C. Combination of strings and wind.
In commencing this section of the work I consider it necessary to lay down the following fundamental rules which apply equally to melody, harmony, counterpoint and polyphonic writing.
All combinations of strings and wood-wind are good; a wind instrument progressing in unison with a stringed instrument increases the resonance of the latter and amplifies its tone, while the quality of the strings softens that of the wood-wind. In such combinations the strings will predominate provided that the two instruments are of equal power, e.g. when violins are coupled with an oboe, a bassoon with the 'cellos. If several wind instruments play in unison with one group of strings, the latter will be overpowered. As a rule all combinations refine the characteristics of each instrument taken separately, the wood-wind losing more than the strings.
Doubling in unison.
The best and most natural combinations are between instruments whose registers correspond the nearest:
Vns + Fl. (Bass fl., picc.), Vns + Ob., Vns + Cl. (small Cl.);
Violas + Ob. (Eng. horn), Violas + Cl., Violas + Fag.
'Cellos + Cl. (Bass cl.), 'Cellos + Fag.;
D. basses + Bass cl., D. basses + Fag.; D. basses + C-fag.
The object of these combinations is: a) to obtain a new timbre of definite colour; b) to strengthen the resonance of the strings; c) to soften the quality of the wood-wind.
Examples:
Snegourotchka 5—'Cellos + Violas + Eng. horn (cf. [Ex. 15]).
" 28—Violas + Ob. + Eng. horn.
" 116—Vns I + II + Ob. + Cl.
" 288—Vns I + II + 'Cellos + Eng. horn (cf. [Ex. 17]).
[No. 80.] The May Night, Act III Bb—Violas + Cl.
[No. 81.] Sadko 311—Vns + Ob.
[No. 82.] " 77—Violas + Eng. horn.
[No. 83.] " 123—Violas + Eng. horn.
Servilia 59—Vns G string + Fl.
Tsar Saltan 30—Vns I + II + 2 Cl.
[No. 84.] Tsar Saltan 30, 10th bar.—'Cellos + Violas + 3 Cl. + Fag.
Tsar Saltan 156-159—Vns detached + Fl. legato.
The Tsar's Bride 10 Violas + 'Cellos + Fag.
Antar, 4th movement 63—'Cellos + 2 Fag.
Shéhérazade, 3rd movement H—Violas + Ob. + Eng. horn.
Parts doubled in octaves.
Examples of strings in octaves doubled by wood-wind also in octaves are numerous, and do not require special description; they are used according to the rules already laid down. The following are examples of melody distributed over 1, 2, 3 and 4 octaves:
Examples:
[No. 85.] Ivan the Terrible, beginning of Overture—
| Vns I + II + 2 Cl. Violas + 'Cellos + 2 Fag. | >[ | 8. |
[No. 86.] Sadko 3—
| 'Cellos + Bass cl. D. basses + C-fag. | >[ | 8. |
Sadko 166—
| 'Cellos + Fag. D. basses + C-fag. | >[ | 8. |
" 235—
| Violas + 2 Cl. 'Cellos + D. basses + 2 Fag. | >[ | 8. |
The Tsar's Bride 14—
| 'Cellos + Fag. D. basses + Fag. | >[ | 8. |
" " " 81—
| Vns I Vns II | div. | + Fl. + Ob. | >[ | 8. |
" " " 166—
| Vns I + Fl. Vns II + Ob. | >[ | 8 (cf. [Ex. 22]). |
In three and four octaves:
Servilia 93—
| Vns + 3 Fl. Violas + 2 Ob. 'Cellos + 2 Fag. | >[ 8 ] 8. |
[No. 87.] Kashtcheï 105—
| Vns I + Picc. Vns II + Fl. + Ob. Violas + 'Cellos + 2 Cl. + Eng. horn + Fag. | >[ 8 ] 8. |
Shéhérazade, 3rd movement M—
| Vns I + Fl. Vns II + Ob. 'Cellos + Engl. horn | >[ 8 ] 8. |
Examples of melody in thirds and sixths:
Servilia 44—
| Fl. + Ob. + Cl. + Vns Fl. + Ob. + Cl. + Vns | div. | >[ | 3. |
[No. 88.] Servilia 111—Strings and wood-wind in thirds.
[No. 89.] " 125—same combination, in thirds and sixths.
Kashtcheï 90—The same.
It is necessary to pay more attention to cases where, of the two parts in octaves, only one is doubled. When this method is applied to a melody in the soprano register it is better to allow the wood-wind to progress in octaves, the lower part only being doubled by one of the string groups;
| Picc. Fl. + Vns | >[ | 8. | Fl. Ob. (Cl.) + Vns | >[ | 8. |
Examples:
Tsar Saltan 102—
| 2 Fl. + Picc. Vns I + II + Ob. | >[ | 8 (cf. [Ex. 133]). |
* [No. 90.] Shéhérazade, 4th movement U—
| 2 Cl. 'Cellos + 2 Horns | >[ | 8. |
In the case of a melody in the low register demanding a sweet soft tone, the violoncellos and double basses should be made to progress in octaves, the former doubled by a bassoon, the latter not doubled at all:
| 'Cellos + Fag. D. basses | >[ | 8. |
Sometimes a composer is obliged to use this method on account of the very low register of the double bass, especially if a double bassoon is not included in his orchestral scheme.[14]
Example:
[No. 91.] Tsar Saltan 92—
| Violas + Fag. 'Cellos + Fag. D. basses | >[ 8 ] 8. |