Volume 2 — Melody in stringed instruments.
Edward Agate translation
Instances of the melodic use of stringed instruments are innumerable. The reader will find many examples in the present 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 instruments, taken independently, is qualified to assume full responsibility for the melodic line.
a) Violins.
Melody in the soprano-alto register and an extra-high compass usually falls to the lot of the 1st Violins, sometimes to the 2nd Violins or to both in unison, a process which produces fuller resonance without impairing quality of tone.
Examples:
The Tsar's Bride 84.[C]—Pianissimo melody (Vns I) of a troubled dramatic character. Harmonic accompaniment (Vns II and Violas tremolando—middle parts; the Violoncellos forming the bass).
Antar, before 70.—Descending melodic phrase, Vns I con sordini piano.
No. 1. Shéhérazade 2nd movement B. A piano melody (Vns I) graceful in character.
Antar 12. Light graceful melody, oriental in style; a dance measure (Vns I con sord.), the mutes producing a dull ethereal quality of tone.
No. 2. The Legend of the Invisible City of Kitesh 283.
No. 3. Spanish Capriccio J. Vns 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 because the viola tone is slightly nasal in quality and better fitted for short characteristic phrases, partly because the number of viola players in an orchestra is smaller. Melodies confided to the violas are generally doubled by other strings or by the wood-wind.
Examples:
No. 4. Pan Voyevoda, duet in 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 in the 6th scene 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 melodies are usually laid out for the top string (A) which possesses a wonderfully rich "chest" quality.
Examples:
Antar 56. Cantabile on the A string.
Antar 63. The same melody in D♭ maj. on the D string (doubled by the bassoons).
No. 7. Pan Voyevoda 134, nocturne, "Moonlight". A broad melody dolce ed 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 274. 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 importance given to the double bass without the support of 'cellos or bassoons.
Examples:
* No. 10. Legend of Kitesh 306. Double bass solo, doubled first by the double bassoon, later by the bassoon. This example affords an instance of the rare use of the alto clef (in the last few notes).
* No. 11. The Golden Cockerel 120.—D. basses + D. bassoons.