Volume 2 — Stringed instruments doubling in octaves.

a) Vns I and Vns II in octaves.

This is a very common process used for all kinds of melodic figures, in particular those in the very high register. It has already been stated that the E string diminishes in fulness of tone the higher it ascends from the limits of the soprano voice. Moreover, 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.

Shéhérazade, 3rd movement J. Cantabile in G major; dolce and cantabile (the same as Ex. 12).

No. 23. The Legend of Tsar Saltan 227. Melody with reiterated notes, dolce, espress. e cantabile.

Sadko, Symphonic tableau 12.

Vns I Vns II ] 8

muted. A short dance phrase pianissimo, given first to the violas, then 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 1st Violins are sufficient to double the melody in the upper octave, all the other 1st 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.

* Antar, 1st movement 11.

* 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.

Examples:

Snegourotchka 166.—

Vns I Vns II ] 8

mezzo-forte espressivo. Partial doubling of Coupava's song (Sopr.). One flute and one oboe double the melody.

No. 26. Snegourotchka 283.—Chorus of Flowers—

2 Vns soli Vns I + Fl. I ] 8.

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 1st Violins except two play in the lower octave, the two solo violins, only, in the upper. The solo desk will be sufficiently 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.

1. Vns (I or II) Violas ] 8.

Example:

Snegourotchka 137, finale of Act I. Quick melody, piano.

2. Vns I + II Violas ] 8 and 3. Vns I Vns II + Violas ] 8.

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 181.—

Vns I + II Violas ] 8.

Quick animated passage, forte, introducing reiterated notes.

No. 28. Snegourotchka 137, finale to Act I—

Vns I Vns II + Violas ] 8.

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 59,

Violas Cellos ] 8,

doubled by bassoons.

e) Violins and Violoncellos in octaves.

Used in very expressive passages where the 'cellos have to play on the A or D strings. This method produces a more resonant tone than the preceding one; instances of it are frequent.

Examples:

No. 29. Antar 43.—

Vns I + Vns II 'Cellos ] 8.

Cantabile of Eastern origin.

Shéhérazade, 3rd movement H.—

Vns I 'Cellos ] 8.

Cantabile mezzo-forte appassionato (cf. Ex. 1).

* No. 30. Shéhérazade, 3rd movement, before P—

Vns I Vns II + 'Cellos ] 8 and Vns I + II 'Cellos ] 8.

The first arrangement is rarely found.

Pan Voyevoda 134, nocturne "Moonlight"—

Vns I 'Cellos ] 8.

Cantabile melody given first to 'cellos alone (cf. Ex. 7).

The May Night, Act III B, C, D—

Vns I + Vns II 'Cellos ] 8.

A forte melodic 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 1st and 2nd Vns, in octaves with Violas and 'Cellos. This arrangement is constantly found, and produces a beautiful quality of tone, somewhat severe in character.

Examples:

Snegourotchka 58, 60, 65 and 68. The same melody, played twice pianissimo, not doubled, then twice (mezzo-forte and forte), doubled in the wood-wind.

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 5th octave, are generally doubled an octave below, whilst those situated in the extreme low register (below the middle of the 1st octave) are doubled an octave higher.

Examples:

Sadko 207 (cf. Ex. 24).

Note II. Progression in octaves of divided strings of the same kind is generally to be avoided:

Violas I Violas II, 'Cellos I 'Cellos II, D. basses I D. basses II ] 8,

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 II ] 8.

Melody in double octaves.

a) Vns I ] 8 or Vns I ] 8

Vns II Violas ] 8 Vns II 'Cellos ] 8

may be used for full cantabile melodies extremely tense in character, and in forte passages for choice.

Example:

No. 32. Antar 65.—

Vns I ] 8.

Vns II Violas + 'Cellos ] 8.

b) Violas ] 8 or Vns I + II ] 8 or Vns I + II + Violas ] 8

'Cellos D. basses ] 8 Violas +'Cellos D. basses ] 8 'Cellos D. basses ] 8

are employed when the low register of each instrument is brought into play, and also to suit phrases of a rough and severe character.

Examples:

Legend of Kitesh 66, opening of the 2nd Act.

No. 33. Snegourotchka 215. Tumblers' dance.

Note. The lack of balance in the distribution:

Vns I + II +Violas ] 8

'Cellos D. basses ] 8

is not of any great importance, for, in such cases, the partial harmonics of one octave support the tone of the other, and vice versa.

Doubling in three and four octaves.

The distribution

Vns I Vns II Violas 'Cellos D. basses ] 8 ] 8 ] 8 ] 8

is very seldom found, and as a rule, only when supported by wind instruments.

Examples:

The Legend of Kitesh 150 (allargando).

* Shéhérazade, 4th movement, commencing at the 10th bar.

Vns I Vns II Violas + 'Cellos D. basses ] ] ] 8.

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 34—

Vns I div.) 3 Vns II div.) 3 ] 8.

* Legend of Kitesh 39—

Vns I Violas ] 6.

Cf. also Legend of Kitesh 223:

Vns I Vns II } 3 ] 8 (Ex. 31).

Vns I Vns II } 3

Distribution in octaves, thirds, and sixths is usually regulated by the normal register of the respective instruments, so as to avoid 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 D—

'Cellos Vns I + II ] 6.