Doubling voices in the orchestra.
Melodic doubling of voices by orchestral instruments (in unison or octaves) is of frequent occurrence, but incessant duplication for an extended period of time should be avoided; it is only permissible in isolated phrases. The most natural duplication in unison of womens' voices is performed by violins, violas, clarinets and oboes; that of mens' voices by violas, 'cellos, bassoons and horns. Doubling in octaves is usually done in the upper register. Trombones and trumpets overpower the voice and cannot be used for this purpose. Uninterrupted or too frequent duplication should be avoided, not only because the operation deprives the singer of full freedom of expression, but also because it replaces by a mixed timbre the rare characteristic qualities of the human voice. Doubling, when limited to a few special phrases supports the voice and endows it with beauty and colour. It is only suitable in tempo; to apply it, in unison or octaves to a passage ad. lib. is both ineffective and dangerous.
Examples:
Snegourotchka 50-52—Snegourotchka's Arietta (cf. [Ex. 41]).
Sadko 309-311—Volkhova's Cradle-song (cf. [Ex. 81]).
Besides the question of doubling the voice for the object of colour there are instances when the singer executes only part of a phrase, allotted in its entirely to an orchestral instrument.
Example:
Vera Scheloga 30, 36 (cf. [Ex. 49]).
Lyrical climaxes, a piena voce, or dramatic passages for the voice situated outside its normal range should be supported melodically and harmonically by the orchestra, in the register in which the voice is placed. The culminating point in such passages often coincides with the entry or sudden attack of the trombones or other brass instruments, or by a rush of strings. Strengthening the accompaniment in this manner will soften the tone of the voice.
Examples:
[No. 280.] The Tsar's Bride 206.
Servilia 126-127.
" 232.
[No. 281.] Sadko 314.
If the culminating point is soft in colour and outline it is better left unsupported in the orchestra, but sometimes the wood-wind, sustaining such passages with light transparent melody or harmony may produce an entrancing effect.
Examples:
Snegourotchka 188.
" 318 (cf. [Ex. 119]).
[No. 282.] The Tsar's Bride 214.
It is a common practice to support voices in concerted numbers by harmony and duplication; this operation makes for accuracy and brilliance when applied to duets, trios, quartets etc.
Examples:
Snegourotchka 292-293—Duet (cf. [Ex. 118]).
Sadko 99-101—Duet (cf. [Ex. 289] and [290]).
[No. 283.] The Tsar's Bride 169—sextet.
""" 117 quartet.
Legend of Kitesh 341—quartet and sextet (cf. [Ex. 305]).
The beautiful effect produced by a solo instrument accompanying a cantabile aria cannot be denied. In such cases the instruments used are generally the violin, viola, and 'cello, or the flute, oboe, Eng. horn, clar., bass clar., bassoon, horn and harp. The accompaniment is often contrapuntal or composed of polyphonic designs. The solo instrument either plays alone or as the leading melodic voice in the ensemble. In combination with the voice, or associated with some action on the stage, a solo instrument is a powerful expedient for musical characterisation. Instances of this description are numerous.
Examples:
Snegourotchka 50—Soprano and oboe (cf. [Ex. 41]).
" 97—Contralto and Eng. horn.
" 243, 246—Baritone and bass clar. (cf. [Ex. 47]-[48]).
[No. 284.] The Tsar's Bride 108—Soprano, 'cello and oboe.
* The Golden Cockerel 163—Soprano and viola (cf. [Ex. 226]).
It is comparatively rare for percussion instruments to take part in accompanying the voice. The triangle is occasionally used, the cymbals less frequently. An accompaniment may be formed by a figure or a tremolo on the kettle-drums.
Examples:
Snegourotchka 97, 224, 247 (Lell's 1st and 3rd songs).
Tsar Saltan, before 5.
* [No. 285.] The Golden Cockerel 135; cf. also 161, 197.
The following are examples of powerful and expressive orchestral passages, the voice tacet:
[No. 286.] The Tsar's Bride 81.
* Legend of Kitesh 282, 298.
* Servilia 130.