Nikolai Rimsky-Korsakov · section 30 of 100

Melody in thirds and sixths

Melodic progression in thirds and sixths demands either two instruments of the same colour (2 Fl., 2 Ob., 2 Cl., 2 Fag.), or instruments of different colours in the normal order of register:

Fl. Ob. | Fl. Cl. | Ob. Cl. | Cl. Fag. | Ob. Fag. | ] | 3 (6).

If this order is inverted, e.g.

Ob. Fl. | Cl. Fl. | Fag. Cl. | ] | 3 (6),

a strained and forced resonance is created. For progressions in thirds, the best method, from the standpoint of equality in tone is to use instruments of the same kind in pairs; for progressions in sixths instruments of different kinds are more suitable, but both courses are good and useful. They may also be employed for progressions in thirds and sixths, or thirds, fifths and sixths mixed, as for example:

Music

Examples:

Legend of Kitesh 24—different wind instruments in turn.

The May Night, Act III G—

Cl. Cl. | ] | 3.

Sadko 279-280—

Fl. Fl. | ] | 3 (6).

No. 67. Spanish Capriccio, before V—various wood-wind in thirds and sixths.

Servilia 228—

Fl. Fl. | ] | 3 | and | Cl. Cl. | ] | 3.

The Golden Cockerel 232—

2 Fl. 2 Ob. | ] | 6.

* Sadko 43—All wood-wind in turn, simple timbres.

When the doubled parts progress in thirds or sixths, the following method is advisable:

Fl. + Ob. Fl. + Ob. | ] | 3 (6) | or | Fl. + Cl. Fl. + Cl. | ] | 3 (6) etc., as well as:
Fl. + Ob. Fl. + Cl. | ] | 3 (6) | or | Ob. + Fl. Fl. + Cl. | ] | 3 (6) etc.

In the case of tripling the following arrangement may be adopted:

Fl. + Ob. + Cl. Fl. + Ob. + Cl. | ] | 3 (6) | or | Ob. + 2 Fl. Ob. + 2 Cl. | ] | 3 (6) etc.

Examples:

* No. 68. The Christmas Night 187—

Ob. + Cl. Ob. + Cl. | ] | 3.

* Legend of Kitesh 202-203 different mixed timbres.