- 1[Volume I] — Editor’s Preface
- 2Extract From the Author’s Preface (1891)
- 3Extract From the Preface to the Last Edition
- 4Chapter I — General Review of Orchestral Groups — A. Stringed Instr…
- 5Table A. String Group
- 6B. Wind Instruments
- 7Note to Table B.
- 8Table B. Wind Group
- 9Brass
- 10Table C. Brass Group
- 11C. Instruments of Little Sustaining Power
- 12Pizzicato
- 13Harp
- 14Percussion Instruments Producing Determinate Sounds, Keyed Instrume…
- 15Table D — Pizzicato — * Table E — Glockenspiel, Celesta, Xylophone
- 16Glockenspiel, Bells, Xylophone
- 17Percussion Instruments Producing Indefinite Sounds
- 18Comparison of Resonance in Orchestral Groups and Combination of Dif…
- 19Chapter II — Melody
- 20Melody in Stringed Instruments
- 21a) Violins
- 22b) Violas
- 23c) Violoncellos
- 24d) Double Basses
- 25Grouping in Unison
- 26Stringed Instruments Doubling in Octaves
- 27Melody in Double Octaves
- 28Doubling in Three and Four Octaves
- 29Melody in Thirds and Sixths
- 30Melody in the Wood-Wind
- 31Combination in Unison
- 32Combination in Octaves
- 33Doubling in Two, Three and Four Octaves
- 34Melody in Thirds and Sixths
- 35Thirds and Sixths Together
- 36Melody in the Brass
- 37Brass in Unison, in Octaves, Thirds and Sixths
- 38Melody in Different Groups of Instruments Combined Together
- 39B. Combination of Wind and Brass in Octaves
- 40Examples of Doubling in Octaves
- 41C — Combination of Strings and Wind
- 42D — Combination of Strings and Brass
- 43E. Combination of the Three Groups
- 44Chapter III — Harmony — General Observations
- 45Number of Harmonic Parts — Duplication
- 46Distribution of Notes in Chords
- 47String Harmony
- 48Wood-wind Harmony
- 49Four-part and Three-Part Harmony
- 50Harmony in Several Parts
- 51Duplication of Timbres
- 52Remarks
- 53Harmony in the Brass — Four-part Writing
- 54Three-part Writing — Writing in Several Parts
- 55Duplication in the Brass
- 56Harmony in Combined Groups
- 57B. Combination of Strings and Wind
- 58C — Combination of the Three Groups
- 59Chapter IV — Composition of the Orchestra — Different Ways of Orche…
- 60Full Tutti
- 61Tutti in the Wind
- 62Tutti Pizzicato
- 63Tutti in One, Two and Three Parts
- 64Soli in the Strings
- 65Limits of Orchestral Range
- 66Transference of Passages and Phrases
- 67Chords of Different Tone Quality Used Alternately
- 68Amplification and Elimination of Tone Qualities
- 69Repetition of Phrases, Imitation, Echo
- 70Sforzando-piano and Piano-Sforzando Chords
- 71Method of Emphasising Certain Notes and Chords
- 72Crescendo and Diminuendo
- 73Diverging and Converging Progressions
- 74Tone Quality as a Harmonic Force Harmonic Basis
- 75Artificial Effects
- 76Use of Percussion Instruments for Rhythm and Colour
- 77Economy in Orchestral Colour
- 78Orchestral Accompaniment of Solo Voices
- 79Transparence of Accompaniment. Harmony
- 80Doubling Voices in the Orchestra
- 81Recitative and Declamation
- 82Orchestral Accompaniment of the Chorus
- 83Solo Voice With Chorus
- 84Instruments on the Stage and in the Wings
- 85Chapter VI — (Supplementary) — Technical Terms
- 86Soloists
- 87Vocalisation
- 88Table F. Voices
- 89Vowels
- 90Flexibility
- 91Colour and Character of Voices
- 92Voices in Combination
- 93Duet
- 94Trios, Quartets etc.
- 95Chorus
- 96Melody
- 97A. Mixed Chorus
- 98Progression in Octaves
- 99Voices (Divisi); Harmonic Use of the Mixed Chorus
- 100B. Men’s Chorus and Women’s Chorus
- 101With Musical Examples Drawn From His Own Works
- 102W. Bessel & Co., Publishers, Petrograd
- 103P. Jurgenson, Publisher, Moscow — M.P. Belaieff, Publisher, Leipzig
- 104No. 8 — “Snegourotchka.” — No. 8. „Sniégourotchka.“ · No. 9 — “Sneg…
Principles of Orchestration
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