Nikolai Rimsky-Korsakov · section 15 of 100

Chapter II

MELODY.

Whether it be long or short, a simple theme or a melodic phrase, melody should always stand out in relief from the accompaniment. This may be done by artificial or natural means; artificially, when the question of tone quality does not come into consideration, and the melody is detached by means of strongly accentuated dynamic shades; naturally, by selection and contrast of timbres, strengthening of resonance by doubling, tripling, etc., or crossing of parts (violoncellos above the violas and violins, clarinets or oboes above the flutes, bassoons above the clarinets etc.).

Melody planned in the upper parts stands out from the very fact of position alone, and likewise, to a less degree when it is situated in the low register. In the middle of the orchestral range it is not so prominent and the methods referred to above come into operation. They may also be employed for two part melody (in thirds and sixths) and for polyphonic writing.