
 [Basses Basses I ' 
 
 Examples : 
 Snegourotchka [31 9j. 
 Sadko [182] . 
 
 Voices fdioisi); 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 3i^ tableau. 
 
 To secure a well-balanced forte chord in close part writing the 
 following distribution is recommended: 
 
 rSopr. I 
 LSopr. II 
 Altos 
 [Ten. I 
 [Ten. II 
 rSasses I 
 [Basses II. 
 
— 147 — 
 
 Three harmonic parts in the high register (2 sopranos and altos) 
 are doubled an octave lower by 2 tenors and the \^ basses. The 
 lower part is undertaken by the 2i^ basses. In this manner the 
 tenors sing in the soprano octave, the isl basses in the alto octave 
 and the 2^ basses are independent. 
 
 Examples : 
 
 Snegourotchka 327 — End of the work; 
 
 Mlada, Act II 20 — Procession of Princes. 
 
 Ivan the Terrible, Act II |_19J (cf. Ex. 212). 
 
 Division of parts can be adopted when one of them is entrusted 
 with a melody, the remainder forming a sufficiently full accom- 
 paniment. The choice of parts to be divided depends upon the 
 range of the upper one. When a harmonic-melodic phrase is 
 repeated in different keys and registers, it may be necessary to 
 distribute the parts and divide them in another manner, so as to 
 maintain proper choral balance. As an illustration I give two 
 extracts of identical musical context, the second {F major) being 
 a third higher than the first {D major). In the first example the 
 altos are added to the sopranos to strengthen the melody; the 
 tenors and basses divisi form the harmony. In the second example 
 the melody being a third higher may be given to the sopranos 
 alone; the altos therefore take part in the harmony, and conse- 
 quently the lower parts are divided in a different way. 
 
 Examples: 
 
 Sadko 1 173 1 and [ittJ (cf. Ex. 205 and 206); compare also the 
 same music in G major [Tso]. 
 
 No. 309— 310. Ivan the Terrible, Act I 
 
 77 
 
 Example 307 is an instance of widely-spaced four-part writing 
 forming the harmonic basis, with the melodic idea in the orchestra. 
 In Example 308, the same in musical context, the melodic figure 
 is given to the sopranos, and among the other parts which form 
 the harmony the tenors are divided. 
 
 Example : 
 
 No. 308. Sadko [T52] . 
 
 10* 
 
— 148 — 
 
 In polyphonic writing exceeding 4 part harmony the voices should 
 be divided so as to obtain the necessary number of actual parts. 
 One part may be divided into as many as three different parts, 
 3 sopranos, 3 altos etc. 
 
 Examples : 
 No. 3 12. Ivan the Terrible, Act III [59] — Final chorus. 
 — Final chorus. 
 
 Servilia 
 
 233 
 
 Mlada, Act IV 1 35-36 1 — Final chorus. 
 
 In fugato writing and fugal imitation for mixed chorus the 
 distribution is generally in four parts, but this number may be 
 increased for cumulative effects as in the example quoted. In such 
 cases the composer should be careful as to the arrangement of 
 the final chord, the summit and climax of the passage. After the 
 entry of the last of the voices the progression 0/ such a passage 
 should be handled with a view to the tone of the final chord. 
 The treatment should be such that concords produced by divided 
 voices or different groups of voices retain their full valu6; and 
 if the final chord be a discord its effect may be heightened by 
 means of crossing of parts. The reader is advised to examine 
 carefully the progression of parts leading up to the final chord 
 in each of the examples given above, paying special attention to 
 the distribution of these final chords. Crossing of parts must not 
 be effected at random. The arrangement of choral parts follows 
 the natural order of register and can only be altered for short 
 spaces of time to give momentary prominence to some melodic 
 or declamatory phrase. 
 
 Examples: 
 
 Ivan the Terrible, Act I [79], Act II \T\, Act III 
 
 67 
 
 B. Men's chorus and women's chorus. 
 
 In writing a three-part female chorus the division should be either 
 Sopr I Sopr. Ten. I Ten. 
 
 Sopr. 11 or Altos I; the same for men: Ten. II or Bass I. The choice 
 Altos Altos II Bass Bass II 
 
 of distribution depends upon which voice is to predominate, or the 
 register in which the group is to be placed. The manner of divid- 
 
— 149 — 
 
 ing the parts may change, one following the other at will. In 
 four-part^ harmonic writing the method of division is self-evident: 
 
 Sopr. I Ten. I 
 
 Sopr. II Ten. II 
 
 Altos I Bass I 
 
 Altos II Bass II 
 
 To give prominence to a melody in the middle part in three- 
 part harmony, the following method may be adopted: 
 
 Sopr. I Ten. I 
 
 Sopr. II -f Altos I, or Ten. II + Bass I. 
 
 Altos II Bass II 
 
 If, in three-part writing, the melody has to stand out in the upper 
 part, the harmony may be either widely-divided or close. 
 
 Examples: 
 
 Ivan the Terrible, Act I 
 
 25-26 
 
 23-31 
 
 (Women's chorus). 
 
 Sadko, before |i8il — Men's chorus (cf. Ex. 27). 
 No. 311. Sadko 1 270-272 1 — Women's chorus. 
 
 In four-part choral writing close harmony is preferable, other- 
 wise the upper part will be in too high a register and the range 
 of the bottom part too low. 
 
 Sadko 
 
 17 
 
 Examples: 
 Male chorus. 
 
 Ivan the Terrible, Act II 
 
 36—38 
 
 Female chorus (cf. Ex. 296). 
 
 Distribution in two parts which is generally polyphonic does 
 not call for any special remarks; the same may be said of chorus 
 in unison. 
 
 Examples : 
 — Male chorus. 
 
 50 
 
 Sadko 
 
 Mlada, beginning of Act I 
 
 Ivan the Terrible, Act III 
 
 Servilia 
 
 13—15 
 
 26 
 
 Female chorus. 
 
 If male and female choruses are Handled in a purely harmonic 
 manner close part writing should be adopted. This is the only 
 way to secure proper balance of tone in chords given to voices 
 
— 150 — 
 
 of the same kind. Successions of chords in three parts are more 
 frequent than those in four; sometimes a series of chords is 
 practicable only in two parts. 
 
 Snegourotcfika 
 
 19 
 
 281—285 
 
 Examples: 
 
 Chorus of Birds. 
 — Chorus of Flowers (cf. Ex. 26). 
 
 In fugato writing, and fugal imitation in three parts, allotted to 
 a chorus composed of voices of one kind, the principal subject is 
 given to two parts, the counter subject to one; by this method 
 the doubled themes will stand out to better advantage. 
 
 Examples: 
 Sadko [20-21 
 
 *The Tsar's Bride 
 
 29—30 
 
 Male and female choruses, apart from the part they play as 
 individual unities, may be introduced as separate groups in mixed 
 choruses alternating with the whole ensemble. 
 
 Example: 
 
 Snegourotchka 198 — Hymn of Tsar Berendey's Subjects (cf. 
 Ex. 166). 
 
 As a general rule a female chorus does not contain the real 
 harmonic bass part when this part is situated in the low 
 register, so that no octaves are formed between the real bass 
 and the lower choral voice. Harmony in a chorus for women is 
 generally given to the three upper parts, the lower part acting as 
 accompanying bass. It will be noticed that this rule may lead to 
 the employment of chords of the sixth and empty consecutive 
 fourth's and fifth's which should be avoided. In example No. 311 
 
 {Sadko 270), this is remedied by the high position of the bass 
 part; later an empty interval (i) occurs, but only for a moment, 
 and still farther on another such interval is avoided by the union 
 
 of all the voices in the octave (f). In Ex. No. 304 {Sadko [saj) the 
 harmonic bass in the low register is carefully omitted, but when 
 transferred to the upper register it is doubled. 
 
— 151 — 
 
 I conclude the present chapter with the following necessary 
 observations: 
 
 1. The operation of dividing voices undoubtedly weakens their 
 resonance, and as the reader will have observed, one of the prin- 
 cipal factors in good orchestration is equal balance of tone in 
 the distribution of chords. But in choral writing the question is 
 somewhat different. The orchestra, even after repeated rehearsal 
 always plays from music; the operatic chorus, on -the other hand, 
 sings by heart. The chorus master can carry out the composer's 
 instructions as to the division of parts in one way or another, 
 varying and adjusting the number of singers to each part. By 
 manipulating some shade of expression he can maintain a balance 
 of tone between divided and undivided voices. In orchestral 
 material the composer has to handle a great number of timbres, 
 widely different in character and volume of tone. In the chorus 
 there are but four qualities. A chorus moving about the stage 
 cannot convey varying shades of expression so exactly as an 
 orchestra seated at the desk. It may therefore be safely assumed 
 that a composer is entitled to some licence in the question of 
 dividing choral parts; dealing with the orchestra involves greater 
 foresight and care. 
 
 2. In trying to obtain equal balance in writing three-part choruses 
 for male or female chorus I have often resorted to the method of 
 doubling the middle part as recommended on p. 149. The chorus 
 master is at liberty to equalise the chorus by transfering voices 
 from one part to another. In choruses divided into three parts 
 I have noticed that chorus masters are in the habit of giving the 
 upper part to Sopr. I, or Ten. I, and the two lower parts to Sopr. II 
 and Ten. II divided. I consider this arrangement unsound, as the 
 balance of parts can never be equal. The attention of chorus 
 masters is called to the necessity of strengthening middle parts, for 
 the expedient of giving prominence to the upper part concerns 
 melody alone and leaves harmony out of the question. 
 
 3. Skilful management of choral parts is a fairly safe guarantee 
 of clear and satisfactory performance. Miscalculations in writing 
 are a great hindrance to study, and the most experienced chorus 
 may come to grief through faulty progression of parts. If the 
 progression of parts is correct, if discords are properly prepared, 
 
— 152 — 
 
 sudden and remote modulations, even of the harshest and most 
 uncommon kind will be comparatively simple and may be ap- 
 proached with some degree of confidence. This is a fact which 
 composers do not always bear in mind, but singers know it well 
 and appreciate its importance to the full. As an instance 1 quote 
 the very difficult modulation which occurs in Ex. No. 169 {Sadko 
 ). I doubt whether it could be sung if written in any other 
 
 302 
 
 way. Careful endeavour on the part of a composer is better than 
 useless struggle inflicted upon the performer. 
 
 July 3m (Aug. 13!!i) 1 )05. 
 
PART II 
 
 EXAMPLES 
 
N? 1. "Sheherazade/' 2^^ movement. 
 N91.„Sheherazade," 2"!^ mouvement. 
 
 B J) 144. 
 
 ^ rt Ci.(.A) \^ ^ \^ — r^^ -^ J) 
 
 Viol. P grazioso 
 Il.div. P'^i 
 
 j/iiT j"1 
 
 <t j Hi- 
 
 T^~r^ 
 
 ^ 
 
 vie. 
 
 ^m 
 
 ^3 
 
 ^ 
 
 ^ 
 
 ^s 
 
 ^^ 
 
 V-c. J» 
 e C-b. pizz. 
 
 a^ 
 
 ^ 
 
 Viol. 
 
 #^^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
J, 
 
 Fl. 
 
 ^EEL^ 
 
 m 
 
 M 
 
 i 
 
 j^s^ 
 
 m 
 
 ^F^- 
 
 f^ 
 
 Faff. ±1 
 
 m 
 
 ^ 
 
 i 
 
 i 
 
 -s^ 
 
 ^ 
 
 I t B ^ » 
 
 ^="^ 
 
 p 
 
 * 
 
 ^^ 
 
 i 
 
 ^^ 
 
 ^Viol. 
 
 S 
 
 JL-i r— p- 
 
 >ces^ 
 
 ■ pp pp i r p 
 
 ph^ 
 
 r v-k-. 
 
 jocco piuf 
 
 e 
 
 * 
 
 ^ 
 
 p^ 
 
 t^l y y 
 
 iB-"» »;^ 
 
 »i^ 
 
 ^s 
 
 s 
 
 ^ 
 
 ^^ 
 
 s 
 
 I arco r*^ 
 11/ V ^c. yj>^ ^ 
 
 ^2335 
 
 S 
 
 />^ ro ptu -^- 
 
 JT3 
 
 ^ 
 
 i 
 
 ^ 
 
 rin^ 
 
 fW^ 
 
 rri 
 
 ^^ 
 
 ^ 
 
 ~p — =^ 
 
 C.{j n Isempre pizz. w^ 
 
 S 
 
 ^ 
 
 i^ 
 
 3 
 
 "^ 
 
 inU^j parte 
 
 V-c. i jjjj 
 
 C-b. 
 
 S 
 
 4^ 
 
 ^ 
 
 ffi 
 
 ^ 
 
 ^ 
 
 i-^I^^Jj^ 
 
 =^^- 
 
 
 ^r 
 
 -z=?:L::r:5=r 
 
 y/ ly — .y ^ 
 
 ^s 
 
 
 :^SS 
 
 ?3E 
 
 ^ 
 
 •?A 
 
 s^ 
 
 ■'if 
 
 ■5/" 
 
 ■vr 
 
 ^7^^ 
 
 4 
 
 •if 
 
 i 
 
N9 2. ''The Legend of the invisible city of Kitesh! 
 N9 2.„Legende de la ville invisible de Kitej'/ 
 
 Cl.(B^ *'- ^^■ 
 I. 
 
 \\\\\\\\ JnJ'.^f 
 
 -chdes vers mo», 
 
 me pour un ca - res-sant sa - lut, 
 
 ^^f. -f f^^ 
 
N?3. "Spanish Cwpriccio/' 
 N? 3. „Capriccio Espagnol!' 
 
 Jail ^ j) J-^ i' i ^ 
 
 i r% J.- -i 
 
8 N94. "Pan Voyevoda." 
 N9 4. „ Pan le Voievodet' 
 fl45] Lento. J :58. 
 
N?5. ''The Golden Cockerel: 
 N9 5. „Le Coq d'Or." 
 
 jl93l Andantino. J.= 96. 
 J vie. 
 
 N?6. "Sadko," symphonic tableau (p. 2{ij. 
 N9 6. „Sadko',' tableau symphonique (p. 28), 
 
 Allegretto. J.138. 
 
 / ClAB) 
 
10 
 
 Fl a2 
 
 N?^. '^Pan Voyevoda," nocturne 
 N9 7. „ Pan le Voievode," nocturne. 
 Lento. J: 58. 
 
 c; lA) 
 
.I.U.III 
 
rz 
 
 N?8. "Snegourotchka.' 
 N9 8.„Sniegourotchka'.' 
 
 Andante maestoso e pass^ionato. Jrsa. 
 
 Fl. a2_ 
 
N?9. "Snegourotchka:' 
 
 N*? 9. „Sniegourotchka'.' 
 
N9 10. "The Legend of the i7ivisible city of Kitesh': 
 
 N? 10. „Legende de la ville invisible de Kitej." 
 
 t^ J-66 
 
 Ob. -^*'- 
 
 15 
 
 PP 
 
 Lapparition 
 
 
 C'wniprendsbien. o bel-le fi -an-ceei et at-tachea mespro-pos leiirpoids. 
 
 tran. 
 
 ^ N? 11. ''The Golden Cockerel: 
 
 N9 11.,, Le Coq d'Or." 
 
 11201 (alia breve. J=5o) 
 
1® N9 12. ^^Sheherazade," S'K!^ movement (commencement). 
 N<? 12.„Sheherazade'/3"Q^ mouvement (debut). 
 Andantino quasi allegretto. J= 52. 
 
 Viol. le II unis. 
 
 sulG 
 
 J^JJJTJJ 
 
 J- ^il 
 
 f p ■> 1 
 pp 
 
 . JJ J I A 
 
 ^ 
 
 
 K" r p » ■' 
 
 SI 
 
 
 3et 
 
 ^ 
 
 
 
 ■^ 
 
 /»oc(3 cresc. 
 
N? 13, ''The Golden Cockerel" (p. 87). 
 N9 13. mLc Coq d' Or "(p. 87). 
 (Andantino. J =88.) 
 
 17 
 
 k 
 
Do'ii^a'^'^ - chu de nous rap-])or - - terdes chants. 
 
 ve . V 1 - 
 
2 Fl.e Fl.picc 
 
20 2 Fl. e Fl.picc 
 
 I ,,< I ^ j' ^ 
 
 I f V J ^ ^ 
 
 V-le> 
 
 ^ J^TP/tf: "The Golden Cockerel'' (p. as). 
 N9l6.,,Le Coq d'Or"(p.88;. 
 (Andantino. J = 88.) 
 
 Ob. 
 
N? 17. ''Snegourotchka/' 
 N? 17. „ Sniegourotchka ." 
 
 12881 Andante. J. 69. 
 
 2 Fi.e Fl. pice. 
 
 21 
 
 *^J 
 
 
22 
 
 t 
 
 4Ccr. 
 
 ^ 
 
 ^ p ^LU 
 
 / Timp, 
 
 I 
 
 Campanelli. 
 
 i 
 
 ^ 
 
 ■^i i fgrf 
 
 Arpa. 
 
 !^ 
 
 ^^^ 
 
 Viol.Ie II unis. 
 
^3 
 
 Ob. 
 
 ^ 
 
 ^ 
 
 ^E£ 
 
 Cingl. 
 
 ^ 
 
 ^ 
 
 ^ 
 
 r L-££f 
 
 '^ 
 
 Faff. 
 
 ^ 
 
 ii 
 
 4 Cor. 
 
 » B « 
 
 ^^ 
 
 / Timp. 
 
 Camjpanelli. 
 
24 
 
 ,' A^Cor. 
 
 I 
 
 
 Tim p. 
 
 ^^^ — rr 
 
 f 
 
 Cainpaiielli 
 
 ^ 
 
 fe 
 
N? 18. ''The May Night/' Act III. 
 N9 18.,, La Nuit de Mai',' 3'^^ acte. 
 
 L '^Allegretio quasi andantinoj 
 
 C.ing-l. 
 
 Z^ 
 
 Noschantsvontoharmerlejeunehom-rae, nos ri - resfbntftiirleneil- 
 
 JT] s) U^ ";) j\s^ I g ^J)J) J) J U' i^ 
 
 Viol. I. 
 
 Nousai- nionsje-ge - res om - bres. ajou- ersousuiiciel e- toi - le 
 
 ^ 
 
 yc.soio. 
 
 m 
 
 ^ 
 
 s 
 
 m 
 
 ^ r} J 
 
 J. ^v j^ 
 
 Altri V-c. 
 
 m 
 
 m 
 
 C-b. 
 
 m 
 
 m 
 
 V r » 
 
 
 y j V - 
 
 » ' V 
 
 t »^ » 
 
26 iV? 19. ''Sheherazade," 2^d movement. 
 N9l9.„Sheherazade',' 2"!^ mouvement. 
 
 p y. 152 
 
 / Fl.picc 
 
N9 20. "Sadko." 
 
 N9 20.„Sadko." 
 
 J:112. 
 
 27 
 
 ^ N9 21. "The Legend of the invisible city of Kitesht 
 2^ N? 2l.„Legende de la ville invisible de Kitejf 
 
 Mais, vol-ci de - ja la 
 > -Viol. I. 
 
 mort pro - ohe. de Ten - fer les pei-nes cru - el - le.'^I 
 
2H N9 22. ''The Tsar's Bride" 
 
 N9 22. „La Fiancee du Tsar." 
 
N9 23. "The Legend of Tsar Saltan: 
 No23.„Legende duTsar Saltan:' 
 
 Z\) 
 
go N? 24. '"Stidko" (p. 336). 
 N?24.„Sadko"(p.336\ 
 
 iti. Va voir la belle et gTandc ci - te, 
 
 ta-ohe de_voir le do-g'e_puis- 
 
 Ten. Va 
 
 ]0 Qj . ^^1 
 
 ^ 1 I I I f" I Il7i cj I r ■ i r ii tj ^ ^f ^^^ 
 
 Bassi^ Va voir la belle et grande ci - te, 
 
 ' Mt 
 
 -te. A Ve - iii 
 
 Arpa e Pianiuo. 
 
 se tu d ois al - ler, Sad-ko! ^^^ ^^^ 
 
63 
 
 Fl.I. 
 
 N9 25. "Ivan the Terrible/' Act HI. 
 N? 25. „ La Pskovitaine," 8"ie acto. 
 
 Moderate, (alia breve.) 
 
 31 
 
32 N? 26. "Snegourotchka" 
 
 N9 26.;,Sniegourotchka." 
 
 [288 
 
 1 
 
 I 
 
83 
 
 w 
 
 Alti. 
 
 Dans des yeux,bl6u- et, ra - yon 
 
 ^ 
 
 i iJ ii i ' i. i i 
 
 2 Viol. soli. 
 
 rrnrn if f 
 
m 27. "SaTiko" (p. 296). 
 ^ N9 27. „S^dko"(p.296). 
 
 (Allegro alia marcia. J=i3a.) 
 
 CorJU IV 
 
 m 28. "STiegourotchka/' 
 j^j fJBTl N9 28- „Sniegourotchka. I ^j-, , " 
 
85 
 
 Misguir. l,j 
 
 yii'if ' r * y p r 'f pfp" p I" r^P^ p^ 
 
 pie - res, 
 
 un modeste et cmin-tif re-g-ard. 
 
 pu-di - que- 
 
 . Viol. ^^'''""" 
 
 5 
 
 ^ 
 
 3g 
 
 <■ flp 
 
 
 ^ 
 
 ^* 
 
 V-le. 
 
 S^ 
 
 <lf^ 
 
 ^ 
 
 Y— f-lF 
 
 ^ 
 
 jv V-c. e C-b 
 
 Iil> fl M ^ 
 
 ^ 
 
 ^^ 
 
86 
 
 N9 29. "Antar." 
 NP 29. „Antar." 
 [48] (Allegro risoluto.) 
 
 Plcc. 
 
N? 30. "Sheherazade/' 3^^ movement (p. 131). 
 N? 30. „Sheherazade" 8"}® mouvement (p.i3i). 
 
 87 
 
 TT^— /i^ 
 
N9 SI. "The Legend of the invisible city of KitesA. 
 
 N9 31. „Legende de la ville invisible de Kitej" 
 12231 
 
 89 
 
 Je doD-ne4tiis tout le sang demesvei - - nes vo - Ion -tier &) et ma vie,, omonbien-ai 
 
 CT9$0ifOC0 
 
4U 
 
 N9 32. "Antar: 
 
 N? 32.„Antar." 
 
 Adagio. 
 
41 
 
N9 33. ''Snegourotchka/ 
 ^^ N9 33.„Sniegourotchka" 
 12151 Vivace. J= iso. 
 
 Tlmp. 
 
 N9 34. '^The Legend of the invisible city of Kitesh: 
 *** N9 34.,, Legende de la ville invisible de Kitejf' 
 S^ Andante tranquillo. J: 5«. 
 
 Jour et luiit chez nousle saint of - fioe est chan-te 
 
 san.s re - 
 
N? 35. ''Spanish Capriccio." 
 N9 35. „Capriccio Espagnol." 
 
 43 
 
 ^ N? 36. ''The Legend of Tsar Saltan. 
 
 N? 36. „Leg:ende duTsar Saltan" 
 18161 Andante. J = 66. ^ 
 
 Fl. pice. Solo. ^ 
 
Fl.pioc.e Fl.I. 
 
N? 37. ''Sheherazade/' 4'A movement (p. 140). 
 N9 37. „Sheherazadey4"l^ mouvement ip.iiOj. 
 PI Vivo. J = J. = 88. 
 
 45 
 
 3 3 
 
 ^ PP 
 
 N? 38. ''Ivan the Terrible/' Act III (p. 236). 
 ** N? 38. „La Pskovitaine'' 3"}*-' acte (p. 236 j. 
 Fl.picc.e 2 Fl.gr. 
 
46 
 
 Fl. piece 2 Fl.gr. 
 
 i 
 
 Arpa. 
 
 1* 
 
 m 
 
 ^^ 
 
 ^^m 
 
 9 
 
iy? 39. "The Legend of the itwisible city of Kitesh. 
 N9 39. „Leg-ende de la ville invisible de Kitej." 
 
 [441 J. = 60. 
 
 Pl.o -alto (Py. 
 
 47 
 
 Fl.c-alto. 
 
 j¥«r p rrr 
 
 ^ 
 
 ■^T*rJj 
 
 ^^ 
 
 ^ 
 
 i 
 
 Cl. basso. 
 
 ^ 
 
 1 
 
 
 f' iii i'ip! 
 
 ^ 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 Fevr. 
 
 i,h pj Ji J. I J d^ 
 
 ^ 
 
 chan - te 
 
 dans les bois 
 
 mer- veil - leu 
 
 se- ment. 
 
 '^^M 
 
 V-le div 
 
 j ^h r"vrj^p 
 
 V-c. 
 
 ^ 
 
 C-b. 
 
 ^^ 
 
 3S 
 
 ^ 
 
 jF^ 
 
 ^ 
 
 iJMT^P 
 
 ^^ 
 
 
 
 ■v 
 
 s 
 
 ^ 
 
48 N? 40. ^'Sheherazade," 2nd movement (p. 43). 
 N'.* 40. „wSheherazader 2"}® mouvement (p. 43) 
 Andantino. *^ = n2. 
 
 Capriccioso, quasi recitando 
 Fa*?. 1. Solo. ^^^^ ■ ^^ry^Ji^ — -^^ > 
 
 dolcc ed esprcss 
 III. **C':/n sord. •** ^^*- 
 
N9 41. "Snegourotchka/' 
 
 N? 41 .jjSniegourotchka'/ 
 
 Larghetto. J-zso. 
 
 Ob.I.Solo 
 
 49 
 
 dolce 
 Snieff. dolce assai 
 
 Jeconnaisjeoon - nals, ma me 
 
 re, tous les chants — 
 
 P Piip- rt.\^ m 
 
 les plus beaux. Le ohant. 
 
 de Pa - lou - et 
 
 te, 
 
 qui monte et rit au ciel d'e-te 
 
 Et le plain -tif ap- 
 
 ^A^^i 
 
 -pel du cy - gne sur I'ioau dor-man - te de .l^B-tang 
 
N9 42. "The Golden Cockerel" (p. 75). 
 
 ^^ N9 42.„Le Coq d'Or"(p.75). 
 Andantino . J = 7« 
 
 Fl.I 
 
 N9 43. "The Golden Cockerel" (p. 119). 
 N9 43. „Le Coq d'0r"{p.ii9). 
 Andantino. J = 88. 
 
 IVarco 
 
N? 44. "Spanish Capriccio" 
 N9 44. „Capriccio Espagnol'.' 
 
 51 
 
 Cor. ingl. Solo 
 
 2V? 45. ''The Golden Cockerel: 
 N9 45.„Le Coq d'Or." 
 
 [l] Larghetto assai. j]= «*• 
 
 Dodon. L^oiselier du roi apporte une perruche verte, attachee a un anneau par une chaine 
 
 Dodon Elle chante, fait claquer sa lang^e, siffle. 
 
52 iV? 46. ""Mlada,"' Act II (f.206) 
 N9 46. „Mlada;' 2"?^ acte (p. 206). 
 (Al)egro vivo.) 
 
 Cl.picc.(D\^ . ^ fi^s. . L L ♦ ^ 
 
 N9 47. "Snegourotchka'' 
 N? 47. „Sniegourotchka!' 
 
 I^gi Moder ato assai. w. so 
 
 ^^N^- < J I f T p P P r? I p- p p p ^^^ 
 
 Mod ame e-tait Joyeusea - vant de teoonnai-tre, ma 
 
 .VioLTILeV-le. 
 
 vie heureuse e-tait sans lar-Tne8,sansangi(^sHeeteanssouf-fVan - ce. 
 ■^ ^ ^ ^4 
 
 — H 
 
N9 48. "Snegouroicihia,. ' 
 N9 48. „Sniegourotchkaf' 
 12461 Maestoso. 
 
 Cl. basso (b) 
 
 53 
 
 Trem-bledonc, en-ftuiti c'est vrai, je suis ter-ri-ble. Oui, je veux pu-nir Tof- 
 
 I 
 
 jm ^' ^ 
 
 ^ 
 
 =Ri 
 
 bl--. 
 
 n^y f^ t^ P p H ' 'Tl r i i- p V / u^-P^ P P r? 
 
 -fen- se qui m'a fait rougir le front- 
 
 Et me voir en - fin ven - 
 
 -ge de ma douleur et de ma hon 
 
 N9 49. "Vera Scheloga.'' 
 
 N9 49. „La Borarine Vera Chelogaf 
 Andantino. J«88. 
 
 Fag. I- Solo 
 
 Ah, 
 teu.assat 
 
 je ne puis comrpren-dre. 
 
 ' /K a H I ten.assat, i 
 
 J J 1 
 
 ^^ 
 
 Viol. 'jt^t/ 
 
 11. ten.assai 
 
 m. 
 
 ^^ 
 
 ^^ 
 
 J r p 
 
 r r p 
 
54 N9 50. 'The Golden Cockerel " (^.330). 
 NO 50 „Le Coq d'Or'' (p. 330> 
 
 F1.I.II. %%. %\ 
 
N9 51 "Mlada," Act UI (p. 359) 
 
 N? 51. „Mlada" S^e actr (p. 859). 
 (Meno mo890.) 
 
 Solo—. ^. • , . ♦» >^-.-,ii- ^L- ■ 
 
 55 
 
56 N9 52. '-'Snegourotchkaf 
 W 52. ,,Sniegourotchka" 
 [i (Moderate). 
 
 Par - mi vous,6jeu-nes fil-lesine ca-ohoz vous pas niaKou-pa-va bien - ai - me-e' 
 
 Fl.eOb.unis. 
 
 Fag: 
 
 m. 
 
 ^^ -^ 
 
 JPJ'v/ 
 
 ^=^ w 
 
 CoroNous ne te don-ne-rons 
 
 pas notre a -mi- e! Nous ne te don-ne-rons 
 
 pas ta Kou-pa-va! 
 
N9 53. ''The Legend of the invisible city of Kitesh" (p. 49i)* 
 M9 53. ,,Legende de la villc invisible de Kitej" (p.49i). 
 (Moderate assai. J x 72.) 
 
 57 
 
 Fl.MI. a 2 
 
 Rassi. 
 
 son - - nent flu - tu^, g'ouss-li! 
 
 N*^ 54. ''Snegourotchka " (p. 133) 
 
 N9 54.„Sniegourotchka" (p t3H) 
 Animato. 
 
 Voi-ei de Por:pre-nez,niu.sbel-les fil-les. Je siiis joyeuxde vous pa-yer ran-(^on 
 
58 N9 55. "Snegourotchka " (p. 866) 
 N9 55. „Sniegourotchka" (p.sfis). 
 
 Fi.pioo/Alleflfro <Jri26). ^ ^ . 
 
 eFi.i t ^fr> — ^^ — ^E> — --N^! 
 
 ' N9 56. ''bpanish Capriccio." 
 N?56. „Capriccio Espagncl!' 
 
 iWI ■» « = 
 
N9 57. "Snegourotchka" (p.306). 
 
 N9 57. „Sniegourotchka" fp.306V 
 Allegro con anima. 
 
 09 
 
 ppp 
 
 M sc" ■ ^® fantome de Snieg'ourotchka se montre dans la foret. 
 
60 
 
 NP 58. ''Sheherazade," 3rd movement. 
 
 N9 58. „Sheherazade*' 3"1^' mouvement. 
 _(J..6a> 
 
 ^^'''riff'nril rTt-ti^ r^-^ni r^^ 
 
 Fui.j-j^^jj^ rri-iT-i iT^^rni 
 
 J ^ 
 
 'pM. r Cii; mr " ru 3^ ^ 
 
 rww[j£:£x; 
 
N9 59. '"Vera Scheloga'' 
 NO 59.„La Boiarine Vera Cheloga." 
 Moderate assai. J. 96. 
 
 >CM(A )^^ 
 
 61 
 
 Je ne fus pas heureuse, mais resig-ne-e, Ivan Semenitoh m'aai-mee a la fo4i-e 
 
 N9 60. "Mlada," Ad UI (p. 389). 
 
 N9 60. „MladaV 3™® acte (p. 389). 
 Andante quasi allegretto. 
 
 -Timp.picc 
 
62 
 
 N9 61. "Mlckda," Act JJ (j>. 205). 
 N9 61. „Mlada',' 2"2« acte ,p..205K 
 (Allegro vivo.) 
 
 Cor. unis. 
 
 vA Fl.picc 
 
 Solo 
 
 %mmm^f ^ 
 
JV? 62. "Serviliar 
 
 N9 62. „Servilia!' 
 Iggi Andante. J = 7a. 
 
lueur roug-e; dans un broiiillard parait le spectre d'une vieille- 
 Piatti. I 
 
 -^ i 
 
 KP- 
 
 '■/ 
 
 /f. Le Spectre. 
 
 soiirdement 
 
 Quidoncinae-voquee ? 
 
 ful ponticeilo 
 
N9 63. ''The Tsar's Bride" 
 
 •. , N9 63. „La Fiancee du Tsar." 
 
 Elol Adagio. J.- 48. 
 
 .IFl.eOb.T. 
 
 65 
 
 N9 64. "Spanish Capriccio" (p. 57). 
 * N9 64. „Capriccio Espagnol" ^p 57). 
 
 Fl>»icc.ea ¥\. 
 
 ^^,-— ■' — . ^,— — ^ J, 
 
66 
 
 N? 65. '"Aniar," isj version, 3V^ movement (commencement). 
 
 N9 65. „Antar," premiere version, 3"1® mouvement (debut). 
 Allegro risoluto. 
 
 Fl. pice. 
 
N? 66. "Sheherazade ," S^J^ movement. 
 N? 66. „Sheherazacle*/ 3"'.^mouveinent. 
 
 67 
 
N? 67. "Spanish Capriccio" (p.79). 
 N9 67. nCapriccio Espagnol" cp 79). 
 Fi.ploc. tri 
 
 69 
 
 jy /eroce 
 
2V? 6S. ''The Christmas Night 
 •^ N9 68. „La Nuit de Noel!' 
 
 ^^ 
 
 ^^ 
 
 ' J J ! ■ J ^ 
 
 Arpafip 
 
 
 ^^ 
 
 ,1 f f 
 
 vie 
 
 QuVUe est dou-ce, re r pe-tee dans Tombre e - paisse des^ 
 
 iAUi. 
 
 .val - Ions! 
 
N? 69. "The Legend of the invisible city of Kitesh: 
 gg N9 69. „Leg-ende de la ville invisible de Kitej." 
 
 71 
 
 ^V-le 
 
 arca_ 
 
 Nuit et joui' c'est un o)iaiit nier-veil - leux< tres 
 
7ii N? 70. ''The Legend of the invisible city of Kite sh: 
 N9 70. jjLegende de la ville invisible de Kitej." 
 1651 
 
 ^^^^ 
 
 usim 
 
 LLi.r m^ 
 
 rfTrrxCr 
 
 3 Tr-bni. 
 
74 N9 7L "Sadkor 
 N? 71.„Sadkol' 
 
 f34a] Allegro. i-.wi. 
 
 roi tout puissant, roi cru-el «lesiners> tu ifa-vais a toi qu'u-in> t/Ctc on bois. 
 Vioi.u. tr tr tr 
 
 *** iV? 7^. "SnegourotchkaP 
 
 N? 72. „Sniegourotchka!' 
 Allegro. J=ia«f. 
 
 Ob. 
 
 ^ 
 
 jirt iij n 
 
 a 
 
 m 
 
 A 
 
 ■:z 
 
 I 
 
 C1.(BJ I 
 
 Ji 
 
 i. » J1 r 
 
 m 
 
 i 
 
 fl 
 
 j: 
 
 » 
 
 fl 
 
 JH 
 
 i 
 
 ^ 
 
 ^ 
 
 Fag 
 
 ^ 
 
 i 
 
 ^ 
 
 ^ 
 
 a 
 
 ^^^ 
 
 # 
 
 1 
 
 
 p 
 
 s 
 
 JL 
 
 *=:5-rf 
 
 |>^'H"pM'J'lr^ 
 
 f'ii'O J lr?>^^ 
 
 ^^ 
 
 ^ 
 
 P 
 
 Ten Le ruisseau murmu-rt , 
 
 lerucherbourdoii - ne, chantons en-semble 
 
 la, sais'jn nou-vel - le. 
 
 ^ 
 
 Le ruisseau murtnu-i*e, 
 Bassi. 
 
 le rucherbourdon - ne, chantons en - semble 
 \/, IT H- l *. 
 
 ^ 
 
 la saison nou-vel - le 
 
 
 
 m 
 
 ^ 
 
N? 73. ''Antar" 3rd movement 
 N9 73. „Antar;* 8"^*^ mouvement 
 
 ^ Allegro. 
 
 FI.I.Solo 
 
 75 
 
 14. '"Shehera zade ," ^^.^ movement {p. 51). 
 N*^ 74. nShehcrazadeJ' ii"l'' mouvem^^i.t (V-si 
 Molto moderato. 
 Ob. recit. 
 
 morvndo 
 
'^^ N9 75. "Sadko" (p. 498). 
 N? 75. „Sadko" (p.498). 
 (Allegro J-:6e alia breve.) 
 
 Fl.I.e Ob.I.II. 
 as 
 
 8CHA)a8 
 
 f rrrfrrrrrfi 
 
 ^M 
 
 ■r r^r Tijc nr 
 
 ^^ 
 
 'r|i^'r«^r»p'r« 
 
 Tr-be.(A^ 
 
 
 ffl^^ ^^^ 
 
 FFFFFPFFFFPF 
 
 3 Tr bni. 
 
 glF^ 
 
 f r r -^r r Ir 
 
 | i t{^' r' r 
 
 ^ 
 
 ^ 
 
77 
 
 N9 76. 'The May Night." Act III fcommencememt). 
 N? 76. „Le Nuit de Mai(' 8™« acte (debut). 
 
 Fi. Molto andante. 
 
 ^i^ 
 
 M 
 
 PP- 
 
 Ob. 
 
 ^m 
 
 m 
 
 pp- 
 
 C1.(A) 
 
 ^* 
 
 PP- 
 
 t 
 
 aS 
 
 xc 
 
 ^m 
 
 m^ 
 
 ^^ 
 
 m 
 
 m 
 
 ^ 
 
 '7 
 
 p^ 
 
 p- 
 
 CoriE) 
 
 1 
 
 IV. 
 
 ^^ 
 
 ^ 
 
 g 
 
 con sord 
 
 *f?P 
 
•78 N9 77. "Sheherazade" 4^^ movement (p. £04). 
 
 N? 77. „Sheherazade(' 4".^« mouvement (p. 204). 
 Allegro non troppo maestoso. J- :6o 
 
 y ^FLpicc. 
 
 Timp. .ff^ 
 
 ^^ 
 
 ■^"""S; // 
 
 If 
 
 Tamb 
 no. 6 
 
 Tamb. 4 
 pice, ft 
 
 Piatti.fs 
 
 Crissa 
 
 '■"^^ 
 
:^»=: 
 
 Cor. 
 
 :^ 
 
 :Si 
 
 a 2 maestoso 
 
 Tr-bni.*^^ 
 
 Tuba, ■a-'maestos. 
 
 •^ 
 
 tk 
 
 ^^ 
 
 ^^ 
 
 Triang". 
 
 Piatti. 
 
 ^rEEBT 
 
 ECg r ^ 
 
 ^ 
 
 -^-^ 
 
Cassa. 
 
 ^rrrrrf ' r < -^ 
 
N? 78. "Mlada," Act UI Xp.350). 
 N? 78. „MladaV 3"}« acte (p. 350) 
 
 (Allegro non troppo.) 
 
 ^A 2 C1.(B) 
 
 81 
 
 
 Du milieu de la ronde infemnle surg'it Tchernobog, sous la forme d'un bone et avec sacour; 
 
 derriere lui Kachtchei aveo ses goussli , Tcherv, Topeletz,Tchouma et Morena. 
 v.-l«. ir\ tt\ . * :► Jb^ 
 
82 
 
 N9 79. "Mlada," Act III (p. 370) 
 N9 79. „Mlada;' 3"!© arte (p.sro). 
 Sostenuto e maestoso. 
 
 Viens,ap-pa-rais'. Sorsdc la iiuit d&t! ten<ps! Toi qu''a-doraientle.s roi.s lesp.itres. 
 
N9 80. "The May Night," Act HI. 
 N? 80. „La Nuit de Mai;* 8"}® acte 
 |bj (Andantino animato!) 
 
 88 
 
 ^ Doux zephyr, tu pas-ses comme un bavser sur les per - ven-ches 
 
 C^ '^^^ ' C^ ^"^ ' ^"^ ^^^ ' P^ ^^ 
 
 f 
 
 ^ Ymsi. "Sadkor 
 3551 N?81.„Sadkol' 
 (Andante. /= 76.) 
 
Arpe. 
 
 Dors pai - si - ble, her - be ten - dre. Her - be ver - te mousse de soie 
 
 Arpe 
 
 Tes chants on se - duit mon coeur, Tons ils ont ra - vi - men ame 
 
N? 82. '-'Sadko." 
 N9 82. „Sadko'/ 
 
 153 (Andante. J=7».) 
 
 85 
 
 3F1. 
 
 V ■ dim. PP 
 
 ^ • . Sur le lac na«ent en b&nde des cyynes blaocs et des canards gris. 
 Sadko. 
 
 8 Fl 
 
 -^ /I «/^^ i^ )t. ^ ^ i^ i^^ i^ i^ ^ i^ i'i 
 
 i^^^m^K^ 
 
 'l^i* 
 
 k^^*i*i>i 
 
 rWiif p p^p p p p P:^ 
 
 »*p M P 
 
 t5B 
 
 LLfnJi 
 
 m — H-i^-T L-T-i r r r r r r 
 
 /iC.ing-l. __ 
 
 — L_r_j L 
 
 — **«: F= 
 
 t=f— 
 
 ' Sadko. 
 
 Jl u, = J = . 
 
 ^3 
 
 
 ^ -}^-^ * ; ; 
 
 cyffnes 
 
 
 
 III) tip J |3l|- =i^ PI tfP 1 -3+» 0' "=D 
 
 BKY ^ VL^ J 
 
 •S." kolce 
 
 F — ^ -^ 
 
 — ifc=i- 
 
 
 3 Fl 
 
 I fm "r^^r^r?^ 
 
H(> 
 
 N? 83. ''Sadkor 
 N9 83. „Sadk.o." 
 1123] Andante. 
 
 Choeur 
 
 A lti. ^^yg"^^ blancs, dans lea coulisses) 
 
 i^OAl ti. ^^Js"*'^ "'^"cs, aans lea couiissesj , K. i 
 
 1 1^ ' ( J! li^^^^^-l J),iJ J'J I ll^ '^J-' ^' ■''ll'l ^^'' 
 
 Cy - g7iesblanca,et mou-et - tes grises, re- toumonsiplongeons dans le lac! 
 V-Ie. arco 
 
N9 84. ''The Legend of Tsar Saltan" (p. 54). 
 N9 84. „Legenae duTsar Saltan" (p 54j, 
 
 (Allegretto alia raarcla. j:9«.) 
 
 87 
 
N9 85. "Ivan the Terrible," overture (deginning). 
 N9 85. „La Pskovitaine" ouverture (debut). 
 »Fi. Maestoso. 
 
90 N9 86. "Sadko." 
 N?86. „Sadko!' 
 
 |3| (L argo. el.:44.) 
 
N9 87. "Kashtchei the Immortal." 
 
 N9 87. pKachtchei I'lmmortei:* 
 
 9i 
 
 Fi ice IJQ zJ con tuttaforza ed espressione e poco rubato 
 
 calmando 
 
 creso. 
 Viol. 
 
 jfcon tuttaforza ed espressione e poco rubato 
 
 sf dim. 
 
na N? 88. '^Servilia." 
 
 N9 88. „Servilia(* 
 
 Bi| Allegro 
 
N9 89. "Servilia." 
 
 N? 89. „Servilial' 
 
 Lento.J=52. 
 
 93 
 
Cor. 
 
 ^ ' ' d ^^ 
 
 < bj < ^h 
 
 * ij'j *13)^ 
 
N9 90. ''Sheherazade/' 4'* part. 
 
 N9 90. „Sheherazade," 4"l^ partie. 
 
 'Vivo. J. = 8&>fu| 
 
 95 
 
96 
 
 Fl.pieo 
 
97 
 
 Pl.picc 
 
 V-le. 
 
 
 
 ^ 
 
 C-b. 
 
 ^m 
 
 m 
 
 
 ^=# 
 
 * 
 
 ^^ 
 ^ 
 
flo N? 91. ''The Legend of Tsar Saltan! 
 
 N9 91. „Leg:ende duTsar Saltan!' 
 
 (Andante) animando povo a poco 
 .pico. 
 
 H Jili)Ji|L'i'i^ ^ 
 
 Nouspleuron8,noslarjnes» rem - pli-ront lesmers, co\i-vri-ront les champs fleu-ris. 
 
 ^ ^ ^ 
 
 m 
 
 h j> j> i) 
 
 m 
 
 ^^ 
 
 » B » P» 
 
 ii * ^ * 
 
 ^^ 
 
 ^^ 
 
 CJlfE££r££^ 
 
 ^S 
 
JV? 92. "The Golden Cockerel/' 
 N9 92.„LeCoq d'Or." 
 
 |g8l An(iantino. J = 88 
 
 99 
 
 N? 93. ^'Snegourotchka" (p. 269). 
 N? 93. „Sniegourotchka" (p- 269) 
 
 tf«^ 
 
 ^ 
 
 i^ 
 
 #^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 TT 
 
 fr^r 
 
 Faff. 
 
 a2 ^"^ 
 
 f r 
 
 L^f 
 
 i^S^U 
 
 ^r ; ' uu ' u c; 'r r t ; ' uwuw r 
 
 h-HH-. 
 
 VioMellnnis. 
 
100 N9 94. '^negourotchka'' (p. 271). 
 N9 94. v.Sniegourotchka" (p. 27i). 
 
 kViol.Iell unis 
 
 Lj u ' ' ^ L-T ' r — r 
 
 Fap. 
 
 
 n n 
 
 ri r3 ^=^=^ 
 
 
 IP 
 
 Tanib-no. 
 
 / Viol. I e II nnis 
 
 i' I n"T^ 
 
 ^ 
 
 
 LJ L-f ' LJ u * ' r 
 
N9 95. "Snegourotchka." 
 ^9 95. „Sniegourotchka." 
 
 (MlCAllegro.^) 
 
 aFi.picc 
 
 101 
 
 dim 
 
loa 
 
 ■i Fl. pic 
 
 diiH 
 
 ff dim. 
 
N9 96. "Ivan the Terrible," ActUI (p. sis). 
 N? 96. „La Pskovitaine," 8"]« acte (p.aiS). 
 F}- (Moderato alia breve) allarg. poco 
 
 103 
 
 Epargxie,epargiieaumoinsrnafil 
 
104 NO 97. "Snegourdtchka." 
 
 N9 97. „Sniegourotchkal* 
 
 Grave e raaesioso. w=60. 
 
 Im] a2 
 Fl. 
 
N9 98. "The Legend of Tsar Saltan: 
 
 N9 98. „Legende du Tsar Saltan'.' 
 (Maestoso con moto. J- 84.) 
 
 Fl.picc. 11351 
 
 105 
 
106 
 
 PI picc. 
 
N? 99. "Snegourotchka" (p.us) 
 N9 99. ,,Sniegourotchka" (p.iw). 
 Animato assai. J. 126. 
 
 107 
 
 v Viol../ 
 
 Mai - heu • reu- se, mal- heu - reu - se 
 
 1^ 
 
 ^ 
 
 II. :^ 
 
 P » "P » 
 
 Vous ton - tes 
 ^ 
 
108 ^^ ^^^- '"^^^ Christmas Night 
 NPIOG. „La Nuit de Noel" 
 Andante. J -72. 
 
 4A ■" 
 
^? iOl. "The Christmas Night." 
 
 N9lOi: „La Nun de Noel." 
 
 1210 1 Andante. J)- 112. 
 
 109 
 
 Sopr. I. 
 
 ]''' I . ? 
 
 5^ 
 
 W=:7=m^ 
 
 r p^i'^JIeEr.^ 
 
 m 
 
 Sopr.II. 
 
 La sa^van - ce 
 
 Ko - Jia-da, 
 
 ^^ J l iJ^JjuP 
 
 j J> i^ ' 
 
 Ko . lia-d^ la 1 jenne est la 
 
 J ij'rj J' 
 
 Alti I. 
 
 La s'a-van - ce 
 
 Ko - lia-da. 
 
 Ko - lia-da — la. 
 
 jeuiie est lu 
 
 Alti II. 
 
 La s"a-van - ce 
 
 Ko - lia-da 
 
 Ko - lia-da la 
 
 fcl= 
 
 La s'a - van - ce Kx> - lia 
 
 ^^ 
 
 ^^ 
 
 da 
 
no 
 
 sur uii trai - nc-axi.bien pa -re. 
 
 Sour. II. 
 
 .... , siir uii trai - neau bi - prnr- re 
 Altl !• 
 
 I 
 
 fcfe 
 
 ^ 
 
 siir nil trai -, neau bi - gur-re! 
 
 la 
 
 ^ 
 
 ' 7 * ' d 
 
 AIti II. 
 
 La voi - la. 
 
 sur un trai-nt-aii 
 
 bi - g'ar - rn 
 
 voi - la 
 
 sur un trai -neau bi - gar - re 
 IK 
 
 m J j^^J 
 
 V-e. 
 
 C-b. 
 
 div. 
 
 v'i*j i H r ^1 » 
 
 J_j^j «^ ^^p 
 
 -J ^ 
 
 Jr-^. 
 
 f^ 
 
 ^^ 
 
 e 
 
 I V j y 
 
 f 
 
N? i02. "Snegourotchka." 
 N9102. „Snieg:ourotchka!' 
 H,87| Andantino. j.66 
 
 Fi. \ ^ 
 
 u 
 
 111 
 
N9 103. "The Legend of the invisible rityof Kitesh! 
 **2 N? 103 . „Legende de la viUe invisible de Kitej " 
 [s] (Larghetto. J = sa) 
 
 pp' ^ — -r I " T 
 
 ^ N? 104. ''The Golden Cockerel^ 
 
 N?104.„Le Coqd^Or." 
 [4] (Lento. J = go. 
 
 C=/ t ilJ 
 
 N? 105. "The Christmas Night" (p. JS47). 
 N?105.„La Nuit de Noel" (p. 347). 
 Adagio. J 
 
N? 106. "The Christmas Night," Prelude. 
 N9 106. „La Nuit de Noel" Prelude. 
 
 Adagio. M.M.J=B6. _, _ flxsTi^ 
 
 113 
 
N9 107. ""Snegourotchka/* 
 *1* N9 107. „SniegourotchkaV 
 
 fi97l(J.fr6) 
 
 Wr t/J v| f LLJ 1 1 
 
 ir f 1 1 
 
 ;,«; fff *»f fff 
 
 ¥ f 
 
 lA^i yj^7 1 * wj T 1 
 
 i . ^ > t 
 
 tre, 80 
 
 leil, o dieu do flam - ne- 
 
 N9 108. ''Snegourotch^* 
 N? 108.„Sniegourotchka'/ 
 
 la ten-te 
 
 iV? 109. "Sheherazade/' isjmovemiu {f.a). 
 N9 109. „Shehera2?ide, 1®.^ mouvement (p.8>. 
 
 (Largo. Jr48.) 
 
 IJEL - 
 
iV? no. "The Legend of Tsar Saltan " (p.i97). 
 N9 110. „Legende du Tsar Saltan" (p.i97). 
 (Allegro. J = 126) 
 
 115 
 
 i 
 
 Voix des e.sprits dans les airs (6-10 Tenors dans la coulisse) 
 
 "m 
 
 g i »r Pv^Pir «r s i 'Qh 
 
 ^ 
 
 ^ 
 
 Gvi - don tri - oni - phe! Mai - lieur a nous tous! 
 Voix du niagicien (6-10 Basses dans la coulisse) 
 
 ^^ 
 
 y-le. con sord. 
 
 Ah, je de - 
 
A? Ul. "The Legend of Tsar Saltan." 
 *** N9 HI. „LeVende du Tsar Saltan f 
 iilSI Andante. J « u. 
 
 rLpico.J ^3 3 
 
 De la mer sort V Oiseau-cyj^e, qu^ illuminent les rayons I'unaires 
 
 1^ N? m. "Sadko," (ofemnf of Uu 2*i tableau). 
 N9112. „Sadkor (debut du 2 me tableau). 
 
 GS Andante. JrTs. 
 
 3F1. 
 
 La rive du lac Ilmen^ une ^rande pierre blanohe. Claire nuifc d'*et6; Le ordissantdelalune 
 I. 
 
 *»> 
 
117 
 
 a son dcclin. Parait Sadko: il s''asseoit sur une pierre, tenant a la main ses goussli. 
 
118 
 
 N? 113. ''The Tsar's Bride'.' 
 
 N9113. „LaFiancee duTsar." 
 |126| Alleffro nontroppo. J = u 
 
 Fl. 
 
 
 M P P f ^p 
 
 ^ 
 
 P 
 
 tttt 
 
 % 
 
 ^ 
 
 to^'^r^ ^ ry^ ff 
 
 iTf\ T . i/ p 
 
 ^ 
 
 %Cor. ingl. 
 
 * 
 
 i 
 
 i 
 
 "r^ r ' 'r»rV 
 
 S 
 
 ^ C1.(B> 
 
 S 
 
 
 |iiiii < ^[^ 
 
 W^ 
 
 Faf 
 
 *>i «r' 
 
 p |"r^r^*rttr'i^ff 
 
 ^^i 
 
 ^t=.^ 
 
 y^ ^ 
 
 Bomeli (du dedans) 
 
 ^^p p p r » 
 
 Lioubacha. 
 
 ^ 7 h i ft ff JV', ^ 
 
 ^^^ 
 
 Qui ft-appe-i - ci? Tu ver-ras si tu ouvrt-s. 
 
 N9 114. 'The Legend of the invisible city of Kitesh" (p. 
 N9 114. „Legende de la ville invisible de Kitej " (p. 127). 
 
 (Allegro. J = J20.) 
 
 127). 
 
 Qui nous don - ne du pain Est un bon sou - ve - rain. 
 
N? Its. ''The Legend of the invisible city of Kitesh" (f.257). 
 N9 115. „Legende de la ville invisible de Kitej" fp.257) 
 
 (J . 92) 
 
 il9 
 
 N? tie. "The Legend of the invisible city of Kitesh'.' 
 
 N9 116. „Legende de la ville invisible de Kitej." 
 (Moderato assai. J = 92^ 
 
N? U7. ''The Golden Cockerel" (p. 3is). 
 120 N? 117. ,.Le Coq d'Or" (p. 315). 
 
 f J : 120) riten. poco 
 
 ^ N? 118. "Snegourotchka, 
 
 N9118. „Snie^ourotchka(' 
 
 i^ (Allegro. 1= 76) 
 
 Mais non^ au - pres de toi Ta - mour m'e-veil -le a la vi - e 
 
 Misg-. 
 
 Ton bras vail- lant in'o-treint, mon front s'ap-puie a ton e - paule 
 
N? 119. "Snegourotchkat 
 
 N9 119. „Sniegourotchka? 
 13181 (Larghetto. J.= sa) 
 
 121 
 
 .ci.(B)^' I. ,k 1^- — ir — ; :^ 1 
 
 ^ 
 
 ^^ 
 
 i 
 
 fe 
 
 f ^-^h j "": ^ 
 
 ^-"Tj. /-^^ 
 
 ^"TJiJ 
 
 ^ 
 
 rftp: 
 
 ^•- 
 
 'f^ -f^ 
 
 
 T^ 
 
 r^ 
 
 O I r^^Tr-TJ^ 
 
122 
 
 N9 120. "Sadko." 
 N9 120. „Sadko." 
 I ("And ante. c)-:.:52.)_ 
 
 Sadko. 
 
 ^ 
 
 ■Tw^. 
 
 Ifc 
 
 rircfCf-Tr ir-^r r * rr r ^ 
 
 Et. 
 
 co n sord. 
 
 par-tout ou ,j i -rai,dana le nionde «'ii - tier Son 
 
123 
 
 II.III.a2 
 
morendo 
 Sadko. 
 
 j' r > r r. I f r f r f r fre 
 
 riches 
 
 Vpiis vieii-drez sa - lu - er 
 
 div. 
 
 jiisqua 
 
 ifjjiinTm jiiiiiiiiij i 
 
 p cresc 
 
125 
 
,o« N9 121. "Sadko." 
 
 NO 121. „Sadko:' 
 
 Allegro non troppo. ^ = \yi. 
 .Ob. I. .— ,« 
 
N9 122. "Sadko." 
 
 N9122.„Sadko'.' 
 
 S (And amino. J =84.) 
 
 -/* aOb 
 
 127 
 
 k' M-^ ' clH^ 'cM 'cEdJ i ciDlr ' dlrLr 
 
128 
 
 Fl.I.soIo. 
 
 L'Indou. 
 
 ^m 
 
 jj j.? fl-"Cf i " r1'fa-etf^ ^ 
 
 D\i - nevoiy ra-vis- san 
 
N9 123. "Kashtche'i the Immortal" (p. 119) 
 N9 123. „Kachtchei rimmortel" ip.119). 
 fOb'Con sord. 
 
 129 
 
 JV? 124. "The Legend of the invisible city of Kitesh/* 
 N9124. „Legende de la ville invisible de Kitej" 
 K2I (Poco larghetto. J. -68.) 
 
130 jy» 2^ "The Legend of the invisible city of Kitesh" (p.89^). 
 N? 125. „Legende de la ville invisible de Kitej" (p.39;^). 
 Larghetto alia breve. 4^ s*- 
 
 PP 
 V-le. con sord 
 
 
 ^K 
 
 ^P 
 
 s 
 
 ^m 
 
 PP 
 
 V-c.I. c,^sord. 
 
 '>t^,; nnr^n^nn\is!^ ^^^ ^ 
 
 PP 
 
 V-cDeC-b. 
 
 ^ 
 
 ( s yn aa 80g4^ 
 
 ^ 
 
 PP 
 
 ^ N9 126. "The Legend of the invisible city of Kitesh" (p.5i7), 
 N9126. „Legende de la ville invisible de Kitej" (p.si?), 
 (Moderato . J =96.) 
 
 y Cor, ingl. con sord. 
 
 Ts ppp 
 
 Fi^VTonia. 
 
 i 
 
 ^m 
 
 Fleu - ri 
 
 tous 
 
 pa - reils au pal-mier, 
 
 > PP 
 
131 
 
 PI. I. II 
 
 Com - me monteandiantbarmcj - ni - eux 
 
 d'ir - re-els oiseauXiChanteurs du del 
 
 Arpa II 6n:ut,ret>,mi|>,fatt,sol{|,la,si)( glias. 
 
N9 127. "The Golden Cockerel." 
 *32 N9127. „Le Coq d'Or!* 
 ja] (Le nto. J = 6o) 
 
 I 
 
N? 128. ''The Golden Cockerel?^ 
 Noi28.,.Le Coq d'Or." 
 
 I— : — I Larffhetto. (J=52) animando pochissimo 
 
 133 
 
 Pour me la • Iral - chir la peau .je mas- per - g^e (U- ro . se - e. 
 
 rtsv.poco 
 
ia4 
 
 N? 129. ''Snegourotchka" (p.950). 
 N9 129.„Sniegourotchka" (p.a5u>. 
 
 (Andante. J -- ea* 
 
135 
 
 N? 130. "Sadkor 
 
 N9130.„Sadko." 
 
 ■ 575] f Allegro. J w. 
 
 Le poisson pris au fili-t se traiisf'ornie en im linpot dor qui sfMiniUe .ni soleil. 
 Triang-.jfr'^ 
 
 crcsc. molto 
 
 - 
 
 '^^ 
 
 ^ k=^ 
 
 «^Viol..v/' 
 II 
 
 
 i n > 
 
 V-c.e C-b. 
 
 !^ 
 
 cresc. niolto 
 
N? 131. "Sadkor 
 N9131. „Saclko" 
 
 191l I 
 
 (Andante nontroppo. J = 84.' 
 
 137 
 
 Va - giics en hur-lant as - sie-gent nos ri - va - ges et blan-ches de co-lere at- 
 aS 
 
 -f"quentnob rochers! Mab hont sur laiii«arplanentiiosrofssauvag\s E-coutantleurs>chantssansbrpnchor 
 
...w N^ 1S2. ''The Christmas Night" (p. 309). 
 N':'132. „La Nuit dc Noel" (p.au'.t) 
 
 Fl.picc.% 
 
 Alii. 
 
 m 
 
 Hou-ln.u-lioii-hou liCiii^.ou ho\i-liou4iuu-hou^)oul!i;ti - ItuiI 
 
 ^"^^ 
 
 Sf^S: 
 
 ^^^^^S 
 
 il 
 
 h=w 
 
 ^ 
 
 Ten 
 
 Hon 
 
 hon-hoii-hoii-hou-Jiouhou- hou! 
 
 m 
 
 ^^^ 
 
 ^,=^i:^ ^.=^-^=^m m m^^^ ^^s^^ 
 
 Hou ._ 
 B-tssi.//" > — - 
 
 buu-lioii-hoii-Jioii-lioii-liuiiliip.i-liou-lu.u-lioii-hoii lion! 
 
 
 
 Hou 
 
 hou-hoii-lioulioii-how-hou'. 
 
 ^^^^3^??? I,| . 
 
139 
 
 N? 133. "The Legend of Tsar Saltan^ 
 N9l33.„Legende du Tsar Saltan." 
 
 S(Maestoso. J < 63.) 
 Fl.picc 
 
140 
 
 Fl.picc. e 2F1. 
 
141 
 
 N9 134. ''The Legend of the invisible city of Kitesh!' 
 N9 134. „Legende de la ville invisible de Kitej." 
 
 Ii99| (Allegro. J . isa) 
 
 'Tr be/ marcato 
 ^(c-altaF) secco_ 
 
 4 rpvp 
 
 [J yP? P Y 
 
 XpytigvTv 
 
 [^^P>P^ 
 
 ^^p->^ 
 
 yl> ft ^ ft » 
 
 ^^ 
 
 ifti. t pvpv 
 
 ^ 
 
 ^^ 
 
 i 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 Tr-bni. *ecfo 
 
 sii= 
 
 ^^ 
 
 ^ 
 
 Jyj Pyft^Y j[ ^ 
 
 ^RF=^ 
 
 ry^ 
 
 "s 
 
 Piatti 
 
 •J J J i J J J I J i » U J J I J ^ J iJ ^ J 
 
 iV? i55. "The Golden Cockerel" (p. 143). 
 N9l35.„Le Coq d'Or" (p. us). 
 
 (Moderate. J = 5o.) 
 
 C-Far. 
 
 V^^J V J V I? M P » I.J V J V P V I T ViJ V Jv ^ H P Vi.J>^ J^v P V 
 
 Ccr.ill.rV. 
 
 pizz. 
 
142 
 
 N? 136. ''Snegourotchka" (p. 97) 
 N9l36.„Sniegourotchka" (p. 97). 
 Adagio. Recit. 
 
 Bon-nes pens, ve-nezet vo-vez tous>cet-te mer-veil-le! (Sniegourotc-hka se montre'i 
 
 m , 
 
 "6 .<*#!;>■ 
 
 I CORO- (Tons s'approchent dii tronc d'arbre) 
 
 Sopr. 
 
 N9 137. "Servilia 
 N9137. „Serviliaf' 
 )Fi j- (Alle gro maestosoJ 
 
143 
 
 Piu lento, d -. io>». 
 
 a 2 
 
144 JV'P/^A "The Legend of Tsar ^Saltanr 
 
 NO 138. „Leffende du Tsar Saltan!' 
 
 „Legende 
 Moderate assai. J = 84 
 
 I. II. con sord. 
 
N? 139. "The Legend of the invisible city of Kitesh" 
 N9139. „Legende de la ville invisible de Kitej." 
 
 Il58| Maestoso. 
 
 145 
 
 ^ N? 140. "The Legend of the invisible city of Kitesh: 
 
 N9140. ,,Legende de la ville invisible de Kitej" 
 
 |248| (Larghetto alia breve, jl: 52.) 
 
 ci.miCa) 
 
146 
 
 N9 141. ''The Tsar's Bride! 
 N9141.,.La Fiancee du Tsar.' 
 
 |50| Allegretio. J = ii2. 
 
 Cl\B) 
 
 
 P 
 
 s 
 
 m 
 
 aa 
 
 m 
 
 do^'Jt 
 
 dim. 
 
 Fag-. 
 
 « 
 
 JDl! 
 
 rt 
 
 ^ 
 
 aim 
 
 ^ 
 
 a 
 
 ^ 
 
 N ^ 
 
 ^ 
 
 . i /:^;^ 
 
 5^ 
 
 J i J J 
 
 £S^ 
 
 ^ 
 
 f= 
 
 1^ 
 
 rr 
 
 rr 
 
 'or. •' 
 
 T- — ^ 
 
 N 
 
 w 
 
 * 
 
 i 
 
 a^E 
 
 fnf 
 CORO 
 
 Jy^ Sopr. Alti. 
 
 r^ 
 
 dim. 
 
 /f. bopr. Aiti. ^^^^ ^ 
 
 mm 
 
 R 
 
 ■ *■' J 
 
 blon vert q\u grim - 
 
 r 
 
 pe. 
 
 Sur les bords du clair ruis 
 Ten. 
 
 ■' r 
 
 le hou 
 
 
 ^ 
 
 Sur les bords du clair ruis - 
 Bassi. 
 
 ^m 
 
 le hou - blon vert qui grim 
 
 pe. 
 
 ^ 
 
 ^ 
 
 ^^- 
 
 N? 142. "The Tsar's Bride" (p.S47). 
 N9142. „La Fiancee du Tsar" (p.«7;. 
 
 ^Moderate, j; 86.) 
 
N? 143 ''The Christmas Ntjorht/' 
 N9l43.„La Nuit de Noel'.' ' 
 
 147 
 
 165| Adagio. J -. 56 
 Fl.I. II. 
 
 dim. poro a poco 
 
 *)A defkut, clochettes; sur le celesta, jouer a 1' octave inferieure,oniett«mt la premiere note IN.dn 
 "* Feed.) 
 
 ^ A Fl.picc. 
 
 I 
 
 g 
 
 1 
 
 1 
 
 1 
 
 Fl.I. ill. 
 
 i 
 
 W 
 
 "^^ 
 
 "^ 
 
 //*;« . 
 
 smorx . 
 
 smorz. 
 
 ^Cor. 
 
 ii hi 
 
 i 
 
 i 
 
 1 
 
 
 ^^ 
 
 f 
 
 i 
 
 w^- 
 
 T^ 
 
 
 tsi 
 
 8- 
 
 £^^^E^^EE=^Et 
 
 l-.fej f:jzffe 
 
 I^^M^Ti 
 
 Arpe. 
 
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 M I M r t jjzi:, j^Lo^^j^ 
 
 di?n. poco a poco 
 4 .'iol.I. *• 1^ 
 
 I 
 
 -tr 
 
 ^^ 
 
 <9 
 
 ** 2VJ01.*' 
 
 <2 — . ^- 
 
 4r 
 
 
 ^=^ 
 
^^^N9 144. ''Sadko" (p. 121) woodwind alone). 
 
 N?144. „Sadko" fp. \2\\ instruments a vent seuls). 
 
 (Andante. J: 72.) 
 
 1 
 
 if? 145. ''Sadko." 
 
 . ,N9145. „Sadko!' 
 
 l242jAndantino. J = 66. 
 
 dim. 
 
N9 146. ''The Legend of the invisible city of Kiteshf' 
 NO 146. ^^Legende de la ville invisible de Kitej." 
 
 [IS (Larghetto alia breve. J =62.) 
 
 Fl.picc. 
 
 149 
 
150 iV? i4t "The Golden Cockerel^ 
 . N9147. „Le Coq d'Or" 
 
 [233] ' Allegro alia marcia. J = 120.) 
 
 iV? 148. "Russian Easter Fete"' (p.H). 
 N?148.„La Grande Paque Russe" (p.ii). 
 objAndante lugubre. (J .- so) 
 
 1 
 
I N9149. "The Legend of Tsar Saltan!* 
 
 N9149. ,,Legende du Tsar Saltan'/ 
 
 (Moderate assai. J: 84.) 
 
 151 
 
 129 
 
 Lalumiere augmente. Les rayons du jour per9ant les brumes du matin revelent la ville de Le- 
 
 denetz. 
 
 ty V-c.e C-b. 
 
 ^=^ 
 
 PP 
 
N? 150. ''The Legend of Tsar Saltan" (p.;Si9). 
 N9 150. „L^gen(le du Tsar Saltan" (p. 219). 
 
 PL*leo.«Fl.I 
 
 m 
 
 CampangUi. 
 
 J f I' ' 
 
 i'""^'[iijjTi^ I giF jfn iLiutujIiiLrtiif 
 
 ^^ 
 
 pisz. 
 
N9 iSl "Antar" 
 
 „ N?151.„Antar." 
 m (A llegro.) 
 
 158 
 
154 N^ 152. "Antar: 
 
 N9l52.„Antar." 
 ,pl, (Adagio.) 
 
 I 
 
N? 153. ''The Christmas Night'' (p. 376). 
 N9l53.„La Nuit de Noel" (p.37K). 
 Andante, tenuto ass'ai. 
 
 155 
 
156 
 
 p cresc. 
 (Un soleil rouge se montre a travers lea brouillards places') 
 
 2 Viol 
 
 p cresc 
 
Fl.picc. 
 
 PiU mOSSO. i)l44. (J: 72.) 
 
 157 
 
158 
 
 ,Fi.piccr 
 
 
 I 
 
 A 
 
 m 
 
 Cl.picc.'^ 
 
 n. 
 
 i 
 
 A- D f 
 
 Fag-. 
 
N? 154. ''Sadko." 
 N?154.„Sadkof' 
 
 159 
 
 Gloireau bon vieil-lard, gloire a ce bien - - fai - teur. 
 
 3 Fl 
 
 N9 155. "Servilia 
 N9155. „Servilia!' 
 
 J : 72. 
 
leo N*^ 156. *'The Legend of the invisible city of Kite sh" (p. 252). 
 N9156. „Legende de la ville invisible de Kitej" (p 2f>2) 
 
 FI.I. 
 
 (Andante mistico. J:«a) 
 
 ritcn. molto 
 
N9 158. ''Ivan the Terrible," Act J. 
 N9l58.„La Pskovitaine" W acte. 
 
 ""fi. Adagio. 
 
 161 
 
 Je voiis par-leTai(lupreuxpa>la-din Oo-ri-nia, du ser-pent cru - el, Tou- 
 
 I 
 
 ^ poco cresc. W ^n. e mor 
 JlJ- ^ 
 
 "W 
 
 ze:=: 
 
 poco cresc. 
 
 Tr-be. 
 
 
 % 
 
 jCE 
 
 dm. e mor. 
 
 J^-^ dim.e mor. 
 
 ^^ 
 
162 ^ iS9. "Snegourotchka" (p. £28). 
 N?159.„Sniegourotchka" (p. 228). 
 (Allegro moderato.) 
 
 ^^^ 
 
 ^ 
 
 ^ 
 
 m 
 
 i 
 
 ^ 
 
 pp 
 
 N9 160. "Sadko" (p.231) 
 N?160.„Sadko".(p.28i). 
 
 ^; (Allegro non troppo.) 
 
 Les devins (mysterieusement) 
 
 •^ Sur lamer, sur To-ce-an, dansune i - - "le mys - te-ri-eu-se fleu- 
 
 con sord. 
 
 ' A I 
 
 Les devins. i j 1 
 
 j k'' J J -^^ J^ I J_ 4viv^ J^ 1 ,1 ^_ I y J' J' ^ j^ 
 
 rit la for-ce qui ue nieurtpas. la force 
 
 ne-pui-sable 
 
N? 161. "The Legend of Tsar Saltan" (p. so). 
 N9161.„Legende du Tsar Saltan" (p. 80). 
 Ob. (Allegro. Jiiae) 
 
 168 
 
 Platti. 
 
 f^_ f r f _f_p r ■ gjLA^ e-jL^ ^ r f r f ^ f f r ^ r f r r r r r r ^ n 
 
 Ha - ha - hii - ha - ha - ha - ha - ha - ha - ha - ha - ha - ha - ha - ha - ha! 
 
 J? 162. "The Legend of Tsar Saltan'' (p.92). 
 N9l62.„Legende du Tsar Saltan" (p. 9a). 
 Fi. (Andante. Jzea) 
 
 N? 163. "The Legend of , the invisible city of Kiteshi 
 _ N9163. „Legende de la ville invisible de Kitej" 
 
 O b. Allegro. J-.\zo. 
 
IQA N9 J64. "The Legend of the invisible city of KitesH' (f.ioo). 
 N9164. jjLegende dela ville invisible de Kitej" (p.40o>. 
 
 lis sont de - ve-nus sol- dais du Christ, des mar-tyrs s^en- ri-du - ra Tar 
 
 N? 165. "The May Night/' Act I (p. 105). 
 [Eg N9165. „La Nuit de Mai" l«Jacte (p.ios). 
 
 T^Jv. (Allegretto.) 
 
 > i/p 
 
N9 166. ''Snegourotchka: 
 N9166. „Sniegourotchka!' 
 
 Maestoso. <J: 69. 
 
 rI.II. a 2 
 
 166 
 
166 N9 167. "The Christmas Night/ 
 
 N9167. „La Nuit de Noel" 
 
 \ tit\r \ Andante. J =72. ^ 
 
 ^S 
 
 ^ 
 
 a 
 
 -"pp- 
 
 3 Fl. 
 
 n.iil. fi: 
 
 * I "■ 111- 
 
 a 
 
 a 
 
 ft 
 
 =1 
 
 S 
 
 =8= 
 
 iX^sr. 
 
 ■pp- 
 
 ob. n. 
 
 ^ 
 
 //l^Clar. picc.(D) 
 
 
 ^2 Cl.(B) 
 
 :^^^ 
 
 TT 
 
N? 168. ''Sadkor 
 N9168. „Sadkof' 
 (Andantino. J- = 66.) 
 
 15 
 
 167 
 
168 
 
 cresc. 
 
 T dtm. 
 
N° 169. "Sadko" (p. 49^) 
 N9169. „Sadko"(p.492). 
 (Andante. J: 66. 
 
 169 
 
170 
 
N9 no, "SadkoP 
 
 N9l70.„Sadko!' 
 12441 ( Andantino. J.= c&) 
 
 171 
 
172 
 
 N? 171. "Antar! 
 N9171. ,.Antar 
 
 N9 172. "The Tsar's Bride" (p.J852). 
 N9 172. „La Fiancee du Tsar" ( p. 252V 
 01. (Moderate. J c 9G.) ^ ^ ^^^^ 
 
 ^ 
 
 
 ^ 
 
 w 
 
 i 
 
 i 
 
 ir — z? 
 
 Fair 
 
 i 
 
 ^^ 
 
 
 '^^^^4^^:^,^^^:^-^ 
 
 7- 
 
 yVt »« . 
 
m 173. ''Sadko'' {f.ii2). 
 N9173.„Sadko"(p.ii8V 
 rVivace.) 
 
 Fl.picc. 
 
 ITS 
 
179 N? 174. "The Christmas Night." 
 P-J^ N9174. „La Nuit de Noel" 
 
 ri.pi«e,« » ri 
 
N? 1759 "Vera Scheloga" (p. 49). 
 
 N?175.a. „La BoiarineVera Cheloga"(p.49). 
 
 Ob. 
 
 pten. ass at 
 
 176 
 
 Lento. 
 
 quel mal - heur' Oi- seau^pourquoi te tai - re? 
 
 Vera. 
 
 Je cherche en 
 
 vain, ne trou-ve pas ma rou-te, je. ne sais plus que faire, et je m?e-ga-re. 
 
 N° 175? Another possible orchestration. 
 N9 175. b. Autre orchestration possible. 
 Vera. 
 
 Lento. 
 
 " J^ J^ iiJ' hi-l » J^ J^ J' J^ J i I p iiJw ■ V JO i J^ 
 
 quel mal - heurl 0i-8eau,poxirquoi te tai - re? 
 
 rT\ t^n. assai 
 
 Je cherche en 
 
 vain, ne trou-ve pats ma rou-te, je ne sais plus quefaire, et je m'e- ga-re. 
 
N? m. "Russian Easter Fete" (p. 5). 
 176 ^9176. „La Grande Paque Russe'* (p.5). 
 (Lento mistico. J =84^ 
 
 AViol.soli. 
 
 J — 
 
 P=^ 
 
 p-k--n 
 
 W=\ 
 
 —f -f — 
 
 ^_L_XJ 
 
 f k, 1 
 
 g 
 
 ■ 1 
 
 ' i> f ►f ■■ tt r i> r 1* 1 
 
 V-c. «olo. 
 
 -»»-r 
 
 =S^H^ 
 
 
 
 
 > <t ^^ 
 
 
 
 
 
 
 
 ■= 
 
 dotce 
 
 
 
 
 8F1 
 
Fl.l 
 
 N9 177. ''Russian Easter Fete" (p. 9). 
 N9177. >,La Grancle Paque Russe" (p.9) 
 (Lento mistico. J = 84.) 
 
 — timile 
 
 177 
 
^^^ N9 178, "The Tsar's Bride" (p.i-s). 
 N9178. „La Fiancee du Tsar" (p. 1-2). 
 Jlj^Allegrro. J = 108.) 
 
 N? 179. ''The Tsar's Bride: 
 
 NO 179. „La Fiancee du Tsan" 
 
 S (Allegro. J -- 108.) ^ \^rf^ ^^^^ 
 
N9 180. "The Tsar's Bride." 
 N9180. „La Fiancee du Tsar." 
 m (Allegro. J = 102.) 
 
 y Fl.picc. 
 
 179 
 
N9 181. ''The Tsar's Bride!' 
 
 180 N9181. „La Fiancee du Tsarf' 
 
 [2] (Allegro. J -. 102) 
 
 N9 182. "The Legend of Tsar Saltan.' 
 N? 182. „Legende du Tsar Saltanf 
 RH Modei'ato alia marcia. w : 88. 
 
 ' l; r " T " 'c; " t " t " u r '" lj r 
 Vr — ^ r ^ r r r — r 
 
N? 183. "The Legend of Tsar Saltan/ 
 N9183. „Leg:ende du Tsar Saltan" 
 Moderate allamarcia. J -88. 
 
 Fl.picc. 
 
 181 
 
 <?/• y 
 
N° 184. "The Legend of Tsar Saltan. 
 
 1^2 N9184. „Legende du Tsar Saltan" 
 ljS[ Allegretto alia marcia. J = 96. 
 
 f I plcc. 
 
 J33- J J5L » i ^ p . n \m .JD . IT 1» m . jn . n \m J!L P f J^f f ^ f 
 
 J 
 
 N? 185. "The Legend of Tsar Saltan." 
 
 N9185. „Legende du Tsar Saltan!' 
 Allegretto alia marcia. J = 96. 
 
 Fl.picc.ezri. 
 
 r r ' r r 
 
 n areata 
 
N? 186. "The Legend of Tsur Saltan. 
 
 N9l86.„Legende du Tsar Saltan." 
 3 (Allegretto alia marcia. J- 96^ 
 
 183 
 
 ^ N9 187. "The Legend of Tsar Saltan" (p.soey 
 N9187. „Legende du Tsar Saltan" 'psoei. 
 4Cor(Allegro tempestoso. J- 132) 
 
 -va ge tren - te - trois puis - sants gu»T - j-rts 
 
^^^ N9 188. ''The Legend of Tsar Saltan" (p. 4f€). 
 N?188.„Leg:ende du Tsar Saltan" (py*i»i). 
 (Allegro animate. *-i44.y 
 
 / 
 
 Tr-bni. e Tuba 
 
 m^ 
 
 i 
 
 i ^ 
 
 rmrm 
 
 i n HJ 
 
 J i 
 
 A- 
 
 Timp 
 
N? 189. "The Legend of Tsar Saltan" (p. 367). 
 
 N9189. „Legende du Tsar Saltan''^ (p.367). 
 (Allegr o. J- 132 .) 
 
 185 
 
186 
 
 Cor. 
 
 Tr-bni. 
 
 eTuba. K ^ » 
 
 f- — -^ r r 
 
 Timp. 
 
 Cassa. 
 
 ir 
 
 Viol. I e II 
 
N9 190. "Ivan the Terrible," overtun. 
 N9190. „La Pskovitaine"ouverture. 
 la (Allegro.) 
 
 ^Cl.l(A).Sol( 
 
 187 
 
 N? 191. 'Ivan the Terrible," overture. 
 ^ N9191. „La Pskovitaine" ouverture. 
 (Allegro) —5, 
 
N? 192. 'Sheherazade" ($.5) 
 188 N9l92.„Sheherazade" (p.S). 
 (Alleg ro non tr oppa J..56.) 
 
 i^? 193. "Sheherazade" (p.a) 
 N9193. „Sheherazade" (p,8). 
 A ^^ CAlIegTo non troppo. J.-56) 
 
N? 194. ''Sheherazade" (p. 19). 
 N'M94.„Sheherazacle" fpiw). 
 
 [S] ^Allegro non troppo. d.. 56.) 
 ^, ''c-- — —————— — ^ tf 
 
 Fl.picc. *£^ >♦• 
 
 189 
 
^? 195. "Sheherazade" (f. 38-89). 
 
 190 N?195.„Sheherazade" (p. 38-39). 
 
 (Allegro non troppo. d.-56) 
 
N? 196. ''The Legend of the invisible city of Kiteshr 
 N9196. „Legende de la ville invisible de Kitejl' 
 (Poco larghetto. J -60.) 
 
 IM 
 
192 NO igf rrj^ Legend of the invisible city of Kitesh.' 
 
 N?l97. „Legende de la ville invisible de Kitej!' 
 (Poco larghetto. J-6o) 
 
NP m. 'The Legend of the inmisible city of Kitesh!' 
 
 N?198. jiLeg^ende dela ville invisible de Kitej" 
 (Poco lararhetto. J. 60. 
 
 193 
 
 N9 199; 'The Legend of the invisible city of Kitesh*' 
 
 N9199. „Legende delSi ville invisible de Kitej" 
 (Alle gro. «^.120.) ^ ^ 
 
 iV*i"T I r f r J I i;_^ '~rj i 1 1 i i i"T i f^ 
 
N? 200. "The Legend of the invisible city of Kiteshi 
 
 194 N9 200. vLegendc de la ville invisible de Kitej'/ 
 [7q1 (Alle gro. Jriao.) 
 
 i^? ^i. ^T^te Legend ofihe invisible city of Kitesh." 
 
 N9 201. „Legende de la ville invisible de KitejV 
 (Alleg ro J-120J 
 
N9 202. "The Golden Cockerel'' (p. 298-299). 
 
 N9202.„Le Coq d'Or" ^p. 2i<H-y9^,. 
 (Allegro alia marcia. J-120.J 
 
 Fl.picc. ^ 
 
 195 
 
^96 ^ ^^ "The Qolden Cockerel^* (p. SOB-ssol 
 N?203.„Le Coq d'Or" (p.ao9-8io>. 
 
 ri.pico 
 
N9 204. ''Snegourotchka'' (p. £67). 
 
 N?204. „Sniegourotchka" ip 2K7.. 
 
 (Vivace. J-I60.) 
 Fl. pice 
 
 197 
 
N9 205. "Sadko." 
 198 N9 205. „Sadko:' 
 I173] Allegro. J..66. 
 I!"!. piece 2 Fl. 
 
N? 206. ''Sadko." 
 
 . , N9 206.„Sadkof' 
 
 11771 Allegro. d..G6. 
 
 Fl. piece 2F1. 
 
 199 
 
200 N^ 207. ''The Christmas Night." 
 
 N9 207. „La Nuit de Noel!' 
 |184| Allegro non troppo, alia polacca. 
 
 ij ^ l h i 
 
 pMj^^ ^^i^i^^^. 
 
 ir 
 
201 
 
 •^ n,r cresc. 
 
N? 208. ''The Christmas Night." 
 202 NO 208. .,La Nuit de Noel'.' 
 
 |lg(-| (AUegTo non troppo, alia polacca.j 
 
 Fl.piccjB- a ^ a £ # ^ ^f^ 
 
 Bassi chaai-tez, trom-pet - tes, flu - tes 
 
 dan3 la nuit ou point l^u- 
 
;203 
 
m 209. ''Sheherazade" (p. 123) 
 N? 209. „Sheherazade" (p 123.) 
 Andantino, allargando assal. 
 
 205 
 
 I. Solo 
 
206 
 
 colla parte 
 
N? 210. ''Snegourotchka" (p. 176-177). 
 N9 210. „Sniegourotchka" (p.i7e-i77.) 
 Risoluto ed animato. <^= loo. 
 
 Fl.e Ob. 
 
 '^ fcrr^' ircrr*" ir* " r^i- ^^ 
 
 e rr c rrri; 
 
 Ar-j ^JnJ i ,^j I J ^^^1 ^i \ ,^ ^ ^ ^p i^jb^ ^ 
 
 poco af>o co 
 
 ■dimr 
 
 g__oiOier, la fa - rou - che cla - nieur de la guerre et de la ba 
 
 tail 
 
208 
 
 N? 211. ''Snegourotchka" (p. 179-180). 
 
 N9 211. „Sniegourotchka" (p.i7y-i80). 
 
 (Animate.) 
 a2 
 
 ^r -r 
 
 C1.(A) 
 
 i^7/li ^ u 
 
 4 
 
 r "-f r r 
 
 ii^^i^M 
 
 i 
 
 f^ 
 
 Faa 
 
 ^ 
 
 » 
 
 ^' 
 
 a^2 
 
 f. Cor. „ o ff 
 
 I i '"'■II 
 
 ^^ 
 
 r ' r Cj r > 
 
 ^ 
 
 J J-IJTl 
 
 J or I 
 
 Tr-be.(B) 
 
 -^^ 
 
 I^M 
 
 I 
 
 J JPJ j|j jj 
 
 f 
 
 ^J .a^ -^J 
 
 ^ 
 
 ^ 
 
 ^^=^f 
 
 ^ 
 
 ff. 
 
 ^^ 
 
 ^ 
 
 Tr-bni. e Tuba. 
 
 Timp. 
 
 ^ 
 
 ^ 
 
 Ten. I 
 
 ^ 
 
 ^^-£^ 
 
 ^ 
 
 ^ 
 
Z09 
 
 it h'^f r ^> ^f r , rr7 r r f 
 
 ^^ 
 
 , ^f ^f f f f f 
 
 »ii r r r r ^ j 
 
 cresc. 
 
 Y'T r r r r . 
 
 5=» 
 
 Cl. 
 
 ''= i_i!Lii. 
 
 cresc. 
 
 ^ 
 
 rr r" r 
 
 I r Lf r 
 r r f\ \ 
 
 h^iif 
 
 S^ 
 
 Fag-. 
 
 a 
 
 ^m 
 
 rW 
 
210 
 
 N? 212. "Ivan the Terrible," Act U. 
 
 N9 212^. „La Pskovitaine," 2^® ax:te. 
 [l9| Allegro moderato maestoso. 
 
N? 213. ''The Legend of the invisible city of Kitesh: 
 N9 213. „Leg-ende de la ville invisible de Kitejf 
 2&4l Andante non troppo. (J = m.) 
 
 211 
 
 Du fond de la clairiere marecag'euse,toute fleurie, s''avance^comme sur la terre ferme,nma^ du 
 
 prince Vsevolod entouree d'une lumiore doree. II louche a peine le sol 
 
212 
 
218 
 
 C.lngl 
 
 ^ 
 
 
*** N? 214. "The Legend of the invisible city of Kitesh' 
 N9 214. „Legende de la ville invisible de Kitejf 
 fSjg] Andante non troppo. J=t»'. 
 
 F^vrQoia et Tapparition sortent par le marais, effleurant a peine le sol. 
 
 PP9 3 
 
2\? 215. "The Golden Cockerel." 
 
 N9 215. „Le Coq d'Or." 
 (Moderate . J= loo.) 
 
 21S 
 
 pizz 
 
 ,«i I ■ '^^Vy»3 j »» J iJ vv JJi yv J i Jv » J J »» JiJ » » JJ » » J , J v ¥J#»¥3i j » » j J¥ » J 
 
 
 H^44*m4 . 4H H44H » 
 
 iy!" 2lV\negourotchka" (p.l4S). 
 
 N9 216. „Sniegourotchka"(p.i48.) 
 
 (Animato. W:i26.) 
 )b.i 
 
 He bien pre - nez, sivousrfavezpas hon-te d'etre enriohis pax lemalheurdesautrea! 
 
216 iV? 217. ''Russian Easier Fife.** 
 
 N9 217. „La Grande Pique Russef' 
 
 iFl. 
 
 [^Triang. 
 
 r^ 
 
 da Timpano 
 
 r — r 
 
 Piatti. 
 
 coUabacchetta 
 
 fiijj ■. i 
 
 J3P 
 
 -B = 
 
 
 -5} = 
 
 -'i = 
 
 -^ = 
 
 1#=^ — = — 
 
 < Arpa.^ 
 
 /«f-^ = 
 
 r 
 
 -« — = — 
 
 ♦ 
 
 p 1 
 
 -f = 
 
 -3 
 
 P _ 
 
 
 
 
 
 */ 
 
 
 ¥=f=^^^ 
 
 P^" 
 
 f F F F 
 
 P^" 
 
 _■ — 1 — I — ■— : 
 
 H4=^ 
 
 Viol, aemprep 
 6%. 
 
 
 
 
 
 1 1 1. 
 
 #^'i ■ 
 
 f=^ 
 
 \\ ■ 
 
 = $=?= 
 
 -? ■ 
 
 =«=*= 
 
 5? — F 
 
 V-le. 
 
 -f — F — 
 
 • • 
 
 -f ^ 
 
 — f « p 
 
 r j> r f 
 
 r r > r 
 
 r f- r r 
 
 *^^^^— ' if 
 
 aewfr^p 
 
 Mil r -- 
 
 -0 « 
 
 ? ?5 
 
 ^^ ' r 
 
 T — T — 
 
 1 ' 
 
 _i 1 
 
 — « p 
 
 ^ /pirr.. 
 
 P 
 
 v 
 
 p 
 
 L^.. 
 
 i' 
 
217 
 
N? 218. "The May Night" (p.i40). 
 
 218 N9 218. „La Nuit de Mai" rp 140.; 
 Allegro vivo. 
 
 2 Fl.picc 
 
 N? 219. ''The Legend of the irwisible city of Kitesh'. 
 
 ^ N9 219. „Leg-ende de la ville invisible de Kitej!' 
 -^T-(Moderato. J=m.) 
 
 ttfljfl Fag.IIeC-fa^. 
 
N9 220, ^'The Legend of the invisible city of Kitesh'.' 
 
 N? 220. „Legen(le dc la ville invisible dc Kitej!' 
 
 ('Moderate. J; 92.) 
 j.n. _a2 | «f^ 
 
 219 
 
N? 221. "The Legend of the invisible city of Kitesh." 
 
 220 N9 221. „Legende dc la ville invisible de Kitej." 
 rrj=i ( Moderato. Jzs-^.) 
 
N9 222. "Snegouroichkar 
 N? 222. ..Snieg-ourotchkal' 
 
 IB4I Lento. J = 69. 
 ri. ptcc 
 
 221 
 
 doleiaiimo 
 
 FKplcc 
 
N9 223. ''Snegourotchka/' 
 222 N9 223. „Sniegourotchka'/ 
 
 12751 Adagio. Recit. 
 
 Cor. 
 
 < n^^ n ^^J\}^^^ 
 
 A-vec le jour va com-men-cer le regTie 
 
 "•^'w' "*" y " PourQuoitesBleurs et que veux 
 
 Du dieu Ya-ri- lo, de I'e-te de flamme 
 
N9 224. "The Legend of the invisible city of Kitesh! 
 N9 224. „Legende de la ville invisible de Kitej." 
 Lento mistico. J:6o. 
 
 223 
 
N? 225. ''Sne^ourotchka/* 
 
 224 N9 225. „Sniegourotchkal' 
 , , Adacrio non troppo, lento e cantabile. ^z 7a. 
 
 le 8o-leil sur lacol-li-ne de - crort len - te_ment, pa - lit et 
 
 .raeurt 
 
 , v-i 
 
 N? 226. "The Golden Cockerel." 
 
 sss N9 226.„Le Coq d'Or!' 
 LaiteinedeCh^ Lento non troppo. 
 
 Ah!. 
 
 Viol. I. e II 
 unis. fT\ 
 
 Viens, la oal - me null re - pe - te la chan-son descoeurs en 
 
 ptzz. 
 
 'PifctU. 
 
 Allegro moderato . J : io4 
 
 ■+- f *-H— 
 
 flS-te. Tiens,boisce vin tout pe-til-lant, o'est le sang .^ de lX)-ri-ent'. 
 
N9 227. miada," Act n. 
 N9 227. „Mlacia;' 2"1- acte 
 [li] (^Andante non troppo.) 
 
 Loumir. 
 
 225 
 
 (muta sol in fa|) 
 Loumir 
 
 dolce colla parte 
 
 Loumir 
 
836 N?^228. "The Legend of Tsar Saltan." 
 N9 228. „Legende du Tsar Saltan'.' 
 
 Andante. J= 68. 
 Fi. 
 
 BupalaiB sort la princesse Cypnejdontlasplendeur eclipse ceile du soleil. Tous protegent leurs yeux 
 de la main. "" 
 
zz'y 
 
228 
 
N? 229. ''The Golden Cockerel" (p. -227). 
 
 N9 229. „Le Coq d'Or" (p.227.) 
 
 Fl.picc . 
 
 Z'.^ 
 
230 
 
 fij.£>^3mi,^ 'ig <^i I 
 
 Cor. I. 
 
 PP 
 
 tou - jours, sans tre 
 
 Celesta. 
 
 '1^4 p V I ^ 
 
 ^^ 
 
 Arpa. « 
 
 
 
 H V 
 
 ; ^ Mr i f 
 
 ^ 
 
JPl pico 
 
 N9 230. "Russian Easter Fete." 
 N? 230. „La Grande Paque RusseJ' 
 Sostenuto e tranquillo.eJzise. 
 
 231 
 
238 ^° 2^i- "^^ Legend of the invisible city of Kitesh'.' 
 N9 231. „Legende de la ville invisible de Kitejl' 
 12971 (Andante. J = 48.) 
 
 Fl. piece Fl.L 
 
 Arpa I. 
 
 Spectre, tu parais porter les traits deVse-vo - lod le che-va 
 8 
 
 div. 
 
2BS 
 
 Flpicc 
 
 cresc. poco 
 
284 N9 232. "The Golden Cockerel" (f. 282). 
 N9 232. „Le Coq d'Or" (p.a82 ). 
 (Allegro assai. Jzisz.) 
 
 Fl.picc 
 
 N? 233. "The Golden Cockerel" (p.l4ti}. 
 N9 233. „Le Coq d'Or" (p.i4i ). 
 
 Moderate (alia breve), '^.l . so . 
 api picc. 
 
N? 234. "Sheherazade" (p. 61). 
 N?234. „Sheherazade" (p.ei). 
 (Vivace, scherzando. J • 132 ; 
 
 285 
 
 N9 235. "Snegourotchka" (p. 807). 
 N? 235. „Sniegourotchka" (p.307). 
 Moderate. J-re. 
 
 /J;P'««-|t^ . I,, 
 
 La vision disparait; a sa plaoe on volt un tronc d'artre surlequel deux vers luis&nts 
 
 p.^brillent conime line paire dyeux 
 
236 
 
 N? 236. ''Snegourotchka!- 
 
 N9 236.„Sniegourotchka." 
 (Larghetto. J-^ss.) 
 
 Sniegourotchka. 
 P 
 
 rr pir^pr < pir'r p«r pir r^<- ■ 
 
 3Ier - ci du fond du cceur pour - tant d'ar-dent a - mour — 
 
 m 
 
 1^ 
 
 m 
 
 Arpa. 
 
 PP 
 
 m 
 
 m 
 
 Viol.I solo. 
 
 f rn-fif t f fif^ ^- if f 
 
 PP 
 
 Viol.II 
 
 ¥» j . ^ i. 
 
 dlv. arco 
 
 trem. 
 
 I. J'^'' 
 
 ^^ 
 
 V-le. 
 
 1^ 
 
 ^^ 
 
 ^P 
 
 ^ 
 
 V-c. 
 
 ^m 
 
 PP 
 
 pizz. 
 
 =^^^ 
 
 V V i' 
 
 PP 
 
 2C-b. soli. 
 
N9 237. "The Chrism tis- Night'' (p.Si^). 
 N Q237. „L a Nuii de Noel" (p.312). 
 
 237 
 
 N? 238. "The Golden Cockerel" (p. 19). 
 N0 238. „Le Coq d'Or" (p.i9). 
 (Andante, ^-.tz) 
 
 1 i A Wl . p tc»^ 
 
ggg N9 239. ''Ivan the Terrible" Ad U. 
 N?239. „La Pskovitaine," 2"ie actp. 
 
 iV? 240. "The Tsar's Bridef 
 fj^ N9240. „La Fiancee du Tsar." 
 
 ' — 5'j, (Allegro moderate. J mis.) 
 
 i nJ^ J^ |t|J / i 
 
 Oiii . . 
 
 elle est belle 
 
 rose et blanche de taint.. 
 
N? 241. ''The Tsar's Bride'' (f.2io). 
 
 N9 241. „La Fiancee du Tsar" fp.^io). 
 
 (Allegro moderato. J. iia;^ 
 
 2:^9 
 
 N? 242. "The Tsar's Bride." 
 N? 242. „La Fiance'e du Tsar." 
 
 ^Lento. J- 56. 
 
 N? 243. "The Tsar's Bride." 
 N? 243. La Fiancee du Tsar. 
 
 (Lento.) 
 
N? 244. '^Snegourotchka." 
 ^ ^^0 N? 244. „Sniegourotchka!' 
 
 ISy Andante, molto sostenuto. J« i 
 
I N? 245. "Sne^ourotchka.*- 
 
 I l313l ^^ ^^^ „Snieg:ourotchka!' 
 ^^-;:ji„ (Andante. J.«».) 
 
 241 
 
 On rayon brillaot perce les brume matinale et tombe sur Sniegowrotchka. 
 
„ N9 246. "Serviliar 
 
 ^2 N9 246.„Servilia!' 
 [g25!(Lento. J=6o.) 
 
N9 247. "The Tsar's Bride" 
 
 m 247. „La Fiancee du Tsar" 
 
 (Adagio J 
 
 248 
 
 ^ N? 248. ''Russian Easter Fite." 
 
 W 248. „La Grande Paque Russe!' 
 P] (Andante lugiibre. «J=6o.) 
 
244 
 
N? 249. 'The Legend of the invisible city of Kitesh: 
 N9 249. „Legende de la ville invisible de Kitej!' 
 E (Larghetto alia breve. ^-Irea.) 
 
 • - Cl.l.U (A) ^-' 
 
 245 
 
N? 250. "The Legend of the invisible city of Kitesh.' 
 246 N? 250. „Legende de la ville invisible de Kitej!' 
 
 Allegro . ^Jr 18 8 
 
 Com - me monte au eiel le tour-bil-lonl La pous-sie - re voi - le le so - leil. 
 
 N? 251. '^Spanish Capriccio/' 
 N9 251. „Capriccio Espagnol" 
 
 Met Sit mo 
 
 •^ / 
 
N^ 252. "Sadko" 
 N^>252. ,,Sadko:' 
 
 12641 (Allegro non.troppo. J- 112.) 
 
 Ob.I.Solo.y 
 
 247 
 
 PFP 
 
N9^ 253. ''The Legend of the invisible city of Kite sh'. 
 N9 253. „Leffende de la ville invisible de Kitej." 
 
 Ob. I 
 
 Solo 
 
 N? 254. ''The Tsar's Bride" (t.ZAe'H^r}. 
 N? 254. „La Fiancee du Tsar'*^ (p. 246-247.) 
 (Moderate. J = »«.) 
 
TVr 255. '"Sheherazade," 2^ movement 
 N9 255. „Sheherazade;' 2"}" mouvement. 
 [jpi (^Aiidantino,j)OCO animate.) 
 
 249 
 
 N? 256. "The Tsar's Bride/' 
 N9 256. „La Fiancee du T^ar " 
 Molto andante. J = eo. 
 
 A Nov-gDrod^ansun jardinsu-per.be, sous les om-bragesnou8VHion8,en-sein-ble 
 
N? 257. ''The Tsar's Bride" (f. 186\ 
 25qN'^257. „La Fiancee duTsar" (p i«<« ). 
 (Andante. J = 9s.) 
 
 sirtngentio foco a poeo 
 
 poco 
 
m 258. ''Mlada'/ Act lU. 
 
 N9 258. „Mlada;' 3"1« acte. 
 
 IliJ Moderate, poco acceler. 
 
 Fl. pice 
 
 I 
 
 r ^^ 
 
 (non stacc.) 
 
 mi~n^ni 
 
 poco cresc. 
 
 jjj.;j'jJJ3 
 
 m 
 
 251 
 
 pqr 
 
 i^^p 
 
 16 Viol, n div. 
 
 2>P 
 
 poco cresc. 
 (noil stacc.) 
 
 ^ 
 
 ^^ 
 
 W 
 
 *ff 
 
 pp poco cresr. 
 
 ^ 
 
 ttf'tU ::r 
 
 ^^«ffr"fr7»fg 
 
 *** ttt- 
 
 12 V-c.div. 
 
 pizz. 
 
 /?oco creirc. 
 
 ^ 
 
 ^^ 
 
 r.T .r 
 
 m 
 
 ' i r v«r ^ 
 
 H C-b.div. 
 arco 
 
 ^oco cresc. 
 
 > 
 
 ^j? 
 
 ^rt 
 
 ^ 
 
 ^ 
 
 #^ 
 
 /oco cresc. 
 
252 
 
 Fl pice. 
 
Con moto 
 
 PI. pice. 
 
 253 
 
I 
 
 254 
 
 .V" 259 "Mind a: Act III 
 N'>;<J59. „IVIlada:' 3" acte. 
 
 [19! Andante. 
 Fl I. 
 
 1.1. J. 
 
 :i*?!au ij - 
 
 y/) 
 
 M. 11 
 
 ^^ 
 
 JS 
 
 ^^^ 
 
 i 
 
 FP 
 
 % 
 
 Fl c-alto '(Ji 
 
 jj^' 5fe 
 
 ^^^ 
 
 ;vv^ ^ - 
 
 j?p 
 
 i 
 
 Oh. I. 
 
 ^^ 
 
 ?==^ 
 
 PP 
 
 Ob. II. 
 
 ^^ 
 
 ^^ 
 
 I^ J^' l r'r jC \ 
 
 pp 
 
 Ob. c -alto. 
 
 m 
 
 fij- i' 
 
 ?^^^ 
 
 I 
 
 PP 
 
 3 Clar. (B) 
 
 ^M^^ 
 
 te 
 
 ^^ 
 
 3 
 
 3 Fag-. 
 
 pp 
 
 ^ 
 
 I 
 
 y^ i— HH 
 
 pp 
 
 3 Cor. (F) 
 con sord. 
 
 go- 
 
 ^^ 
 
 » 
 
 Tr-ba.picc.(Es) 
 
 ^^ 
 
 /?P 
 
 i 
 
 Tr-ba.lKB) 
 
 ^1 
 
 £ 
 
 ^^^ 
 
 /?P 
 
 i 
 
 Tr-ba.c -altaCF) 
 
 ^^ 
 
 L" ombre de Mlada (mi mi que") :..Ce sont les voix prophetiqxies des esprits; ecoute-les!" 
 
 Voix des esprita lumineux (derriere la scene) 
 
 Coro.12-16 Soprani. 
 
 j-4-/^ij J' l ^J^Jm^l y\ ;v p I r~pv^*' U' " i -J'T ''Hi't ^ri'*' ! 
 
 Ya-ro - mir! 
 
 Pour toi bien - tot _ 
 
 8on-ne-ra I'heu-re. 
 
iJo5 
 
 Poco acceler. 
 
 ■ ■ p' 
 
 poco a poco 
 
25& 
 
 Fl. pice. 
 
N9 260. "Sadko:* 
 
 N?260.„Sadko" 
 , And antino. J- -- ee 
 
 (MS 1^*1 
 
 257 
 
 'W~^- 
 
N9 261. "Sadko." 
 
 ;i58 N?261.„Sadko!' 
 Moderato. J = 96 
 
 Piatti e 
 Tam-tsin 
 
 r 
 
 Les eaux du lac 3' agitent; des profondeurs surgit le Roi des Mers 
 
 >.^A^A-k< — kfc- — -Lfe — V^< — Vp:<A-^< 
 
 ■Al 1 p^ ' P P^ 1 p* ' p' P P 
 
 ir 
 
 VP 
 
 div. ' 
 I. 
 
 ^> e W* t i» - 
 
 nfv'^tf^t 
 
 crresc. 
 
 ^ 
 
 m^ 
 
 p^ 
 
 ^ 
 
 S 
 
 -^ 
 
 P 
 
 ^ 
 
 
 ^ 
 
 IeI 
 
 ^ 
 
 ^ 
 
 p 
 
 p 
 
 % 
 
 m 
 
 ^ 
 
 f 
 
 \jsr 
 
 -*^ 
 
 div. 
 
 V-15. 
 
 ^^P 
 
 41 
 
 i 
 
 M 
 
 A 
 
 * 
 
 * 
 
 cresc. 
 unis 
 
 ^ffi 
 
 £ 
 
 S 
 
 r 
 
 a 
 
 
 ^ 
 
 ;i 
 
 i 
 
 # 
 
 e 
 
 C-b. 
 
 S 
 
 
 s 
 
 i 
 
 ^ 
 
N? 262. "Aniar 
 
 N9 262. „Antar:' 
 
 (Allegro risoluto.) 
 
 FLpicc. 
 
 259 
 
260 
 
 N? 263. "The Golden Cockerel.'' 
 
 N9 263. „Le Coq d'Or. 
 
 -^(AllegroJ 
 
 eresc. molto 
 N9 264. "Pan Voyevoda," introduction (p. 3). 
 
 N9 264. „Pan le Voievodel' introduction (p. 3). 
 
 (Allegretto. J.: bs) 
 
2ez ^ ^^ "'^^ Legend of Tsar Saltan. 
 
 N9265. „Legende du Tsar Saltan!' 
 
 (J set) 
 
 rrrrr^rrrrrr^t 
 
 rrrfrrrrrrrrrrrrfj 
 
 
 
 -©-*- 
 
N9 266. "The Legend of Tsar Saltan." 
 
 N9 266. „Legende du Tsar Saltan." 
 EHJ (Moderato assai. J : %\ ) 
 
 Fl.picc. .^^. — — — ^ . ^^ 
 
 268 
 
 N9 267. "The Legend of the invisible city of Kitesh" (p. 4S8). 
 N? 267. „Legende de la ville invisible de Kitej" (p.488;. 
 (Moderato. J - as.) 
 
264 N? 268. "Kashtche'i the Immortal" 
 
 N9 268. „Kachtchei Immortel." 
 im (Allegretto mossx). Jiize.) 
 
 .Cor. inpl. 
 
 > Q j^j ^j Coro tdansles coulisses) La te m pete commence 
 
 Gronile et souf - fie, tour-bil - Ion, cou - vre de tes blancs flo-cons 
 
 Arpa (harpcs eoliennes) 
 
 ►Cor. in pi 
 
N? 269. ''Kashtchei the Immortal/' 
 N9 269. „Kachtchei Immortel." 
 [^HCAllegretto mosso. J: 126.) 
 
 Fl.picc 
 
 265 
 
 mf 
 
 Arpa(harpe eolienne) 
 
 (La scene dircouvre de nuages;furieu8e tempetei nuit.) 
 
V-le. 
 
 m 
 
 ^m 
 
 ^ ttJ. i^ ^ 
 
 ^M 
 
 ^^s 
 
 ^m 
 
 ^ 
 
 ^m 
 
 ^m 
 
 :^ 
 
 C b. 
 
 J|. 3ZJ |. 
 
 m 
 
N9 270. 'Idlada" (p.iee) 
 
 N9 270. „Mlada"(p.i66). 
 3F1. fr ^ tr 
 
 267 
 
268 N9 271. "Tne Golden Cockerel." 
 
 N':>271. „Le Coq d'Or." 
 3^<'Moderato. J:ioo.) 
 
 N9 272. "The Legend of Tsar Saltan" (p. 179). 
 
 N9 272. „Legende du Tsar Saltan" (p.i79 ). 
 
 ( Maestoso, (i: 63 j^ . ^,_ — 
 
 H^ QFl.picc. ^^^ ^^^-pc riten pace. 
 
N? 273. ''The Legend of Tsar Saltan" (p, 269). 
 N9 273. „Leg:ende du Tsar Saltan" (p. 2b9). 
 
 (Moderate assai. lf«') 
 
 ^l.pJcc. 
 
 269 
 
270 ^ 274. ''The Legend of Tsar Saltanf 
 N9 274. „Legende du Tsar Saltan!' 
 
 (J I . gg ) 
 
 (Moderate assai. J.)" 
 
 m 
 
 ^m 
 
 I : 'fi fflTJ^ 
 
 Cor. ingl 
 
 ff since. 
 
 ^ 
 
 p-j t t j7 r^ 
 
 ^^ 
 
 ^ 
 
 ff 
 
 , Cl.(B) . •'*' 
 
 <9' f^' g' f'" » F » P =$?#= 
 
 p. \' Y \' ^ ^x\\ 
 
 Cl.basso(B ") 
 
 Pi 
 
 r J^^'i f J 
 
 J r r J 
 
 w — r 
 
 ff 
 Fay. a 2 
 
 ^ 
 
 '.^^^^ 
 
 Ji Ji I J j 
 
 fj 
 
 L/ACor. MI. 
 
 i..JJ-Mf fJ_L^ B 
 
 jjf ] jjnfr7n 
 
 |s»'iii.iy^ 
 
 ^T^-bc.(B) 
 
 Vie 
 
 ^ 
 
 f 
 
 ^ Vc. / 
 
 ^ 
 
 ^ 
 
 f^ 
 
 '""j. Jl^i Qk J? 
 
 C-b. / 
 
 / 
 
 
 -:»T- 
 
N9 275. ''Pan Voyevoda/' 
 N9 275. „Pan le Voievode." 
 (Larghetto, J. = 7e.) 
 
 271 
 
272 
 
 Quasi irillo. 
 
N? 276. ''The Christmas Night" (p,3lo). 
 N9 276. „La Nuit de Noel" (p.310). 
 (Allegro assai. J . les.) 
 
 278 
 
 ^' gUssando (sons harmonigues 
 
274 
 
 N9 277. ''Sne^ourotchkar 
 
 N?277. „Sniegourotchka!' 
 [45| Adagio. J: 50. 
 .or. I. 
 
 soir, le soir je chante - rai _ Jechante-raipoure-g-a^v-er laso-li - tude 
 
 Poco piu animato. 
 
 les plus guis de mes re- frains. Le beau Lei males ap-pren- dra. 
 
N? 278. "Sadko.' 
 N9 278. „Sadko'.' 
 (14 3i Adagio. J = 56. 
 
 f\ 
 
 275 
 
 poco cresc. 
 
oya N? 279. "Snegourotchka." 
 N9 279. „Sniegourotchka!' 
 
 (Allegretto capriccioso.) 
 
 string. 
 
 Voi - la icon reve et mon bon-heur.je ne piiis vi- vre sans chan- sons. 
 
 uJ i P.i^P sT i Pypp 
 
 Chan4«r,voi- la monseulbonheunma joi - - e! 
 pizz. arcccN 
 
N? 280. "The Tsar's Bride." 
 N? 280. „La Fiancee du Tsar." 
 
 (Larghetto assai. J=60) ^^-— r==^r^i f= — ni r — i::::^ , 
 
 277 
 
 ±^ 
 
dim. 
 
N? 281. "Sadko'' (t.516) 
 N9 281.„Sadko" (p.sie). 
 ( Passionate V^ -. 126.) 
 
 27» 
 
 • ^A Fi ii.ni. 
 
 Etsousles ri - ves es- carpees je dor-mi- rai presdelai-me- Fi - dele amona-mourjusqu'' 
 dlv. 
 
 poco creac. 
 
 g_^Uarsrando. 
 
 la nndes temps. Oh! tes cha; ts di - vins ont se-dmt mon c(Kur, ra - vi inon arae- 
 
„co N? 282. "The Tsar's Bride" (p. 361). 
 N9 282. „La Fiancee du Tsar" (p.aei). 
 
 Cl.(B) 
 
 TLarghetto assai.) 
 
281 
 
 N? 283. ''The Tsar's Brider 
 N? 283. „La Fiancee du Tsar." 
 (Larghetto. ^ . 9Z) 
 
 Cl.(A) 
 
 Pourcesbons voeux cent fois mer-ci, 
 
 Domna Sabourova. _ 
 
 ' n ' <■ V » Jm J ' -I' -1^ -I * I 
 
 Bon- heur aux a - mants! 
 
 Douniacha 
 
 Dieu vous ac - cor - de joie- 
 Sabakine. 
 
 Bon- 
 
 Que Dieu vous don - ne d'etre heu - reux, sans 
 
 Viol P cantabile 
 
 n. 
 
 ■TTTH^^ 
 
282 
 
 joie! 
 
 So-yez hen - reiix. toiuours u - iiis. 
 
 jV Lilt 
 
 WW 
 
 fois mer-ci. 
 
 tre - - ve- 
 
 Dieuvous ao - oor-de bon-heiiret saii - te, 
 
n.ii 
 
 mm 
 
 283 
 
Jlpicc.^ 
 
 285 
 
 ifP 
 
286 
 
 Fill. 
 
N9 284. ''The Tsar's Brider 
 
 N9 284 „La Fiancee du Tsar. 
 
 S^ (Adagio. J.44.) 
 
 287 
 
 All quels jours heu-reux. quy nous e - tions gais, quaiid thaque 
 
 J^A V|'<>^' IJ- cop 8ord . 
 
 ar - bris-sean a'in-cli-naitvers nous _ quand les' che - nee verts 
 
288 ^o 285. ''The Golden Cockerel 
 N9 285. „Le Coq d'Or!' 
 
 |l35l (Andantino. J = 76.) 
 I Cor. ingrl 
 
 PP 
 
 Cl.basso(A). , 
 
 ^ 'til 
 
 PP 
 
 m . m 
 
 ^ 
 
 3^ 
 
 ^^ 
 
 ^^ 
 
 m 
 
 mUUL 
 
 Fa&. 
 
 s 
 
 '^'ll" ■■ jii ^ 
 
 3J 
 
 a 
 
 TT 
 
 ^ 
 
 ftt 
 
 'J^p t 
 
 fe 
 
 S 
 
 Tamburo 
 
 ^ ifr* . *• 
 
 PP. 
 Tambno. 
 
 
 P''^ p p^'' p'p ''^pp^ •' P'P'^ PP ^> 'p " Pp ^ ^ 
 
 rrr^ 
 
 i 
 
 *# 
 
 La Reine do Chemakha. dolce 
 
 Tffp P i f prrrr i r p^^pnp i r f^ ^ 
 
 Vieiit-oii lattendre a la f«; - ne-tre, loeii at-ten-tif, le coeurtrem- 
 
 Arpa./»p 
 
 ni^ ^ * J HiM t y t J H i t J t y^ .s 
 
 , I. 
 
 pizz. 
 
 vie. p izz. ^^^ 
 
 V-c. 
 
 ^ 
 
 ^ 
 
 ^^ 
 
 
 ^m 
 
289 
 
 ms^J^^t 
 
 p ^^pp>^ [>'p ^'' pp ^< 
 
 m 
 
 LR.d.Chem. 
 
 -blant? A pei-iie Ta-t-on vu pa- rai-tre, sait-on charmer rin,ureux a - mant? 
 
290 N° 286. "The Tsar's Bride." 
 
 NV286. „La Fiancee du Tsarf 
 
 (Lento. J. 63.) 
 
 J aeceler^poco a poco 
 
 F!. 
 
 Lioubacha. 
 
 '•''r r pir^t ir r p i rl!^> 
 
 (EUe pleure) 
 
 cr«8C. 
 
 Ah! tout pour toi- 
 
 oui,tout pour toi! 
 
291 
 
 ^ ff 
 
S92 iV? 287. Z'Snegourotchka." 
 
 N?287. „Sniegourotchka!' 
 [SI (Allegrro moderate.) 
 
 Jf. Cl.(A) '' 
 
 Le Printemps 
 
 ,/ V-c 
 
 Dans oes fo-rets ou I'ombre est e - ter-nel - le, 
 V-c.e C-b.' pizz. 
 
 au plus pro -fond dee 
 
 ^ 
 
 ^^ 
 
 ^^ 
 
 ■^F 
 
 ^A^l 
 
 Le Pr. 
 
 ^'^^i'j oip- J^J^-i'r ^piP'U V^^J^J^ 
 
 bois toujours gla-oes, 
 
 le pere en sou pa-lais re-tientma fil -le^ je lavoudraisheu- 
 
 colla parte 
 
 sf pp 
 
 ^<> J^ > ^^ p p ^p I p- p pM" P P N pp> * 'r 
 
 -reused je Pa -do -re, II faat pour ramourd'el - le me sou-mettre 
 
293 
 
 LePf. 
 
 -ys et de moi-mS - me^ il ne veutpasaudouxPrintemps de-der la pla - ce 
 
294 N9 288. ''The Tsar's Bride" 
 N9 288. „La Fiancee du Tsar." 
 l|24j Agitato. J= 136. 
 
>. Pl.l. 
 
 296 
 
 jiaibienvul Mer veye debeaute . . . des:peuxsaper-be8, oer> tea U ^*- 
 
N? 289. "Sadko" 
 
 N9 289. „Sadko." 
 
 Larghetto. J. 56. 
 
 297 
 
 N? 290. "Sadko" (p. iso) 
 N?29G.„Sadko" (p.iso ) 
 ^ (Lar ghetto. J.= S6^ 
 
298 
 
 m 
 
 
 m 
 
 r f 7 
 
 \a I^a Pr 
 
 ^^ 
 
 ^^^ 
 
 £ 
 
 =¥=¥: 
 
 Sadko. Ton chant le - ger va s'e - pnndre sur les flots. 
 
 ^^ 
 
 S 
 
 & 
 
 pip P P P p^ 
 
 ■=KiX 
 
 Plei - n'j d"^ - toiles ta cein - tiire e - blou - it dans la nuit 
 
 do^ce (colla voce) 
 
 -^,hJ?^^- i 
 
 -;> ,h^ ^- 
 
 
 & ' t-^ f'r^-^ ' f— ^ 
 
N? 291. i'Sadko!' 
 N9 291. „Sadko!' 
 20^ (Allegro. J.: 66.) 
 
 299 
 
 LaPr. 
 
 poco Crete. 
 
 1^ r r f r-> »J I i .-r f i ll I'll ii I J J I J J tf ^1' r i 
 
 Sadko^®^ ehants ont se - diiit mou coeur, comme ils ont ra - vi — mon ame. oh 
 
 ' I'll Tr f f-f iJ I .'"r F I I I fii i> J \l_i±lAi^ 
 
 j^» r r < r'f «^ if 'r f i i n> i u ^i^^^ 
 
 V-le. 
 
 Ta beau-te se - duit mou coeur, ta beau-te ra - vit_ raon arae, oh 
 
 poeo < 
 
300 
 
 ^ 
 
 ^^ 
 
 i 
 
 LaPr. 
 
 XT 
 
 ¥^ 
 
 bien - ai - me! 
 
 Sadko. 
 
 i 
 
 te^* 
 
 /fffZ. 
 
 ten. 
 
 bien - ai - me! 
 
N9 292. "Sadkor 
 
 N9 292. „Sadko!' 
 
 0* 13181 Andantino. i^r 104. 
 , Cl. basso (B) 
 
 301 
 
 Pau-vre veii-ve, je suis par les vents bat - tue et 
 
 noy- 
 
 -e - e par tou-tes les pluies du — ciel. Oh, je suis la ri - se-e de 
 
 tout chre - tien, la ri - see de tous les g-ens de Men- 
 
 b f320] 
 
 Lioubach 
 
802 '^ 293. ''The Tsar's Bride'' (p. £69). 
 N9 293. „La Fiancee du Tsar" (p i69). 
 
 (Allegro. J > 120-182.) 
 
 , Cl.(3) 
 
 tiJ LL-LJ l''C !££ f^c^ r J lu l ''c !C£ r^Dg j ^ ' 
 
 Cl.(B) 
 
 p i t, , jff] 
 
 Fag. 
 
 /^li 
 
 V'» t •'^•^ XM 
 
 Sopr. e Alti mis, oreso. 
 
 U J .^' )|J « Ji. O 
 
 ^p^ 
 
 ■ ■ 
 
 Sig" - nons-nous tous, 
 ■ Basal. 
 
 c'est un sor - oier! 
 
 >j,AF- j^Mr i 
 
 N 
 
 Viol.I e U 
 
 cresc~moito 
 
 jfl^^jnjs 
 
 ^ 
 
 
 cTMc. mo//o 
 
 i» ertf»e. mo/Zo 
 
N? 294. "Ivan the Terrible," Act I (f. in). 
 N9 294. „La Pskovitaine'/M'acte ip.ui). 
 (Allegro.) 
 
 Ob.c-a. 
 
 303 
 
 dim. 
 
304 N? 295. "Sadko!' 
 N?295. „Sadko." 
 (Allegro. J = 126.) 
 
 Sadko. [219 
 
 Co lebrousleshautes voii - tes du fir- ma-ment. Ce- lebrons les a - bi- mesde TO - c^-- 
 
Piii anim ato. J =144. 
 
 805 
 
 CBoBurll. Ce-le-bronsleshautesvoutes du 
 
 Ten. Bassi. 
 
 fir-mament.Ce-lebronslesa- bT-mesdelO - ce - 
 
306 
 
 N? 296. "Ivan the Terrible" Act II. 
 N9 296. „La Pskovitaine" 2™* acte. 
 (Allegro.) 
 
 Pa - te de- Pskov? 
 |Sopr.I diy. 
 
 poco c resc. 
 
 Hein, quoi? 
 
 I- If. f r PPjp i pfTn&fiF f r POM 
 
 ASoorlldiv "*^ vo - yez: — vers nous sittJUi fier coursiersvient un no - ble pre 
 
 |> \f i T~l&p f MP- p&f p f irn&f p f 
 
 Mais vo-yez 
 
 versnoiissur un fier coiireiervientun no 
 
 blepreux ve - tu 
 
 Wi -tu tfor bi&Iant. (forbriUantmarcheunno- ble preux ve - \\i 
 
 d'or brillant, e-olai- 
 
307 
 
 'fa-Iv. "^°" " ^^"^ /^^ "*" ' ^^^ ' ^^^ • ^^ "'^ ho-tesbien sou-vent lesdi-sent bon-nes! 
 
 Fag. 
 
 -lar - de! Et fort bel-le; doc les fil-les i -ci,pous-sent com- me les mo • rilles? Chez 
 
 1 8op> . • ■ -— — — — ^ 
 
 -rsuit leoiel nu-a - geux et noirimaisil a fron-ce ses sour - 
 
 cils e-pais 
 
308 
 
Fl.pioc 
 
 I 
 
 ^^^^ 
 
 =^^ 
 
 =^= 
 
 ^ 
 
 -f9^ 
 
 -^^ 
 
 =^2= 
 
 -fg^ 
 
 Ts.Iv. 
 
 /?N 
 
 /C\ 
 
 V' p-pppr ^>r ^ 
 
 r* - I ? 
 
 g p 
 
 ^ 
 
 i f Pi- - I 
 
 greanafoifl[uimporte?P)EUsnousvi-si - te, 
 Sopr.I. 
 
 et tu ver - ras bien 
 
 ta 
 
 M 
 
 • F • F 
 
 ^ 
 
 ^S 
 
 ^^ 
 
 r\ 
 
 O 
 
 ^^ 
 
 ^ 
 
 s 
 
 ^ 
 
 Clair 
 
 p 
 
 so-leil,qiii sur nous flaniboie,gloir^a 
 
 Ifem - pe-reur,auter-ri - ble Tsar! 
 
 ^ 
 
 W 
 
 :j^ r^r^ -^ i 
 
 ^ 
 
 t 
 
 ^ 
 
 *^ 
 
 '^'°' iJTJ rpJ^ l 
 
 ^fe 
 
 /TV 
 
 ^ 
 
 nu » 
 
SIO jv? 297. "Sadko" (p. 157). 
 N9297. „Sadko" (p.157). 
 
 (Allegro non troppo. j.: 112,) 
 
 Paff.I. 
 
 Alti Cygnesblanosdansle^biiis-sons en fleur, 
 
 dis-persezvousde - plo 
 
 -yez vos ailes 
 
 pour oueil^lir de l^u - be - pi - ne blanche,par fu-mee au souffle prin - ta - nier. 
 
311 
 
 dolce 
 
 LaR. 
 
 ^ 
 
 p i r pr PtHt' r r p'r p^ ^b 
 
 rnon bien ai - me! 
 
 mon pre- des - ti - ne ! 
 
 Sadko. 
 
 ^ 
 
 pp pr »i^ ^ 
 
 »- ^ ji 
 
 pr pr ^ 
 
 Vier - ge-qiii es - tu done? 
 
 Qui es - tu, ma beaute? 
 
 V-le. 
 
 V-e. I. 
 
 dolce 
 V-c.ne C-b. 
 
312 
 
 N9 298. "Snegourotchka." 
 N9 298. „Sniegourotchka:' 
 
 Et toi ri - viere auxflots g:Ia-ces et cal 
 
 mes, 
 
 m\A J .- 
 
 ^ 
 
 ^ 
 
 1 J J J 
 
 ^ 
 
 ; J JJ JJ 1 Mil, 
 
 sw-" -^ — 
 
 
 
 ■* -I ■' -^ •' •> J — j J |,J J J 
 
 P^, 
 
 •••J--J -J- J--J ■ 
 
 =^^^ — 
 
 =^=^ 
 
 — 
 
 1 =:=pn 1 1 in — 1 1 1 
 
 yi ^ _ _ _ ^ 
 
 ^ V.le. 
 
 WiM' f f f f r w . 
 
 1 — ^ d — "^ 
 
 ~T~1 1* [> iF 
 
 ■TB 
 
 1 J i t4^.J— 1 1 1-- 1 \ \ 
 
 Uc.eC4). 
 
 ^-•m»-j 4 4 4 4 4 
 
Ob. I 
 
 313 
 
 Sopr 
 
 dors, en - dors ma honte et raa dou - Jeur 
 
 Teii. dans ros de - raeu-rea pai-si - bles, nos fi) - les it; 
 
 rent la hon 
 
 cresc. poco 
 
 Ob. ^ poco acceler. 
 
 son db-ses-poir a tous nous fait pei - ne, son d^-ses- poij* a tous nousfalt pel 
 
314 
 
 N? 299. ''Mlada/' Act IIL 
 N?299.„Mlada{' Snje acte 
 
 Andante. 
 
 ^m 
 
 m 
 
 £ 
 
 Arpa I. p 
 
 UJiJiJiJiUiJiJiJiJUJi^ ^ 
 
 fiW JJJJJ 
 
 ^^ 
 
 jjjmj 
 
 Arpa n. P 
 
 '^ % r JjliJtLr Ir.fT ^ JliJ^iLr Ll^ ^ 
 
 Viol.n.div. 
 
(eiur scene) 
 
 816 
 
316 
 
 N9 300. "Mladar „ ,, * i^§=^^^B-:V 
 N9300. „Mlada!' n^ufis'deP^est 
 
 ^^. 
 
N? 301. "The Legend of the invisible city of Kitesh." 
 N9301. „Leg-ende de la ville invisible de Kitejl* 
 
 rci.i ii.(b) 
 
 317 
 
 ppW ^ 
 
 Sampane. (boffuettes a tfite d'eponge) 
 
 w 
 
318 N? 302. "Sadko'.' 
 N9302. „Sadk6" 
 
 ^ Ob.(Largo maestoso. J = 62.) 
 
 ^- 
 
 Roidesmers tu asohoi-si maJ ton temps pour dan-ser! Vols la nier_ est sens des- 
 
 IGANO. 
 
 ^ 
 
 S 
 
 3x: 
 
 i 
 
 «t 
 
 W' 
 
 
 gR=;^ 
 
 ^ 
 
 :& 
 
 K 
 
 i 
 
 s 
 
 P edale. 
 
 *)Les passa^s en petitea notes ne sejouent que faute d-un or^e. 
 
 fc 
 
 -BUS — dessous- Elle ren - ver - se les plus forts vaisseauz.Ce jour in8-me la prin- 
 
 aE 
 
 % 
 
 8 J [8 J ^ 
 
 ^ 
 
 «i 
 
 r — f^ _ 
 
 legato assai J J 
 
 ^^ 
 
 S 
 
 5E 
 
 i 
 
 i 
 ^^^ 
 
 =&: 
 
-ces - setafille i • ra a Nov(fo-rod poury de ve-nir unflexivelimpide.TV)i4«oen*umt«a 
 
gouf 
 
 fre noir. Va chan - ter" en ITion - near de tea Nov - go-ro-diens. 
 
 I 
 
N° 303. "Sadko" (p.378). 
 N9303. „Sadko"(p.3/8). 
 y/ji'i I. Andante non troppo. J = 88. 
 
 321 
 
322 
 
 Et "peutetre au ciel Dieu au - ra pi-tie du nous; — 
 
 ra-me-nant a 1"^ - plo-ree son heu-reiixe - poux 
 
N? 304. ''Sadkor 
 N9304. „Sadko'.' 
 
 (Allegretto. J. = 73.) 
 
 323 
 
324 NP 305. '^The Legend of the invisible dty of Kite$ht 
 NO 305. „Legende de la ville invisible de Kitej." 
 (Moderato e maestoso. j=60.) 
 
 Vo - yez les oha - su - bles blan 
 LePr.Vsevolod. 
 
 ches> neig« aux ra • yons du so . 
 
 Vo-yez les cha-su-bles blan 
 Le PrYouri. 
 
 ches^ neige aux ra - yona du so- 
 
 Arpe.iy. 
 
 ^ 
 
 leil d'^A - vril, qui d'a • me-res lar-mes sont batgnees, de tor-rents depleiu^,de. 
 
 iM r7 Tr f' I r £r r r* >* r? 
 
 mj frr^v \ r rr^ r 
 
 #— ^ T-G^ 
 
 »-1» 
 
 r-'f r r r r 
 
 leil d'A - vril, qui d*a - me -res lar-mes sont baignees^ de tor.-rentsdepleurs,de 
 
 ^^ 
 
 r rr i r'r rf ■) ir ^r ^ ^ ^ 
 
 m rj 
 
 ^ 
 
 i 
 
 ^ 
 
 ^^ 
 
 ^M 
 
 m 
 
 ^m 
 
325 
 
 ■^pizz 
 
326 
 
 Alk. - de paix, qui sont pr6 -pa-res en ee lieu pour toi 
 
 Uadol- de paix. qui sont pre-pa-res en ce lieu pour toi 
 
 Le Pr.Vs.te ments qui sont pre -pa-res en oe lieu pour toi 
 
NP 306. ''The Golden Cockerel'- (p.35i> 
 N9 306. „Le Coq d'Or" (p 351). 
 
 ''Andantino. ^.= 96.) 
 
 327 
 
328 
 N9 307. ''Sadko'i (p. 210) 
 N9 307. „Sadko" (p.2ioK 
 (Allegro non troppo. j=ii2.j 
 Ob. I. 
 
 jl.i' ^ J^ 
 
 Cl.'B) 
 
 O^i-4 
 
 Fay-. 
 
 ^^^^^^ 
 
 ^^ 
 
 ^^ 
 
 i 
 
 i 
 
 Cor. P 
 
 ^ 
 
 ^ 
 
 ^^ 
 
 Tr-be.(B) 
 
 « 
 
 F^^=^ 
 
 Tr-bni.e Tuba. 
 
 1 ^^^^ 
 
 -r 
 
 No308.„Sadko" .p228K 
 
 Fl.picc.f 
 
 i 
 
 idr 
 
 t=t* 
 
 Ob. I. 
 
 ^^s 
 
 Cl.picc. (Es) 
 
 m 
 
 Cl.'Bi 
 
 i 444 ^H 
 
 F.^- ;,^JTm 
 
 *! 
 
 T 
 
 -r: m ^ 
 
 ■^ 
 
 1S»^ 
 
 | jit>r^/^j^i,;f^/rj^ 
 
 r 
 
 J^ JJJ J J 
 
 T^ 
 
 j ^ '^p ^ ^ ^ J^p ^ ^ -tl 
 
 Cor. If 
 
 m 
 
 u i 
 
 Sopr. 
 
 J> ^ < }>'' 
 
 f= 
 
 y^pi^p^ij) j^^^^ 
 
 . jj-Mais re-gar-dezdonc, a mes bons a- mis 
 
 $ 
 
 !>" V ^ h h K h fv 
 
 ■ ■ ■ 
 
 ^ 
 
 Ha- ha-ha - ha-ha 
 
 ~, jm.-n>i-ii.i.-ii.i-im 
 
 Bassi. 
 
 ^S 
 
 Ji Ji Ji J' || j> Jv 
 
 ha- ha-ha-ha - ha - ha- 
 
 rtfFTT 
 
 ^^ 
 
 Re 
 pizz. 
 
 g-ar 
 
 i 
 
 ^ 
 
 Viol.-. -'^ 
 pizz. 
 
 ^w 
 
 V-Ie. 
 
 V-o. 
 
 5/" ^ 
 
 ^^ 
 
 C-b 
 
 y' ^ 
 
 ^m 
 
 ^ 
 
N? 309. "Ivan the Terrible" (p. lie). 
 N9 309. yLa Pskovitaine" (p.ii«). 
 (Andante sostenuto.) 
 
 Or-donne< o 
 
 Alti. ...--«....^< w 
 
 •''tc, ~~^ 
 
 mal - tre, et tous tes 
 
 1^ J' ri J' 
 
 or- dres se-ront sui 
 
 ^^5 
 
 32» 
 
 ^ 
 
 ^ i ^ 
 
 j"-''!-! i v^i P g 
 
 r p M P 
 
 P P P P 
 
 Bassi. 
 
 Or-donnCi o 
 
 'Y \ }\i {■ (P [^ 
 
 mai - tre et toiis • tes 
 
 -r fi p p p 
 
 or- dres se-ront sui 
 
 r t^ p B p 
 
330 
 
 N? 310. ''Ivan the Terrible" (p. in). 
 N9 310. „La Pskovitaine" (pii7). 
 
 a ^i, 
 
 Fl.I.III. 
 
 Nous som - mes 
 
 Bassi. 
 
 s- 
 
 ^HKl t fp ^ 
 
 fai -bles, nous vou- Ions 
 
 e - tre giii-des par 
 
 p fl J-' p I r M^-JLf 
 
N9 311. "Sadko" (p. 44/;. 
 N9 311. „Sadko" (p.44i). 
 aFi (Allegro assai. J. 168.) 
 
 331 
 
 Alti. 
 
 U - ne 
 
 lot - te 
 
 tou - te pe - ti - te na-geait, s"a-mu - sant a tra- 
 
332 
 
 N? 312. ''Ivan the Terrible;' Act lU (the end). 
 N9312. „La PskovitaineV 8^« acte (fin). 
 
 (Andante maestoso.) 
 
333 
 
Appendix. Single tutti chords. 
 
 Appendice. Accords isoles en tutti 
 1. 
 
 ,Fl.picc. 2- ii 3. 4. 5, 
 
 6. 
 
 J\e MoflfiglU 
 p.»i6. 
 
 La Null de Mai. 
 
 p 3U 
 
 TkeTmr^ 
 Bride, 
 f.i46. 
 
 La. Fiaii - 
 cee du 
 Tsar p 2*5 
 
 TkeTuri 
 Bride, 
 f.i$9. 
 La Fian- 
 cee du 
 T^ar, ? 2»8 
 
 Tie r*ar* 
 Bride, 
 p. 301. 
 
 La Fian- 
 cee du • 
 Tsar, p.soi 
 
 The Taari Bride, 
 the end 
 
 Snegourvlchka, 
 p. S9J. 
 
 Tk* L4gt*d of the m- 
 
 vinble eitp of KiieA, 
 
 f.375. 
 
 Le^ende de la 
 ville invisible 
 de Kitej, p.87S. 
 
 La Fiancee • Sniegouroteh- 
 du Tsar, I ka, p.a»*- 
 
 ffn. 
 NOTK.IhesediagramM mr* given in tewtikrwe: They do not inelnde perciution itutrument* of indtterminMie mmnd or 
 
 the human voice 
 PJOTA. Ces exemples sont donnes sous forme demi-sehematique, en rondes. lis ne comportent ni les 
 instruments de percussion a sons inddterminesi ni les voix humaineu. I 
 
II 
 
 ff 
 
 Ivan the Terrible, 
 p. 307. 
 
 La Pskovitaine 
 
 p. 207. 
 
Tk» Tfar'a 
 Bride, 
 
 end ofoverturt. 
 
 La Fiancee 
 
 du Tsar, 
 fin de I'ouver- 
 ture- 
 
 The 
 (he intrisibfe 
 
 city of KHesh, 
 
 the end. 
 Legende de 
 la villeimi- 
 sible de Ki- 
 tej, fin. 
 
 PV 
 
 The Christmas 
 Night, 
 
 p. SSI 
 
 La Nuit 
 de Noel, 
 
 p. 381. 
 
 fff 
 
 Snegourotckka, 
 the end. 
 
 Snieproiirotrhka^ 
 fin. 
 
 Sadko 
 the ena. 
 
 Sadko, 
 
 fl:l. 
 
 fff 
 
 ^hi Legend of 
 Tsar Saltan, 
 
 p. in 
 
 Legeude du 
 Tsar Saltan, 
 
 p 117 
 
 ff 
 
 Servilia, 
 the end. ■ 
 
 Seivilia. 
 fin. 
 
CATALOGUE—SUMMER, 1933 
 KALMUS MINIATURE ORCHESTRA SCORES 
 
 BACH 
 
 No. 72, Suite No. 2, in B minor 
 
 BEETHOVEN 
 
 No. 1, Symphony No. 1, op. 21 
 No. 2, Symphony No. 2, op. 36 
 No. 3, Symphony No. 3 op. 55 (Eroica) 
 No. 4, Symphony No. 4, op. 60 
 No. 5, Symphony No. 5, op. 67 
 No. 6, Symphony No. 6, op. 68 (Pastorale; 
 No. 7, Symphony No. 7, op. 92 
 No. 8, Svmphony No. 8, op. 93 
 No. 57, Symphony No. 9, op. 125 (Choral) 
 No. 9, Leonore No. 3, Overture, op. 72a 
 No. 10, Prometheus, Overture, op. 42 
 No. 11, Coriolanus, Overture, op. 62 
 No. 67, Epmont, Overture, op. 84 
 No. 91, 92, 93, Symphonies 1 to 9 complete, 
 bound in halt linen, in 3 voliunes 
 
 BIZET 
 
 No. 88, Carmen, Overture 
 
 No. 89, Carmen, 3 Intermezzi 
 BORODINE 
 
 No. 68, Polovetzjan pances. Prince Igor 
 BRAHMS 
 
 No. 12, Symphony No. 1, op. 68 
 
 No. 14, Symphony No. 2, op. 73 
 
 No. IS, Symphony No. 3, op. 90 
 
 No. 16, Symphony No. 4, op. 98 
 
 No. 86, Acaclemic Festival Overture, op. 80 
 
 No. 94, Sympboniei complete, botind in half 
 linen 
 CHABRIER 
 
 No. 61, Espafia, Rhapsody 
 
 DEBUSSY* 
 
 No. 17, Afternoon of a Faun 
 
 No. 73, String Quartet 
 DVORAK* 
 
 No. 18, New World symphony, No. 5, op. 95 
 
 No, 90, String Quartet, op. 96 (American; 
 
 DUKAS* 
 
 No. 65, The Sorcerer's Apprentice 
 FRANCK 
 
 No. 19, Symphony in D minor 
 GRIEG* 
 
 No. 20, Peer Gynt Suite, No. 1 
 HAYDN 
 
 No. 23, Symphony No. 11, in G major 
 (Militaire) 
 
 No. 24, Symphony No. 2, in D major (London) 
 
 No. 25, Symphony No. 6, in G major 
 (Surprise) 
 IPPOLITOW-IWANOW* 
 
 No. 26, Caucasian Sketches 
 LISZT 
 
 No. 29, Les Preludes 
 
 No. 62, Second Hungarian Rhapsody 
 
 MENDELSSOHN 
 
 No. 30, Midsummer Night's Dream, 
 
 Overture 
 No. 31, Hebrides (Fingal's Cave), Overture 
 No. 32, Wedding March 
 No. 81, Three Orchestra pieces from 
 
 Midsummer Night's Dream 
 
 THIS COLLECTION IS 
 
 MOZART 
 
 No. 33, Symphony No. 39, in E flat, K 543 
 
 No. 34, Symphony No. 40, in G minor, K SSO 
 
 No. 35, Symphony No. 41, in C major ■ 
 (Jupiter), K 551 
 
 No. 69, Don Juan, Overture, K 492 
 
 No. 70, Marriage of Figaro, Overture, K 492 
 
 No. 71, Magic Flute, Overture, K 620 
 
 No. 80, Serenade, Kleine Nachtrausik, K 525 
 MUSSORGSKY 
 
 No. 83, Polonaise from Boris Godunow 
 RIMSKY-KORSAKOFF* 
 
 No. 36, Cappriccio Espa'gnol, op. 34 
 
 No. 63, Dance of the Buffoons from "The 
 Snow-Maiden" 
 
 No. n. Flight of the Bumble-Bee from "Tsar 
 Saltan" 
 
 No. 80, Scheherazade, op. 35 
 
 No. 87, Russian Easter, Overture, cm. 36 
 ROSSINI 
 
 No. 37, William Tell. Overture 
 ST. SAENS* 
 
 No. 85, Danse Macabre, op. 40 
 
 No. 86, Omphale's Spinning Wheel, op. 31 
 SCHUBERT 
 
 No. 38, Symphony No. 8 (Unfinished) 
 
 No. 39, Rosamunde Overture 
 STRAUSS. RICHARD* 
 tNo. 40, Till Eulenspiegel, op. 28 
 tNo. 75, Death and Transfiguration, op. 24 
 tNo. 76, Don Juan. op. 20 
 STRAWINSKY* 
 
 No. 40, Fire-Bird Suite 
 
 No. 78, Sacre du Printemps 
 
 No. 79, Petroushka 
 TSCHAIKOWSKY 
 
 No. 58, Symphony No. 4, in F minor, op. 36 
 
 No. 59, Symphony No. 5, in E minor, op. 64 
 
 No. 60, Symphony No. 6, in B minor, op. 74 
 (Pathetique) 
 
 No. 95, Symphonies 4, 5, 6 complete, bound 
 in half linen 
 
 No. 42, Nutcracker Suite, op. 71 
 
 No. 43, Marche Slave, op. 31 
 
 No. 44, Cappriccio Italien, op. 45 
 
 No. 45, Overture 1812, op. 49 
 
 No. 74, Romeo & Juliet, Overture, Fantasy 
 THOMAS 
 
 No. 64, Mignon, Overture 
 WAGNER 
 
 Overtures and Preludes 
 
 No. 46, Lohengrin 
 
 No. 47, Tannhauser 
 
 No. 48, Tristan and Isolde 
 
 No. 49, Meistersinyfcr 
 
 Miscellaneous 
 
 Na SO, Ride of the Valkyries 
 
 No. 51, Wotans Farewell and Fire Magic 
 
 No. 52, Siegfried Idyll 
 
 No. 53 , Siegfried's Rhine Journey 
 
 No. 66, Bacchanale (Venusberg) from 
 Tannhauser 
 WEBER 
 
 No. 54, Oberon Overture 
 
 No. 55, Euryanthe Overture 
 
 No. 56, Freischuetz Overture 
 
 BEING CONTINUED 
 
 E. F. Ka lmus Orchestra Scores, Inc., 209 West 57th Street, New York 
 
 • This copy must not be sold outside of the United States. 
 
 t These scores do not have to be turned upside down wtien rcadinp, as they are larger than usual size. 
 
1 
 
,^OUNO^ 
 
 fm