Transcriber’s Notes

About this e-book: This e-book was prepared from a 1964 reprint published by Dover Publications, Inc., New York, which in turn was prepared from the two-volume 1922 English translation published by Édition Russe de Musique, Paris.

Volume I contains the text of the work; Volume II contains the musical examples referred to in Volume I. In this e-book, each volume is in a separate HTML document. References in Volume I to the numbered musical examples are hyperlinked to Volume II. See this footnote for the editor's explanation of the musical examples and the boxed rehearsal numbers. The use of asterisks is explained on page XII of the Editor's Preface.

Obvious printer errors have been corrected without note. Other apparent errors are underlined in red with a popup Transcriber's Note.

About the music: Midi or MP3 files have been provided for all music examples (except for single-note examples, and tables of instrument ranges and chords). Click on the [Listen] link to hear the music. For the extended music examples in Volume II, you can also click on the [PDF] link to view an enlarged version of the original music images; and on the [XML] link to view or download the notation in MusicXML.

All MP3 files were created by the Transcriber using Finale with Garritan Personal Orchestra, which employs sound samples of actual musical instruments, except for vocal solos. The MusicXML files were created automatically in Finale and have not been edited further. They reflect primarily the sound of the music, not its appearance. Some workarounds were employed to address minor limitations and bugs in Finale and Garritan that affected the sound (e.g., empty measures at the beginning and/or end of a piece to avoid abrupt cut-offs; changes in dynamics; expansion of shared staves where instruments are doubled; instrument substitutions; etc.). Obvious printer errors have been corrected without note; other questionable items are noted in the MusicXML file.

For each music example in Volume II, a link has been provided back to the page in Volume I on which the example is referenced. Page numbers have been omitted from Volume II, but are available in the PDF files.


NIKOLAY RIMSKY-KORSAKOV

Principles
of Orchestration

with musical examples
drawn from his own works

Edited by
MAXIMILIAN STEINBERG

English translation by
EDWARD AGATE

[VOLUMES I and II]

[Édition Russe de Musique, Paris, 1922]


-III-

CONTENTS

Volume I

Text


 page
Editor's PrefaceVII—XII
Extract from the Author's preface (1891)1
Extract from the Preface to the last edition5
 
Chapter I.—General review of orchestral groups 
A. Stringed instruments6
B. Wind instruments: 
Wood-wind12
Brass21
C. Instruments of little sustaining power: 
Plucked strings26
Pizzicato27
Harp27
Percussion instruments producing determinate sounds, keyed instruments 
Kettle-drums29
Piano and Celesta30
Glockenspiel, Bells, Xylophone32
Percussion instruments producing indefinite sounds32
Comparison of resonance in orchestral groups, and combination of different tone qualities33
 
Chapter II.—Melody 
Melody in stringed instruments36
Grouping in unison39
Stringed instruments doubling in octaves40
Melody in double octaves44
Doubling in three and four octaves45
Melody in thirds and sixths45
Melody in the wood-wind46
Combination in unison47
Combination in octaves49
Doubling in two, three and four octaves51
Melody in thirds and sixths52
Thirds and sixths together53
Melody in the brass53
Brass in unison, in octaves, thirds and sixths55
-IV-
Melody in different groups of instruments combined together56
A. Combination of wind and brass in unison56
B. Combination of wind and brass in octaves57
C. Combination of strings and wind58
D. Combination of strings and brass61
E. Combination of the three groups61
 
Chapter III.—Harmony 
General observations63
Number of harmonic parts—Duplication64
Distribution of notes in chords67
String harmony69
Wood-wind harmony71
Four-part and three-part harmony72
Harmony in several parts76
Duplication of timbres77
Remarks78
Harmony in the brass82
Four-part writing82
Three-part writing84
Writing in several parts84
Duplication in the brass85
Harmony in combined groups88
A. Combination of wind and brass88
1. In unison88
2. Overlaying, crossing, enclosure of parts90
B. Combination of strings and wind94
C. Combination of the three groups95
 
Chapter IV.—Composition of the orchestra 
Different ways of orchestrating the same music97
Full Tutti101
Tutti in the wind103
Tutti pizzicato103
Tutti in one, two and three parts104
Soli in the strings104
Limits of orchestral range106
Transference of passages and phrases107
Chords of different tone quality used alternately108
Amplification and elimination of tone qualities109
Repetition of phrases, imitation, echo110
Sforzando-piano and piano-sforzando chords111
Method of emphasising certain notes and chords111
Crescendo and diminuendo112
Diverging and converging progressions113
Tone quality as a harmonic force. Harmonic basis114
Artificial effects116
Use of percussion instruments for rhythm and colour117
Economy in orchestral colour118
-V-
 
Chapter V.—Combination of the human voice with orchestra. The Stage band 
Orchestral accompaniment of solo voices119
General remarks119
Transparence of accompaniment. Harmony120
Doubling voices in the orchestra122
Recitative and declamation125
Orchestral accompaniment of the chorus126
Solo voice with chorus128
Instruments on the stage and in the wings129
 
Chapter VI (Supplementary).—Voices 
Technical terms132
Soloists133
Range and register133
Vocalisation134
Vowels136
Flexibility137
Colour and character of voices137
Voices in combination139
Duet139
Trios, quartets etc.141
Chorus142
Range and register142
Melody144
A. Mixed chorus145
Chorus in unison145
Progression in octaves145
Voices divisi; harmonic use of the mixed chorus146
B. Men's chorus and Women's chorus148

Volume II

Musical Examples

List of Works