04-29-2006, 07:31 PM | Lesson 12 - HARMONY - String Harmony | #1 |
Moderator
Join Date: Oct 2000
Location: Orcas Island
Posts: 11,370
|
GARRITAN INTERACTIVE PRINCIPLES OF ORCHESTRATION by Nikolay Rimsky-Korsakov Chapter III HARMONY Part 2 - String Harmony Lesson Notes: In this lesson we discuss harmony as it relates to the stringed instruments. Professor Belkin: String harmony is the easiest to write and balance, and therefore forms the “core” of classical orchestration. It is an incontrovertible rule that the resonance of different harmonic parts must be equally balanced, but this balance will be less noticeable in short sharp chords than in those which are connected and sustained. Both these cases will be studied separately. In the first case, in order to increase the number of harmonic parts, each instrument in the string group may be provided with double notes or chords of three and four notes. In the second case, the resources are limited to double notes unis, or division of parts. A. Short chords. Chords of three or four notes can only be executed rapidly on the strings. Note. It is true that the two upper notes of a chord can be sustained and held a long time; this, however, involves complications and will be considered later. Professor Belkin Comment: Such chords are used for ACCENT. They also require a moment for the player to get into position and therefore cannot be played very fast. For example a 16th note run cannot seamlessly end in a quadruple stop chord. Score References & Musical Examples Using GPO: No. 97. Snegourotchka, Section 171; cf. also before Section 140 and before Section 200.Click on Play Button below to Play from the Score • Spanish Capriccio, before V. (cf. Ex. 67). • Sheherazade, 2nd movement P (cf. Ex. 19.). No. 98. Tsar Salton, Section 135; cf. also before Section 141 and before Section 182. Click on Play Button below to Play from the Score Isolated chords may be added to a melodic figure in the upper part, accentuating, sforzando, certain rhythmical moments. No. 99. Snegourotchka, before Section 126; cf. also Section 326. Click on Play Button below to Play from the Score B. Sustained and tremolando chords. Chords sustained for a shorter or longer period of time, or tremolando passages, often used as a substitute, demand perfect balance of tone. Taking for granted that the different members of the string group are equal in power, the parts being written according to the usual order of register, (cf. Chap. I), it is patent that a passage in close four-part harmony, with the bass in octaves will also be uniformly resonant. Professor Belkin Comment: This is the normal arrangement, by far the most frequent. When it is necessary to introduce notes to fill up the empty middle register, the upper parts being farther distant from the bass, doubled notes on the violins or violas should be used, or on both instruments together. The method of dividing strings, which is sometimes adopted, should be avoided in such cases, as certain parts of the chord will be divided and others will not; but, on the other hand, if a passage in six and seven-part harmony be written entirely for strings divided in the same manner, the balance of tone will be completely satisfactory, e.g., Professor Belkin Comments: It is quite common to have the violas divided while the other sections are not. The ear seems to accept this because it is “hidden” in the middle of the texture. Fully divided strings are often found in Debussy, and the result is ethereal and refined. In the case of sustained chords or forte tremolando on two strings, the progression of parts is not always according to rule, the intervals chosen being those which are the easiest to play. Score References & Musical Examples Using GPO: No. 100. The Christmas Night, Section 161 - Full divisiClick on Play Button below to Play from the Score No. 101. The Christmas Night, Section 210 - Violas div./Cellos div. - 4 part harmony. Click on Play Button below to Play from the Score No. 102. Snegourotchka, Section 187-188 - Four Part Harmony, Violins 1, Violins 2, Violas & Cellos Click on Play Button below to Play from the Score Other References: • Snegourotchka, Section 243 - 4 Solo Cellos divisi • Sheherazade, 2nd movement Beginning - 4 D. Bass. soli div. (cf. Ex. 40.) • The Tsars's Bride, Section 179 - Chords on all strings (cf. Ex. 243). No. 103. The Legend of Kitesh, Section 8 - Harmonic Basis in the strings Click on Play Button below to Play from the Score Other References: • The Legend of Kitesh, Section 240 - (cf. Ex. 21). • The Legend of Kitesh - Harmonic basis in the strings. No. 104. The Golden Cockeral, Section 4 - Basis in the strings Click on Play Button below to Play from the Score Other References: • The Golden Cockerel, Section 125 - Undulating rhythm in the strings as harmonic basis (cf. Ex. 271). In a forte or sfp chord, where one or two of the upper notes is held, either sustained or tremolando, the balance of tone must still be maintained, as in the following example: Next Lesson: Harmony in the Wood-wind Copyright 2006 Garritan |
|
|
Register | FAQ | Members List | Calendar | Mark Forums Read |
Principles of Orchestration On-line Garritan Interactive PRINCIPLES OF ORCHESTRATION by Rimsky-Korsakov |
Thread Tools | |
|
|
|||