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Rimsky-Korsakov, Principles of Orchestration

Nikolai Rimsky-Korsakov

Rimsky-Korsakov, Principles of Orchestration

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  1. Editor’s Preface
  2. Extract from the Author’s Preface (1891)
  3. Extract from the Preface to the last edition
  4. A. Stringed Instruments
  5. Wood-wind
  6. Brass
  7. Plucked strings
  8. Pizzicato
  9. Harp
  10. Kettle-drums
  11. Piano and Celesta
  12. Glockenspiel, Bells, Xylophone
  13. Percussion instruments producing indefinite sounds
  14. Comparison of resonance in orchestral groups and combination of different tone qualities
  15. Chapter II
  16. Melody in stringed instruments
  17. a) Violins
  18. b) Violas
  19. c) Violoncellos
  20. d) Double basses
  21. Grouping in unison
  22. Stringed instruments doubling in octaves
  23. Melody in double octaves
  24. Doubling in three and four octaves
  25. Melody in thirds and sixths
  26. Melody in the wood-wind
  27. Combination in unison
  28. Combination in octaves
  29. Doubling in two, three and four octaves
  30. Melody in thirds and sixths
  31. Thirds and sixths together
  32. Melody in the brass
  33. Brass in unison, in octaves, thirds and sixths
  34. A. Combination of wind and brass in unison
  35. B. Combination of wind and brass in octaves
  36. Examples of doubling in octaves
  37. C. Combination of strings and wind
  38. D. Combination of strings and brass
  39. E. Combination of the three groups
  40. General observations
  41. Number of harmonic parts—Duplication
  42. Distribution of notes in chords
  43. String harmony
  44. Wood-wind harmony
  45. Four-part and three-part harmony
  46. Harmony in several parts
  47. Duplication of timbres
  48. Remarks
  49. Four-part writing
  50. Writing in several parts
  51. Duplication in the brass
  52. 1. In unison (juxtaposition or contrast of tone qualities)
  53. 2. Overlaying (superposition), crossing, enclosure of parts
  54. B. Combination of strings and wind
  55. C. Combination of the three groups
  56. Different ways of orchestrating the same music
  57. Full Tutti
  58. Tutti in the wind
  59. Tutti pizzicato
  60. Tutti in one, two and three parts
  61. Soli in the strings
  62. Limits of orchestral range
  63. Transference of passages and phrases
  64. Chords of different tone quality used alternately
  65. Amplification and elimination of tone qualities
  66. Repetition of phrases, imitation, echo
  67. Sforzando-piano and piano-sforzando chords
  68. Method of emphasising certain notes and chords
  69. Crescendo and diminuendo
  70. Diverging and converging progressions
  71. Harmonic basis
  72. Artificial effects
  73. Use of percussion instruments for rhythm and colour
  74. Economy in orchestral colour
  75. General remarks
  76. Transparence of accompaniment. Harmony
  77. Doubling voices in the orchestra
  78. Recitative and declamation
  79. Orchestral accompaniment of the chorus
  80. Solo voice with chorus
  81. Instruments on the stage and in the wings
  82. Technical Terms
  83. Range and register
  84. Vocalisation
  85. Vowels
  86. Flexibility
  87. Colour and character of voices
  88. Voices in combination
  89. Duet
  90. Trios, quartets etc
  91. Range and register
  92. Melody
  93. Chorus in unison
  94. Progression in octaves
  95. Voices (divisi); harmonic use of the mixed chorus
  96. B. Men’s chorus and women’s chorus
  97. Footnotes
  98. W. BESSEL & CO., publishers, Petrograd
  99. M.P. BELAIEFF, publisher, Leipzig
  100. Appendix. Single tutti chords. Appendice. Accords isolés en tutti