Principles of Orchestration, with Musical Examples Drawn from His Own Works

by Nikolay Rimsky-Korsakov

The formation of the group of brass instruments, like that of the wood-wind is not absolutely uniform, and varies in different scores. The brass group may be divided into three general classes corresponding to those of the wood-wind (in pair's, in three's, and in four's).

Group corresponding to the wood-wind in pair's	Group corresponding to the wood-wind in three's	Group corresponding to the wood-wind in four's
		(II—Small trumpet).
2 Trumpets I, II.	3 Trumpets I, II, III.	3 Trumpets I, II, III.
	(III—Alto trumpet	(III—Alto trumpet or
	or:	Bass trumpet.)
	{ 2 Cornets I, II.
	{ 2 Trumpets I, II.)
4 Horns I, II, III, IV.	4 Horns I, II, III, IV.	6 or 8 Horns I, II, III, IV, V, VI, VII, VIII.
3 Trombones.	3 Trombones I, II, III.	3 Trombones I, II, III.
1 Tuba.	1 Tuba[8].	1 Tuba.

The directions are the same as in the preceding table for wood-wind. It is evident that in all three classes the formation may vary as the composer wishes. In music for the theatre or concert room page after page may be written without the use of trumpets, trombones and tuba, or some instrument may be introduced, temporarily as an extra. In the above table I have given the most typical formations, and those which are the most common at the present day.

Note I. Besides the instruments given above, Richard Wagner used some others in The Ring, notably the quartet of tenor and bass tubas, and a contrabass trombone. Sometimes these additions weigh too heavily on the other groups, and at other times they render the rest of the brass ineffective. For this reason composers have doubtless refrained from employing such instruments, and Wagner himself did not include them in the score of Parsifal. Some present-day composers (Richard Strauss, Scriabine) write for as many as five trumpets.

Note II. From the middle of the 19th century onward the natural brass disappeared from the orchestra, giving place to valve instruments. In my second opera, The May Night I used natural horns and trumpets, changing the keys, and writing the best notes "stopped"; this was purposely done for practise.

Though far less flexible than the wood-wind, brass instruments heighten the effect of other orchestral groups by their powerful resonance. Trumpets, trombones, and tubas are about equal in strength; cornets have not quite the same force; horns, in forte passages, are about one half as strong, but piano, they have the same weight as other brass instruments played softly. To obtain an equal balance, therefore, the marks of expression in the horns should be one degree stronger than in the rest of the brass; if the trumpets and trombones play pp, the horns should be marked p. On the other hand, to obtain a proper balance in forte passages, two horns are needed to one trumpet or one trombone.

Brass instruments are so similar in range and timbre that the discussion of register is unnecessary. As a general rule quality becomes more brilliant as the higher register is approached, and vice versa, with a decrease in tone. Played pp the resonance is sweet; played ff the tone is hard and "crackling". Brass instruments possess a remarkable capacity for swelling from pianissimo to fortissimo, and reducing the tone inversely, the sf

p effect being excellent.

The following remarks as to character and tone quality may be added: