power & richness
enriched & amplified string quartet tone
usually doubling by some "absorbed" WW
1 of 16
V + Vla ?
V remain predominant
Rich & full resonance
2 of 16
Vla + Vlc ?
Vlc predominant
Rich & full resonance
3 of 16
V + Vlc ?
Vlc predominant
fuller resonance
4 of 16
VI + VII + Vla + Vlc ?
Only in alto/tenor register
unites the full resonance ->
complex quality
forte : VERY tense & powerful
piano : rich & full
5 of 16
Vlc + Cb ?
rich & full
for phrases in the very low register
6 of 16
8va : VI & VII ?
Very common for all kinds of melodic figures
esp. very high register
Secures expression
fullness of tone
firmness of timbre
7 of 16
8va : Vl divisi ?
division of VI or VII (or both simultaneously) =
deprive the melody of resonance
(players on each parts div by half)
Possible when doubled by the WW
8 of 16
8va : Vl (I or II) & Vla ?
Common method
esp when lower 8va goes below the open G
9 of 16
8va : (VI + VII) & Vla ?
Greater brilliance in the upper part
10 of 16
8va : VI & (VII + Vla) ?
fuller & more cantabile in the lower part
11 of 16
8va : Vla & Vlc
special use when Vl otherwise employed
12 of 16
8va : (VI+VII) & Vlc
Frequent
used in very expressive passages
Cellos have to play on D or A
More resonant tone than vla/vlc
less powered alternative
8va : VI & Vlc
13 of 16
8va : Vlc & Cb
usual construction of bass line
cb part simplified sometimes
14 of 16
8va : Vla & Cb
Seldom
only when Vlc otherwise employed
15 of 16
8va :
(VI+VII) & (Vla+Vlc)
Constantly found
beautiful & severe quality of tone
I : melodies in extreme up/low
doubled an 8va below/higher
II : avoid 8vas by same kind except VI/VII
III : occasionally
(Vla+Vlc1) & (Cb + Vlc2)
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