Principles of Orchestration With Musical Examples Drawn From His Own Works by Rimsky-Korsakov, Nikolay -- Read -- Imperial Library of Trantor

Index

Cover Page Title Page Copyright Page Principles of Orchestration: I—Text

Contents Editor’s Preface Extract from the Author’s preface (1891) Extract from the Preface to the last edition Chapter I. — General review of orchestral groups

A. Stringed instruments B. Wind instruments:

Wood-wind Brass

C. Instruments of little sustaining power:

Plucked strings

Pizzicato Harp

Percussion instruments producing determinate sounds, keyed instruments

Kettle-drums Piano and Celesta Glockenspiel, Bells, Xylophone

Percussion instruments producing indefinite sounds Comparison of resonance in orchestral groups, and combination of different tone qualities

Chapter II. — Melody

Melody in stringed instruments Grouping in unison

Stringed instruments doubling in octaves Melody in double octaves Doubling in three and four octaves Melody in thirds and sixths

Melody in the wood-wind

Combination in unison Combination in octaves Doubling in two, three and four octaves Melody in thirds and sixths Thirds and sixths together

Melody in the brass

Brass in unison, in octaves, thirds and sixths

Melody in different groups of instruments combined together.

A. Combination of wind and brass in unison B. Combination of wind and brass in octaves C. Combination of strings and wind D. Combination of strings and brass E. Combination of the three groups

Chapter III. — Harmony

General observations

Number of harmonic parts — Duplication Distribution of notes in chords

String harmony Wood-wind harmony

Four-part and three-part harmony Harmony in several parts Duplication of timbres Remarks

Harmony in the brass

Four-part writing Three-part writing Writing in several parts Duplication in the brass

Harmony in combined groups

A. Combination of wind and brass

1. In unison 2. Overlaying, crossing, enclosure of parts

B. Combination of strings and wind C. Combination of the three groups

Chapter IV. — Composition of the orchestra

Different ways of orchestrating the same music Full Tutti Tutti in the wind Tutti pizzicato Tutti in one, two and three parts Soli in the strings Limits of orchestral range Transference of passages and phrases Chords of different tone quality used alternately Amplification and elimination of tone qualities Repetition of phrases, imitation, echo Sforzando-piano and piano-sforzando chords Method of emphasising certain notes and chords Crescendo and diminuendo Diverging and converging progressions Tone quality as a harmonic force. Harmonic basis Artificial effects Use of percussion instruments for rhythm and colour Economy in orchestral colour

Chapter V. — Combination of the human voice with orchestra. The Stage band

Orchestral accompaniment of solo voices

General remarks Transparence of accompaniment. Harmony Doubling voices in the orchestra Recitative and declamation

Orchestral accompaniment of the chorus

Solo voice with chorus

Instruments on the stage and in the wings

Chapter VI (Supplementary) — Voices

Technical terms Soloists

Range and register Vocalisation Vowels Flexibility Colour and character of voices

Voices in combination

Duet Trios, quartets etc

Chorus

Range and register Melody

A. Mixed chorus

Chorus in unison Progression in octaves Voices divisi; harmonic use of the mixed chorus

B. Men’s chorus and Women’s chorus

Principles of Orchestration: II—Musical Examples Back Cover

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