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Orchestration and Melodic Doublings: an Analysis and Comparison Between Samuel Adler and Nikolay Rimsky-Korsakov’S Approach Austin Simonds MUCP 4320

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Orchestration and Melodic Doublings: an Analysis and Comparison Between Samuel Adler and Nikolay Rimsky-Korsakov’S Approach Austin Simonds MUCP 4320 Orchestration and Melodic Doublings: An Analysis and Comparison between Samuel Adler and Nikolay Rimsky-Korsakov’s Approach Austin Simonds MUCP 4320 Abstract How do the viewpoints and approaches of Samuel Adler (The Study of Orchestration) and Rimsky-Korsakov (Principles of Orchestration) differ regarding melodic doublings? And if so, does this effect musical style or practice? These two textbooks are, and continue to be, the standard for courses and other pedagogical approaches with the art of composition. I will compare and contrast the two, as well as analyze the melodic doublings found in Sergei Rachmaninoff’s second piano concerto, in an attempt to discover if either of the two texts fit a certain musical style over others. Composition has been understood as the mastery of harmony, counterpoint, and form. Only recently, within the last couple hundred years or so has orchestration slowly risen and developed into a separate art itself. Orchestration is defined as the study of writing for orchestra.1 Like the other pillars of composition, orchestration is a discipline that can be taught and mastered through study and practice. The two texts I have selected to compare were chosen based on their popularity in this subject, as well as the attention these specific texts receive for teaching this material. I will be looking at correlations between the two and analyze the melodic doublings found in Sergei Rachmaninoff’s Second Piano Concerto to find any possible relation between the treatises and musical style. To fully analyze and understand the differences between the two treatises, it is imperative to study not only the text, but also the authors themselves. Samuel Adler (1928) is a German composer, author, and conductor who studied at both Boston University and Harvard University. Adler’s composition teachers included Randall Thompson, Paul Hindemith, and Aaron Copland. Adler was guided in following and continuing the ‘Neoclassicism’ school from Hindemith and Copland (ibid). Interestingly enough, Adler’s music does not have a strong ‘Neoclassic’ quality to it, but rather, a more contemporary harmonic and formal language. Adler published the first edition of the textbook The Study of Orchestration in 1982 and released newer editions in 1989, 2002, and 2016. For this paper, I will be using the fourth edition, which is the newest and most up to date version available. 1 Samuel Adler, The Study of Orchestration , 4th ed. (New York , NY: W.W. Norton and Company, 2016), 7. In contrast to Adler, Nikolay Rimsky-Korsakov was a Russian composer who was born in 1844. Korsakov was a member of the group of Russian composers known as “The Five,” the other members being Mily Balakirev, César Cui, Modest Mussorgsky, and Alexander Borodin. Korsakov, along with the other members of “The Five”, believed in creating a strong Russian music legacy with distinctive nationalistic qualities. Korsakov primarily studied with Balakirev, but also received significant feedback from Pyotr Ilyich Tchaikovsky2. Both Korsakov and Adler experienced and lived through transitional time periods with regards to the evolution of Western Classical music. Korsakov lived in the latter half of the romantic era, in which music was becoming more and more chromatic, straying away from the traditions of the 19th century. Alternatively, Adler experienced Post- Modernism at its pinnacle, with an over saturation of new genres, styles, and techniques all evolving at once. I am curious to see how these two very diverse and unique backgrounds will affect the respective author’s treatise on orchestration. I will first discuss what each text suggests regarding melody, and bringing a melodic line out of the texture, as well as which doublings are more successful. Though the orchestra can be divided into five main sections, I will focus primarily on the strings, woodwinds, and brass sections (percussion and keyboard writing deals less with doublings and more with texture.) Korsakov’s treatise essentially states that two of the four instruments within the string section are practical for melodic writing. The violins, as historically used, provide a sure success with the full resonance and high range and violoncellos, with 2 Slonimsky, Nicolas, and Richard Taruskin. "Nikolay Rimsky-Korsakov." Encyclopædia Britannica Inc., April 20, 2009. Accessed April 9, 2017. their thick, rich timbre. It is noted that Korsakov states the violoncellos are to be used for “passionate, expressive” melodies, rather than quick rapid phrases. The violas rarely will have a melodic line for an extended period due to the “nasal quality” of the instrument as well as the lesser number of performers within the orchestra, compared to that of the violins or cellos (Korsakov pg. 37). The double bass never receives the foreground melodic line without being doubled with either the cellos or another instrument. Due to the range and muffled resonance, the bass should never stand-alone without support from other members3. Interestingly enough, Samuel Adler’s text discusses the foreground within the string section as not dependent on the individual instrument being used, but the range, dynamics, and sound quality desired by the composer. Adler similarly states that the violins are an extremely common group to give the melody to, as well as the cello’s being equally appropriate. Adler agrees with Korsakov regarding the cello’s should be used for more lyrical melodies due to the instruments resonance. The use of the viola however, is stated as being just as acceptable as the violin, as long as the tessitura of the other stringed instruments allows the viola to shine through the texture. Adler also notes the bass has increasingly become more independent but is less common to carry the melody alone4. Korsakov describes orchestration within the woodwind family as being a matter of “personal taste.” He makes it clear that the natural order of the register 3 Slonimsky, Nicolas, and Richard Taruskin. "Nikolay Rimsky-Korsakov." Encyclopædia Britannica Inc., April 20, 2009. Accessed April 9, 2017. 4 Adler, Samuel. 2016. The Study of Orchestration. New York, NY: Norton. should be strictly followed (i.e. flutes, oboes, clarinets, bassoons) or the resulting sound will be a far-fetched, unnatural sounding tone quality (Korsakov pg. 47). Within woodwinds, doubling in unison between different instruments will change the timbre of the original sound. As long as the composer is aware of the sound quality created, doublings at the unison are acceptable. Korsakov strictly states that doubling the same instruments at the octave, however, should be avoided at all costs as the different registers will not correspond with one another. All other doublings within the woodwind family should follow the natural order as stated above (Korsakov pg. 47). In comparison to the Kosakov text, Adler disagrees and states that doubling similar wind instruments at the unison is correct, with precaution taken regarding the change in the sound spectrum. Adler also suggests that such doubling is most effective in tutti sections (sections where the full orchestra plays at once) but should not necessarily be avoided. Adler also discusses how doubling should occur between two instruments with similar resonance for a more effective result5. The brass section is best known for creating the powerful climaxes, and hair- raising moments within compositions. Korsakov describes the section as only taking the melody when simple, energetic power is desired. The nature of brass instruments dictates the incompatibility with expressive and passionate melodic phrases. Brass is most effective solo, or doubled at the unison according to Korsakov. For extreme power, a variety of different brass instruments doubled at 5 Adler, Samuel. 2016. The Study of Orchestration. New York, NY: Norton. p664 the unison will create a very dense and thick sound quality. Lastly, Korsakov notes that doubling the same brass instruments at the octave, thirds, sixth, etc. yields great results6. Adler discusses the large make up of modern brass sections, and discusses the resonance produced based on different chords. Essentially, Adler suggests following the overtone series and where the pitches fall most naturally within each instrument’s spectrum. Adler also states that doubling within brass is dependent upon the dynamics. If the passage is softer than a mezzo forte, any doubling is effective. If a passage is louder than a mezzo forte, the horns should be doubled to match one trombone’s dynamic7. The orchestra is an instrument with a wide variety of sounds and possibilities at the composer’s dispense. Melodic doublings are often carried between different instrumental families to provide new timbres and sounds. Korsakov simply lays out the variety of melodic doublings in combinations between the families. He first discusses doublings between the woodwind and brass sections. Doubling a melody with a woodwind and brass instrument results in a very complex resonance. The brass instrument, in this case, predominates the sound, while the woodwind instrument softens the overall tone. According to Korsakov, the most common brass instrument to be doubled with woodwinds is the trumpet. The trumpets range and rich timbre give it the most freedom to blend better with other instruments. The horn is a less common doubling that is rarely found in the repertoire doubling the melody with a woodwind. The next combinations discussed 6 Rimsky-Korsakov, Nikolay. 1964. Principles of Orchestration. Newbury Park, CA: P.L. Alexander. P48 7 Adler, Samuel. 2016. The Study of Orchestration. New York, NY: Norton. P394 are melodic doublings between strings and woodwinds. In the words of Korsakov, “All combinations of strings and wood-wind are good.”(Korsakov pg. 58). He describes how the woodwinds increase the resonance of the strings, and the strings soften the resonance of the woodwinds, creating a beautiful timbral blend. The final combinations of doublings are the strings and brass. Korsakov advises the composer that the different resonance does not blend well. In fact, a melodic doubling between a string instrument and brass would be heard separately as two distinctly different instruments.
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