Volume 2 — 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:

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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:

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I have often adopted the following combination of brass instruments, and consider it eminently satisfactory: 2 horns and tuba to form the bass in octaves, the three other parts given to the trombones:

(beautiful full resonance).

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In the higher registers, four-part harmony, of which the two upper parts are given to the trumpets, may be completed by two trombones or four horns in pairs:

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When 3 trumpets are available the fourth part should be allotted to one trombone, or two horns in unison:

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Enclosure of parts may be used in single chords:

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or in progression:

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Three-part writing.

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

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Writing in several parts.

When the whole group is used the number of horns should be doubled:

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In seven, six, or five-part harmony certain instruments must be omitted:

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Discords of the seventh or second are preferably entrusted to instruments of different tone colour:

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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:

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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 throughout several harmonic registers, the register occupied by the horns need not be doubled; the arrangement of the chord will resemble that of a chorale written for double or triple choir. For example:

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Duplication in the brass.

Duplication in the brass group is most frequently effected by placing a chord for horns side by side with the same chord written for trumpets or trombones. The soft round quality of the horns intensifies the tone, and moderates the penetrating timbre of the trumpets and trombones:

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Similar juxtaposition of trumpets and trombones:

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is not so common, as this unites the two most powerful agents in the group.

In handling an orchestra the brass is frequently employed to sustain 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:

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The trombone with its ponderous tone rarely takes part in such combinations. Sustained notes in double octaves are usually apportioned thus:

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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 74—3 Trombones, 2 Horns.

"140—3 Trombones, 2 Horns. Chords in different groups alternately (cf. Ex. 244).

"171—Full brass; further on 3 Trombones (cf. Ex. 97).

"255—4 Horns (stopped).

No. 129. Snegourotchka, before 289—4 Horns.

"289—Full brass.

* Sadko, before 9—Full brass (enclosure of parts).

No. 130. Sadko 175—Mixed timbres (juxtaposition) 3 Horns + 3 Trumpets.

"before 338—Full brass except Tuba.

No. 131."191-193 (Full brass).

No. 132. The Christmas Night, before 180—Full muted brass.

"""181—4 Horns + 3 Trombones + Tuba (cf. Ex. 237).

* The Tsar's Bride 178—Strings and brass alternately (cf. Ex. 242).

* No. 133. Tsar Saltan 102, 7th bar.—2 Trumpets, 2 Trombones + 4 Horns (juxtaposition).

""230—Full brass, thickly scored (cf. Table of chords No. II at the end of Vol. II, Ex. 12).

* Servilia 154—Various brass instruments.

* Legend of Kitesh 130—3 Trumpets, Trombone and Tuba.

No. 134. Legend of Kitesh 199—Short chords (juxtaposition).

* No. 135. The Golden Cockerel 115—Horns, Trombones (enclosure).

b) Harmonic basis:

No. 136. Snegourotchka 79, 6th bar.—4 Horns.

"231—3 Trombones, soft and sweet (cf. Ex. 8).

Antar 64-65—4 Horns; later 3 Trombones (cf. Ex. 32).

* Shéhérazade, 1st movement, A, E, H, K, M—Harmonic bases of different power and timbre (cf. Ex. 192-195).

No. 137. Servilia 93—Full brass.

* No. 138. Tsar Saltan 127—4 muted Horns + 3 Trombones and Tuba con sord. pp.

""before 147—Full brass ff (the 2 Oboes and Eng. horn are of no particular importance).

* Pan Voyevoda 136, 9th bar.—4 Horns, then Trombones, 2 Horns.

* No. 139. Legend of Kitesh 158—Trumpets, Trombones.

No. 140."""248—3 Trombones.

"""before 362—Full brass.