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+Project Gutenberg's Principles of Orchestration, by Nikolay Rimsky-Korsakov
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Principles of Orchestration
+       With musical examples drawn from his own works
+
+Author: Nikolay Rimsky-Korsakov
+
+Editor: Maximilian Steinberg
+
+Translator: Edward Agate
+
+Release Date: September 30, 2010 [EBook #33900]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PRINCIPLES OF ORCHESTRATION ***
+
+
+
+
+Produced by Mark C. Orton, Linda Cantoni, and the Online
+Distributed Proofreading Team at http://www.pgdp.net. Music
+transcribed by Linda Cantoni. Thanks to Alex Guzman for
+his assistance in interpreting orchestral notation.
+
+
+
+
+
+
+
+
+
+[Transcriber's Notes: This e-book was prepared from a 1964 reprint
+published by Dover Publications, Inc., New York, which in turn was
+prepared from the two-volume 1922 English translation published by
+Édition Russe de Musique, Paris.
+
+Volume I contains the text of the work; Volume II contains the musical
+examples referred to in Volume I. This plaintext version of the e-book
+contains only Volume I and the front matter of Volume II. To see and
+hear the musical examples in Volume II, see the HTML version.
+
+The original uses boxed numbers to refer to sections of musical
+scores. They are represented here in double square brackets, e.g.,
+[[27]], [[B]]. See the footnote at the beginning of Chapter II for the
+editor's explanation of the musical examples and the boxed rehearsal
+numbers. The use of asterisks is explained in the Editor's Preface.
+
+Obvious printer errors have been corrected without note. Other
+apparent errors are noted with a [Transcriber's Note].
+
+The original contains a number of tables of instrument distribution.
+Those occurring in the middle of a line are rendered in a single line,
+using forward slashes to indicate line breaks. For example, where the
+following occurs in the middle of a line, in the original,
+
+Vns I  ]
+Vns II ]
+Vns III] 8
+
+it is rendered in this e-book as
+
+Vns I/Vns II/Vns III] 8.
+
+This e-book uses the octave numbering system to describe the
+single-note music examples. Under this system, for example, middle C
+is C4, and the scale following would be D4, E4, etc.; the C below
+middle C is rendered as C3, and the scale following would be D3, E3,
+etc.; the C above middle C is rendered as C5, and the scale following
+would be D5, E5, etc.
+
+Sharp, flat, and natural symbols are rendered as [sharp], [flat], and
+[natural], respectively. Other musical symbols are rendered as
+[symbol: name].
+
+Italics are surrounded by _underscores_. Boldface text is surrounded
+by =equal signs=.]
+
+
+
+
+NIKOLAY RIMSKY-KORSAKOV
+
+
+_Principles of Orchestration_
+
+
+_with musical examples
+drawn from his own works_
+
+
+Edited by
+MAXIMILIAN STEINBERG
+
+English translation by
+EDWARD AGATE
+
+
+[VOLUME I]
+
+
+[Édition Russe de Musique, Paris, 1922]
+
+
+
+
+CONTENTS
+
+
+                                                                  page
+
+Editor's Preface                                              VII--XII
+Extract from the Author's preface (1891)                             1
+Extract from the Preface to the last edition                         5
+
+Chapter I.--General review of orchestral groups
+
+  A. Stringed instruments                                            6
+  B. Wind instruments:
+     Wood-wind                                                      12
+     Brass                                                          21
+  C. Instruments of little sustaining power:
+     Plucked strings                                                26
+       Pizzicato                                                    27
+       Harp                                                         27
+     Percussion instruments producing determinate sounds, keyed
+       instruments
+       Kettle-drums                                                 29
+       Piano and Celesta                                            30
+       _Glockenspiel_, Bells, Xylophone                             32
+     Percussion instruments producing indefinite sounds             32
+     Comparison of resonance in orchestral groups, and combination
+       of different tone qualities                                  33
+
+Chapter II.--Melody
+
+  Melody in stringed instruments                                    36
+  Grouping in unison                                                39
+    Stringed instruments doubling in octaves                        40
+    Melody in double octaves                                        44
+    Doubling in three and four octaves                              45
+    Melody in thirds and sixths                                     45
+  Melody in the wood-wind                                           46
+    Combination in unison                                           47
+    Combination in octaves                                          49
+    Doubling in two, three and four octaves                         51
+    Melody in thirds and sixths                                     52
+    Thirds and sixths together                                      53
+  Melody in the brass                                               53
+    Brass in unison, in octaves, thirds and sixths                  55
+  Melody in different groups of instruments combined together       56
+    A. Combination of wind and brass in unison                      56
+    B. Combination of wind and brass in octaves                     57
+    C. Combination of strings and wind                              58
+    D. Combination of strings and brass                             61
+    E. Combination of the three groups                              61
+
+Chapter III.--Harmony
+
+  General observations                                              63
+    Number of harmonic parts--Duplication                           64
+    Distribution of notes in chords                                 67
+  String harmony                                                    69
+  Wood-wind harmony                                                 71
+    Four-part and three-part harmony                                72
+    Harmony in several parts                                        76
+    Duplication of timbres                                          77
+    Remarks                                                         78
+  Harmony in the brass                                              82
+    Four-part writing                                               82
+    Three-part writing                                              84
+    Writing in several parts                                        84
+    Duplication in the brass                                        85
+  Harmony in combined groups                                        88
+    A. Combination of wind and brass                                88
+       1. In unison                                                 88
+       2. Overlaying, crossing, enclosure of parts                  90
+    B. Combination of strings and wind                              94
+    C. Combination of the three groups                              95
+
+Chapter IV.--Composition of the orchestra
+
+  Different ways of orchestrating the same music                    97
+  Full _Tutti_                                                     101
+  _Tutti_ in the wind                                              103
+  _Tutti pizzicato_                                                103
+  _Tutti_ in one, two and three parts                              104
+  _Soli_ in the strings                                            104
+  Limits of orchestral range                                       106
+  Transference of passages and phrases                             107
+  Chords of different tone quality used alternately                108
+  Amplification and elimination of tone qualities                  109
+  Repetition of phrases, imitation, echo                           110
+  _Sforzando-piano_ and _piano-sforzando_ chords                   111
+  Method of emphasising certain notes and chords                   111
+  _Crescendo_ and _diminuendo_                                     112
+  Diverging and converging progressions                            113
+  Tone quality as a harmonic force. Harmonic basis                 114
+  Artificial effects                                               116
+  Use of percussion instruments for rhythm and colour              117
+  Economy in orchestral colour                                     118
+
+Chapter V.--Combination of the human voice with orchestra.
+The Stage band
+
+  Orchestral accompaniment of solo voices                          119
+    General remarks                                                119
+    Transparence of accompaniment. Harmony                         120
+    Doubling voices in the orchestra                               122
+    Recitative and declamation                                     125
+  Orchestral accompaniment of the chorus                           126
+    Solo voice with chorus                                         128
+  Instruments on the stage and in the wings                        129
+
+Chapter VI (Supplementary).--Voices
+
+  Technical terms                                                  132
+  Soloists                                                         133
+    Range and register                                             133
+    Vocalisation                                                   134
+    Vowels                                                         136
+    Flexibility                                                    137
+    Colour and character of voices                                 137
+  Voices in combination                                            139
+    Duet                                                           139
+    Trios, quartets etc.                                           141
+  Chorus                                                           142
+    Range and register                                             142
+    Melody                                                         144
+  A. Mixed chorus                                                  145
+     Chorus in unison                                              145
+     Progression in octaves                                        145
+     Voices _divisi_; harmonic use of the mixed chorus             146
+  B. Men's chorus and Women's chorus                               148
+
+
+
+
+Editor's Preface.
+
+
+Rimsky-Korsakov had long been engrossed in his treatise on
+orchestration. We have in our possession a thick note book of some 200
+pages in fine hand writing, dating from the years 1873-1874,
+containing a monograph on the question of acoustics, a classification
+of wind instruments and a detailed description of the construction and
+fingering of the different kinds of flute, the oboe, clarinet and
+horn.[1]
+
+[Footnote 1: This manuscript was given to me by Alexander Glazounov;
+if a Rimsky-Korsakov museum is ever founded it will be placed there.]
+
+In his "Memoirs of my musical life" (1st edition, p. 120) the
+following passage occurs: "I had planned to devote all my energies to
+the compilation of a full treatise on orchestration. To this end I
+made several rough copies, jotting down explanatory notes detailing
+the technique of different instruments. What I intended to present to
+the world on this subject, was to include _everything_. The writing of
+this treatise, or, to be more exact, the sketch for it took up most of
+my time in the years 1873 and 1874. After reading the works of Tyndall
+and Helmholtz, I framed an introduction to my work, in which I
+endeavoured to expound the laws of acoustics as applied to the
+principles governing the construction of musical instruments. My
+manual was to begin with a detailed list of instruments, classified in
+groups and tabulated, including a description of the various systems
+in use at the present day. I had not yet thought of the second part of
+the book which was to be devoted to instruments in combination. But I
+soon realised that I had gone too far. With wind instruments in
+particular, the different systems were innumerable, and each
+manufacturer favoured his own pet theory. By the addition of a certain
+key the maker endowed his instrument with the possibility of a new
+trill, and made some difficult passages more playable than on an
+instrument of another kind.
+
+"There was no end to such complications. In the brass, I found
+instruments with three, four, and five valves, the mechanism varying
+according to the make. Obviously, I could not hope to cover so large a
+field; besides, of what value would such a treatise be to the student?
+Such a mass of detailed description of the various systems, their
+advantages and drawbacks, could not but fail to confuse the reader
+only too eager to learn. Naturally he would wish to know what
+instrument to employ, the extent of its capabilities etc., and getting
+no satisfactory information he would throw my massive work aside. For
+these reasons my interest in the book gradually waned, and finally I
+gave up the task."
+
+In 1891 Rimsky-Korsakov, now an artist of standing, the composer of
+_Snegourotchka_, _Mlada_, and _Shéhérazade_, a master of the
+orchestral technique he had been teaching for twenty years, returned
+to his handbook on instrumentation. He would seem to have made notes
+at different times from 1891 to 1893, during which period, after the
+first performance of _Mlada_, he gave up composition for a while.
+These notes, occasionally referred to in his _Memoirs_, are in three
+volumes of manuscript-paper. They contain the unfinished preface of
+1891, a paragraph full of clear, thoughtful writing, and reprinted in
+this book.[2]
+
+[Footnote 2: This preface had already been published in his _Notes and
+Articles on Music_ (St. Petersburgh, 1911).]
+
+As the author tells us in his _Memoirs_ (p. 297), the progress of his
+work was hampered by certain troublesome events which were happening
+at the time. Dissatisfied with his rough draft, he destroyed the
+greater part of it, and once more abandoned his task.
+
+In 1894 he composed _The Christmas Night_; this was the beginning of
+his most fertile period. He became entirely engrossed in composition,
+making plans for a fresh opera as soon as the one in hand was
+completed. It was not until 1905 that his thoughts returned to the
+treatise on orchestration, his musical output remaining in abeyance
+through no fault of his own. Since 1891 the plan of the work had been
+entirely remodelled, as proved by the rough drafts still extant. The
+author had given up the idea of describing different instruments from
+their technical standpoint, and was more anxious to dwell upon the
+value of tone qualities and their various combinations.
+
+Among the author's papers several forms of the book have been found,
+each widely differing in detail from the other. At last, in the summer
+of 1905 Rimsky-Korsakov brought his plans to a head, and outlined the
+six chapters which form the foundation of the present volume. But the
+work suffered a further interruption, and the sketches were once more
+laid aside. In his _Memoirs_, Rimsky-Korsakov explains the fact by
+lack of interest in the work and a general feeling of weariness: "The
+treatise remained in abeyance. To start with, the form of the book was
+not a success, and I awaited the production of _Kitesh_, in order to
+give some examples from that work" (p. 360).
+
+Then came the autumn of 1906. The composer experienced another rush of
+creative energy; his opera, _The Golden Cockerel_ made rapid strides,
+and kept him busy all that winter and the following summer. When it
+was finished, in the autumn of 1907, his thoughts reverted to the
+treatise on orchestration. But the work made little progress. The
+author had his doubts as to the adequacy of the plan he had adopted,
+and, in spite of the entreaties of his pupils and friends, he could
+not bring himself to broach the latter part of the book. Towards the
+end of 1907 Rimsky-Korsakov was constantly ailing in health, and this
+materially affected his energy. He spent the greater part of his time
+reading old notes and classifying examples. About the 20th of May
+he set out for his summer residence in Lioubensk, and having just
+recovered from a third severe attack of inflammation of the lungs,
+began to work on the first chapter of the treatise in its present,
+final form. This chapter was finished on June 7/20, about 4 o'clock in
+the afternoon; the same night, the composer was seized with a fourth
+attack which proved fatal.
+
+The honour fell on me to prepare this last work of Rimsky-Korsakov for
+publication. Now that _Principles of Orchestration_ has appeared in
+print I think it necessary to devote a few words to the essential
+features of the book, and to the labour imposed upon me in my capacity
+as editor.
+
+On the first point I will say but little. The reader will observe from
+the Contents that the work differs from others, not merely by reason
+of its musical examples, but more especially in the systematic
+arrangement of material, not according to orchestral division in
+groups (the method adopted by Gevaert for instance), but according to
+_each constituent of the musical whole, considered separately_. The
+orchestration of melodic and harmonic elements (Chapters II and III)
+receives special attention, as does the question of orchestration in
+general (Chapter IV). The last two chapters are devoted to operatic
+music, and the sixth takes a supplementary form, having no direct
+bearing on the previous matter.
+
+Rimsky-Korsakov altered the title of his book several times, and his
+final choice was never made. The title I have selected seems to me to
+be the one most suitable to the contents of the work, "principles" in
+the truest sense of the word. Some may expect to find the "secrets" of
+the great orchestrator disclosed; but, as he himself reminds us in his
+preface, "to orchestrate is to create, and this is something which
+cannot be taught."
+
+Yet, as invention, in all art, is closely allied to technique, this
+book may reveal much to the student of instrumentation.
+Rimsky-Korsakov has often repeated the axiom that _good orchestration
+means proper handling of parts_. The simple use of tone-colours and
+their combinations may also be taught, but there the science of
+instruction ends. From these standpoints the present book will furnish
+the pupil with nearly everything he requires. The author's death
+prevented him from discussing a few questions, amongst which I would
+include full polyphonic orchestration and the scoring of melodic and
+harmonic designs. But these questions can be partly solved by the
+principles laid down in Chapters II and III, and I have no wish to
+overcrowd the first edition of this book with extra matter which can
+be added later, if it is found to be necessary. I had first of all to
+prepare and amplify the sketches made by Rimsky-Korsakov in 1905;
+these form a connected summary throughout the whole six chapters.
+Chapter I was completed by the author; it is published as it stands,
+save for a few unimportant alterations in style. As regards the other
+five chapters, I have tried to keep to the original drafts as far as
+possible, and have only made a few changes in the order, and one or
+two indispensable additions. The sketches made between 1891 and 1893
+were too disconnected to be of much use, but, in point of fact, they
+corresponded very closely to the final form of the work.
+
+The musical examples are of greater importance. According to the
+original scheme, as noted on the 1891 MS., they were to be drawn from
+the works of Glinka and Tschaikovsky; those of Borodin and Glazounov
+were to be added later. The idea of choosing examples solely from his
+own works only came to Rimsky-Korsakov by degrees. The reasons for
+this decision are partly explained in the unfinished preface of 1905,
+but other motives may be mentioned. If Rimsky-Korsakov had chosen his
+examples from the works of these four composers, he would have had to
+give some account of their individual, and often strongly marked
+peculiarities of style. This would have been a difficult undertaking,
+and then, how to justify the exclusion of West-European composers,
+Richard Wagner, for example, whose orchestration Rimsky-Korsakov so
+greatly admired? Besides, the latter could hardly fail to realise that
+his own compositions afforded sufficient material to illustrate every
+conceivable manner of scoring, examples _emanating from one great
+general principle_. This is not the place to criticise his method;
+Rimsky-Korsakov's "school" is here displayed, each may examine it for
+himself. The brilliant, highly-coloured orchestration of Russian
+composers, and the scoring of the younger French musicians are largely
+developments of the methods of Rimsky-Korsakov, who, in turn, looked
+upon Glinka as his spiritual father.
+
+The table of examples found among the author's papers was far from
+complete; some portions were badly explained, others, not at all. The
+composer had not mentioned which musical quotations were to be printed
+in the second volume, and which examples were to indicate the study of
+the full score; further, no limit was fixed to the length of
+quotation. All this was therefore left to the editor's discretion. I
+selected the examples only after much doubt and hesitation, finding it
+difficult to keep to those stipulated by the composer, as every page
+of the master's works abounds in appropriate instances of this or that
+method of scoring.
+
+I was guided by the following considerations which agreed with the
+opinions of the author himself: in the first place the examples should
+be as simple as possible, so as not to distract the student's
+attention from the point under discussion; secondly, it was necessary
+that one example should serve to illustrate several sections of the
+book, and lastly, the majority of quotations should be those mentioned
+by the author. These amount to 214, in the second volume; the
+remaining 98 were added by me. They are drawn, as far as possible,
+from Rimsky-Korsakov's dramatic music, since operatic full-scores are
+less accessible than those of symphonic works.[3]
+
+[Footnote 3: Recently the firm of Belaieff has published
+Rimsky-Korsakov's symphonic works in miniature score, pocket-size.]
+
+At the end of Vol. II I have added three tables showing different ways
+of scoring full chords; all my additions to the text are marked with
+asterisks. I consider that the careful study of the examples contained
+in the second volume will be of the greatest use to the student
+_without replacing_ the need for the study of other composers' scores.
+Broadly speaking, the present work should be studied together with the
+reading of full scores in general.
+
+A few words remain to be said regarding Rimsky-Korsakov's intention to
+point out the faulty passages in his orchestral works, an intention
+expressed in his preface to the last edition. The composer often
+referred to the instructional value of such examinations. His purpose
+however was never achieved. It is not for me to select these examples,
+and I shall only mention two which were pointed out by the composer
+himself: 1. _The Legend of Tsar Saltan_ [[220]], 7th bar--the theme
+in the brass is not sufficiently prominent the trombones being _tacet_
+(a mistake easily rectified); 2. _The Golden Cockerel_ [[233]], bars
+10-14, if the marks of expression are observed in the brass, the
+counter-melody on the violas and violoncellos doubled by the wood-wind
+will hardly be heard. Example 75 may also be mentioned, to which the
+note on page 63, in the text, refers. I will confine myself to these
+examples.
+
+In conclusion I desire to express my deep gratitude to Madame
+Rimsky-Korsakov for having entrusted me with the task of editing this
+work, thereby providing me with the opportunity of performing a duty
+sacred to the memory of a master, held so deeply in reverence.
+
+_St. Petersburgh_, December 1912.
+
+MAXIMILIAN STEINBERG.
+
+
+
+
+Extract from the Author's Preface (1891).
+
+
+Our epoch, the post-Wagnerian age, is the age of brilliance and
+imaginative quality in orchestral tone colouring. Berlioz, Glinka,
+Liszt, Wagner, modern French composers--Delibes, Bizet and others;
+those of the new Russian school--Borodin, Balakirev, Glazounov and
+Tschaikovsky--have brought this side of musical art to its zenith;
+they have eclipsed, as colourists, their predecessors, Weber,
+Meyerbeer and Mendelssohn, to whose genius, nevertheless, they are
+indebted for their own progress. In writing this book my chief aim has
+been to provide the well-informed reader with the fundamental
+principles of modern orchestration from the standpoint of brilliance
+and imagination, and I have devoted considerable space to the study of
+tonal resonance and orchestral combination.
+
+I have tried to show the student how to obtain a certain quality of
+tone, how to acquire uniformity of structure and requisite power. I
+have specified the character of certain melodic figures and designs
+peculiar to each instrument or orchestral group, and reduced these
+questions briefly and clearly to general principles; in short I have
+endeavoured to furnish the pupil with matter and material as carefully
+and minutely studied as possible. Nevertheless I do not claim to
+instruct him as to how such information should be put to artistic use,
+nor to establish my examples in their rightful place in the poetic
+language of music. For, just as a handbook of harmony, counterpoint,
+or form presents the student with harmonic or polyphonic matter,
+principles of construction, formal arrangement, and sound technical
+methods, but will never endow him with the talent for composition, so
+a treatise on orchestration can demonstrate how to produce a
+well-sounding chord of certain tone-quality, uniformly distributed,
+how to detach a melody from its harmonic setting, correct progression
+of parts, and solve all such problems, but will never be able to teach
+the art of poetic orchestration. To orchestrate is to create, and this
+is something which cannot be taught.
+
+It is a great mistake to say: this composer scores well, or, that
+composition is well orchestrated, for orchestration is _part of the
+very soul of the work_. A work is thought out in terms of the
+orchestra, certain tone-colours being inseparable from it in the mind
+of its creator and native to it from the hour of its birth. Could the
+essence of Wagner's music be divorced from its orchestration? One
+might as well say that a picture is well _drawn_ in colours.
+
+More than one classical and modern composer has lacked the capacity to
+orchestrate with imagination and power; the secret of colour has
+remained outside the range of his creative faculty. Does it follow
+that these composers do not _know how_ to orchestrate? Many among them
+have had greater knowledge of the subject than the mere colourist. Was
+Brahms ignorant of orchestration? And yet, nowhere in his works do we
+find evidence of brilliant tone or picturesque fancy. The truth is
+that his thoughts did not turn towards colour; his mind did not exact
+it.
+
+The power of subtle orchestration is a secret impossible to transmit,
+and the composer who possesses this secret should value it highly, and
+never debase it to the level of a mere collection of formulæ learned
+by heart.
+
+Here I may mention the case of works scored by others from the
+composer's rough directions. He who undertakes such work should enter
+as deeply as he may into the spirit of the composer, try to realise
+his intentions, and develop them in all their essential features.
+
+Though one's own personality be subordinate to that of another, such
+orchestration is nevertheless creative work. But on the other hand, to
+score a composition never intended for the orchestra, is an
+undesirable practice. Many musicians have made this mistake and
+persist in it.[4] In any case this is the lowest form of
+instrumentation, akin to colour photography, though of course the
+process may be well or badly done.
+
+[Footnote 4: In the margin of the MS. a question mark is added here.
+(Editor's note.)]
+
+As regards orchestration it has been my good fortune to belong to a
+first-rate school, and I have acquired the most varied experience. In
+the first place I have had the opportunity of hearing all my works
+performed by the excellent orchestra of the St. Petersburgh Opera.
+Secondly, having experienced leanings towards different directions, I
+have scored for orchestras of different sizes, beginning with simple
+combinations (my opera _The May Night_ is written for natural horns
+and trumpets), and ending with the most advanced. In the third place,
+I conducted the choir of the Military Marine for several years and was
+therefore able to study wind-instruments. Finally I formed an
+orchestra of very young pupils, and succeeded in teaching them to
+play, quite competently, the works of Beethoven, Mendelssohn, Glinka,
+etc. All this has enabled me to present this work to the public as the
+result of long experience.
+
+As a starting-point I lay down the following fundamental axioms:
+
+I. _In the orchestra there is no such thing as ugly quality of tone._
+
+II. _Orchestral writing should be easy to play_; a composer's work
+stands the best chance when the parts are well written.[5]
+
+[Footnote 5: A. Glazounov has well expressed the various degrees of
+excellence in scoring, which he divides into three classes: 1. When
+the orchestra sounds well, playing from sight; magnificent, after a
+few rehearsals. 2. When effects cannot be brought off except with the
+greatest care and attention on the part of conductor and players. 3.
+When the orchestra never sounds well. Evidently the chief aim in
+orchestration is to obtain the first of these results. (Author's
+note.)]
+
+III. _A work should be written for the size of orchestra that is to
+perform it_, not for some imaginary body, as many composers persist in
+doing, introducing brass instruments in unusual keys upon which the
+music is impracticable because it is not played in the key the
+composer intends.
+
+It is difficult to devise any method of learning orchestration without
+a master. As a general rule it is best to advance by degrees from the
+simplest scoring to the most complicated.
+
+The student will probably pass through the following phases: 1. the
+phase during which he puts his entire faith in percussion
+instruments, believing that beauty of sound emanates entirely from
+this branch of the orchestra--this is the earliest stage; 2. the
+period when he acquires a passion for the harp, using it in every
+possible chord; 3. the stage during which he adores the wood-wind and
+horns, using stopped notes in conjunction with strings, muted or
+_pizzicato_; 4. the more advanced period, when he has come to
+recognise that the string group is the richest and most expressive of
+all. When the student works alone he must try to avoid the pitfalls of
+the first three phases. The best plan is to study full-scores, and
+listen to an orchestra, score in hand. But it is difficult to decide
+what music should be studied and heard. Music of all ages, certainly,
+but, principally, that which is fairly modern. Fairly modern music
+will teach the student how to score--classical music will prove of
+negative value to him. Weber, Mendelssohn, Meyerbeer (_The Prophet_),
+Berlioz, Glinka, Wagner, Liszt, and modern French and Russian
+composers--these will prove his best guides. It is useless for a
+Berlioz or a Gevaert to quote examples from the works of Gluck. The
+musical idiom is too old-fashioned and strange to modern ears; such
+examples are of no further use today. The same may be said of Mozart
+and of Haydn (the father of modern orchestration).
+
+The gigantic figure of Beethoven stands apart. His music abounds in
+countless leonine leaps of orchestral imagination, but his technique,
+viewed in detail, remains much inferior to his titanic conception. His
+use of the trumpets, standing out above the rest of the orchestra, the
+difficult and unhappy intervals he gives to the horns, the distinctive
+features of the string parts and his often highly-coloured employment
+of the wood-wind,--these features will combine causing the student of
+Beethoven to stumble upon a thousand and one points in contradiction.
+
+It is a mistake to think that the beginner will light upon no simple
+and instructive examples in modern music, in that of Wagner and
+others. On the contrary, clearer, and better examples are to be found
+amongst modern composers than in what is called the range of classical
+music.
+
+
+
+
+Extract from the Preface to the last edition.
+
+
+My aim in undertaking this work is to reveal the principles of modern
+orchestration in a somewhat different light than that usually brought
+to bear upon the subject. I have followed these principles in
+orchestrating my own works, and, wishing to impart some of my ideas to
+young composers, I have quoted examples from my own compositions, or
+given references to them, endeavouring to show, in all sincerity, what
+is successful and what is not. No one can know except the author
+himself the purpose and motives which governed him during the
+composition of a certain work, and the practice of explaining the
+intentions of a composer, so prevalent amongst annotators, however
+reverent and discreet, appears to me far from satisfactory. They will
+attribute a too closely philosophic, or excessively poetic meaning to
+a plain and simple fact. Sometimes the respect which great composers'
+names command will cause inferior examples to be quoted as good; cases
+of carelessness or ignorance, easily explained by the imperfections of
+current technique, give rise to whole pages of laborious exposition,
+in defence, or even in admiration of a faulty passage.
+
+This book is written for those who have already studied
+instrumentation from Gevaert's excellent treatise, or any other
+well-known manual, and who have some knowledge of a number of
+orchestral scores.
+
+I shall therefore only just touch on such technical questions as
+fingering, range, emission of sound etc.[6]
+
+[Footnote 6: A short review of these various questions forms the first
+chapter of the book. (Editor's note.)]
+
+The present work deals with the combination of instruments in separate
+groups and in the entire orchestral scheme; the different means of
+producing strength of tone and unity of structure; the sub-division of
+parts; variety of colour and expression in scoring,--the whole,
+principally from the standpoint of dramatic music.
+
+
+
+
+Chapter I.
+
+GENERAL REVIEW OF ORCHESTRAL GROUPS.
+
+
+A. Stringed Instruments.
+
+The following is the formation of the string quartet and the number of
+players required in present day orchestras, either in the theatre or
+concert-room.
+
+--------------+-----------+-----------+-----------+
+              | Full      | Medium    | Small     |
+              | orchestra | orchestra | orchestra |
+--------------+-----------+-----------+-----------+
+              |           |           |           |
+Violins I     |   16      |   12      |   8       |
+              |           |           |           |
+   "   II     |   14      |   10      |   6       |
+              |           |           |           |
+Violas        |   12      |    8      |   4       |
+              |           |           |           |
+Violoncellos  |   10      |    6      |   3       |
+              |           |           |           |
+Double basses | 8-10      |  4-6      | 2-3       |
+--------------+-----------+-----------+-----------+
+
+In larger orchestras, the number of first violins may amount to 20 and
+even 24, the other strings being increased proportionately. But such a
+great quantity of strings overpowers the customary wood-wind section,
+and entails re-inforcing the latter. Sometimes orchestras contain less
+than 8 first violins; this is a mistake, as the balance between
+strings and wind is completely destroyed. In writing for the orchestra
+it is advisable to rely on a medium-sized body of strings. Played by a
+larger orchestra a work will be heard to greater advantage; played by
+a smaller one, the harm done will be minimised.
+
+Whenever a group of strings is written for more than five
+parts--without taking double notes or chords into consideration--these
+parts may be increased by dividing each one into two, three and four
+sections, or even more (_divisi_). Generally, one or more of the
+principal parts is split up, the first or second violins, violas or
+violoncellos. The players are then divided by desks, numbers 1, 3, 5
+etc. playing the upper part, and 2, 4, 6 etc., the lower; or else the
+musician on the right-hand of each desk plays the top line, the one on
+the left the bottom line. Dividing by threes is less easy, as the
+number of players in one group is not always divisible by three, and
+hence the difficulty of obtaining proper balance. Nevertheless there
+are cases where the composer should not hesitate to employ this method
+of dividing the strings, leaving it to the conductor to ensure
+equality of tone. It is always as well to mark how the passage is to
+be divided in the score; Vns I, 1, 2, 3 desks, 6 'Cellos div. à 3,
+and so on. Division into four and more parts is rare, but may be used
+in _piano_ passages, as it greatly reduces volume of tone in the group
+of strings.
+
+     _Note._ In small orchestras passages sub-divided into many
+     parts are very hard to realise, and the effect obtained is
+     never the one required.
+
+String parts may be divided thus:
+
+_a_ {Vns I div.  _b_ {Vns II div.  _c_ {Violas div.  _d_ {'Cellos div.
+    {Vns II div.     {Violas div.      {'Cellos div.     {D. basses div.
+
+Possible combinations less frequently used are:
+
+_e_ {Vns I div.    _f_ {Vns II div.   _g_ {Violas div.
+    {Violas div.       {'Cellos div.      {D. basses div. etc.
+
+     _Note._ It is evident that the tone quality in _b_ and _e_
+     will be similar. Still _b_ is preferable since the number of
+     Vns II (14-10-6) and Violas (12-8-4) is practically the
+     same, the respective rôles of the two groups are more
+     closely allied, and from the fact that second violins
+     generally sit nearer to the violas than the first, thereby
+     guaranteeing greater unity in power and execution.
+
+The reader will find all manner of divisions in the musical examples
+given in Vol. II. Where necessary, some explanation as to the method
+of dividing strings will follow in due course. I dwell on the subject
+here in order to show how the usual composition of the string quartet
+may be altered.
+
+Stringed instruments possess more ways of producing sound than any
+other orchestral group. They can pass, better than other instruments
+from one shade of expression to another, the varieties being of an
+infinite number. Species of bowing such as _legato_, detached,
+_staccato_, _spiccato_, _portamento_, _martellato_, light _staccato_,
+_saltando_, attack at the nut and at the point, [symbol: down bow] and
+[symbol: up bow] (down bow and up bow), in every degree of tone,
+_fortissimo_, _pianissimo_, _crescendo_, _diminuendo_, _sforzando_,
+_morendo_--all this belongs to the natural realm of the string
+quartet.
+
+The fact that these instruments are capable of playing double notes
+and full chords across three and four strings--to say nothing of
+sub-division of parts--renders them not only melodic but also harmonic
+in character.[7]
+
+[Footnote 7: To give a list of easy three and four-note chords, or to
+explain the different methods of bowing does not come within the scope
+of the present book.]
+
+From the point of view of activity and flexibility the violin takes
+pride of place among stringed instruments, then, in order, come the
+viola, 'cello and double bass. In practice the notes of extreme limit
+in the string quartet should be fixed as follows:
+
+for violins: [Music: A7], for violas: [Music: A5],
+for 'cellos: [Music: A4], for double basses: [Music: G4].
+
+Higher notes given in Table A, should only be used with caution, that
+is to say when they are of long value, in _tremolando_, slow, flowing
+melodies, in not too rapid sequence of scales, and in passages of
+repeated notes. Skips should always be avoided.
+
+     _Note._ In quick passages for stringed instruments long
+     chromatic figures are never suitable; they are difficult to
+     play and sound indistinct and muddled. Such passages are
+     better allotted to the wood-wind.
+
+A limit should be set to the use of a high note on any one of the
+three lower strings on violins, violas and 'cellos. This note should
+be the one in the fourth position, either the octave note or the ninth
+of the open string.
+
+Nobility, warmth, and equality of tone from one end of the scale to
+the other are qualities common to all stringed instruments, and render
+them essentially superior to instruments of other groups. Further,
+each string has a distinctive character of its own, difficult to
+define in words. The top string on the violin (_E_) is brilliant in
+character, that of the viola (_A_) is more biting in quality and
+slightly nasal; the highest string on the 'cello (_A_) is bright and
+possesses a "chest-voice" timbre. The _A_ and _D_ strings on the
+violin and the _D_ string on the violas and 'cellos are somewhat
+sweeter and weaker in tone than the others. Covered strings (_G_), on
+the violin (_G_ and _C_), on the viola and 'cello are rather harsh.
+Speaking generally, the double bass is equally resonant throughout,
+slightly duller on the two lower strings (_E_ and _A_), and more
+penetrating on the upper ones (_D_ and _G_).
+
+     _Note._ Except in the case of pedal notes, the double bass
+     rarely plays an independent part, usually moving in octaves
+     or in unison with the 'cellos, or else doubling the
+     bassoons. The quality of the double bass tone is therefore
+     seldom heard by itself and the character of its different
+     strings is not so noticeable.
+
+The rare ability to connect sounds, or a series of sounds, the
+vibration of stopped strings combined with their above-named
+qualities--warmth and nobility of tone--renders this group of
+instruments far and away the best orchestral medium of melodic
+expression. At the same time, that portion of their range situated
+beyond the limits of the human voice, e.g. notes on the violin higher
+than the extreme top note of the soprano voice, from
+
+[Music: E6]
+
+upwards, and notes on the double bass below the range of the bass
+voice, descending from
+
+[Music: D3] (written sound)
+
+lose in expression and warmth of tone. Open strings are clearer and
+more powerful but less expressive than stopped strings.
+
+Comparing the range of each stringed instrument with that of the human
+voice, we may assign: to the violin, the soprano and contralto voice
+plus a much higher range; to the viola, the contralto and tenor voice
+plus a much higher register; to the 'cello, the tenor and bass voices
+plus a higher register; to the double bass, the bass voice plus a
+lower range.
+
+The use of harmonics, the mute, and some special devices in bowing
+produce great difference in the resonance and tone quality of all
+these instruments.
+
+Harmonics, frequently used today, alter the timbre of a stringed
+instrument to a very appreciable extent. Cold and transparent in soft
+passages, cold and brilliant in loud ones, and offering but little
+chance for expression, they form no fundamental part of orchestral
+writing, and are used simply for ornament. Owing to their lack of
+resonant power they should be used sparingly, and, when employed,
+should never be overpowered by other instruments. As a rule harmonics
+are employed on sustained notes, _tremolando_, or here and there for
+brilliant effects; they are rarely used in extremely simple melodies.
+Owing to a certain tonal affinity with the flute they may be said to
+form a kind of link between string and wood-wind instruments.
+
+Another radical change is effected by the use of mutes. When muted,
+the clear, singing tone of the strings becomes dull in soft passages,
+turns to a slight hiss or whistle in loud ones, and the volume of tone
+is always greatly reduced.
+
+The position of the bow on the string will affect the resonance of an
+instrument. Playing with the bow close to the bridge (_sul
+ponticello_), chiefly used _tremolando_, produces a metallic sound;
+playing on the finger-board (_sul tasto_, _flautando_) creates a dull,
+veiled effect.
+
+     _Note._ Another absolutely different sound results from
+     playing with the back or wood of the bow (_col legno_). This
+     produces a sound like a xylophone or a hollow _pizzicato_.
+     It is discussed under the heading of instruments of little
+     sustaining power.
+
+
+Table A. String group.
+
+(These instruments give all chromatic intervals.)
+
+Violin.
+(I. II.)
+
+Viola.
+
+Violoncello.
+
+Double bass.
+
+[Music]
+
+
+Black lines on each string denote the general range in orchestral
+writing, the dotted lines give the registers, low, medium, high, very
+high.
+
+The five sets of strings with number of players given above produce a
+fairly even balance of tone. If there is any surplus of strength it
+must be on the side of the first violins, as they must be heard
+distinctly on account of the important part they play in the harmonic
+scheme. Besides this, an extra desk of first violins is usual in all
+orchestras, and as a general rule they possess a more powerful tone
+than second violins. The latter, with the violas, play a secondary
+part, and do not stand out so prominently. The 'cellos and double
+basses are heard more distinctly, and in the majority of cases form
+the bass in octaves.
+
+In conclusion it may be said that the group of strings, as a melodic
+element, is able to perform all manner of passages, rapid and
+interrupted phrases of every description, diatonic or chromatic in
+character. Capable of sustaining notes without difficulty, of playing
+chords of three and four notes; adapted to the infinite variety of
+shades of expression, and easily divisible into numerous sundry parts,
+the string group in an orchestra may be considered as an harmonic
+element particularly rich in resource.
+
+
+B. Wind instruments.
+
+Wood-wind.
+
+Apart from the varying number of players, the formation of the string
+group, with its five constituent parts remains constant, satisfying
+the demands of any orchestral full score. On the other hand the group
+of wood-wind instruments varies both as regards number of parts and
+the volume of tone at its command, and here the composer may choose at
+will. The group may be divided into three general classes: wood-wind
+instruments in pair's, in three's and in four's, (see table on page
+13).
+
+Arabic numerals denote the number of players on each instrument; roman
+figures, the parts (1st, 2nd etc.). Instruments which do not
+require additional players, but are taken over by one or the other
+executant in place of his usual instrument, are enclosed in brackets.
+As a rule the first flute, first oboe, first clarinet and first
+bassoon never change instruments; considering the importance of their
+parts it is not advisable for them to turn from one mouth-piece to
+another. The parts written for piccolo, bass flute, English horn,
+small clarinet, bass clarinet and double bassoon are taken by the
+second and third players in each group, who are more accustomed to
+using these instruments of a special nature.
+
+---------------------+--------------------------+-------------------------+
+   Wood-wind         |     Wood-wind            |     Wood-wind           |
+   in pair's         |     in three's           |     in four's           |
+---------------------+--------------------------+-------------------------+
+                     |                          |                         |
+  (II--Piccolo).     |    (III--Piccolo).       |    1 Piccolo (IV).      |
+                     |                          |                         |
+  2 Flutes I. II.    |  3 Flutes I. II. III.    |   3 Flutes I. II. III.  |
+                     |                          |                         |
+                     |    (II--Bass flute).     |    (III--Bass flute).   |
+                     |                          |                         |
+  2 Oboes I. II.     |     2 Oboes I. II.       |   3 Oboes I. II. III.   |
+                     |                          |                         |
+ (II--Eng. horn).    |   1 Eng. horn (III).     |    1 Eng. horn (IV).    |
+                     |                          |                         |
+                     |  (II--Small clarinet).   |  (II--Small clarinet).  |
+                     |                          |                         |
+ 2 Clarinets I. II.  |  3 Clarinets I. II. III. | 3 Clarinets I. II. III. |
+                     |                          |                         |
+(II--Bass clarinet). |  (III--Bass clarinet).   |  1 Bass clarinet (IV).  |
+                     |                          |                         |
+  2 Bassoons I. II.  |    2 Bassoons I. II.     |  3 Bassoons I. II. III. |
+                     |                          |                         |
+                     | 1 Double bassoon (III).  |  1 Double bassoon (IV). |
+---------------------+--------------------------+-------------------------+
+
+The formation of the first class may be altered by the permanent
+addition of a piccolo part. Sometimes a composer writes for two
+piccolos or two Eng. horns etc. without increasing the original number
+of players required (in three's or four's).
+
+     _Note I._ Composers using the first class in the course of a
+     big work (oratorio, opera, symphony, etc.) may introduce
+     special instruments, called _extras_, for a long or short
+     period of time; each of these instruments involves an extra
+     player not required throughout the entire work. Meyerbeer
+     was fond of doing this, but other composers, Glinka for
+     example, refrain from increasing the number of performers by
+     employing _extras_ (Eng. horn part in _Rousslân_). Wagner
+     uses all three classes in the above table (in pair's:
+     _Tannhäuser_--in three's: _Tristan_--in four's: _The Ring_).
+
+     _Note II._ _Mlada_ is the only work of mine involving
+     formation by four's. _Ivan the Terrible_, _Sadko_, _The
+     Legend of Tsar Saltan_, _The Legend of the Invisible City of
+     Kitesh_ and _The Golden Cockerel_ all belong to the second
+     class, and in my other works, wood-wind in pair's is used
+     with a varying number of extras. _The Christmas Night_, with
+     its two oboes, and two bassoons, three flutes and three
+     clarinets, forms an intermediate class.
+
+Considering the instruments it comprises, the string group offers a
+fair variety of colour, and contrast in compass, but this diversity of
+range and timbre is subtle and not easily discerned. In the wood-wind
+department, however, the difference in register and quality of flutes,
+oboes, clarinets and bassoons is striking to a degree. As a rule,
+wood-wind instruments are less flexible than strings; they lack the
+vitality and power, and are less capable of different shade of
+expression.
+
+In each wind instrument I have defined the _scope of greatest
+expression_, that is to say the range in which the instrument is best
+qualified to achieve the various grades of tone, (_forte_, _piano_,
+_cresc._, _dim._, _sforzando_, _morendo_, etc.)--the register which
+admits of the most _expressive_ playing, in the truest sense of the
+word. Outside this range, a wind instrument is more notable for
+richness of colour than for expression. I am probably the originator
+of the term "scope of greatest expression". It does not apply to the
+piccolo and double bassoon which represent the two extremes of the
+orchestral compass. They do not possess such a register and belong to
+the body of highly-coloured but non-expressive instruments.
+
+The four kinds of wind instruments: flutes, oboes, clarinets and
+bassoons may be generally considered to be of equal power. The same
+cannot be said of instruments which fulfil a special purpose: piccolo,
+bass flute, Eng. horn, small clarinet, bass clarinet and double
+bassoon. Each of these instruments has four registers: low, middle,
+high and extremely high, each of which is characterised by certain
+differences of quality and power. It is difficult to define the exact
+limits of each register; adjacent registers almost blend together and
+the passage from one to another is scarcely noticeable. But when the
+instrument jumps from one register to another the difference in power
+and quality of tone is very striking.
+
+The four families of wind instruments may be divided into two classes:
+a) instruments of nasal quality and dark resonance--oboes and bassoons
+(Eng. horn and double bassoon); and b) instruments of "chest-voice"
+quality and bright tone--flutes and clarinets (piccolo, bass flute,
+small clarinet, bass clarinet).
+
+These characteristics of colour and resonance--expressed in too simple
+and rudimentary a form--are specially noticeable in the middle and
+upper registers. The lower register of the oboes and bassoons is thick
+and rough, yet still nasal in quality; the very high compass is
+shrill, hard and dry. The clear resonance of the flutes and clarinets
+acquires something nasal and dark in the lower compass; in the very
+high register it becomes somewhat piercing.
+
+
+Note to Table B.
+
+     In the following Table B the top note in each register
+     serves as the bottom note in the next, as the limits to each
+     register are not defined absolutely. The note _G_ fixes the
+     register of flutes and oboes, _C_ for the clarinets and
+     bassoons. In the very high compass those notes are only
+     given which can really be used; anything higher and not
+     printed as actual notes are either too difficult to produce
+     or of no artistic value. The number of sounds obtainable in
+     the highest compass is indefinite, and depends, partly on
+     the quality of the instrument itself, partly on the position
+     and application of the lips. The signs [music symbol:
+     decrescendo] [music symbol: crescendo] are not to be
+     mistaken for _crescendo_ and _diminuendo_; they indicate how
+     the resonance of an instrument increases or diminishes in
+     relation to the characteristic quality of its timbre. The
+     scope of greatest expression for each typical instrument is
+     marked thus, [symbol: horizontal bracket] under the notes; the
+     range is the same in each instrument of the same type.
+
+Table B. Wind group.
+
+These instruments give all chromatic intervals.
+
+Piccolo.
+
+Flute.
+
+Bass Flute
+Alto Fl. _F_, _G_).
+
+Oboe.
+
+English Horn
+(Cor anglais, alto oboe _F_).
+
+Small Clarinet
+(_E[flat]-D_).
+
+Clarinet
+(_B[flat]-A_).
+
+Bass Clarinet
+(_B[flat]-A_).
+
+Bassoon
+(Fagotto).
+
+Double bassoon
+(Contra-fagotto).
+
+[Music]
+
+
+     _Note._ It is a difficult matter to define tone quality in
+     words; we must encroach upon the domain of sight, feeling,
+     and even taste. Though borrowed from these senses, I have no
+     doubt as to the appropriateness of my comparisons, but, as a
+     general rule definitions drawn from other sources are too
+     elementary to be applied to music. No condemnatory meaning
+     however should be attached to my descriptions, for in using
+     the terms thick, piercing, shrill, dry, etc. my object is to
+     express _artistic_ fitness in words, rather than material
+     exactitude. Instrumental sounds which have no musical
+     meaning are classed by me in the category of _useless
+     sounds_, and I refer to them as such, giving my reasons.
+     With the exception of these, the reader is advised to
+     consider all other orchestral timbres beautiful from an
+     artistic point of view, although it is necessary, at times,
+     to put them to other uses.
+
+     Further on, a table of wind instruments is appended,
+     outlining the approximate limit of range, defining different
+     qualities of tone and indicating the scope of greatest
+     expression (the piccolo and double bassoon excepted).
+
+Flutes and clarinets are the most flexible wood-wind instruments (the
+flutes in particular), but for expressive power and subtlety in
+_nuances_ the clarinet supersedes them; this instrument can reduce
+volume of tone to a mere breath. The nasal instruments, oboe and
+bassoon, are less mobile and supple; this is accounted for by their
+double reed, but, having to effect all sorts of scales and rapid
+passages in common with the flutes and clarinets, oboes and bassoons
+may be considered melodic instruments in the real sense of the word,
+only of a more _cantabile_ and peaceful character. In very quick
+passages they often double the flutes, clarinets or strings.
+
+The four families are equally capable of _legato_ and _staccato_
+playing and changing from one to the other in different ways, but
+distinct and penetrating _staccato_ passages are better suited to the
+oboes and bassoons, while the flutes and clarinets excel in
+well-sustained _legato_ phrases. Composite _legato_ passages should be
+allotted to the first two instruments, composite _staccato_ passages
+to the latter pair, but these general directions should not deter the
+orchestrator from adopting the opposite plan.
+
+In comparing the technical individualities of the wood-wind the
+following fundamental differences should be noted:
+
+a) The rapid repetition of a single note by single tonguing is common
+to all wind instruments; repetition of a single note by means of
+double tonguing is only possible on the flute, a reedless instrument.
+
+b) On account of its construction the clarinet is not well adapted to
+sudden leaps from one octave to another; these skips are easier on
+flutes, oboes and bassoons.
+
+c) _Arpeggios_ and rapid alternation of two intervals _legato_ sound
+well on flutes and clarinets, but not on oboes and bassoons.
+
+Wood-wind players cannot manage extremely long sustained passages, as
+they are compelled to take breath; care must be taken therefore to
+give them a little rest from time to time. This is unnecessary in the
+case of string players.
+
+In the endeavour to characterise the timbre of each instrument typical
+of the four families, from a psychological point of view, I do not
+hesitate to make the following general remarks which apply generally
+to the middle and upper registers of each instrument:
+
+a) Flute.--Cold in quality, specially suitable, in the major key, to
+melodies of light and graceful character; in the minor key, to slight
+touches of transient sorrow.
+
+b) Oboe.--Artless and gay in the major, pathetic and sad in the minor.
+
+c) Clarinet.--Pliable and expressive, suitable, in the major, to
+melodies of a joyful or contemplative character, or to outbursts of
+mirth; in the minor, to sad and reflective melodies or impassioned and
+dramatic passages.
+
+d) Bassoon.--In the major, an atmosphere of senile mockery; a sad,
+ailing quality in the minor.
+
+In the extreme registers these instruments convey the following
+impressions to my mind:
+
+                _Low register_         _Very high register_
+
+a) Flute--      Dull, cold             Brilliant
+b) Oboe--       Wild                   Hard, dry
+c) Clarinet--   Ringing, threatening   Piercing
+d) Bassoon--    Sinister               Tense.
+
+     _Note._ It is true that no mood or frame of mind, whether it
+     be joyful or sad, meditative or lively, careless or
+     reflective, mocking or distressed can be aroused by one
+     single isolated timbre; it depends more upon the general
+     melodic line, the harmony, rhythm, and dynamic shades of
+     expression, upon the whole formation of a given piece of
+     music. The choice of instruments and timbre to be adopted
+     depends on the position which melody and harmony occupy in
+     the seven-octave scale of the orchestra; for example, a
+     melody of light character in the tenor register could not be
+     given to the flutes, or a sad, plaintive phrase in the high
+     soprano register confided to the bassoons. But the ease with
+     which tone colour can be adapted to expression must not be
+     forgotten, and in the first of these two cases it may be
+     conceded that the mocking character of the bassoon could
+     easily and quite naturally assume a light-hearted aspect,
+     and in the second case, that the slightly melancholy timbre
+     of the flute is somewhat related to the feeling of sorrow
+     and distress with which the passage is to be permeated. The
+     case of a melody coinciding in character with the instrument
+     on which it is played is of special importance, as the
+     effect produced cannot fail to be successful. There are also
+     moments when a composer's artistic feeling prompts him to
+     employ instruments, the character of which is at variance
+     with the written melody (for eccentric, grotesque effects,
+     etc.).
+
+The following remarks illustrate the characteristics, timbre, and
+employment of special instruments:
+
+The duty of the piccolo and small clarinet is, principally, to extend
+the range of the ordinary flute and clarinet in the high register. The
+whistling, piercing quality of the piccolo in its highest compass is
+extraordinarily powerful, but does not lend itself to more moderate
+shades of expression. The small clarinet in its highest register is
+more penetrating than the ordinary clarinet. The low and middle range
+of the piccolo and small clarinet correspond to the same register in
+the normal flute and clarinet, but the tone is so much weaker that it
+is of little service in those regions. The double bassoon extends the
+range of the ordinary bassoon in the low register. The characteristics
+of the bassoon's low compass are still further accentuated in the
+corresponding range of the double bassoon, but the middle and upper
+registers of the latter are by no means so useful. The very deep notes
+of the double bassoon are remarkably thick and dense in quality, very
+powerful in _piano_ passages.
+
+     _Note._ Nowadays, when the limits of the orchestral scale
+     are considerably extended (up to the high _C_ of the 7th
+     octave, and down to the low _C_, 16 ft. contra octave), the
+     piccolo forms an indispensable constituent of the
+     wind-group; similarly, it is recognised that the double
+     bassoon is capable of supplying valuable assistance. The
+     small clarinet is rarely employed and only for colour
+     effects.
+
+The English horn, or alto oboe (oboe in _F_) is similar in tone to the
+ordinary oboe, the listless, dreamy quality of its timbre being sweet
+in the extreme. In the low register it is fairly penetrating. The bass
+clarinet, though strongly resembling the ordinary clarinet, is of
+darker colour in the low register and lacks the silvery quality in the
+upper notes; it is incapable of joyful expression. The bass flute is
+an instrument seldom used even today; it possesses the same features
+as the flute, but it is colder in colour, and crystalline in the
+middle and high regions. These three particular instruments, apart
+from extending the low registers of the instruments to which they
+belong, have their own distinctive peculiarities of timbre, and are
+often used in the orchestra, as solo instruments, clearly exposed.
+
+     _Note._ Of the six special instruments referred to above,
+     the piccolo and double bassoon were the first to be used in
+     the orchestra; the latter, however, was neglected after
+     Beethoven's death and did not reappear until towards the end
+     of the 19th century. The Eng. horn and bass clarinet were
+     employed initially during the first half of the same century
+     by Berlioz, Meyerbeer, and others, and for some time
+     retained their position as _extras_, to become, later on,
+     permanent orchestral factors, first in the theatre, then in
+     the concert room. Very few attempts have been made to
+     introduce the small clarinet into the orchestra (Berlioz
+     etc.); this instrument together with the bass flute is used
+     in my opera-ballet _Mlada_ (1892), and also in my most
+     recent compositions, _The Christmas Night_, and _Sadko_; the
+     bass flute will also be found in _The Legend of the
+     Invisible City of Kitesh_, and in the revised version of
+     "_Ivan the Terrible_".
+
+Of late years the habit of muting the wood-wind has come into fashion.
+This is done by inserting a soft pad, or a piece of rolled-up cloth
+into the bell of the instrument. Mutes deaden the tone of oboes, Eng.
+horns, and bassoons to such an extent that it is possible for these
+instruments to attain the extreme limit of _pianissimo_ playing. The
+muting of clarinets is unnecessary, as they can play quite softly
+enough without artificial means. It has not yet been discovered how to
+mute the flutes; such a discovery would render great service to the
+piccolo. The lowest notes on the bassoon,
+
+[Music: B1] and on the oboe and Eng. horn [Music: B3]
+
+are impossible when the instruments are muted. Mutes have no effect in
+the highest register of wind instruments.
+
+
+Brass.
+
+The formation of the group of brass instruments, like that of the
+wood-wind is not absolutely uniform, and varies in different scores.
+The brass group may be divided into three general classes
+corresponding to those of the wood-wind (in pair's, in three's, and in
+four's).
+
+----------------------+-------------------------+-------------------------+
+ Group corresponding  |  Group corresponding    |  Group corresponding    |
+  to the wood-wind    |   to the wood-wind      |    to the wood-wind     |
+     in pair's        |      in three's         |       in four's         |
+----------------------+-------------------------+-------------------------|
+                      |                         |  (II--Small trumpet).   |
+  2 Trumpets I, II.   | 3 Trumpets I, II, III.  | 3 Trumpets I, II, III.  |
+                      |  (III--Alto trumpet     |  (III--Alto trumpet or  |
+                      |         or:             |     Bass trumpet.)      |
+                      |  {2 Cornets I, II.      |                         |
+                      |  {2 Trumpets I, II.)    |                         |
+                      |                         |                         |
+  4 Horns I, II,      | 4 Horns I, II, III, IV. | 6 or 8 Horns I, II,     |
+          III, IV.    |                         |         III, IV, V,     |
+                      |                         |      VI, VII, VIII.     |
+                      |                         |                         |
+   3 Trombones.       | 3 Trombones I, II, III. | 3 Trombones I, II, III. |
+                      |                         |                         |
+      1 Tuba.         |     1 Tuba[8].          |       1 Tuba.           |
+----------------------+-------------------------+-------------------------+
+
+[Footnote 8: Of late years sometimes two tubas are employed, by
+Glazounov for instance in his Finnish Fantasia. (Editor's note.)]
+
+The directions are the same as in the preceding table for wood-wind.
+It is evident that in all three classes the formation may vary as the
+composer wishes. In music for the theatre or concert room page after
+page may be written without the use of trumpets, trombones and tuba,
+or some instrument may be introduced, temporarily as an _extra_. In
+the above table I have given the most typical formations, and those
+which are the most common at the present day.
+
+     _Note I._ Besides the instruments given above, Richard
+     Wagner used some others in _The Ring_, notably the quartet
+     of tenor and bass tubas, and a contrabass trombone.
+     Sometimes these additions weigh too heavily on the other
+     groups, and at other times they render the rest of the brass
+     ineffective. For this reason composers have doubtless
+     refrained from employing such instruments, and Wagner
+     himself did not include them in the score of _Parsifal_.
+     Some present-day composers (Richard Strauss, Scriabine)
+     write for as many as five trumpets.
+
+     _Note II._ From the middle of the 19th century onward the
+     natural brass disappeared from the orchestra, giving place
+     to valve instruments. In my second opera, _The May Night_ I
+     used natural horns and trumpets, changing the keys, and
+     writing the best notes "stopped"; this was purposely done
+     for practise.
+
+Though far less flexible than the wood-wind, brass instruments
+heighten the effect of other orchestral groups by their powerful
+resonance. Trumpets, trombones, and tubas are about equal in
+strength; cornets have not quite the same force; horns, in _forte_
+passages, are about one half as strong, but _piano_, they have the
+same weight as other brass instruments played softly. To obtain an
+equal balance, therefore, the marks of expression in the horns should
+be one degree stronger than in the rest of the brass; if the trumpets
+and trombones play _pp_, the horns should be marked _p_. On the other
+hand, to obtain a proper balance in _forte_ passages, two horns are
+needed to one trumpet or one trombone.
+
+Brass instruments are so similar in range and timbre that the
+discussion of register is unnecessary. As a general rule quality
+becomes more brilliant as the higher register is approached, and _vice
+versa_, with a decrease in tone. Played _pp_ the resonance is sweet;
+played _ff_ the tone is hard and "crackling". Brass instruments
+possess a remarkable capacity for swelling from _pianissimo_ to
+_fortissimo_, and reducing the tone inversely, the _sf_ [music symbol:
+decrescendo] _p_ effect being excellent.
+
+The following remarks as to character and tone quality may be added:
+
+a) 1. _Trumpets_ (_B[flat]-A_). Clear and fairly penetrating in tone,
+stirring and rousing in _forte_ passages; in _piano_ phrases the high
+notes are full and silvery, the low notes troubled, as though
+threatening danger.
+
+2. _Alto trumpet_ (in _F_). An instrument of my own invention, first
+used by me in the opera-ballet _Mlada_. In the deep register (notes 2
+to 3 in the trumpet scale) it possesses a fuller, clearer, and finer
+tone. Two ordinary trumpets with an alto trumpet produce greater
+smoothness and equality in resonance than three ordinary trumpets.
+Satisfied with the beauty and usefulness of the alto trumpet, I have
+consistently written for it in my later works, combined with wood-wind
+in three's.
+
+     _Note._ To obviate the difficulty of using the alto trumpet
+     in ordinary theatres and some concert rooms, I have not
+     brought into play the last four notes of its lowest register
+     or their neighbouring chromatics; by this means the alto
+     trumpet part may be played by an ordinary trumpet in _B[flat]_
+     or _A_.
+
+3. _Small trumpet_ (in _E[flat]-D_). Invented by me and used for the
+first time in _Mlada_ to realise the very high trumpet notes without
+difficulty. In tonality and range the instrument is similar to the
+soprano cornet in a military band.
+
+     _Note._ The small trumpet, (_B[flat]-A_) sounding an octave
+     higher than the ordinary trumpet has not yet appeared in
+     musical literature.
+
+b) _Cornets_ (in _B[flat]-A_). Possessing a quality of tone similar to
+the trumpet, but softer and weaker. It is a beautiful instrument
+though rarely employed today in theatre or concert room. Expert
+players can imitate the cornet tone on the trumpet, and _vice versa_.
+
+c) _Horn_ (in _F_). The tone of this instrument is soft, poetical, and
+full of beauty. In the lower register it is dark and brilliant; round
+and full in the upper. The middle notes resemble those of the bassoon
+and the two instruments blend well together. The horn, therefore,
+serves as a link between the brass and wood-wind. In spite of valves
+the horn has but little mobility and would seem to produce its tone in
+a languid and lazy manner.
+
+d) _Trombone._ Dark and threatening in the deepest register, brilliant
+and triumphant in the high compass. The _piano_ is full but somewhat
+heavy, the _forte_ powerful and sonorous. Valve trombones are more
+mobile than slide trombones, but the latter are certainly to be
+preferred as regards nobility and equality of sound, the more so from
+the fact that these instruments are rarely required to perform quick
+passages, owing to the special character of their tone.
+
+e) _Tuba._ Thick and rough in quality, less characteristic than the
+trombone, but valuable for the strength and beauty of its low notes.
+Like the double bass and double bassoon, the tuba is eminently useful
+for doubling, an octave lower, the bass of the group to which it
+belongs. Thanks to its valves, the tuba is fairly flexible.
+
+
+Table C. Brass group.
+
+These instruments give all chromatic intervals.
+
+Trumpet, Cornet.
+(_B[flat]-A, alto in F_).[A]
+
+Horn
+(_F, E_).
+
+Trombone
+(tenor-bass).[B]
+
+Tuba
+(_C_-bass).
+
+[Music]
+
+Natural sounds are given in white notes. The upper lines indicate the
+scope of greatest expression.
+
+[Footnote A: The 7th natural harmonic is everywhere omitted as
+useless; the same in the horns, the notes 11, 13, 14 and 15.]
+
+[Footnote B: The _b[natural]_ of the octave -1 does not exist on the
+trombones.]
+
+
+The group of brass instruments, though uniform in resonance throughout
+its constituent parts, is not so well adapted to expressive playing
+(in the exact sense of the word) as the wood-wind group. Nevertheless,
+a scope of greatest expression may be distinguished in the middle
+registers. In company with the piccolo and double bassoon it is not
+given to the small trumpet (_E[flat]-D_) and tuba to play with any great
+amount of expression. The rapid and rhythmical repetition of a note by
+single tonguing is possible to all members of the brass, but double
+tonguing can only be done on instruments with a small mouth-piece,
+trumpets and cornets. These two instruments can execute rapid
+_tremolando_ without difficulty. The remarks on breathing, in the
+section devoted to the wood-wind, apply with equal force to the brass.
+
+The use of stopped notes and mutes alters the character of brass tone.
+Stopped notes can only be employed on trumpets, cornets and horns; the
+shape of trombones and tubas prevents the hand from being inserted
+into the bell. Though mutes are applied indiscriminately to all brass
+instruments in the orchestra, tubas rarely possess them. Stopped and
+muted notes are similar in quality. On the trumpet, muting a note
+produces a better tone than stopping it.
+
+In the horn both methods are employed; single notes are stopped in
+short phrases, muted in longer ones. I do not propose to describe the
+difference between the two operations in detail, and will leave the
+reader to acquire the knowledge for himself, and to form an opinion as
+to its importance from his own personal observation. Sufficient to say
+that the tone is deadened by both methods, assuming a wild "crackling"
+character in _forte_ passages, tender and dull in _piano_. Resonance
+is greatly reduced, the silvery tone of the instrument so lost and a
+timbre resembling that of the oboe and Eng. horn is approached.
+Stopped notes (_con sordino_) are marked [music symbol: mute]
+underneath the note, sometimes followed by [music symbol: no mute],
+denoting the resumption of open sounds, _senza sordini_. Brass
+instruments, when muted, produce an effect of distance.
+
+
+C. Instruments of little sustaining power.
+
+Plucked strings.
+
+When the usual orchestral string quartet (Vns I, Vns II, Violas,
+'Cellos, D. basses) does not make use of the bow, but plucks the
+strings with the finger, it becomes to my mind a new and independent
+group with its own particular quality of tone. Associated with the
+harp, which produces sound in a similar manner, I consider it
+separately under the heading of plucked strings.
+
+     _Note._ In this group may be classed the guitar, zither,
+     balalaïka; instruments plucked with a quill, such as the
+     domra,[9] the mandoline etc., all of which may be used in an
+     orchestra, but have no place in the scope of the present
+     book.
+
+[Footnote 9: A Russian instrument which, like the balalaïka, is better
+known abroad. (Translator's note.)]
+
+
+Pizzicato.
+
+Although capable of every degree of power from _ff_ to _pp_,
+_pizzicato_ playing has but small range of expression, and is used
+chiefly as a colour effect. On open strings it is resonant and heavy,
+on stopped strings shorter and duller; in the high positions it is
+rather dry and hard.
+
+Table D on page 31 indicates the range in which _pizzicato_ may be
+used on each stringed instrument.
+
+In the orchestra, _pizzicato_ comes into operation in two distinct
+ways: a) on single notes, b) on double notes and chords. The fingers
+of the right hand playing _pizz._ are far less agile than the bow;
+_pizz._ passages therefore can never be performed as quickly as those
+played _arco_. Moreover, the speed of _pizzicato_ playing depends upon
+the thickness of the strings; on the double basses, for instance, it
+must always be much slower than on the violins.
+
+In _pizzicato_ chords it is better to avoid open strings, which
+produce a more brilliant tone than of covered strings. Chords of four
+notes allow of greater freedom and vigour of attack, as there is no
+danger of accidentally touching a wrong note. Natural harmonics played
+_pizz._ create a charming effect; the tone is weak however, and they
+are chiefly successful on the violoncello.
+
+
+Harp.
+
+In the orchestra, the harp is almost entirely an harmonic or
+accompanying instrument. The majority of scores require only one harp
+part, but in recent times composers have written for two or even three
+harps, which are sometimes compressed into the one part.
+
+     _Note._ Full orchestras should include three or even four
+     harps. My operas _Sadko_, _The Legend of the Invisible City
+     of Kitesh_, and _The Golden Cockerel_ are designed for two
+     harps, _Mlada_ for three.
+
+The special function of the harp lies in the execution of chords, and
+the florid figures springing from them. As only four notes at the most
+can be played by each hand, the notes of a chord should be written
+close together, with not too great a space between one hand and the
+other. The chords must always be broken (_arpeggiato_); should the
+composer wish otherwise he should notify it (_non arpeggiato_). In the
+middle and lower octaves the resonance of the strings is slightly
+prolonged, and dies away gradually. In changes of harmony the player
+stops the vibration of the strings with his hands, but, in quick
+modulations, this method is not feasible, and the mixture of one chord
+with another produces a discordant effect. It follows that more or
+less rapid figures can only be realised clearly and neatly in the
+upper register of the harp, where the strings are shorter and harder
+in tone.
+
+As a general rule, in the whole range of the harp:
+
+[Music: C1[flat]-F7[sharp]]
+
+only the notes of the first to the fourth octave are used; the extreme
+notes in both compasses may be employed in special circumstances, and
+for doubling in octaves.
+
+The harp is essentially a diatonic instrument, since all chromatic
+passages depend on the manipulation of the pedals. For this reason the
+harp does not lend itself to rapid modulation, and the orchestrator is
+advised to bear this fact in mind. But the difficulty may be obviated
+by using two harps alternately.[10]
+
+[Footnote 10: A chromatic harp without pedals has now been invented in
+France (Lyon's system), on which the most abrupt modulations are
+possible. (Translator's note.)]
+
+     _Note._ I would remind the reader that the harp is not
+     capable of double sharps or double flats. For this reason,
+     certain modulations from one key to another one, adjacent to
+     it can only be accomplished enharmonically. For instance,
+     the transition from _C_ flat, _G_ flat or _D_ flat, major to
+     their minor subdominant chords or keys is not possible owing
+     to double flats. It is therefore necessary to start
+     enharmonically from the keys of _B_, _F_ sharp or _C_ sharp,
+     major. Similarly, on account of double sharps, it is
+     impossible to change from _A_ sharp, _D_ sharp or _G_ sharp,
+     minor to their respective dominant major chords or keys; _B_
+     flat, _E_ flat and _A_ flat, minor must be the
+     starting-points.
+
+The technical operation known as _glissando_ is peculiar to the harp
+alone. Taking for granted that the reader is conversant with the
+methods of acquiring different scales by means of double-notched
+pedals, it will be sufficient to remark that _glissando_ scales
+produce a discordant medley of sound owing to the length of time the
+strings continue to vibrate, and therefore, as a _purely musical_
+effect, _glissando_ can only be used in the upper octaves, quite
+_piano_, where the sound of the strings is sufficiently clear, yet not
+too prolonged. _Forte glissando_ scales, entailing the use of the
+lower and middle strings are only permissible as embellishments.
+Glissando passages in chords of the seventh and ninth, enharmonically
+obtained, are much more common, and as the above reservations do not
+apply, every dynamic shade of tone is possible. Chords in harmonics
+can only consist of three notes written close together, two for the
+left hand and one for the right.
+
+The tender poetic quality of the harp is adapted to every dynamic
+shade, but it is never a very powerful instrument, and the
+orchestrator should treat it with respect.
+
+At least three, if not four harps in unison are necessary, if they are
+to be heard against a full orchestra playing _forte_. The more rapidly
+a _glissando_ passage is played, the louder it will sound. Harmonic
+notes on the harp have great charm but little resonance, and are only
+possible played quite softly. Speaking generally, the harp, like the
+string quartet, _pizzicato_, is more an instrument of colour than
+expression.
+
+
+Percussion instruments producing determinate sounds, keyed
+instruments.
+
+Kettle-drums.
+
+Kettle-drums, indispensable to every theatre and concert orchestra
+occupy the most important place in the group of percussion
+instruments. A pair of kettle-drums (_Timpani_), in the tonic and
+dominant keys, was the necessary attribute of an orchestra up to, and
+including Beethoven's time, but, from the middle of the 19th
+century onward, in western Europe and in Russia, an ever-increasing
+need was felt for the presence of three or even four kettle-drums,
+during the whole course or part of a work. If the expensive chromatic
+drum, permitting instant tuning is rarely met with, still, in the
+majority of good orchestras, three screw drums are generally to be
+found. The composer can therefore take it for granted that a good
+timpanist, having three kettle-drums at his command, will be able to
+tune at least one of them during a pause of some length.
+
+The limits of possible change in Beethoven's time was considered to
+be:
+
+Big kettle-drum: [Music: F2-C3 (chromatically)]
+Small kettle-drum: [Music: B[flat]2-F3 (chromatically)]
+
+In these days it is difficult to define the precise extent of high
+compass in the kettle-drums, as this depends entirely on the size and
+quality of the smallest one, of which there are many kinds, but I
+advise the composer to select:
+
+[Music: E2-G[sharp]3 (chromatically)]
+
+     _Note._ A magnificent kettle-drum of very small size was
+     made for my opera-ballet _Mlada_; this instrument gave the
+     _D[flat]_ of the fourth octave.
+
+Kettle-drums are capable of every dynamic shade of tone, from
+thundering _fortissimo_ to a barely perceptible _pianissimo_. In
+_tremolando_ they can execute the most gradual _crescendo_,
+_diminuendo_, the _sfp_ and _morendo_.
+
+To deaden the sound, a piece of cloth is generally placed on the skin
+of the drum, according to the instruction: _timpani coperti_ (muffled
+drums).
+
+
+Table D.
+
+Pizzicato.
+
+Violin.
+
+Viola.
+
+Violoncello.
+
+Double bass.
+
+[Music]
+
+The black notes are dry and hard, without resonance, and should only
+be used when doubled with the wood-wind.
+
+
+* Table E.
+
+Glockenspiel, celesta, xylophone.
+
+Glockenspiel
+(with keyboard).
+
+Glockenspiel
+(ordinary).
+
+Celesta.
+
+Xylophone.
+
+[Music]
+
+
+Piano and Celesta.
+
+The use of a piano in the orchestra (apart from pianoforte concertos)
+belongs almost entirely to the Russian school.[11] The object is
+two-fold: the quality of tone, either alone, or combined with that
+of the harp, is made to imitate a popular instrument, the guzli, (as
+in Glinka), or a soft peal of bells. When the piano forms part of an
+orchestra, not as a solo instrument, an upright is preferable to a
+grand, but today the piano is gradually being superseded by the
+celesta, first used by Tschaikovsky. In the celesta, small steel
+plates take the place of strings, and the hammers falling on them
+produce a delightful sound, very similar to the _glockenspiel_. The
+celesta is only found in full orchestras; when it is not available it
+should be replaced by an upright piano, and not the _glockenspiel_.
+
+[Footnote 11: Rimsky-Korsakov's opera _Sadko_ and Moussorgsky's _Boris
+Godounov_ are particularly interesting in this respect. (Translator's
+note.)]
+
+
+Glockenspiel, Bells, Xylophone.
+
+The _glockenspiel_ (_campanelli_) may be made of steel bars, or played
+with a keyboard. The first type is the more satisfactory and possesses
+greater resonance. The use of the _glockenspiel_ is similar to the
+celesta, but its tone is more brilliant and penetrating. Big bells in
+the shape of hollow discs or metal tubes,[12] or real church bells of
+moderate size may be considered more as theatrical properties than
+orchestral instruments.
+
+[Footnote 12: Recently, bells have been made of suspended metal plates
+possessing the rare quality of a fairly pure tone, and which are
+sufficiently portable to be used on the concert platform. (Editor's
+note.)]
+
+The xylophone is a species of harmonica composed of strips or
+cylinders of wood, struck with two little hammers. It produces a
+clattering sound, both powerful and piercing.
+
+To complete this catalogue of sounds mention should be made of the
+strings playing _col legno_, that is with the wood or back of the bow.
+The sound produced is similar to the xylophone, and gains in quality
+as the number of players is increased.
+
+A table is appended showing the range of the celesta, _glockenspiel_
+and xylophone.
+
+
+Percussion instruments producing indefinite sounds.
+
+Instruments in this group, such as triangle, castanets, little bells,
+tambourine, switch or rod (_Rute._ Ger.), side or military drum,
+cymbals, bass drum, and Chinese gong do not take any harmonic or
+melodic part in the orchestra, and can only be considered as
+ornamental instruments pure and simple. They have no intrinsic
+musical meaning, and are just mentioned by the way. The first three
+may be considered as _high_, the four following as _medium_, and the
+last _two_ as deep instruments. This may serve as a guide to their use
+with percussion instruments of determinate sounds, playing in
+corresponding registers.
+
+
+Comparison of resonance in orchestral groups and combination of
+different tone qualities.
+
+In comparing the resonance of the respective groups of
+sound-sustaining instruments we arrive at the following approximate
+conclusions:
+
+In the most resonant group, the brass, the strongest instruments are
+the trumpets, trombones and tuba. In loud passages the horns are only
+one-half as strong, 1 Trumpet = 1 Trombone = 1 Tuba = 2 Horns.
+Wood-wind instruments, in _forte_ passages, are twice as weak as the
+horns, 1 Horn = 2 Clarinets = 2 Oboes = 2 Flutes = 2 Bassoons; but, in
+_piano_ passages, all wind-instruments, wood or brass are of fairly
+equal balance.
+
+It is more difficult to establish a comparison in resonance between
+wood-wind and strings, as everything depends on the number of the
+latter, but, in an orchestra of medium formation, it may be taken for
+granted that in _piano_ passages, the whole of one department (_all_
+1st Violins or _all_ 2nd Violins etc.) is equivalent in strength
+to one wind instrument, (Violins I = 1 Flute etc.), and, in _forte_
+passages, to two wind instruments, (Violins I = 2 Flutes = 1 Oboe + 1
+Clarinet, etc.).
+
+It is still harder to form a comparison with instruments of little
+sustaining power, for too great a diversity in production and emission
+of sound exists. The combined force of groups of sustained resonance
+easily overpowers the strings played _pizz._ or _col legno_, the piano
+played softly, or the celesta. As regards the _glockenspiel_, bells,
+and xylophone, their emphatic tone will easily prevail over other
+groups in combination. The same may be said of the kettle-drums with
+their ringing, resounding quality, and also of other subsidiary
+instruments.
+
+The influence of the timbre of one group on another is noticeable when
+the groups are doubled; for instance, when the wood-wind timbre is
+closely allied to the strings on the one hand, and to the brass on the
+other. Re-inforcing both, the wind _thickens_ the strings and
+_softens_ the brass. The strings do not blend so well with the brass,
+and when the two groups are placed side by side, each is heard too
+distinctly. The combination of the three different timbres in unison
+produces a rich, mellow and coherent tone.
+
+All, or several wind instruments in combination will absorb one
+department of added strings:
+
+     2 Fl.  +  2 Ob.   +  Vns I,
+or:  2 Ob.  +  2 Cl.   +  Violas,
+or:  2 Cl.  +  2 Fag.  +  'Cellos.
+
+One department of strings added to the wood-wind in unison produces a
+sweet coherent quality, the wood-wind timbre still predominating; but
+the addition of one wind instrument to all or part of the strings in
+unison, only thickens the resonance of the latter, the wood-wind
+timbre being lost in the process:
+
+     Vns I    +  Vns II     +  1 Ob.,
+or:  Violas   +  'Cellos    +  1 Cl.
+or:  'Cellos  +  D. basses  +  1 Fag.
+
+Muted strings do not combine so well with wood-wind, as the two tone
+qualities remain distinct and separate. Uniting plucked strings and
+percussion with instruments of sustained resonance results in the
+following: wind instruments, wood and brass, strengthen and clarify
+_pizzicato_ strings, harp, kettle-drums and percussion generally, the
+latter lending a touch of relief to the tone of the wood-wind. Uniting
+plucked strings and percussion with bowed instruments does not produce
+such a satisfactory blend, both qualities being heard independently.
+The combination of plucked strings with percussion alone, is
+excellent; the two blend perfectly, and the consequent increase in
+resonance yields an admirable effect.
+
+The relationship which exists between string harmonics and the flute
+or piccolo constitutes a link between the two groups in the upper
+range of the orchestra. Moreover, the timbre of the viola may be
+vaguely compared to the middle register of the bassoon and the lowest
+compass of the clarinet; hence, in the medium orchestral range, a
+point of contact is established between the quartet of strings and the
+wood-wind.
+
+The bassoon and horn provide the connection between wood-wind and
+brass, these two instruments being somewhat analogous in character
+when played _piano_ or _mezzo-forte_; the flute also, in its lowest
+register, recalls the _pianissimo_ trumpet tone. Stopped and muted
+notes in horns and trumpets are similar in quality to the oboe and
+Eng. horn, and blend tolerably well with the latter instrument.
+
+Concluding this survey of orchestral groups I add a few remarks which
+seem to me of special importance.
+
+The principal part in music is undertaken by three instrumental groups
+of sustained resonance, representing the three primary elements,
+melody, harmony and rhythm. Instruments of little sustaining power,
+though sometimes used independently, are chiefly employed for ornament
+and colour; instruments producing indeterminate sounds play no melodic
+or harmonic part, their functions being purely rhythmical.
+
+By glancing at the order in which the six orchestral groups are
+placed, strings, wood-wind, brass, plucked strings, percussion
+producing definite, and those producing indefinite sounds, the reader
+will be able to determine the part played by each in the art of
+orchestration, from the secondary standpoint of colour and expression.
+As regards expression, the strings come first, and the expressive
+capacity of the other groups diminishes in the above order, colour
+being the only attribute of the last group of percussion instruments.
+
+The same order obtains from the standpoint of general effect in
+orchestration. We can listen to strings for an almost indefinite
+period of time without getting tired, so varied are their
+characteristics (_vide_ the number of string quartets, suites,
+serenades etc. written for strings alone). The addition of a single
+group of strings will add lustre to a passage for wind instruments. On
+the other hand, the quality of wind instruments soon becomes
+wearisome; the same may be said of plucked strings, and also
+percussion of every kind which should only be employed at reasonable
+intervals in orchestral composition.
+
+It cannot be denied that the constant use of compound timbres, in
+pair's, in three's etc. eliminates characteristics of tone, and
+produces a dull, neutral texture, whereas the employment of simple,
+elementary combinations gives infinitely greater scope for variety in
+colour.
+
+7 (20) June 1908.
+
+
+
+
+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.
+
+
+Melody in stringed instruments.
+
+Instances of the melodic use of stringed instruments are innumerable.
+The reader will find many examples in the present treatise. With the
+exception of the double basses,--dull in tone and of little
+flexibility, chiefly employed in unison or in octaves with the
+violoncellos,--each of the other stringed instruments, taken
+independently, is qualified to assume full responsibility for the
+melodic line.
+
+
+a) Violins.
+
+Melody in the soprano-alto register and an extra-high compass usually
+falls to the lot of the 1st Violins, sometimes to the 2nd
+Violins or to both in unison, a process which produces fuller
+resonance without impairing quality of tone.
+
+_Examples:_
+
+_The Tsar's Bride_ [[84]].[C]--_Pianissimo_ melody (Vns I) of a
+troubled dramatic character. Harmonic accompaniment (Vns II and
+Violas _tremolando_--middle parts; the Violoncellos forming the bass).
+
+[Footnote C: The present volume is divided into two parts, text (pp.
+1-152) and musical examples (pp. 1-333). The first page of the second
+part lists the standard full-score editions of Rimsky-Korsakov's works
+that are referred to throughout the book. These references to specific
+passages are always indicated by boxed numbers or boxed letters
+corresponding to the ones marking the sub-divisions of the particular
+score. On the other hand, references in the text to the 312 musical
+examples in the second part of the book are always indicated as "No.
+1," "No. 2," etc. Thus, "_The Tsar's Bride_ [[84]]" indicates that the
+reader should look at section [[84]] of the score of _The Tsar's
+Bride_ as published by Belaieff in Leipzig, the music of which is not
+reprinted here; whereas "No. 1. _Shéhérazade_ 2nd movement [[B]]"
+indicates that the reader should look at the first musical example in
+the second part of the present book, which comes from the section
+marked [[B]] in the second movement of the score of _Shéhérazade_ as
+published by Belaieff.]
+
+_Antar_, before [[70]].--Descending melodic phrase, Vns I _con
+sordini piano_.
+
+No. 1. _Shéhérazade_ 2nd movement [[B]]. A _piano_ melody (Vns
+I) graceful in character.
+
+_Antar_ [[12]]. Light graceful melody, oriental in style; a dance
+measure (Vns I _con sord._), the mutes producing a dull ethereal
+quality of tone.
+
+No. 2. _The Legend of the Invisible City of Kitesh_ [[283]].
+
+No. 3. _Spanish Capriccio_ [[J]]. Vns I in the upper register
+doubling the high register of the wood-wind. Choice resonance.
+
+
+b) Violas.
+
+Melody in the alto-tenor register and a still higher compass is
+assigned to the violas. _Cantabile_ melodies however are not so
+frequently written for violas as for violins and 'cellos, partly
+because the viola tone is slightly nasal in quality and better fitted
+for short characteristic phrases, partly because the number of viola
+players in an orchestra is smaller. Melodies confided to the violas
+are generally doubled by other strings or by the wood-wind.
+
+_Examples:_
+
+No. 4. _Pan Voyevoda_, duet in Act II [[145]]. A long _cantabile_
+melody in the violas, _dolce_, in unison with the _mezzo soprano_
+voice.
+
+No. 5. _The Golden Cockerel_ [[193]].--Flowing _cantabile_.
+
+No. 6. _Sadko._ Symphonic tableau [[12]].--Muted violas. A short dance
+theme, _piano_ in _D[flat]_ major. (The same theme in Eng. horn in the
+6th scene of the opera _Sadko_ is slightly more penetrating in
+tone).
+
+
+c) Violoncellos.
+
+Violoncellos, representing the tenor-bass range + an extra-high
+compass are more often entrusted with tense passionate _cantabile_
+melody than with distinctive figures or rapid phrases. Such melodies
+are usually laid out for the top string (_A_) which possesses a
+wonderfully rich "chest" quality.
+
+_Examples:_
+
+_Antar_ [[56]]. _Cantabile_ on the _A_ string.
+
+_Antar_ [[63]]. The same melody in _D[flat]_ maj. on the _D_ string
+(doubled by the bassoons).
+
+No. 7. _Pan Voyevoda_ [[134]], nocturne, "Moonlight". A broad melody
+_dolce ed espressivo_, afterwards doubled by the first violins an
+octave higher.
+
+No. 8. _Snegourotchka_ [[231]]. At the fifth bar, a melody on the _A_
+string _cantabile ed espressivo_, imitating the first clarinet.
+
+No. 9. _Snegourotchka_ [[274]]. Melodic phrase with embellishments.
+
+
+d) Double basses.
+
+Owing to its register--_basso profondo_ + a still lower compass,--and
+its muffled resonance, the double bass is little capable of broad
+_cantabile_ phrases and only in unison or in octaves with the 'cellos.
+In my own compositions there is no phrase of any importance given to
+the double bass without the support of 'cellos or bassoons.
+
+_Examples:_
+
+* No. 10. _Legend of Kitesh_ [[306]]. Double bass solo, doubled first
+by the double bassoon, later by the bassoon. This example affords an
+instance of the rare use of the alto clef (in the last few notes).
+
+* No. 11. _The Golden Cockerel_ [[120]].--D. basses + D. bassoons.
+
+
+Grouping in unison.
+
+a) Vns I + Vns II.--It goes without saying that this combination
+entails no alteration in colour; it gains in power and richness of
+tone by reason of the increased number of players, and is usually
+attended by doubling of the melody in some departments of the
+wood-wind. The large number of violins prevents the wood-wind
+predominating, and the tone quality remains that of the string
+quartet, enriched and amplified.
+
+_Examples:_
+
+No. 12. _Shéhérazade_, beginning of the third movement. _Cantabile_
+for Vns I and II on the _D_ string, then on the _A_.
+
+_The May Night_, overture [[D]]. Quick _piano_ melody, beginning
+_cantabile_ and divided later in octaves (Vns I/Vns II] 8) with
+florid embellishment.
+
+No. 13. _The Golden Cockerel_ [[170]].--Vns I + II muted.
+
+b) Violins + Violas.--The combination of violins and violas presents
+no special characteristics, as in the preceding case. The violins
+remain predominant, and the resonance is rich and full.
+
+_Examples:_
+
+No. 14. _Sadko_ [[208]].--Vns I + II + Violas (_G_ string). Quiet
+_cantabile_ melody _pp_, in unison with the altos and tenors of the
+chorus.
+
+The _Golden Cockerel_ [[142]].--Same combination.
+
+c) Violas + 'Cellos.--Produces a rich full resonance, the 'cello
+quality predominating.
+
+_Examples:_
+
+No. 15. _Snegourotchka_ [[5]].--Apparition of Spring. Violas + 'Cellos
++ Eng. horn. The same melody, _mezzo-forte cantabile_ as in Ex. 9; but
+in a brighter key, a third higher, its resonance is more brilliant and
+tense. The addition of the Eng. horn makes no essential difference to
+the compound tone; the 'cellos stand out above the rest.
+
+No. 16. _The Golden Cockerel_ [[71]]. Violas + 'Cellos muted.
+
+d) Violins + 'Cellos.--A combination similar to the preceding one. The
+'cello tone prevails and the resonance is fuller.
+
+_Examples:_
+
+No. 17. _Snegourotchka_ [[288]]. "Spring descends upon the lake".
+Vns I + Vns II + 'Cellos + Eng. horn. The same _cantabile_ as in
+Ex. 9, and 15. The Eng. horn is absorbed in the musical texture, the
+principal colour being that of the 'cellos. Still more powerful in
+resonance.
+
+No. 18. _The May Night._ Act III [[L]]. Chorus of _Roussâlki_. The
+combination of the solo 'cello with the violins gives the latter a
+touch of the 'cello timbre.
+
+e) Vns I + II + Violas + 'Cellos.--Combining violins, violas and
+'cellos in unison is not possible except in the alto-tenor register;
+this process unites the full resonance of the instruments into an
+_ensemble_ of complex quality, very tense and powerful in _forte_
+passages, extremely full and rich in _piano_.
+
+_Examples:_
+
+No. 19. _Shéhérazade_, 2nd movement [[P]].--Energetic phrase _ff_.
+
+_Mlada_, Lithuanian dance, before [[36]].
+
+_Mlada_, Act III. [[40]].--Cleopatra's dance. _Cantabile_ embellished
+in oriental fashion.
+
+f) Violoncellos + D. basses.--A combination of rich full resonance,
+used occasionally for phrases in the very low register.
+
+_Examples:_
+
+No. 20. _Sadko_ [[260]].--A persistent _forte_ figure, severe in
+character.
+
+No. 21. _Legend of Kitesh_ [[240]].--A _pianissimo_ phrase, sinister
+and horrible in character.
+
+
+Stringed instruments doubling in octaves.
+
+a) Vns I and Vns II in octaves.
+
+This is a very common process used for all kinds of melodic figures,
+in particular those in the very high register. It has already been
+stated that the _E_ string diminishes in fulness of tone the higher
+it ascends from the limits of the soprano voice. Moreover, melodic
+figures in the very high register of the violins become too isolated
+from the rest of the _ensemble_ unless doubled in octaves. Such
+doubling secures expression, fulness of tone and firmness of timbre.
+The reader will find numerous examples of violins in octaves; a few
+are added below, chiefly broad and expressive phrases.
+
+_Examples:_
+
+No. 22. _The Tsar's Bride_ [[166]]. _Cantabile, piano._
+
+_The Tsar's Bride_ [[206]]. _Cantabile, mezzo-piano_; the lower part
+is in unison with the soprano voice.
+
+_Shéhérazade_, 3rd movement [[J]]. _Cantabile_ in _G_ major;
+_dolce_ and _cantabile_ (the same as Ex. 12).
+
+No. 23. _The Legend of Tsar Saltan_ [[227]]. Melody with reiterated
+notes, _dolce, espress. e cantabile_.
+
+_Sadko_, Symphonic tableau [[12]]. Vns I/Vns II] 8 muted. A short
+dance phrase _pianissimo_, given first to the violas, then to the
+violins (cf. Ex. 6).
+
+No. 24. _Sadko_, opera [[207]]. Perhaps an unique example of its kind;
+violins playing in the very extremity of the high register.
+
+     _Note._ This passage is difficult but nevertheless quite
+     playable. One or two desks of the 1st Violins are
+     sufficient to double the melody in the upper octave, all the
+     other 1st Violins can play the octave below. In this way
+     the piercing quality of the highest notes will be
+     diminished, the melody will acquire a clearer and more
+     pleasant sound, and the expressive tone quality of the lower
+     octave will be strengthened.
+
+* _The Golden Cockerel_ [[156]].
+
+*   "    "       "      [[165]].
+
+* _Antar_, 1st movement [[11]].
+
+* No. 25. _Ivan the Terrible_, Act III [[63]].
+
+
+b) Violins _divisi_ in octaves.
+
+First and second violins divided in two parts and progressing in
+octaves will deprive the melody of resonance, since the number of
+players is diminished by half, the consequences being specially
+noticeable in small orchestras. Nevertheless the method can be used
+occasionally when the strings are doubled by the wood-wind, and when
+the melody falls in a sufficiently high register.
+
+_Examples:_
+
+_Snegourotchka_ [[166]].--Vns I/Vns II] 8 _mezzo-forte
+espressivo_. Partial doubling of Coupava's song (Sopr.). One flute and
+one oboe double the melody.
+
+No. 26. _Snegourotchka_ [[283]].--Chorus of Flowers--2 Vns
+soli/Vns I + Fl. I] 8. _Pianissimo cantabile_ in two octaves,
+progressing with the women's chorus (Sopr. I), and given out earlier
+by the Eng. horn. The flute and all the 1st Violins except two play
+in the lower octave, the two solo violins, only, in the upper. The
+solo desk will be sufficiently prominent owing to the general
+_pianissimo_.
+
+
+c) Violins and Violas in octaves.
+
+First and second Violins progressing with the Violas in octaves is a
+common method, especially when the lower octave in the melody happens
+to go below the open _G_ string on the violins.
+
+1. Vns (I or II)/Violas] 8.
+
+_Example:_
+
+_Snegourotchka_ [[137]], finale of Act I. Quick melody, _piano_.
+
+2. Vns I + II/Violas] 8 and 3. Vns I/Vns II + Violas] 8.
+
+These two distributions are not exactly the same. The first should be
+used to obtain greater brilliance in the upper part, the second to
+give the lower part a fuller and more _cantabile_ quality.
+
+_Examples:_
+
+No. 27. _Sadko_, before [[181]].--Vns I + II/Violas] 8. Quick
+animated passage, _forte_, introducing reiterated notes.
+
+No. 28. _Snegourotchka_ [[137]], finale to Act I--Vns I/Vns II +
+Violas] 8. _Cantabile_ phrase, transmitted to the flute and clarinet
+(cf. Ex. 8).
+
+
+d) Violas and Violoncellos in octaves.
+
+Of special use when the Violins are otherwise employed.
+
+_Example:_
+
+* _Legend of Kitesh_ [[59]], Violas/Cellos] 8, doubled by bassoons.
+
+
+e) Violins and Violoncellos in octaves.
+
+Used in very expressive passages where the 'cellos have to play on the
+_A_ or _D_ strings. This method produces a more resonant tone than the
+preceding one; instances of it are frequent.
+
+_Examples:_
+
+No. 29. _Antar_ [[43]].--Vns I + Vns II/'Cellos] 8. _Cantabile_
+of Eastern origin.
+
+_Shéhérazade_, 3rd movement [[H]].--Vns I/'Cellos] 8. _Cantabile
+mezzo-forte appassionato_ (cf. Ex. 1).
+
+* No. 30. _Shéhérazade_, 3rd movement, before [[P]]--Vns
+I/Vns II + 'Cellos] 8 and Vns I + II/'Cellos] 8. The first
+arrangement is rarely found.
+
+_Pan Voyevoda_ [[134]], nocturne "Moonlight"--Vns I/'Cellos] 8.
+_Cantabile_ melody given first to 'cellos alone (cf. Ex. 7).
+
+_The May Night_, Act III [[B, C, D]]--Vns I + Vns II/'Cellos] 8.
+A _forte_ melodic phrase.
+
+
+f) Violoncellos and Double basses in octaves.
+
+The bass is usually constructed in this manner. Examples of it are to
+be found everywhere. Sometimes the double bass part is simplified in
+comparison with the 'cello part.
+
+_Example:_
+
+_Snegourotchka_ [[9]], Fairy Spring's _Aria_.
+
+
+g) Violas and Double basses in octaves.
+
+This combination seldom arises and is only used when the 'cellos are
+otherwise employed.
+
+_Example:_
+
+No. 31. _Legend of Kitesh_ [[223]].
+
+
+h) Parts progressing in octaves, each part doubled in unison. Melodies
+situated in the middle orchestral range may be allotted to 1st and
+2nd Vns, in octaves with Violas and 'Cellos. This arrangement is
+constantly found, and produces a beautiful quality of tone, somewhat
+severe in character.
+
+_Examples:_
+
+_Snegourotchka_ [[58]], [[60]], [[65]] and [[68]]. The same melody,
+played twice _pianissimo_, not doubled, then twice (_mezzo-forte_ and
+_forte_), doubled in the wood-wind.
+
+_Mlada_, Act II, the beginning of the Lithuanian dance. A lively
+_piano_ theme.
+
+_Ivan the Terrible_, Act II [[28]].
+
+     _Note I._ It may be of use to point out that melodies lying
+     in the extreme upper register, e.g. those exceeding the
+     middle of the 5th octave, are generally doubled an octave
+     below, whilst those situated in the extreme low register
+     (below the middle of the 1st octave) are doubled an
+     octave higher.
+
+_Examples:_
+
+_Sadko_ [[207]] (cf. Ex. 24).
+
+     _Note II._ Progression in octaves of divided strings _of the
+     same kind_ is generally to be avoided:
+
+     Violas I   'Cellos I   D. basses I  ]
+     Violas II, 'Cellos II, D. basses II ] 8,
+
+     for, in such cases the parts are played on strings which do
+     not correspond, and unity of tone is impaired. This,
+     however, does not apply to violins.
+
+     _Note III._ The following distribution is occasionally
+     found:
+
+     Violas    + 'Cellos I  ]
+     D. basses + 'Cellos II ] 8.
+
+
+Melody in double octaves.
+
+a) Vns I] 8/Vns II/Violas] 8 or Vns I] 8/Vns II/'Cellos] 8
+may be used for full _cantabile_ melodies extremely tense in
+character, and in _forte_ passages for choice.
+
+_Example:_
+
+No. 32. _Antar_ [[65]].--Vns I] 8./Vns II/Violas + 'Cellos] 8.
+
+
+b) Violas] 8/'Cellos/D. basses] 8 or Vns I + II] 8/Violas +
+'Cellos/D. basses] 8 or Vns I + II + Violas] 8/'Cellos/D. basses] 8
+are employed when the low register of each instrument is brought into
+play, and also to suit phrases of a rough and severe character.
+
+_Examples:_
+
+_Legend of Kitesh_ [[66]], opening of the 2nd Act.
+
+No. 33. _Snegourotchka_ [[215]]. Tumblers' dance.
+
+     _Note._ The lack of balance in the distribution:
+
+     Vns I + II +Violas   ] 8
+
+     'Cellos              ]
+     D. basses            ] 8
+
+     is not of any great importance, for, in such cases, the
+     partial harmonics of one octave support the tone of the
+     other, and _vice versa_.
+
+
+Doubling in three and four octaves.
+
+The distribution Vns I/Vns II/Violas/'Cellos/D. basses] 8/8/8/8
+is very seldom found, and as a rule, only when supported by wind
+instruments.
+
+_Examples:_
+
+_The Legend of Kitesh_ [[150]] (_allargando_).
+
+* _Shéhérazade_, 4th movement, commencing at the 10th bar.
+
+Vns I            ]
+Vns II           ]
+Violas + 'Cellos ] 8.
+D. basses        ]
+
+
+Melody in thirds and sixths.
+
+In confiding a melody in thirds to the strings it is frequently
+necessary to use the same quality of tone in both parts, but in the
+case of a melody in sixths different timbres may be employed. In
+writing thirds doubled in octaves, the first and second violins should
+be used. In spite of the difference in the quantity of players, the
+thirds will not sound unequal. The same arrangement may obtain in the
+viola and 'cello groups, but it is useless in the case of melody in
+sixths.
+
+_Examples:_
+
+* No. 34. _Legend of Kitesh_ [[34]]--Vns I _div._) 3/Vns II
+_div._) 3] 8.
+
+* _Legend of Kitesh_ [[39]]--Vns I/Violas] 6.
+
+Cf. also _Legend of Kitesh_ [[223]]: Vns I/Vns II} 3/Vns
+I/Vns II} 3] 8 (Ex. 31).
+
+Distribution in octaves, thirds, and sixths is usually regulated by
+the normal register of the respective instruments, so as to avoid any
+suggestion of mannerism resulting from the disturbance of balance. But
+such a departure from the recognised order may be permitted in special
+cases. For instance, in the following example of writing in sixths the
+upper part is allotted to the 'cellos, the lower part to the violins
+on the _G_ string; this arrangement produces a quality of tone
+distinctly original in character.
+
+_Example:_
+
+No. 35. _Spanish Capriccio_ [[D]]--'Cellos/Vns I + II] 6.
+
+
+Melody in the wood-wind.
+
+* The choice of instruments for characteristic and expressive melody
+is based on their distinctive qualities, discussed minutely in the
+foregoing chapter. To a large extent the question is left to the
+orchestrator's own personal taste. Only the best methods of using the
+wood-wind in unison or octaves, and distributing a melody in thirds,
+sixths and mixed intervals, from the standpoint of resonance and tone
+quality will be indicated in this section of the work. Examples of the
+use of solo wood-wind are to be found in any score; the following are
+typical instances:
+
+_Examples of solo wood-wind:_
+
+1. _Piccolo: Serbian Fantasia_ [[C]]; No. 36. _Tsar Saltan_ [[216]];
+_Snegourotchka_ [[54]].
+
+2. _Flute: Antar_ [[4]]; _Servilia_ [[80]]; _Snegourotchka_ [[79]],
+[[183]]; _A Fairy Tale_ [[L]]; _The Christmas Night_ [[163]]; No. 37.
+_Shéhérazade_, 4th movement, before [[A]] (_Fl. à 2_ in the low
+register).
+
+_Flute_ (double tonguing): _Pan Voyevoda_ [[72]]; _Shéhérazade_,
+4th movement, after [[V]]; No. 38. _Ivan the Terrible_, Act III,
+after [[10]].
+
+3. _Bass flute_: No. 39. _Legend of Kitesh_ [[44]].
+
+4. _Oboe_: No. 40. _Shéhérazade_, 2nd movement [[A]]; _The May
+Night_, Act III [[Kk]]; No. 41. _Snegourotchka_ [[50]];
+_Snegourotchka_ [[112]], [[239]]; _The Tsar's Bride_ [[108]] (cf. Ex.
+284), No. 42 and 43. _The Golden Cockerel_ [[57]] and [[97]].
+
+5. _Eng. horn: Snegourotchka_ [[97]], [[283]] (cf. Ex. 26); No. 44.
+_Spanish Capriccio_ [[E]]; No. 45. _The Golden Cockerel_ [[61]].
+
+6. _Small Clarinet_: No. 46. _Mlada_, Act II [[33]]; _Mlada_, Act III
+[[37]].
+
+7. _Clarinet: Serbian Fantasia_ [[G]]; _Spanish Capriccio_ [[A]];
+_Snegourotchka_ [[90]], [[99]], [[224]], [[227]], [[231]] (cf. Ex. 8);
+_The May Night_, Act I, before [[X]]; _Shéhérazade_, 3rd movement
+[[D]]; _A Fairy Tale_ [[M]]; _The Tsar's Bride_ [[50]], [[203]]; _The
+Golden Cockerel_ [[97]] (lowest register, cf. Ex. 43).
+
+8. _Bass clarinet_: No. 47 and 48. _Snegourotchka_ [[243]] and
+[[246-247]].
+
+9. _Bassoon: Antar_ [[59]]; No. 49. _Vera Scheloga_ [[36]];
+_Shéhérazade_, 2nd movement, beginning (cf. Ex. 40); No. 50. _The
+Golden Cockerel_ [[249]]; No. 51. _Mlada_, Act III, after [[29]]; cf.
+also Ex. 78.
+
+10. _Double bassoon: Legend of Kitesh_, before [[84]], [[289]]; cf.
+also Ex. 10 (D. bassoon + D. bass solo).
+
+The normal order of wood-wind instruments and that which produces the
+most natural resonance is the following: _Flutes_, _Oboes_,
+_Clarinets_, _Bassoons_ (the order used in orchestral full scores).
+Departure from this natural order, e.g. placing bassoons above
+clarinets and oboes, or flutes below oboes and clarinets, and
+especially below the bassoons, creates a far-fetched, unnatural tone,
+useful, however, in certain cases to attain certain special effects. I
+do not advise the student to make too free a use of this proceeding.
+
+
+Combination in unison.
+
+The combination of two different wood-wind instruments in unison
+yields the following tone qualities:
+
+a) _Flute + Oboe._ A quality fuller than that of the flute, sweeter
+than that of the oboe. Played softly, the flute will predominate in
+the low, the oboe in the upper register. Example: No. 52.
+_Snegourotchka_ [[113]].
+
+b) _Flute + Clarinet._ A quality fuller than that of the flute, duller
+than that of the clarinet. The flute will predominate in the lower,
+the clarinet in the higher register. Examples: No. 53. _Legend of
+Kitesh_ [[330]]; also [[339]] and [[342]].
+
+c) _Oboe + Clarinet._ A fuller quality than that of either instrument
+heard separately. The dark, nasal tone of the oboe will prevail in the
+low register, the bright, "chest" quality of the clarinet in the high
+compass. Examples: _Snegourotchka_ [[19]]; No. 54. _Snegourotchka_
+[[115]]. Cf. also _Legend of Kitesh_ [[68]], [[70]], [[84]]--2 Ob. + 3
+Cl. (Ex. 199-201).
+
+d) _Flute + Oboe + Clarinet._ Very full in quality. The flute
+predominates in the low register, the oboe in the middle, and the
+clarinet in the high compass. Examples: _Mlada_, Act I [[1]]; *
+_Sadko_ [[58]] (2 Fl. + 2 Ob. + Small Cl.).
+
+e) _Bassoon + Clarinet._ Very full quality. The gloomy character of
+the clarinet prevails in the lower register, the sickly quality of the
+bassoon in the higher. Example: _Mlada_, Act II, after [[49]].
+
+f) _Bassoon + Oboe_, and
+
+g) _Bassoon + Flute._
+
+The combinations _f_ and _g_, as well as _Bassoon + Clarinet + Oboe_,
+and _Bassoon + Clarinet + Flute_ are very seldom found except in
+certain orchestral _tutti_, where they produce increased resonance
+without creating a fresh atmosphere. But in such combinations, the
+range of which is practically restricted to the limits of the third
+octave, the low notes of the flute will predominate in the lower third
+of this register, and the high notes of the bassoon in the middle
+third. The clarinet, weak in the middle compass will not stand out
+prominently in this particular combination.
+
+h) _Bassoon + Clarinet + Oboe + Flute._ This combination is equally
+rare. The colour is rich, and difficult to define in words. The tone
+of each instrument will be separated from the others more or less in
+the manner detailed above. Examples: _Russian Easter Fête_, the
+beginning; No. 55. _Snegourotchka_ [[301]]; _The May Night_, Act III
+[[Qqq]].
+
+The process of combining two or more qualities of tone in unison,
+while endowing the music with greater resonance, sweetness and power,
+possesses the disadvantage of restricting the variety of colour and
+expression. Individual timbres lose their characteristics when
+associated with others. Hence such combinations should be handled with
+extreme care. Phrases or melodies demanding diversity of expression
+alone should be entrusted to solo instruments of simple timbres. The
+same applies to the coupling of two instruments of the same kind, such
+as 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. The quality of tone
+will lose nothing of its individuality, and will gain in power, but
+its capacity for expression will be diminished accordingly. An
+instrument enjoys greater independence and freedom when used as a solo
+than when it is doubled. The use of doubling and mixed timbres is
+naturally more frequent in loud passages than in soft ones, also where
+expression and colour is broad rather than individual or intimate in
+character.
+
+     I cannot refrain from mentioning how greatly I dislike the
+     method of duplicating all the wood-wind, in order to balance
+     a group of strings, reinforced out of all reason, to suit
+     the ever-growing dimensions of concert halls. I am convinced
+     that, artistically speaking, a limit should be set to the
+     size of both concert room and orchestra. The music performed
+     at these super-concerts must be specially composed on a plan
+     of its own--a subject which cannot be considered here.
+
+
+Combination in octaves.
+
+When the melody is entrusted to two wood-wind instruments in octaves,
+the usual arrangement producing natural resonance is:
+
+8 [Fl. Fl. Fl. Ob. Ob. Cl.
+  [Ob. Cl. Fag. Cl. Fag. Fag.] 8.
+
+The combination of flute and bassoon in octaves is rare on account of
+the widely separated registers of the two instruments. Deviation from
+the natural order, such as placing the bassoon above the clarinet or
+oboe, the clarinet above the oboe or flute etc., creates an unnatural
+resonance occasioned by the confusion of registers, the instrument of
+lower compass playing in its high register and _vice versa_. The lack
+of proper relationship between the different tone qualities then
+becomes apparent.
+
+_Examples:_
+
+No. 56. _Spanish Capriccio_ [[O]]--Fl./Ob.] 8.
+
+No. 57. _Snegourotchka_ [[254]]--Fl./Eng. horn] 8.
+
+* No. 58. _Shéhérazade_, 3rd movement [[E]]--Fl./Cl.] 8.
+
+_Sadko_ [[195]]--Fl./Eng. horn] 8.
+
+_Pan Voyevoda_ [[132]]--Fl./Cl.] 8.
+
+_Tsar Saltan_ [[39]]--Cl./Fag.] 8.
+
+No. 59. _Vera Scheloga_ [[30]]--Cl./Fag.] 8, likewise any number of
+examples in the scores of various composers.
+
+The use of two instruments of the same colour in octaves, e.g. 2
+flutes, 2 clarinets or 2 bassoons etc., if not exactly to be avoided
+is certainly not to be recommended, as the instruments, playing in
+different registers will not correspond one with the other.
+Nevertheless this method may be safely employed when stringed
+instruments, _arco_ or _pizzicato_ double the two members of the
+wood-wind, and especially in the middle compass. The process is most
+satisfactory for repeated notes or sustained passages.
+
+_Examples:_
+
+_The May Night_, Act I [[T]]--Cl. I/Cl. II] 8.
+
+* _Sadko_, after [[159]]--Ob. I/Ob. II] 3, doubled by _pizz._ strings.
+
+* _Servilia_, after [[21]]--Fag. I/Fag. II] 8 + _pizz._ strings.
+
+Instruments of the same branch playing in octaves, e.g.
+
+8 [Fag.    Cl.       Ob.       Small cl. Flute    Picc.]
+  [C-Fag.  Cl. basso Eng. horn Clar.     Alto Fl. Fl.  ] 8
+
+always produce a good effect.
+
+_Examples:_
+
+_Snegourotchka_ [[5]]--Picc./Fl.] 8 (cf. Ex. 15).
+
+_The Tsar's Bride_ [[133]]--Picc./Fl.] 8.
+
+_Tsar Saltan_ [[216]]--Picc./Fl.] 8 (cf. Ex. 36).
+
+_Sadko_, after [[59]] Small cl./Cl.] 8.
+
+_Legend of Kitesh_ [[240]]--Fag./C-Fag.] 8 (cf. Ex. 21).
+
+No 60. _Mlada_, Act III, before [[44]]--Ob./Eng. horn] 8.
+
+As in the strings, so in the wood-wind it is advisable to double in
+octaves any melody situated in the extremely high or low compass; an
+octave lower in the first case, an octave higher in the second. Thus
+the piccolo will be doubled by the flute, oboe or clarinet an octave
+lower; the double bassoon will be doubled by bassoon, clarinet or bass
+clarinet an octave higher.
+
+8 [Picc. Picc. Picc.]
+  [Fl.   Ob.   Cl.  ] 8.
+
+8 [Fag.   Bass cl. Cl.  Cl.      Fag. Fag.    ]
+  [C-Fag. Fag.     Fag. Bass cl. Fag. Bass cl.] 8.
+
+_Examples:_
+
+* _Tsar Saltan_ [[39]]--Picc./Ob.] 8.
+
+* No. 61. _Mlada_, Act II, Lithuanian dance [[32]]--Picc./Small cl.]
+8.
+
+_Sadko_ [[150]]--Picc./Small cl.] 8.
+
+* Mixed qualities of tone may be employed in doubling in octaves, the
+above remarks still holding good.
+
+_Examples:_
+
+_Pan Voyevoda_ [[134]]--Cl. + Ob./Cl. + Eng. horn] 8 (cf. Ex. 7).
+
+No. 62. _Servilia_ [[168]]--2 Fl. + Ob./2 Cl. + Eng. horn] 8.
+
+No. 63. _The Tsar's Bride_ [[120]]--3 Fl. + Ob./2 Cl. + Fag. + Eng.
+horn] 8.
+
+_Mlada_, Act III [[41]]--Fl. + Bass fl./Cl. + Bass cl.] 8.
+
+
+Doubling in two, three and four octaves.
+
+In such cases the student should follow the above-mentioned rules, and
+should take care not to infringe the natural order:
+
+              Fl. Ob. Fl. Fl.   ] 8
+In 3 octaves: Ob. Cl. Cl. Ob.   ]
+              Cl. Fag. Fag. Fag.] 8.
+
+
+
+              Fl. ] 8
+In 4 octaves: Ob. ]
+              Cl. ] 8
+              Fag.] 8.
+
+Mixed timbres may also be employed.
+
+_Examples:_
+
+No. 64. _Spanish Capriccio_ [[P]]--melody in 4 octaves:
+Picc./2 Fl./2 Ob. + Cl./Fag.] 8/8/8.
+
+_The Tsar's Bride_ [[141]]--melody in 3 octaves.
+
+* _Legend of Kitesh_ [[212]]--2 Cl./Bass cl./D. bassoon] 8/8.
+
+* No. 65. _Antar_, (1st version) 3rd movement, the
+beginning--Picc. + 2 Fl./2 Ob. + 2 Cl./2 Fag.] 8/8; also [[C]], melody
+in 4 octaves (piccolo in the upper octaves).
+
+* _Mlada_, Act III, after [[42]]--Fl./Ob./Eng. horn] 8/8.
+
+No. 66. _Shéhérazade_, 3rd movement [[G]]--Picc./Cl. I/Cl. II] 8/8.
+
+Examples of melody doubled in five octaves are extremely rare; in such
+cases the strings participate in the process.
+
+
+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. Fl. Ob. Cl.  Ob. ]
+Ob. Cl. Cl. Fag. Fag.] 3 (6).
+
+If this order is inverted, e.g. Ob. Cl. Fag./Fl. Fl. 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. + Cl.
+Fl. + Ob. ] 3 (6) or Fl. + Cl. ] 3 (6) etc., as well as:
+
+Fl. + Ob. ]          Ob. + Fl. ]
+Fl. + Cl. ] 3 (6) or Fl. + Cl. ] 3 (6) etc.
+
+In the case of tripling the following arrangement may be adopted:
+
+Fl. + Ob. + Cl. ]          Ob. + 2 Fl. ]
+Fl. + Ob. + Cl. ] 3 (6) or 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.
+
+
+Thirds and sixths together.
+
+[Music]
+
+Apart from the obvious distribution:
+
+Fl.    Ob.
+Ob. or Cl.,
+Cl.    Fag.
+
+there are certain complicated methods which involve doubling:
+
+Upper part.  Ob. + Fl.
+Middle  "    Fl. + Cl.
+Lower   "    Ob. + Cl.
+
+The following is a complex instance somewhat vague in character:
+
+No. 69. Legend of Kitesh [[35]]--Ob./Ob./Cl. + Cl. and Fl./Fl./Ob. +
+Ob.
+
+
+Melody in the brass.
+
+The natural scale, the only one which brass instruments had at their
+disposal prior to the invention of valves was:
+
+[Music]
+
+giving, in two part harmony:
+
+[Music]
+
+With the help of rhythm, these component parts have given rise to a
+whole series of themes and phrases named fanfares, trumpet calls or
+flourishes, best adapted to the character of brass instruments.
+
+In modern music, thanks to the introduction of valves, this scale is
+now possible in all keys for every chromatic brass instrument, without
+it being necessary to change the key, and the addition of a few notes
+foreign to the natural scale has enriched the possibilities of these
+flourishes and fanfares, and endowed them with greater variety of
+expression.
+
+These phrases, either as solos, or in two or three parts, fall
+specially to the lot of the trumpets and horns, but they may also be
+given to the trombones. The full, clear, ringing notes of the middle
+and upper register of horns and trumpets are best suited to figures of
+this description.
+
+_Examples:_
+
+_Servilia_ [[20]]--Trumpets.
+
+_The Christmas Night_ [[182]]--Horn, Trumpets.
+
+_Vera Scheloga_, beginning of Overture, and after [[45]]--Horn,
+Trumpets.
+
+_Ivan the Terrible_, Act III [[3]]--Cornet.
+
+_Snegourotchka_ [[155]]--Trumpets.
+
+No. 70. _Legend of Kitesh_ [[65]] and elsewhere.--3 Trumpets, 4 Horns.
+
+_Pan Voyevoda_ [[191]]--2 Trombones, Trumpet.
+
+* _The Golden Cockerel_ [[20]]--2 Horns and Trumpets/Horns] 8 (cf.
+further on).
+
+After fanfare figures, those melodies best suited to the brass quality
+are those of an unmodulated diatonic character, rousing and triumphant
+in the major key, dark and gloomy in the minor.
+
+_Examples:_
+
+No. 71. _Sadko_ [[342]]--Trumpet.
+
+_Sadko_, before [[181]]--Trombones (cf. Ex. 27).
+
+No. 72. _Snegourotchka_ [[71]]--Trumpet.
+
+_Russian Easter Fête_ [[M]]--Trombone.
+
+_Spanish Capriccio_ [[E]]--Alternative use in the horn of open and
+stopped notes (cf. Ex. 44).
+
+_Ivan the Terrible_, Act II, before [[17]]--Bass trumpet, and 3 Horns
+a little further on.
+
+_Mlada_, Act II [[33]]--Bass trumpet (cf. Ex. 46).
+
+The genial and poetic tone of the horn in _piano_ passages affords
+greater scope in the choice of melodies and phrases that may be
+entrusted to this instrument.
+
+_Examples:_
+
+_The May Night_, Overture [[13]].
+
+_The Christmas Night_ [[1]].
+
+_Snegourotchka_ [[86]].
+
+_Pan Voyevoda_ [[37]].
+
+No. 73. _Antar_ [[40]].
+
+Melodies involving chromatic or enharmonic writing are much less
+suitable to the character of brass instruments. Nevertheless such
+melodies may sometimes be allotted to the brass, as in the music of
+Wagner, and the modern Italian realists, who, however, carry the
+proceeding to extremes. Vigourous phrases in the form of a fanfare,
+although introducing chromatic notes sound singularly beautiful on the
+brass.
+
+_Example:_
+
+No. 74. _Shéhérazade_, 2nd movement [[D]].
+
+As a general rule, brass instruments lack the capacity to express
+passion or geniality. Phrases charged with these sentiments become
+sickly and insipid when confided to the brass. Energetic power, free
+or restrained, simplicity and eloquence constitute the valuable
+qualities of this group.
+
+
+Brass in unison, in octaves, thirds and sixths.
+
+As, from its very nature, the brass is not called upon to realise a
+wide range of expression, kindred instruments of one group may be
+employed _solo_, as well as in unison. The combination of 3 trombones
+or 4 horns in unison is frequently met with, and produces extreme
+power and resonance of tone.
+
+_Examples:_
+
+_Snegourotchka_ [[5]]--4 Horns (cf. Ex. 15).
+
+_Snegourotchka_ [[199]]--4 Horns and 2 Trumpets.
+
+_Sadko_ [[175]]--1, 2, 3 Trumpets.
+
+No. 75. _Sadko_ [[305]][13]--3 Trombones.
+
+[Footnote 13: The composer has emended the score in the following
+manner: from the fifth to the ninth bar after [[305]], and also from
+the fifth to the ninth bar after [[306]], the three clarinets play in
+unison, the trumpet being marked _forte_ instead of _fortissimo_; in
+the example, the first of these passages is corrected according to the
+composer's alteration. (Editor's note.)]
+
+No. 76. _The May Night_, beginning of Act III--1, 2, 3, 4 Horns.
+
+_Legend of Kitesh_, end of Act I--4 Horns (cf. Ex. 70).
+
+No. 77. _Shéhérazade_, 4th movement p. 204--3 Trombones.
+
+_Mlada_; Lithuanian dance--6 Horns (cf. Ex. 61).
+
+Owing to the resonant power of the entire group, the equality and even
+gradation of tone between the dark colour of the deep compass and the
+bright quality of the upper register, the use of brass instruments of
+the same kind in octaves, thirds or sixths invariably leads to
+satisfactory results. For the same reason the employment of brass
+instruments of different kinds, arranged according to normal order of
+register:
+
+Trumpet  Trumpet   Trombone  2 Trombones      2 Trumpets   2 Horns
+2 Horns  Trombone  Tuba      Trombone + Tuba  2 Trombones  Tuba
+
+is likewise successful whether the instruments are doubled or not.
+Another possible method, though not so reliable, is to combine horns
+(above) with trombones, exclusively in octaves:
+
+2 Horns   ]      4 Horns    ]
+1 Trombone] 8 or 2 Trombones] 8.
+
+_Examples:_
+
+_Sadko_, before [[120]]--Trumpet/Trumpet] 8.
+
+_Sadko_ [[5]]--2 Trumpets/4 Horns] 8.
+
+_Snegourotchka_ [[222]]--2 Trombones/Trombone + Tuba] 8.
+
+_Ivan the Terrible_, Act III [[10]] 1 Trombone + Trumpet/2 Trombones]
+8 (cf. Ex. 38)
+
+_The Golden Cockerel_ [[125]]--Trumpet/Trombone] 8.
+
+Cf. also _Snegourotchka_ [[325-326]]--Trombone/Trombone] 8 (Ex. 95).
+
+
+Melody in different groups of instruments combined together.
+
+A. Combination of wind and brass in unison.
+
+The combination of a wood-wind and brass instrument produces a complex
+resonance in which the tone of the brass predominates. This resonance
+is naturally more powerful than that of each instrument taken
+separately, but slightly sweeter than the brass instrument alone. The
+tone of the wood-wind blends with that of the brass, softens and
+rarefies it, as in the process of combining two wood-wind instruments
+of different colour. Instances of such doubling are fairly numerous,
+especially in _forte_ passages. The trumpet is the instrument most
+frequently doubled: Trumpet + Cl., Trumpet + Ob., Trumpet + Fl., as
+well as Trumpet + Cl. + Ob. + Fl.; the horn, less often: Horn + Cl.,
+Horn + Fag. Trombones and Tuba may also be doubled: Trombone + Fag.,
+Tuba + Fag. Combining the Eng. horn, bass clarinet and double bassoon
+with the brass, in corresponding registers, presents the same
+characteristics.
+
+_Examples:_
+
+_Legend of Kitesh_ [[56]]--Trombone + Eng. horn.
+
+* _Mlada_, Act III, before [[34]]--3 Trombones + Bass cl.
+
+As a rule, the addition of a wind to a brass instrument yields a finer
+legato effect than when the latter instrument plays alone.
+
+
+B. Combination of wind and brass in octaves.
+
+Doubling the horns in octaves by clarinets, oboes or flutes often
+replaces the combination
+
+1 Trumpet           ]
+1 Horn (or 2 Horns) ] 8.
+
+This is done when it is a question of introducing a rich tone into the
+upper octave which the trumpet is not capable of imparting. If a
+single horn is used, the upper part is allotted to 2 clarinets, 2
+oboes, or 2 flutes. But if there are two horns playing the lower
+octave in unison, three or four wind instruments will be necessary
+above, especially in _forte_ passages:
+
+8 [2 Ob. or 2 Cl. or 2 Fl.
+  [1 Horn
+
+as well as
+
+1 Ob. + 1 Cl.]    2 Fl. + 2 Cl.]
+1 Horn       ] 8; 2 Horns      ] 8.
+
+To double a trumpet in the upper octave three or four wind instruments
+are required, but in the top register two flutes will suffice.
+
+[Music] [Music]
+
+Wood-wind instruments should not be used to double a trombone in the
+octave above; trumpets are more suitable.
+
+
+Examples of doubling in octaves:
+
+* _Snegourotchka_ [[71]]--Ob. + Cl./Horn] 8.
+
+* _Legend of Tsar Saltan_, before [[180]]--Ob. + Cl./Ob. + Cl.]
+6/Horn/Horn] 6] 8.
+
+* Mention should also be made of mixed timbres (wood and brass) in
+progression in octaves.
+
+_Examples:_
+
+_Mlada_, Act III, beginning of Scene III--Trombone + Bass cl./Tuba +
+C-fag.] 8.
+
+No. 78. _Mlada_, Act III after [[25]]--2 Cl. + 2 Horns + Trombone/Bass
+cl. + 2 Horns + Trombone] 8 (low register).
+
+No. 79. _Mlada_, Act III, before [[35]]--general unison.
+
+When it is desired to distribute the melody over three or four
+octaves, it is difficult to achieve perfect balance of tone.
+
+_Examples:_
+
+* _Shéhérazade_, 4th movement, 15th bar after [[W]]--Picc./2 Fl.
++ 2 Ob./2 Trumpets] 8/8.
+
+* _Legend of Tsar Saltan_ [[228]]--Picc./2 Fl. + 2 Ob./Trumpet + Eng.
+horn] 8/8.
+
+
+C. Combination of strings and wind.
+
+In commencing this section of the work I consider it necessary to lay
+down the following fundamental rules which apply equally to melody,
+harmony, counterpoint and polyphonic writing.
+
+All combinations of strings and wood-wind are good; a wind instrument
+progressing in unison with a stringed instrument increases the
+resonance of the latter and amplifies its tone, while the quality of
+the strings softens that of the wood-wind. In such combinations the
+strings will predominate provided that the two instruments are of
+equal power, e.g. when violins are coupled with an oboe, a bassoon
+with the 'cellos. If several wind instruments play in unison with one
+group of strings, the latter will be overpowered. As a rule all
+combinations refine the characteristics of each instrument taken
+separately, the wood-wind losing more than the strings.
+
+
+_Doubling in unison._
+
+The best and most natural combinations are between instruments whose
+registers correspond the nearest:
+
+Vns + Fl. (Bass fl., picc.), Vns + Ob., Vns + Cl. (small Cl.);
+Violas + Ob. (Eng. horn), Violas + Cl., Violas + Fag.
+'Cellos + Cl. (Bass cl.), 'Cellos + Fag.;
+D. basses + Bass cl., D. basses + Fag.; D. basses + C-fag.
+
+The object of these combinations is: a) to obtain a new timbre of
+definite colour; b) to strengthen the resonance of the strings; c) to
+soften the quality of the wood-wind.
+
+_Examples:_
+
+_Snegourotchka_ [[5]]--'Cellos + Violas + Eng. horn (cf. Ex. 15).
+
+      "         [[28]]--Violas + Ob. + Eng. horn.
+
+      "         [[116]]--Vns I + II + Ob. + Cl.
+
+      "         [[288]]--Vns I + II + 'Cellos + Eng. horn (cf. Ex. 17).
+
+No. 80. _The May Night_, Act III [[Bb]]--Violas + Cl.
+
+No. 81. _Sadko_ [[311]]--Vns + Ob.
+
+No. 82.    "    [[77]]--Violas + Eng. horn.
+
+No. 83.    "    [[123]]--Violas + Eng. horn.
+
+_Servilia_ [[59]]--Vns _G_ string + Fl.
+
+_Tsar Saltan_ [[30]]--Vns I + II + 2 Cl.
+
+No. 84. _Tsar Saltan_ [[30]], 10th bar.--'Cellos + Violas + 3 Cl. +
+Fag.
+
+_Tsar Saltan_ [[156-159]]--Vns detached + Fl. _legato_.
+
+_The Tsar's Bride_ [[10]] Violas + 'Cellos + Fag.
+
+_Antar_, 4th movement [[63]]--'Cellos + 2 Fag.
+
+_Shéhérazade_, 3rd movement [[H]]--Violas + Ob. + Eng. horn.
+
+
+_Parts doubled in octaves._
+
+Examples of strings in octaves doubled by wood-wind also in octaves
+are numerous, and do not require special description; they are used
+according to the rules already laid down. The following are examples
+of melody distributed over 1, 2, 3 and 4 octaves:
+
+_Examples:_
+
+No. 85. _Ivan the Terrible_, beginning of Overture--Vns I + II + 2
+Cl./Violas + 'Cellos + 2 Fag.] 8.
+
+No. 86. _Sadko_ [[3]]--'Cellos + Bass cl./D. basses + C-fag.] 8.
+
+_Sadko_ [[166]]--'Cellos + Fag./D. basses + C-fag.] 8.
+
+   "    [[235]]--Violas + 2 Cl./'Cellos + D. basses + 2 Fag.] 8.
+
+_The Tsar's Bride_ [[14]]--'Cellos + Fag./D. basses + Fag.] 8.
+
+_The Tsar's Bride_ [[81]]--Vns I/Vns II div. + Fl./+ Ob.] 8.
+
+  "    "      "    [[166]]--Vns I + Fl./Vns II + Ob.] 8 (cf. Ex. 22).
+
+In three and four octaves:
+
+_Servilia_ [[93]]--Vns + 3 Fl./Violas + 2 Ob./'Cellos + 2 Fag.]
+8/8.
+
+No. 87. _Kashtcheï_ [[105]]--Vns I + Picc./Vns II + Fl. +
+Ob./Violas + 'Cellos + 2 Cl. + Eng. horn + Fag.] 8/8.
+
+_Shéhérazade_, 3rd movement [[M]]--Vns I + Fl./Vns II +
+Ob./'Cellos + Engl. horn] 8/8.
+
+
+_Examples of melody in thirds and sixths:_
+
+_Servilia_ [[44]]--Fl. + Ob. + Cl. + Vns/Fl. + Ob. + Cl. + Vns
+div.] 3.
+
+No. 88. _Servilia_ [[111]]--Strings and wood-wind in thirds.
+
+No. 89.     "      [[125]]--same combination, in thirds and sixths.
+
+_Kashtcheï_ [[90]]--The same.
+
+It is necessary to pay more attention to cases where, of the two parts
+in octaves, only one is doubled. When this method is applied to a
+melody in the soprano register it is better to allow the wood-wind to
+progress in octaves, the lower part only being doubled by one of the
+string groups; Picc./Fl. + Vns] 8. Fl./Ob. (Cl.) + Vns] 8.
+
+_Examples:_
+
+_Tsar Saltan_ [[102]]--2 Fl. + Picc./Vns I + II + Ob.] 8 (cf. Ex.
+133).
+
+* No. 90. _Shéhérazade_, 4th movement [[U]]--2 Cl./'Cellos + 2
+Horns] 8.
+
+In the case of a melody in the low register demanding a sweet soft
+tone, the violoncellos and double basses should be made to progress in
+octaves, the former doubled by a bassoon, the latter not doubled at
+all: 'Cellos + Fag./D. basses] 8. Sometimes a composer is obliged to
+use this method on account of the very low register of the double
+bass, especially if a double bassoon is not included in his orchestral
+scheme.[14]
+
+[Footnote 14: The process of doubling strings and wood-wind in
+octaves: Fl./Vns] 8, Ob./'Cellos] 8, etc. often used by the
+classics to obtain balance of tone, is not to be recommended, as the
+tone quality of the two groups is so widely different. As a result of
+the ever-increasing tendency to profusion of colour, this method has
+recently come into fashion again, notably among the younger French
+composers. (Editor's note.)]
+
+_Example:_
+
+No. 91. _Tsar Saltan_ [[92]]--Violas + Fag./'Cellos + Fag./D. basses]
+8/8.
+
+
+D. Combination of strings and brass.
+
+Owing to the dissimilarity between the quality of string and brass
+tone, the combination of these two groups in unison can never yield
+such a perfect blend as that produced by the union of strings and
+wood-wind. When a brass and a stringed instrument progress in unison,
+each can be heard separately, but the instruments in each group which
+can be combined with the greatest amount of success are those whose
+respective registers correspond the most nearly; Violin + Trumpet;
+Viola + Horn; 'Cellos/D. basses + Trombones/Tuba (for heavy massive
+effects).
+
+The combination of horns and 'cellos, frequently employed, produces a
+beautifully blended, soft quality of tone.
+
+_Examples:_
+
+_Tsar Saltan_ [[29]]--Vns I + II + Horn.
+
+* No. 92. _The Golden Cockerel_ [[98]]--Violas _con sord._ + Horn.
+
+
+E. Combination of the three groups.
+
+The combination of members of the three groups in unison is more
+common, the presence of the wood-wind imparting a fuller and more
+evenly blended tone. The question as to which group will predominate
+in timbre depends upon the number of instruments employed. The most
+natural combinations, and those most generally in use are: Vns +
+Ob. (Fr., Cl.) + Trumpet; Violas (or 'Cellos) + Cl. (Eng. horn) +
+Horn; 'Cellos/D. basses + 2 Fag. + 3 Trombones + Tuba.
+
+Such groupings are used for preference in loud passages or for a heavy
+_piano_ effect.
+
+_Examples:_
+
+No. 93-94. _Snegourotchka_ [[218]] and [[219]]--Vns I + II + Cl. +
+Horn and Vns I + II + Cl. + Trumpet.
+
+_Servilia_ [[168]]--Violas + Trombones/'Cellos + Trombone + Bass
+Cl./D. basses + Tuba + Fag.] 8/8 (cf. Ex. 62).
+
+No. 95. _Snegourotchka_ [[325]]--'Cellos + Violas + Fag. + Trombone/D.
+basses + Fag. + Tuba] 8.
+
+_Pan Voyevoda_ [[224]]--Vns + Fag. + Horn + Vn. + Cl. + Trumpet.
+(Stopped notes in the brass.)
+
+* _Mlada_, Act III, after [[23]]--Violas + 2 Cl. + Bass trumpet.
+
+* No. 96. _Ivan the Terrible_, Act III, before [[66]]--Bass Cl. + Horn
+/D. basses + C-fag. + Tuba] 8.
+
+* _Ivan the Terrible_, Overture, 4th bar after [[9]]--Violas +
+'Cellos + Eng. horn + 2 Cl. + Bass Cl. + 2 Fag. + 4 Horns. (The melody
+simplified in the horns.)
+
+
+
+
+Chapter III.
+
+HARMONY.
+
+
+General observations.
+
+The art of orchestration demands a beautiful and well-balanced
+distribution of chords forming the harmonic texture. Moreover,
+transparence, accuracy and purity in the movement of each part are
+essential conditions if satisfactory resonance is to be obtained. No
+perfection in resonance can accrue from faulty progression of parts.
+
+     _Note._ There are people who consider orchestration simply
+     as the art of selecting instruments and tone qualities,
+     believing that if an orchestral score does not sound well,
+     it is entirely due to the choice of instruments and timbres.
+     But unsatisfactory resonance is often solely the outcome of
+     faulty handling of parts, and such a composition will
+     continue to sound badly whatever choice of instruments is
+     made. So, on the other hand, it often happens that a passage
+     in which the chords are properly distributed, and the
+     progression of parts correctly handled, will sound equally
+     well if played by strings, wood-wind or brass.
+
+The composer should picture to himself the exact harmonic formation of
+the piece he intends to orchestrate. If, in his rough sketch, there
+exist any uncertainly as to the number or movement of harmonic parts,
+he is advised to settle this at once. It is likewise essential for him
+to form a clear idea as to the construction and musical elements of
+the piece, and to realise the exact nature and limitations of the
+themes, phrases and ideas he is going to employ. Every transition from
+one order of harmonic writing to another, from four-part harmony to
+three, or from five-part harmony to unison etc., must coincide with
+the introduction of a new idea, a fresh theme or phrase; otherwise the
+orchestrator will encounter many unforeseen and insurmountable
+difficulties. For example, if, during a passage written in four parts
+a chord in five-part harmony is introduced, a fresh instrument must
+needs be added to play this particular fifth part, and this addition
+may easily damage the resonance of the chord in question, and render
+the resolution of a discord or the correct progression of parts
+impossible.
+
+
+Number of harmonic parts--Duplication.
+
+In the very large majority of cases harmony is written in four parts;
+this applies not only to single chords or a succession of them, but
+also to the formation of the harmonic basis. Harmony which at first
+sight appears to comprise 5, 6, 7 and 8 parts, is usually only four
+part harmony with extra parts added. These additions are nothing more
+than the duplication in the adjacent upper octave of one or more of
+the three upper parts forming the original harmony, the bass being
+doubled in the lower octave only. The following diagrams will explain
+my meaning:
+
+[Music: _A. Close part-writing._
+
+Four part harmony.
+Duplication of 1 part.
+Duplication of 2 parts.
+Duplication of 3 parts.]
+
+[Music: _B. Widely-divided part-writing._
+
+Four part harmony.
+Duplication of 1 part.
+Duplication of 2 parts.]
+
+     _Note._ In widely-spaced harmony only the soprano and alto
+     parts may be doubled in octaves. Duplicating the tenor part
+     is to be avoided, as close writing is thereby produced, and
+     doubling the bass part creates an effect of heaviness. The
+     bass part should never mix with the others:
+
+     Bad: [Music]
+
+On account of the distance between the bass and the three other parts,
+only partial duplication is possible.
+
+Good: [Music]
+
+     _Note._ Notes in unison resulting from correct duplication
+     need not be avoided, for although the tone in such cases is
+     not absolutely uniform, the ear will be satisfied with the
+     correct progression of parts.
+
+Consecutive octaves between the upper parts are not permissible:
+
+Bad: [Music]
+
+Consecutive fifths resulting from the duplication of the three upper
+parts moving in chords of sixths are of no importance:
+
+Good: [Music]
+
+The bass of an inversion of the dominant chord should never be doubled
+in any of the upper parts:
+
+Good: [Music] Bad: [Music]
+
+This applies also to other chords of the seventh and diminished
+seventh:
+
+Bad: [Music] Good: [Music]
+
+The rules of harmony concerning sustained and pedal passages apply
+with equal force to orchestral writing. As regards passing and
+auxiliary notes, _échappées_, considerable licence is permitted in
+rapid passages of different texture:
+
+One texture: [Music]
+
+A different one: [Music]
+
+One texture: [Music]
+
+A different one: [Music]
+
+A certain figure and its essentials, in simplified form, may proceed
+concurrently, as in the following example:
+
+One texture: [Music]
+
+A different one: [Music]
+
+A third: [Music]
+
+Upper and inner pedal notes are more effective on the orchestra than
+in pianoforte or chamber music, owing to the greater variety of tone
+colour:
+
+[Music]
+
+In Vol. II of the present work many examples of the above methods will
+be found.
+
+
+Distribution of notes in chords.
+
+The normal order of sounds or the natural harmonic scale:
+
+[Music]
+
+may serve as a guide to the orchestral arrangement of chords. It will
+be seen that the widely-spaced intervals lie in the lower part of the
+scale, gradually becoming closer as the upper register is approached:
+
+[Music]
+
+The bass should rarely lie at a greater distance than an octave from
+the part directly above it (tenor harmony). It is necessary to make
+sure that the harmonic notes are not lacking in the upper parts:
+
+To be avoided: [Music]
+
+The use of sixths in the upper parts, and the practice of doubling the
+upper note in octaves are sometimes effective methods:
+
+[Music] [Music]
+
+When correct progression increases the distance between the top and
+bottom notes of the upper parts, this does not matter:
+
+Good: [Music]
+
+But it would be distinctly bad to fill in the second chord thus:
+
+Not good: [Music]
+
+Hence it follows that the distribution of intermediate parts is a
+question of the greatest importance. Nothing is worse than writing
+chords, the upper and lower parts of which are separated by wide,
+empty intervals, especially in _forte_ passages; in _piano_ passages
+such distribution may be possible. Progression in contrary motion, the
+upper and lower parts diverging by degrees gives rise to the gradual
+addition of extra parts occupying the middle register:
+
+Schematic Example: [Music]
+
+When the voices converge, the middle parts are eliminated one by one:
+
+Schematic Example: [Music]
+
+
+String harmony.
+
+It is an incontrovertible rule that the resonance of different
+harmonic parts must be equally balanced, but this balance will be less
+noticeable in short sharp chords than in those which are connected and
+sustained. Both these cases will be studied separately. In the first
+case, in order to increase the number of harmonic parts, each
+instrument in the string group may be provided with double notes or
+chords of three and four notes. In the second case, the resources are
+limited to double notes _unis_, or division of parts.
+
+A. _Short chords._ Chords of three or four notes can only be executed
+rapidly on the strings.
+
+     _Note._ It is true that the two upper notes of a chord can
+     be sustained and held a long time; this, however, involves
+     complications and will be considered later.
+
+Short chords, _arco_, only sound well when played _forte_ (_sf_), and
+when they can be supported by wind instruments. In the execution of
+double notes and chords of three and four notes on the strings,
+balance, perfect distribution of tone, and correct progression of
+parts are of minor importance. What must be considered before
+everything is the resonance of the chords themselves, and the degree
+of ease with which they can be played. Those comprising notes on the
+gut strings are the most powerful. Chords played on several strings
+are usually assigned to 1st and 2nd violins and violas, the
+different notes being divided between them according to ease in
+execution and the demands of resonance. On account of its low register
+the 'cello is rarely called upon to play chords on three or four
+strings, and is usually allotted the lowest note of the chord in
+company with the double bass. Chords on the latter instrument are even
+more uncommon, but it may supply the octave on an uncovered string.
+
+_Examples:_
+
+No. 97. _Snegourotchka_ [[171]]; cf. also before [[140]] and before
+[[200]].
+
+* _Spanish Capriccio_, before [[V]] (cf. Ex. 67).
+
+_Shéhérazade_, 2nd movement [[P]] (cf. Ex. 19.)
+
+* No. 98. _Tsar Saltan_ [[135]]; cf. also [[141]] and before [[182]].
+
+Isolated chords may be added to a melodic figure in the upper part,
+accentuating, _sforzando_, certain rhythmical moments.
+
+_Example:_
+
+No. 99. _Snegourotchka_, before [[126]]; cf. also [[326]].
+
+B. _Sustained and tremolando chords._ Chords sustained for a shorter
+or longer period of time, or tremolando passages, often used as a
+substitute, demand perfect balance of tone. Taking for granted that
+the different members of the string group are equal in power, the
+parts being written according to the usual order of register, (cf.
+Chap. I), it is patent that a passage in close four-part harmony, with
+the bass in octaves will also be uniformly resonant. When it is
+necessary to introduce notes to fill up the empty middle register, the
+upper parts being farther distant from the bass, doubled notes on the
+violins or violas should be used, or on both instruments together. The
+method of dividing strings, which is sometimes adopted, should be
+avoided in such cases, as certain parts of the chord will be divided
+and others will not; but, on the other hand, if a passage in six and
+seven-part harmony be written entirely for strings divided in the same
+manner, the balance of tone will be completely satisfactory, e.g.,
+
+div. { Vns I/Vns I
+div. { Vns II/Vns II
+div. { Violas I/Violas II
+
+If the harmony in the three upper parts, thus strengthened, is written
+for divided strings, the 'cellos and basses, playing _non divisi_ will
+prove a trifle heavy; their tone must therefore be eased, either by
+marking the parts down or reducing the number of players.
+
+In the case of sustained chords or _forte tremolando_ on two strings,
+the progression of parts is not always according to rule, the
+intervals chosen being those which are the easiest to play.
+
+_Examples:_
+
+No. 100. _The Christmas Night_ [[161]]--Full _divisi_.
+
+No. 101.   "      "       "    [[210]]--Violas div./'Cellos div.} 4
+                               part harmony.
+
+No. 102. _Snegourotchka_ [[187-188]]--Four-part harmony, Vns I,
+                         Vns II, Violas and Violoncellos.
+
+                "        [[243]]--4 Solo 'cellos _divisi_.
+
+_Shéhérazade_, 2nd movement, beginning.--4 D. bass soli div. (cf.
+Ex. 40).
+
+_The Tsar's Bride_ [[179]]--Chords on all strings (cf. Ex. 243).
+
+No. 103. _Legend of Kitesh_ [[8]]--Harmonic basis in the strings.
+
+             "   "    "     [[240]]--(Cf. Ex. 21).
+
+             "   "    "     [[283]]--Harmonic basis in the strings
+                            (cf. Ex. 2).
+
+No. 104. _The Golden Cockerel_ [[4]]--Basis in the strings.
+
+           "    "       "      [[125]]--Undulating rhythm in the
+                               strings as harmonic basis (cf. Ex. 271).
+
+In a _forte_ or _sfp_ chord, where one or two of the upper notes is
+held, either sustained or _tremolando_, the balance of tone must still
+be maintained, as in the following example:
+
+[Music:
+
+Vns I
+VnII
+Violas
+D. basses]
+
+
+Wood-wind harmony.
+
+Before entering upon this section of the work I would remind the
+reader of the general principles laid down in the beginning of the
+chapter.
+
+Harmonic texture, composed of plain chords or ornamental designs,
+simple or contrapuntal in character, must possess a resonance equally
+distributed throughout. This may be obtained by the following means:
+
+1. Instruments forming chords must be used continuously in the same
+way during a given passage, that is to say they must be doubled or not
+throughout, except when one of the harmonic parts is to be made
+prominent:
+
+To be avoided: [Music]
+
+2. The normal order of register must be followed, except in the case
+of crossing or enclosure of parts, which will be discussed later on:
+
+To be avoided: [Music]
+
+3. Corresponding or adjacent registers should be made to coincide
+except for certain colour effects:
+
+To be avoided: [Music]
+
+The second flute will sound too weak and the oboes too piercing.
+
+4. Concords (octaves, thirds and sixths) and not discords (fifths,
+fourths, seconds and sevenths), should be given to instruments of the
+same kind or colour, except when discords are to be emphasised. This
+rule should be specially observed in writing for the oboe with its
+penetrating quality of tone:
+
+To be avoided: [Music]
+
+
+Four-part and three-part harmony.
+
+Harmonic writing for the wood-wind may be considered from two points
+of view: a) instruments in pairs, 2 Fl., 2 Ob., 2 Cl., 2 Fag.; and b)
+instruments in three's, 3 Fl., 2 Ob., Eng. horn, 3 Cl., 2 Fag., C-fag.
+
+A. _In pairs._ There are three ways of distribution: 1.
+_Superposition_ or _overlaying_ (strictly following the normal order
+of register), 2. _Crossing_, and 3. _Enclosure_ of parts. The last
+two methods involve a certain disturbance of the natural order of
+register:
+
+[Music: Overlaying. Crossing. Enclosure.]
+
+In choosing one of these three methods the following points must not
+be forgotten: a) the register of a particular isolated chord; the soft
+and weak register of an instrument should not be coupled with the
+powerful and piercing range of another:
+
+[Music:
+
+Overlaying.
+Oboe too
+piercing.
+
+Crossing.
+Low notes
+of the flute
+too weak.
+
+Enclosure.
+Bassoon too
+prominent.]
+
+
+b) In a succession of chords the general progression of parts must be
+considered; one tone quality should be devoted to the stationary and
+another to the moving parts:
+
+[Music]
+
+When chords are in widely-divided four-part harmony notes may be
+allotted in pairs to two different tone qualities, adhering to the
+normal order of register:
+
+Good: [Music] etc.
+
+Any other distribution will result unquestionably in a grievous lack
+of relationship between registers:
+
+To be avoided: [Music] etc.
+
+If one tone quality is to be enclosed, it must be between two
+different timbres:
+
+Good: [Music] etc.
+
+It is possible to lend four distinct timbres to a chord in
+widely-divided four-part harmony, though such a chord will possess no
+uniformity in colour; but the higher the registers of the different
+instruments are placed, the less perceptible becomes the space which
+separates them:
+
+[Music: Fairly good Better Still better]
+
+The use of four different timbres in close four-part harmony is to be
+avoided, as the respective registers will not correspond:
+
+[Music: Bad Better Still slightly better]
+
+     _Note._ In _Mozart and Salieri_, which is only scored for 1
+     Fl., 1 Ob., 1 Cl. and 1 Fag., wood-wind chords in four-part
+     harmony are of necessity devoted to these four different
+     timbres.
+
+The same rules apply to writing in three-part harmony, which is the
+most customary form when it is a question of establishing a harmonic
+basis, the lowest register of which is entrusted to another group of
+instruments (strings _arco_ or _pizz._, for example). Chords in
+three-part harmony are generally given to two instruments of one
+timbre and a third instrument of another, but never to three different
+timbres. Overlaying of parts is the best course to adopt:
+
+[Music] etc.
+
+The use of crossing and enclosure of parts (which in a way amount to
+the same thing) must depend on the manner of their progression:
+
+[Music: Enclosure]
+
+B. _Wood-wind in three's._ Here the distribution of chords in close
+three-part harmony is self-evident; any grouping of three instruments
+of the same timbre is sure to sound well:
+
+[Music]
+
+also: [Music]
+
+[Music]
+
+Overlaying of parts is the best method to follow in writing close
+four-part harmony; three instruments of the same timbre with a fourth
+instrument of another. Crossing and enclosure of parts may also be
+employed. Correspondence of timbres and the progression of remote
+parts must be kept in mind:
+
+[Music]
+
+The method of using three instruments of the same timbre in
+widely-divided three-part harmony is inferior:
+
+[Music: Not good Better Better Not good Better Better]
+
+But if the third instrument is of low register (Bass Fl., Eng. horn,
+Bass cl., or C-fag.), the resonance will be satisfactory:
+
+[Music]
+
+In chords of four-part harmony, three instruments of the same timbre
+should be combined with a fourth instrument of another:
+
+[Music] etc.
+
+
+Harmony in several parts.
+
+In writing chords of 5, 6, 7 and 8 part-harmony, whether they are
+independent, or constitute the harmonic basis, the student should
+follow the principles outlined in the previous chapter, dealing with
+the progression of wood-wind instruments in octaves. As the 5th,
+6th, 7th and 8th notes are only duplications in octaves of
+lower notes of the real harmony (in 4 parts), instruments should be
+chosen which combine amongst themselves to give the best octaves. The
+process of crossing and enclosure of parts may also be used.
+
+A. Wood-wind in pairs (close distribution):
+
+[Music]
+
+In widely-divided harmony chords in several parts are to be avoided as
+they will entail both close and extended writing:
+
+[Music]
+
+     _Note._ In the majority of cases this distribution is
+     employed when the two upper harmonic parts have a special
+     melodic duty to perform--this question is discussed above.
+
+B. Wood-wind in three's:
+
+[Music]
+
+[Music] etc.
+
+Overlaying of parts is the most satisfactory method in dealing with
+close three-part harmony. Crossing of parts is not so favourable, as
+octaves will be produced contrary to the natural order of register:
+
+[Music] Here the arrangement [Music] is bad.
+
+
+Duplication of timbres.
+
+A. If the wood-wind is in pairs it is a good plan to mix the doubled
+timbres as much as possible:
+
+[Music: Excellent],
+
+also: [Music]
+
+In chords of four-part harmony the classical method may be adopted:
+
+[Music]
+
+In this case, though the high _C_ in the flute is fairly powerful, the
+resonance of the _G_ and _E_ in the oboes is softened by the
+duplication of the 2nd flute and 1st clarinet, while the _C_ in
+the 2nd clarinets (not doubled) is feeble in comparison with the
+other notes. In any case the two extreme parts are the thinnest and
+weakest in tone, the intermediate parts the fullest and strongest.
+
+B. _Wood-wind in three's_ admit of perfectly balanced mixed timbres in
+chords of three-part harmony:
+
+[Music]
+
+These timbres may even originate from three-fold duplication:
+
+[Music]
+
+
+Remarks.
+
+1. Modern orchestrators do not allow any void in the intermediate
+parts in writing close harmony; it was permitted to some extent by the
+classics:
+
+[Music]
+
+These empty spaces create a bad effect especially in _forte_ passages.
+For this reason widely-divided harmony, which is fundamentally based
+on the extension of intervals, can be used but seldom and only in
+_piano_ passages. Close writing is the more frequent form in all
+harmony devoted to the wood-wind, _forte_ or _piano_.
+
+2. As a general rule a chord of greatly extended range and in several
+parts is distributed according to the order of the natural scale, with
+wide intervals (octaves and sixths), in the bass part, lesser
+intervals (fifths and fourths) in the middle, and close intervals
+(3rds or 2nds) in the upper register:
+
+[Music]
+
+3. In many cases correct progression of parts demands that one of them
+should be temporarily doubled. In such cases the ear is reconciled to
+the brief overthrow of balance for the sake of a single part, and is
+thankful for the logical accuracy of the progression. The following
+example will illustrate my meaning:
+
+[Music]
+
+In the second bar of this example the _D_ is doubled in unison on
+account of the proximity of the three upper parts to their
+corresponding parts an octave lower. In the fourth bar the _F_ is
+doubled in unison in both groups.
+
+4. The formation of the harmonic basis, which is essentially in four
+parts, does not by any means devolve upon the wood-wind alone. One of
+the parts is often devoted to the strings, _arco_ or _pizz._ More
+frequently the bass part is treated separately, the chords of greater
+value in the three upper parts being allotted to the wood-wind. Then,
+if the upper part is assigned to a group of strings, there remains
+nothing for the wind except the sustained harmony in the two middle
+parts. In the first case the three-part harmony in the wood-wind
+should form an independent whole, receiving no assistance from the
+bass; in this manner intervals of open fourths and fifths will be
+obviated. In the second case it is desirable to provide the
+intermediate parts with a moderately full tone, choosing no other
+intervals except seconds, sevenths, thirds or sixths.
+
+All that has been said with regard to the use of wood-wind in the
+formation of harmony, and the division of simple and mixed timbres
+applies with equal force to sustained chords, or harmonic progressions
+interchanging rapidly with _staccato_ chords. In short chords,
+separated by rests of some importance, the arrangement and division of
+timbres is not so perceptible to the ear, and progression of parts
+attracts less attention. It would be useless, nay, impossible to
+examine the countless combinations of tone colour, all the varieties
+of duplication and distribution of chords. It has been my aim to
+denote the fundamental principles upon which to work, and to indicate
+the general rules to be followed. Once having mastered these, if the
+student devote a little time to the study of full scores, and listen
+to them on the orchestra, he will soon learn when certain methods
+should be used and when to adopt others. The pupil is advised,
+generally, to write for wood-wind in its normal order of distribution,
+to take heed that each particular chord is composed entirely either of
+duplicated or non-duplicated parts, (except in certain cases resulting
+from progression), to use the methods of crossing and enclosure of
+timbres with full knowledge of what he is doing, and finally to
+concentrate his attention on close part-writing.
+
+_Examples of wood-wind harmony:_
+
+a) Independent chords.
+
+No. 105. _The Christmas Night_ [[148]]--Cl., 2 Fag.
+
+No. 106.   "      "       "    beginning--Ob., Cl., Fag. (crossing
+                               of parts).
+
+_Snegourotchka_ [[16]]--2 Cl., Fag.
+
+       "        [[79]], 5th bar.--2 Ob., 2 Fag. (cf. Ex. 136).
+
+* No. 107. _Snegourotchka_ [[197]]--Picc., 2 Fl. (_tremolando_).
+
+No. 108.          "        [[204]]--2 Fl., 2 Ob. (high register).
+
+No. 109. _Shéhérazade_, beginning--Total wood-wind in different
+distribution.
+
+* _Russian Easter Fête_ [[A]]--3 Fl. _tremolando_ (cf. Ex. 176).
+
+* _Tsar Saltan_ [[45]] Ob., 2 Fag.
+
+No. 110. _Tsar Saltan_, before [[115]]--mixed timbres.
+
+No. 111.   "     "      [[115]], and other similar passages--very
+                        sweet effect of wood-wind in three's.
+
+           "     "      [[177]]--2 Ob., 2 Fag.
+
+_Sadko_, Symphonic Tableau [[9]]--Ob., 2 Cl., Fag.
+
+* _Sadko_, Opera [[4]]--Eng. horn, 2 Cl.
+
+     "       "   before [[5]]--Total wood-wind.
+
+No. 112. _Sadko_ [[72]]--Chords in three-part harmony; simple and
+mixed timbres.
+
+* No. 113. _The Tsar's Bride_ [[126]] Full wind.
+
+* No. 114. _Legend of Kitesh_, before [[90]]--Enclosure of parts
+                               (Ob. I in the high register).
+
+No. 115.      "    "    "      before [[161]]--Wind and brass
+                               alternately.
+
+No. 116.      "    "    "      [[167]]--Full wind except oboe,
+                               with chorus.
+
+_Legend of Kitesh_ [[269]]--Fl., Cl., Fag.
+
+* _The Golden Cockerel_ [[125]]--Various wind instruments, 4 part
+                        harmony (cf. Ex. 271).
+
+    "     "      "      [[218]]--Ob., Eng. horn, Fag., C-fag.; cf.
+                        also [[254]].
+
+No. 117. _The Golden Cockerel_, before [[236]]--Mixed timbre; 2 Fag.
+form the bass.
+
+b) Harmonic basis (sometimes joined by the horns).
+
+_The May Night_, Act III [[L]]--2 Fag., Eng. horn (cf. Ex. 18).
+
+_Antar_ [[68]]--3 Flutes.
+
+_Snegourotchka_ [[20]]--2 Cl., high register.
+
+       "        before [[50]]--2 Fl., Fag.
+
+       "        [[187]]--2 Ob., 2 Fag.
+
+       "        [[274]]--2 Cl., low register (cf. Ex. 9).
+
+       "        [[283]]--Fl., Eng. horn, Cl., Fag. (cf. Ex. 26).
+
+No. 118. _Snegourotchka_ [[292]]--Widely-divided harmony and
+                              doubling of parts in the wind.
+
+No. 119.        "        [[318-319]]--2 Flutes.
+
+_Shéhérazade_, 2nd movement [[B]]--2 Cl., Fag. (sustained note in
+the horn) (cf. Ex. 1).
+
+_The Christmas Night_ [[1]]--3 Cl.
+
+_Sadko_ [[1]]--Cl., Bass Cl., Fag., C-fag.
+
+No. 120. _Sadko_ [[49]]--Ob., Cl., Horn, Fag.
+
+            "    [[99]]--2 Cl. (cf. Ex. 289, 290).
+
+No. 121. _Sadko_ [[144]]--Cl., Fag.
+
+No. 122.    "    [[195-196]]--2 Cl., Bass Cl.
+
+_The Tsar's Bride_ [[80]]--Cl., Fag.
+
+  "    "      "    [[166]]--harmonic parts in motion, Fl. and
+                   Cl. (cf. Ex. 22).
+
+_Servilia_ [[59]]--Cl. (low. register), Fag.
+
+* No. 123. _Kashtcheï the Immortal_ [[80]]--Ob., Fag. muted.
+
+* No. 124. _Legend of Kitesh._ [[52]]--Fl., Fag.
+
+              "    "     "     [[55]]--Fl., Ob. (cf. Ex. 197).
+
+              "    "     "     [[68]]--Eng. horn, Fag., C-fag. (cf.
+                               Ex. 199).
+
+No. 124.      "    "     "     [[118]]--mixed timbre: 2 Ob., Eng.
+                               horn and 3 Cl.
+
+              "    "     "     [[136]]--harmonic parts in motion:
+
+              "    "     "     before [[185]]--3 Fl. (low register)
+                               and 2 Cl.
+
+              "    "     "     [[223]]--Fl., Ob., Cl. (cf. Ex. 31).
+
+* No. 125.    "    "     "     [[247]]--2 Cl., Bass Cl.
+
+              "    "     "     [[273]]--Eng. horn, 2 Cl. and Bass
+                               Cl., Fag.
+
+* No. 126.    "    "     "     [[355]]--Eng. horn muted, Cl., 2 Fag.
+
+* No. 127. _The Golden Cockerel_ [[3]]--Cl., Bass Cl., Fag., C-fag.
+
+             "    "       "      [[40-41]] Bass Cl., Fag.; Fl., Cl.;
+                                 Cl., Bass Cl.
+
+* No. 128.   "    "       "      [[156]]--harmonic parts in motion:
+                                 Fl. and Cl.
+
+
+Harmony in the brass.
+
+Here, as in the wood-wind, part writing should be of the close order
+with no empty spaces in the intervals.
+
+Four-part writing.
+
+It is evident that the quartet of horns presents every facility for
+four-part harmony, perfectly balanced in tone, without doubling the
+bass in octaves:
+
+[Music]
+
+     _Note._ In the diagrams of the present section the actual
+     sounds of horns and trumpets are given, as in a piano score,
+     for the sake of simplicity.
+
+When it is found necessary to double the bass in octaves, the too
+resonant trombone and tuba are seldom used, the duplication being
+effected by the bassoon, as explained further on. The quartet of
+trombones and tuba is not often employed in close four-part harmony;
+the third trombone and the tuba usually form the bass in octaves, and
+the three upper parts are generally allotted to the two remaining
+trombones reinforced by a trumpet or two horns in unison, so as to
+obtain a perfect balance of tone:
+
+[Music]
+
+I have often adopted the following combination of brass instruments,
+and consider it eminently satisfactory: 2 horns and tuba to form the
+bass in octaves, the three other parts given to the trombones:
+
+[Music] (beautiful full resonance).
+
+In the higher registers, four-part harmony, of which the two upper
+parts are given to the trumpets, may be completed by two trombones or
+four horns in pairs:
+
+[Music]
+
+When 3 trumpets are available the fourth part should be allotted to
+one trombone, or two horns in unison:
+
+[Music]
+
+Enclosure of parts may be used in single chords:
+
+[Music]
+
+or in progression:
+
+[Music]
+
+Three-part writing.
+
+The best combination is trombones, horns, or trumpets in three's. If
+the instruments are mixed the number of horns should be doubled:
+
+[Music] etc.
+
+Writing in several parts.
+
+When the whole group is used the number of horns should be doubled:
+
+[Music] etc.
+
+In seven, six, or five-part harmony certain instruments must be
+omitted:
+
+[Music]
+
+[Music] etc.
+
+Discords of the seventh or second are preferably entrusted to
+instruments of different tone colour:
+
+[Music]
+
+When such chords are written for an orchestra which only includes two
+trumpets, it is impossible for the horns to proceed in pairs. In such
+cases the following arrangement may obtain, the horns being marked one
+degree louder than the other instruments, to secure balance of tone:
+
+[Music]
+
+The same method should be followed whenever the use of horns in pairs
+fails to produce satisfactory tone.
+
+When chords of widely-divided harmony are distributed throughout
+several harmonic registers, the register occupied by the horns need
+not be doubled; the arrangement of the chord will resemble that of a
+chorale written for double or triple choir. For example:
+
+[Music]
+
+Duplication in the brass.
+
+Duplication in the brass group is most frequently effected by placing
+a chord for horns side by side with the same chord written for
+trumpets or trombones. The soft round quality of the horns intensifies
+the tone, and moderates the penetrating timbre of the trumpets and
+trombones:
+
+[Music]
+
+Similar juxtaposition of trumpets and trombones:
+
+[Music]
+
+is not so common, as this unites the two most powerful agents in the
+group.
+
+In handling an orchestra the brass is frequently employed to sustain
+notes in two or three octaves; this sphere of activity must not be
+ignored. The _tenuto_ is generally given to two trumpets, or to two or
+four horns in the octave, (in double octaves). The octave is sometimes
+formed by trumpets and horns acting together:
+
+[Music]
+
+The trombone with its ponderous tone rarely takes part in such
+combinations. Sustained notes in double octaves are usually
+apportioned thus:
+
+[Music]
+
+The imperfect balance arising from the duplication of the middle note
+is compensated for by the mixture of timbres, which lends some unity
+to the chord.
+
+_Examples of harmony in the brass:_
+
+a) Independent chords:
+
+_Snegourotchka_ [[74]]--3 Trombones, 2 Horns.
+
+       "        [[140]]--3 Trombones, 2 Horns. Chords in different
+                groups alternately (cf. Ex. 244).
+
+       "        [[171]]--Full brass; further on 3 Trombones (cf. Ex. 97).
+
+       "        [[255]]--4 Horns (stopped).
+
+No. 129. _Snegourotchka_, before [[289]]--4 Horns.
+
+                "         [[289]]--Full brass.
+
+* _Sadko_, before [[9]]--Full brass (enclosure of parts).
+
+No. 130. _Sadko_ [[175]]--Mixed timbres (juxtaposition) 3 Horns
+                 + 3 Trumpets.
+
+            "    before [[338]]--Full brass except Tuba.
+
+No. 131.    "    [[191-193]] (Full brass).
+
+No. 132. _The Christmas Night_, before [[180]]--Full muted brass.
+
+           "      "       "     [[181]]--4 Horns + 3 Trombones
+                                + Tuba (cf. Ex. 237).
+
+* _The Tsar's Bride_ [[178]]--Strings and brass alternately (cf. Ex.
+242).
+
+* No. 133. _Tsar Saltan_ [[102]], 7th bar.--2 Trumpets, 2 Trombones
+                         + 4 Horns (juxtaposition).
+
+              "    "     [[230]]--Full brass, thickly scored (cf.
+                         Table of chords No. II at the end of Vol. II,
+                         Ex. 12).
+
+* _Servilia_ [[154]]--Various brass instruments.
+
+* _Legend of Kitesh_ [[130]]--3 Trumpets, Trombone and Tuba.
+
+No. 134. _Legend of Kitesh_ [[199]]--Short chords (juxtaposition).
+
+* No. 135. _The Golden Cockerel_ [[115]]--Horns, Trombones
+(enclosure).
+
+b) Harmonic basis:
+
+No. 136. _Snegourotchka_ [[79]], 6th bar.--4 Horns.
+
+                "        [[231]]--3 Trombones, soft and sweet (cf.
+                         Ex. 8).
+
+_Antar_ [[64-65]]--4 Horns; later 3 Trombones (cf. Ex. 32).
+
+* _Shéhérazade_, 1st movement, [[A]], [[E]], [[H]], [[K]],
+[[M]]--Harmonic bases of different power and timbre (cf. Ex. 192-195).
+
+No. 137. _Servilia_ [[93]]--Full brass.
+
+* No. 138. _Tsar Saltan_ [[127]]--4 muted Horns + 3 Trombones
+                         and Tuba _con sord. pp._
+
+              "    "     before [[147]]--Full brass _ff_ (the 2 Oboes
+                         and Eng. horn are of no particular importance).
+
+* _Pan Voyevoda_ [[136]], 9th bar.--4 Horns, then Trombones, 2
+Horns.
+
+* No. 139. _Legend of Kitesh_ [[158]]--Trumpets, Trombones.
+
+No. 140.      "    "    "     [[248]]--3 Trombones.
+
+              "    "    "     before [[362]]--Full brass.
+
+
+Harmony in combined groups.
+
+A. Combination of wind and brass.
+
+Wind and brass instruments may be combined by the method of placing a
+chord in one timbre side by side with the same chord in another
+timbre, or by any of the three methods already described: overlaying,
+crossing and enclosure of parts.
+
+1. _In unison (juxtaposition or contrast of tone qualities)._
+
+This class of combination possesses the same features as combinations
+in the melodic line (cf. Chap. II). Wood-wind reinforces the brass,
+softens it and reduces its characteristic qualities. Arrangements such
+as the following are possible:
+
+2 Trumpets + 2 Fl.; 2 Trumpets + 2 Ob.; 2 Trumpets + 2 Cl.
+3 Trumpets + 3 Fl.; 3 Trumpets + 3 Ob.; 3 Trumpets + 3 Cl.
+
+Also
+
+[Music] etc.
+
+as well as:
+
+2 Horns + 2 Fag.; 2 Horns + 2 Cl.;
+3 Horns + 3 Fag.; 3 Horns + 3 Cl.; and:
+2 Horns + 2 Fag. + 2 Cl. etc.
+
+The combinations 3 Trombones + 3 Fag., or 3 Trombones + 3 Cl. are very
+rare.
+
+A chord scored for full brass doubled by the same chords scored for
+full wood-wind (in pairs) produces a magnificent and uniform tone.
+
+_Examples:_
+
+_Snegourotchka_ [[315]]--2 Horns + 2 Cl. and 2 Horns + 2 Ob. (cf. Ex.
+236).
+
+No. 141. _The Tsar's Bride_ [[50]]--4 Horns + 2 Cl., 2 Fag.
+
+No. 142.   "    "      "    [[142]]--Juxtaposition of full wind
+                            and brass.
+
+_Ivan the Terrible_, Act II [[30]]--Juxtaposition and enclosure (cf.
+Table of chords II, Ex. 8).
+
+No. 143. _The Christmas Night_ [[165]]--4 Horns + Fl., Cl., Fag.
+
+* No. 144. _Sadko_, before [[79]]--Horn, Trumpet + doubled wood-wind.[15]
+
+No. 145.      "     [[242]]--Full brass + Fl., Cl.
+
+[Footnote 15: In the full score a misprint occurs in the clarinet
+part; it is corrected in the example. (Editor's note.)]
+
+_Legend of Kitesh_, beginning--Horn, Trombones + Cl., Fag. (cf. also
+[[5]]--Ex. 249).
+
+* No. 146. _Legend of Kitesh_ [[10]]--Eng. horn, 2 Cl., Fag. _legato_
+                                   + 4 Horns non legato.
+
+              "    "    "     [[324]]--Full brass + wind.
+
+* No. 147. _The Golden Cockerel_ [[233]]--Trumpets + Ob./Horn + Cl.]
+8.
+
+Stopped or muted notes in trumpets and horns resemble the oboe and
+Eng. horn in quality; the combination of these instruments produces a
+magnificent tone.
+
+_Examples:_
+
+No. 148. _Russian Easter Fête_, p. 11.--Horn (+), Trumpets (low
+register) + Ob., Cl.
+
+* _The Christmas Night_, before [[154]]--Full muted brass + wind.
+
+* No. 149. _Tsar Saltan_ [[129]]--2 Ob., Eng. horn, + 3 Trumpets
+                              muted (3 Cl. at the bottom).
+
+* No. 150.    "    "     [[131]] 17th bar.--Same combination with
+                         added horns.
+
+* No. 151. _Antar_ [[7]]--Ob., Eng. horn, 2 Fag. + 4 Horns (+).
+
+A beautiful dark tone is derived from the combination of middle notes
+in stopped horns and deep notes in the clarinet:
+
+[Music]
+
+If bassoons are substituted for clarinets the effect loses part of its
+character.
+
+_Examples:_
+
+* _Kashtcheï the Immortal_ [[29]], 11th bar,--2 Ob., 2 Cl. + 4 Horns (+).
+
+       "      "     "      [[107]], 6th bar.--2 Cl., Fag. + 3 Horns (+).
+
+* _The Christmas Night_, p. 249--Cl., Fag. + 3 Horns (+).
+
+* _Mlada_, Act III [[19]]--3 Horns (+) + 3 Fag. and 3 Horns (+) + 3
+Ob. (cf. Ex. 259).
+
+2. _Overlaying (superposition), crossing, enclosure of parts._
+
+It has already been stated that the bassoon and horn are the two
+instruments best capable of reconciling the groups of wood-wind and
+brass. Four-part harmony given to two bassoons and two horns,
+especially in soft passages, yields a finely-balanced tone recalling
+the effect of a quartet of horns, but possessing slightly greater
+transparence. In _forte_ passages the horns overwhelm the bassoons,
+and it is wiser to employ four horns alone. In the former case
+crossing of parts is to be recommended for the purposes of blend, the
+concords being given to the horns, the discords to the bassoons:
+
+[Music] and not: [Music]
+
+Bassoons may also be written inside the horns, but the inverse process
+is not to be recommended:
+
+[Music]
+
+The same insetting of parts may be used for sustained trumpet notes in
+octaves. In soft passages, thirds played in the low register of the
+flutes, sometimes combined with clarinets, produce a beautiful
+mysterious effect between trumpets in octaves. In a chain of
+consecutive chords it is advisable to entrust the stationary parts to
+the brass, the moving parts to the wood-wind.
+
+Clarinets, on account of their tone quality should rarely be set
+inside the horns, but, in the upper register, and in the higher
+harmonic parts, a chord of four horns, (_piano_), may be completed by
+clarinets as effectively as by oboes or flutes; the bassoon may then
+double the base an octave below:
+
+[Music]
+
+Played _forte_, the horns are more powerful than the wood-wind;
+balance may be established by doubling the upper harmonic parts:
+
+[Music]
+
+_Examples:_
+
+a) Superposition.
+
+* _Sadko_, Symphonic Tableau [[1]], [[9]]--Fl., Ob., Cl., Horn (basis).
+
+     "     before [[14]]--2 Fl., Cl., Horns.
+
+     "     final chord--Fl., Cl., Horn.
+
+* _Antar_ [[22]]--Fl., Cl., Horns (basis).
+
+No. 152. _Antar_ [[56]]--3 Fl., 4 Horns (basis).
+
+* _Snegourotchka_ [[300]]--Full wind and horns.
+
+* _Shéhérazade_--Final chords of 1st and 4th movements.
+
+* _Russian Easter Fête_ [[D]]--Fl., Cl., Horn; later trumpets and
+trombones in juxtaposition (cf. Ex. 248).
+
+* No. 153. _The Christmas Night_ [[212]], 10th bar.--Wind and Horns;
+                                      trumpets and trombones added
+                                      later.
+
+             "      "       "    [[215]] 3 Fl. + 3 Cl./3 Horns] 8.
+
+* _Sadko_, Opera [[165]]--Juxtaposition and Superposition.
+
+No. 154. _Sadko_ [[338]]--Same distribution.
+
+No. 155. _Servilia_ [[73]] 3 Fl + 2 Ob., Cl./4 Horns.
+
+* No. 156. _Legend of Kitesh_, before [[157]]--3 Flutes, 3 Trombones.
+
+              "    "    "      final chord (cf. Table III of chords,
+                               Ex. 15).
+
+* _The Golden Cockerel_, before [[219]]--Mixed timbre of wood-wind, 4
+Horns.
+
+
+b) Crossing.
+
+* _The Christmas Night_, before [[53]]--Horn, Fag.
+
+    "      "       "     [[107]]--Clar., Horn, Fag.
+
+* _Legend of Tsar Saltan_, before [[62]]--Horn, Fag.
+
+* _The Golden Cockerel_ [[220]]--3 Trombones, 2 Fag., C-fag. (cf. Ex.
+232).
+
+* No. 157. _Antar_, before [[30]]--Wood-wind, Horns, then Trumpets.
+
+
+c) Enclosure:
+
+No. 158. _Ivan the Terrible_, Act I [[33]]--Flutes within horns; later
+horns within bassoons.
+
+No. 159. _Snegourotchka_ [[183]]--Trumpet/Fl., 2 Cl./Trumpet
+
+* _Sadko_, symphonic tableau [[3]]--Cl. + Fag./4 Horns/Cl. + Fag.
+
+* _Antar_ before [[37]]--Fag./2 Horns (+)/Cl.
+
+* _Sadko_, Opera [[105]]--Harmonic basis; oboes within trumpets (cf.
+Ex. 260).
+
+* No. 160. _Sadko_, Opera, before [[155]]--Flutes within trumpets.
+
+* _The Tsar's Bride_, end of Overture--Bassoons within horns (cf.
+Table III of chords, Ex. 14).
+
+* No. 161. _Tsar Saltan_ [[50]]--Trumpets within wood-wind doubled.
+
+No. 162.      "    "     [[59]]--Flutes within trumpets; clarinets
+                         within horns.
+
+* No. 163. _Legend of Kitesh_ [[82]]--Oboes and clarinets within
+trumpets.
+
+The relationship which has been shown to exist between stopped horns
+and oboe or Eng. horn authorizes the simultaneous use of these
+instruments in one and the same chord, played _p_ or _sfp_:
+
+[Music]
+
+_Examples:_
+
+* _The Christmas Night_ [[75]]--3 Horns (+) + Oboe.
+
+_The Tsar's Bride_ [[123]]--Ob., Eng. horn, Horn (+) (cf. Ex. 240).
+
+* _Legend of Kitesh_ [[244]]--Cl., 2 Fl., + 2 Ob., Eng. horn, 3 Horn
+(+).
+
+* No. 164. _Legend of Kitesh_, before [[256]]--2 Ob., Eng. horn/3
+Horns (+)] 8.
+
+* Cf. also _Tsar Saltan_, before [[115]]--Horn (+)/2 Fl. + 2 Fag. (Ex.
+110).
+
+If trumpets and trombones take part in a chord, flutes, oboes and
+clarinets are better used to form the harmonic part above the
+trumpets. The following should be the arrangement:
+
+[Music] etc.
+
+[Music] etc.
+
+_Examples:_
+
+* _Sadko_, symphonic tableau [[20]].
+
+* No. 165. _The May Night_, Act I [[Ee]]--3 Trombones, 2 Ob.
+                                       + 2 Cl. + 2 Fag.
+
+             "   "    "     p. 325.--Final chord, _C_ maj. (cf.
+                            Table I of chords, Ex. 1).
+
+* No. 166. _Snegourotchka_ [[198]]; cf. also [[200]] and before
+[[210]].
+
+* _Shéhérazade_, 1st movement [[E]], 2nd movement [[P]], 3rd
+movement [[M]], 4th movement p. 203 (cf. Ex. 195, 19, 210, 77).
+
+No. 167. _The Christmas Night_ [[205]]; cf. also [[161]], [[212]],
+14th bar. (Ex. 100, 153).
+
+* _Mlada_, end of Act I (cf. Chord Table II, Ex. 13). Act II [[20]].
+
+No. 168-169. _Sadko_, Opera, before [[249]], [[302]]; cf. also Ex.
+120.
+
+No. 170. _Sadko_, Opera [[244]]--Chord of widely extended range;
+                             bassoons at the limit of low compass.
+
+            "       "   [[142]], [[239]]; cf. also [[3]] (Ex. 86).
+
+* _The Tsar's Bride_ [[179]] (cf. Ex. 243).
+
+_Antar_ [[65]]--Alternation of notes in horns and wood-wind on
+trombone chords (cf. Ex. 32).
+
+_General observations._ It is not always possible to secure proper
+balance in scoring for full wood-wind. For instance, in a succession
+of chords where the melodic position is constantly changing,
+distribution is subordinate to correct progression of parts. In
+practice, however, any inequality of tone may be counterbalanced by
+the following acoustic phenomenon: in every chord the parts in octaves
+strengthen one another, the harmonic sounds in the lowest register
+coinciding with and supporting those in the highest. In spite of this
+fact it rests entirely with the orchestrator to obtain the best
+possible balance of tone; in difficult cases this may be secured by
+judicious dynamic grading, marking the wood-wind one degree louder
+than the brass.
+
+B. Combination of strings and wind.
+
+1. We frequently meet with the combination of strings and wood-wind in
+the light of comparison of one timbre with another, either in long
+sustained notes, or _tremolando_ in the strings. Apart from the
+complete or partial doubling of the string quartet (two methods
+frequently used), the general and most natural arrangement is:
+
+Fl./Ob. (Cl.) + Vns div.; Clar./Fag. + 'Cellos + Violas div., etc.
+
+_Examples:_
+
+* _Sadko_, Symphonic Tableau before [[4]], and [[4]], 9th bar.
+
+* _Shéhérazade_, 1st movement [[M]] 6 Vns soli + 2 Ob. (2 Fl.),
+Cl.
+
+* _Antar_ [[7]]--String quartet _divisi_ + wood-wind (cf. Ex. 151).
+
+* No. 171. _Antar_ [[57]]--Vns II, Violas div. + Fl., Horn (florid
+accompaniment in the Clar.).
+
+* _Legend of Kitesh_ [[295]]--the same; rhythmic motion in the wind,
+sustained harmony in the strings (cf. Ex. 213).
+
+2. Owing to the complete absence of any affinity in tone quality, the
+combination of strings with brass is seldom employed in juxtaposition,
+crossing, or enclosure of parts.
+
+The first method may be used however when the harmony is formed by the
+strings _tremolando_, and the brass is employed in sustaining chords,
+also when the strings play short disconnected chords, _sforzando_.
+Another possible exception may be mentioned; the splendid effect of
+horns doubled by divided violas or 'cellos.
+
+_Examples:_
+
+_Snegourotchka_ [[242]]--Full brass + strings _tremolando_ (cf. 1st
+Table of chords, Ex. 6).
+
+* _Legend of Kitesh_, before [[240]]--the same (Horn, Trumpet +).
+
+* _Sadko_, Opera, before [[34]]--Horn + Violas _div._, Trombones +
+'Cellos _div._[16]
+
+[Footnote 16: A splendid example of the combination of strings and
+brass may be found in the introduction to the 2nd scene of the
+4th act of "_Khovanstchina_" by Moussorgsky, orchestrated by
+Rimsky-Korsakov. (Editor's note.)]
+
+C. Combination of the three groups.
+
+The combination of strings, wood-wind and brass instruments, set side
+by side, produces a full, round and firm tone.
+
+_Examples:_
+
+No. 172. _The Tsar's Bride_, before [[145]]--Ob., Fag. + Horns
+                             + Strings.
+
+           "    "      "     final chord (cf. Table I of chords,
+                             Ex. 5).
+
+* No. 173. _Sadko_, end of 1st tableau--short chords. Last chords
+of the 1st, 3rd and 7th tableaux (cf. Table I and III, Vol.
+II, Ex. 9, 10, 18).
+
+* No. 174. _The Christmas Night_ [[22]]--Wind + Brass _c. sord._ +
+_tremolo_ strings.
+
+_Legend of Kitesh_ [[162]] (cf. Ex. 250).
+
+_Snegourotchka_--end of opera, (cf. Table III in Vol. II, Ex. 17) and
+a host of other examples.
+
+_General Observations._ Balance and correct distribution of tone is
+much more important in dealing with long sustained chords or those of
+rhythmic design; in the case of short, disconnected chords resonance
+is a minor consideration, but one which should not be entirely
+neglected.
+
+I have endeavoured to outline the general principles to be followed,
+but I do not profess to deal with all the countless cases which may
+arise in the course of orchestration. I have given a few examples of
+well-sounding chords; for further information I advise the reader to
+study full scores with care, as this is the only method to acquire
+perfect knowledge of the distribution and doubling of various
+instruments.
+
+
+
+
+Chapter IV.
+
+COMPOSITION OF THE ORCHESTRA.
+
+
+Different ways of orchestrating the same music.
+
+There are times when the general tone, character and atmosphere of a
+passage, or a given moment in an orchestral work point to one, and
+only one particular manner of scoring. The following simple example
+will serve for explanation. Take a short phrase where a flourish or
+fanfare call is given out above a _tremolando_ accompaniment, with or
+without change in harmony. There is no doubt that any orchestrator
+would assign the _tremolo_ to the strings and the fanfare to a
+trumpet, never _vice versa_. But taking this for granted, the composer
+or orchestrator may still be left in doubt. Is the fanfare flourish
+suitable to the range of a trumpet? Should it be written for two or
+three trumpets in unison, or doubled by other instruments? Can any of
+these methods be employed without damaging the musical meaning? These
+are questions which I shall endeavour to answer.
+
+If the phrase is too low in register for the trumpets it should be
+given to the horns (instruments allied to the trumpet); if the phrase
+is too high it may be entrusted to the oboes and clarinets in unison,
+this combination possessing the closest resemblance to the trumpet
+tone both in character and power. The question whether one trumpet or
+two should be employed must be decided by the degree of power to be
+vested in the given passage. If a big sonorous effect is required the
+instruments may be doubled, tripled, or even multiplied by four; in
+the opposite case one solo brass instrument, or two of the wood-wind
+will suffice (1 Ob. + 1 Cl.). The question whether the _tremolo_ in
+the strings should be supported by sustained harmony in the wood-wind
+depends upon the purpose in view. A composer realises his intentions
+beforehand, others who orchestrate his music can only proceed by
+conjecture. Should the composer desire to establish a strongly-marked
+difference between the harmonic basis and the melodic outline it is
+better not to employ wood-wind harmony, but to obtain proper balance
+of tone by carefully distributing his dynamic marks of expression,
+_pp_, _p_, _f_ and _ff_. If, on the contrary, the composer desires a
+full round tone as harmonic basis and less show of brilliance in the
+harmonic parts, the use of harmony in the wood-wind is to be
+recommended. The following may serve as a guide to the scoring of
+wood-wind chords: the harmonic basis should differ from the melody not
+only in fullness and intensity of tone, but also in colour. If the
+fanfare figure is allotted to the brass (trumpets or horns) the
+harmony should be given to the wood-wind; if the phrase is given to
+the wood-wind (oboes and clarinets) the harmony should be entrusted to
+the horns. To solve all these questions successfully a composer must
+have full knowledge of the purpose he has in view, and those who
+orchestrate his work should be permeated with his intentions. Here the
+question arises, what should those intentions be? This is a more
+difficult subject.
+
+The aim of a composer is closely allied to the form of his work, to
+the aesthetic meaning of its every moment and phrase considered apart,
+and in relation to the composition as a whole. The choice of an
+orchestral scheme depends on the musical matter, the colouring of
+preceding and subsequent passages. It is important to determine
+whether a given passage is a complement to or a contrast with what
+goes before and comes after, whether it forms a climax or merely a
+step in the general march of musical thought. It would be impossible
+to examine all such possible types of relationship, or to consider the
+_rôle_ played by each passage quoted in the present work. The reader
+is therefore advised not to pay too much attention to the examples
+given, but to study them and their bearing on the context in their
+proper place in the full scores. Nevertheless I shall touch upon a few
+of these points in the course of the following outline. To begin with,
+young and inexperienced composers do not always possess a clear idea
+of what they wish to do. They can improve in this direction by
+reading good scores and by repeatedly listening to an orchestra,
+provided they concentrate the mind to the fullest possible extent. The
+search after extravagant and daring effects in orchestration is quite
+a different thing from mere caprice; _the will to achieve is not
+sufficient; there are certain things which should not be achieved_.
+
+       *       *       *       *       *
+
+The simplest musical ideas, melodic phrases in unison and octaves, or
+repeated throughout several octaves, chords, of which no single part
+has any melodic meaning are scored in various ways according to
+register, dynamic effect and the quality of expression or tone colour
+that may be desired. In many cases, one idea will be orchestrated in a
+different way every time it recurs. Later on I shall frequently touch
+upon this more complicated question.
+
+_Examples:_
+
+* _Snegourotchka_ [[58]]; [[65]] and before [[68]]--sustained note in
+unison.
+
+There are fewer possible ways of scoring more complex musical ideas,
+harmonico-melodic phrases, polyphonic designs etc.; sometimes there
+are but two methods to be followed, for each of the primary elements
+in music, melody, harmony, and counterpoint possesses its own special
+requirements, regulating the choice of instruments and tone colour.
+The most complicated musical ideas sometimes admit of only one manner
+of scoring, with a few hardly noticeable variations in detail. To the
+following example, very simple in structure I add an alternative
+method of scoring:
+
+_Example:_
+
+No. 175. _Vera Scheloga_, before [[35]]--a) actual orchestration,
+*b)--another method.
+
+It is obvious that the method b) will produce satisfactory tone. But a
+3rd and 4th way of scoring would be less successful, and a
+continuation of this process would soon lead to the ridiculous. For
+instance if the chords were given to the brass the whole passage would
+sound heavy, and the soprano recitative in the low and middle register
+would be overpowered. If the _F_ sharp in the double basses were
+played _arco_ by 'cellos and basses together it would sound clumsy, if
+it were given to the bassoons a comic effect would be produced, and if
+played by the brass it would sound rough and coarse, etc.
+
+The object of scoring the same musical phrase in different ways is to
+obtain variety either in tone colour or resonance. In each case the
+composer may resort to the inversion of the normal order of
+instruments, duplication of parts, or the two processes in
+combination. The first of these is not always feasible. In the
+preceding sections of the book I have tried to explain the
+characteristics of each instrument and the part which each group of
+instruments plays in the orchestra. Moreover many methods of doubling
+are to be avoided; these I have mentioned, while there are also some
+instruments which cannot be combined owing to the great difference in
+their peculiarities. Therefore, as regards the general composition of
+the orchestra, the student should be guided by the general principles
+laid down in the earlier stages of the present work.
+
+The best means of orchestrating the same musical idea in various ways
+is by the adaptation of the musical matter. This can be done by the
+following operations: a) complete or partial transference into other
+octaves; b) repetition in a different key; c) extension of the whole
+range by the addition of octaves to the upper and lower parts; d)
+alteration of details (the most frequent method); e) variation of the
+general dynamic scheme, e.g. repeating a phrase _piano_, which has
+already been played _forte_.
+
+These operations are always successful in producing variety of
+orchestral colour.
+
+_Examples:_
+
+No. 176, 177. _Russian Easter Fête_ [[A]] and [[C]].
+
+_The Christmas Night_ [[158]] and [[179]].
+
+No. 178-181. _The Tsar's Bride_, Overture: beginning, [[1]], [[2]],
+[[7]].
+
+_Sadko_ [[99-101]] and [[305-307]] (cf. Ex. 289, 290, and 75).
+
+No. 182-186. _Tsar Saltan_ [[14]], [[17]], [[26]], [[28]], [[34]].
+
+No. 187-189.    "    "     [[181]], [[246]], [[220]].
+
+* No. 190-191. _Ivan the Terrible_, Overture [[5]] and [[12]].
+
+_Spanish Capriccio_--compare 1st and 3rd movement.
+
+* No. 192-195. _Shéhérazade_, 1st movement--beginning of the
+                              _allegro_ [[A]], [[E]], [[M]].
+
+                     "        3rd movement--beginning [[A]], [[I]].
+
+                     "        3rd     "       [[E]], [[G]], [[O]].
+
+* No. 196-198. _Legend of Kitesh_ [[55]], [[56]], [[62]].
+
+* No. 199-201.    "    "    "     [[68]], [[70]], [[84]].
+
+(Cf. also Ex. 213, 214. _Legend of Kitesh_ [[294]] and [[312]].)
+
+* No. 202-203. _The Golden Cockerel_ [[229]], [[233]].
+
+The process of scoring the same or similar ideas in different ways is
+the source of numerous musical operations, _crescendo_, _diminuendo_,
+interchange of tone qualities, variation of tone colour etc., and
+incidentally throws new light upon the fundamental composition of the
+orchestra.
+
+
+Full _Tutti_.
+
+The word _tutti_ generally means the simultaneous use of all
+instruments, but the word "all" is used relatively, and it must not be
+inferred that every single instrument must necessarily be employed to
+form a _tutti_. In order to simplify the following illustrations I
+will divide the word into two classes, _full tutti_ and _partial
+tutti_,--independently of whether the orchestra is constructed in
+pairs, in three's, or a larger number of instruments. I call _full
+tutti_ the combination of all melodic groups, strings, wind, and
+brass. By _partial tutti_ I mean passages in which the brass group
+only takes part, whether two horns or two trumpets participate alone,
+or whether two horns are combined with one or three trombones, without
+tuba, trumpets, or the two remaining horns, etc.:
+
+[4 Horns, 2 Horns           2 Horns    ]
+[...      or 2 Trumpets, or ...  etc.  ]
+[...      ...               3 Trombones].
+
+In both species of _tutti_ full wood-wind may be employed or not,
+according to the register and musical context of the passage. For
+instance, in the extreme high register it may be essential to include
+the piccolo; in the low register flutes will be unnecessary, and yet
+the passage can still be called _tutti_. The inclusion of
+kettle-drums, harp, and other instruments of little sustaining power,
+as of the percussion in general, does not come under discussion.
+
+The variety of orchestral operations increases with the number of
+instruments forming a _tutti_, in fact, so great does it become that
+it is impossible to consider all combinations. I can only give a few
+examples of full and partial _tutti_, and leave the reader to draw his
+own conclusions. Some of these examples fall under the double heading
+of full and partial _tutti_, and the student is reminded that the
+_tutti_ is used essentially in _forte_ and _fortissimo_, rarely in
+_pianissimo_ and _piano_ passages.
+
+_Examples:_
+
+_Snegourotchka_ [[61]] and [[62]]--Partial and full _Tutti_.
+
+       "        [[231]] Partial _Tutti_, without the trumpets
+                (cf. Ex. 8).
+
+No. 204. _Snegourotchka_ [[216]]--Full _Tutti_.
+
+                "        [[325-326]]--Full _Tutti_ and chorus
+                         (cf. Ex. 8).
+
+_Sadko_ [[3]], [[223]], [[239]]--Full _Tutti_ (cf. Ex. 86).
+
+No. 205-206. _Sadko_ [[173]], [[177]]--Full _Tutti_ with chorus,
+differently scored.
+
+No. 207-208. _The Christmas Night_ [[184]] and [[186]]--Full _Tutti_,
+orchestrated in different ways, with and without chorus.
+
+* _The Tsar's Bride_, Overture [[1]], [[2]], [[7]]--Full and partial
+                      _Tutti_ (cf. Ex. 179-181).
+
+*   "    "      "     [[141]]--Full _Tutti_.
+
+*   "    "      "     [[177]]--  "     "
+
+_Pan Voyevoda_ [[186]] and [[188]] Full _Tutti_.
+
+* _Antar_ [[65]]--(cf. Ex. 32).
+
+* No. 209. _Shéhérazade_, 3rd movement [[M]]; cf. also 1st
+movement [[A]], [[E]], [[H]]; 2nd movement [[K]], [[P]], [[R]];
+3rd movement [[G]], [[O]]; 4th movement [[G]], [[P]], [[W]] and
+further on to [[Y]] (No. 193, 194, 19, 66, 77).
+
+* _Spanish Capriccio_ [[B]], [[F]], [[J]], [[P]], [[V]], [[X-Z]] (cf.
+Ex. 3).
+
+* _Russian Easter Fête_ [[F]], [[J]], before [[L]], [[Y]], up to the
+end.
+
+* _3rd Symphony_, 1st movement [[D]], [[R-T]], [[X]]; 2nd
+movement [[A]], [[E]]; 4th movement [[A]], [[H]], [[S]].
+
+* _Sadko_, Symphonic tableau [[20-24]].
+
+* _Mlada_, Act III [[12]] (cf. Ex. 258).
+
+* For examples of _Tutti_ chords, see special Tables at the end of
+Vol. II.
+
+
+_Tutti_ in the wind.
+
+In many cases the wood-wind and brass groups can form a _tutti_ by
+themselves for periods of varying length. Sometimes this is effected
+by the wood-wind alone, but more frequently with the support of horns.
+At other times the horns are found alone without the wood-wind, and,
+lastly, a _tutti_ may be comprised of instruments of each group in
+varying numbers. The addition of kettle-drums and the rest of the
+percussion is quite common and constitutes what the Germans call
+"Janitscharenmusik", or Turkish infantry music. Violoncellos and
+double basses playing more or less important _pizz._ notes are often
+added to wood-wind instruments (_tutti_), likewise the remainder of
+the strings and the harps; this process renders the sustained notes in
+the wood-wind more distinct. _Tutti_ passages in wood-wind and horns
+do not produce any great amount of power in _forte_ passages, but, on
+the other hand _tutti_ in the brass groups alone may attain an
+extraordinary volume of tone. In the following examples the formation
+of pedal notes by strings or wood-wind in no way alters the general
+character of the _Tutti_:
+
+_Examples:_
+
+No. 210-211. _Snegourotchka_ [[149]], [[151]] (compare).
+
+_Tsar Saltan_ [[14]], [[17]], [[26]] (cf. Ex. 182-184).
+
+_Pan Voyevoda_ [[57]], [[186]], [[262]].
+
+No. 212. _Ivan the Terrible_, Act II [[19]]; cf. also Act. III [[5]].
+
+* No. 213-214. _Legend of Kitesh_ [[294]], [[312]] (compare).
+
+* No. 215. _The Golden Cockerel_ [[116]]; cf. also [[82]] and [[84]].
+
+* _Antar_ [[37]] (cf. Ex. 65).
+
+
+_Tutti pizzicato._
+
+The quartet of strings (_pizzicato_), reinforced occasionally by the
+harp and piano, may, in certain cases constitute a particular kind of
+_tutti_, which can only attain any great degree of strength by support
+from the wood-wind. Without this support it is of medium power, though
+still fairly brilliant in quality.
+
+_Examples:_
+
+No. 216. _Snegourotchka_, before [[128]]; cf. also [[153]] and before
+[[305]].
+
+* No. 217. _Russian Easter Fête_ [[K]]; cf. also [[U]] and [[V]].
+
+* _Spanish Capriccio_ [[A]], [[C]], before [[S]], before [[P]]; cf.
+also [[O]] (Ex. 56).
+
+_Mlada_, Act II [[15]].
+
+* _Sadko_: [[220]] (cf. Ex. 295).
+
+* _Legend of Kitesh_ [[101]].
+
+* No. 218. _The May Night_, Act I, The Mayor's Song--combination of
+strings, _arco_ and _pizz._
+
+
+_Tutti_ in one, two and three parts.
+
+It often happens that a moderately full orchestral _ensemble_ executes
+a passage composed of one or two harmonic parts, in unison or in
+octaves. Such melodic phrases call for more or less simple
+orchestration with the usual doubling of parts, or, in ornamental
+writing, admit of contrast in tone colouring, occasionally with the
+addition of sustained notes.
+
+_Examples:_
+
+_Snegourotchka_, before [[152]], [[174]], [[176]].
+
+_The Tsar's Bride_ [[120-121]] (cf. Ex. 63).
+
+_The Golden Cockerel_ [[215]].
+
+* No. 219-221. _Legend of Kitesh_ [[142]], [[144]], [[147]]--3 part
+_Tutti_, with different scoring.
+
+* _Legend of Kitesh_ [[138]], [[139]]--_Tutti_ in one part.
+
+
+_Soli_ in the strings.
+
+Although, in any orchestral piece, numerous instances are to be found
+of melodies and phrases entrusted to a solo wind instrument (generally
+the first of each group, wood-wind or brass), solos for stringed
+instruments, on the other hand, are extremely rare. Whilst the 1st
+violin and 1st 'cello are fairly frequently used in this manner,
+the solo viola is seldom found, and a solo on the double bass is
+practically unknown. Phrases demanding particular individuality of
+expression are entrusted to solo instruments; likewise passages that
+require extraordinary technique, beyond the scope of the orchestral
+rank and file. The comparatively weak tone of the solo instrument
+necessitates light, transparent accompaniment. Difficult virtuoso
+solos should not be written, as they attract too much attention to a
+particular instrument. Solo stringed instruments are also used when
+vigourous expression and technical facility are not required, but
+simply in order to obtain that singular difference in colour which
+exists between a solo stringed instrument and strings in unison. Two
+solo instruments can be coupled together, e.g. 2 _Violins soli_, etc.
+and in very rare cases a quartet of solo strings may be employed.
+
+_Examples:_
+
+_Violin solo:_
+
+No. 222-223. _Snegourotchka_ [[54]], [[275]].
+
+_The May Night_, pp. 64-78.
+
+_Mlada_, Act I [[52]]; Act III, before [[19]].
+
+* _A Fairy Tale_ [[W]].
+
+* _Shéhérazade_, 1st movement [[C]], [[G]]; also the passages at
+the start of each movement.
+
+* _Spanish Capriccio_ [[H]], [[K]], [[R]], and the cadence on p. 38.
+
+* No. 224. _Legend of Kitesh_ [[310]]--Vn. solo, on harmonic basis of
+strings _sul ponticello_ and wood-wind.
+
+_Snegourotchka_ [[274]], [[279]]--2 Vns soli (cf. Ex. 9).
+
+
+_Viola solo:_
+
+No. 225. _Snegourotchka_ [[212]].
+
+_Sadko_ [[137]].
+
+* No. 226. _The Golden Cockerel_ [[163]]; cf. also [[174]], [[177]].
+
+
+_Violoncello solo:_
+
+_Snegourotchka_ [[187]] (cf. Ex. 102).
+
+_The Christmas Night_, before [[29]], [[130]].
+
+_Mlada_, Act III [[36]].
+
+* _The Golden Cockerel_ [[177]], [[180]] (cf. Ex. 229).
+
+
+_Double bass solo:_
+
+* No. 227. _Mlada_, Act II [[10-12]]--a special instance where the
+first string is tuned down.
+
+
+_Solo quartet:_
+
+_The Christmas Night_ [[222]]--Vn., Viola, 'Cello, D. bass.
+
+* No. 228. _Tsar Saltan_ [[248]]--Vn. I, Vn. II, Viola, 'Cello.
+
+* The case of a solo stringed instrument doubled by the wood-wind in
+unison must not be forgotten. The object is to attain great purity and
+abundance of tone, without impairing the timbre of the solo instrument
+(especially in the high and low registers), or to produce a certain
+highly-coloured effect.
+
+_Examples:_
+
+* _Mlada_, Act II [[52]]--Vn. + Fl.; Act IV [[31]]--Viol. + Fl. +
+Harp.
+
+* _The Christmas Night_ [[212]]--2 Vns + Fl. + Small Cl. (cf. Ex.
+153).
+
+* _Pan Voyevoda_ [[67]]--2 Vns + 2 Ob.; 2 Violas + 2 Cl.
+
+* _Legend of Kitesh_ [[306]]--Bass cl. + C-fag. (cf. Ex. 10).
+
+     "    "    "     [[309]]--Vn. + Fl.
+
+* No. 229. _The Golden Cockerel_ [[179]]--Vn. + Picc.; 'Cello + Bass
+cl.
+
+* As shown in Chap. II, 2 Vns soli or Violin solo + Fl. (Picc.) are
+often sufficient to double a melody in the upper register.
+
+_Examples:_
+
+_Sadko_ [[207]]--cf. Chap. II, p. 42 and Ex. 24.
+
+* No. 230. _Russian Easter Fête_, p. 32--2 Solo violins (in
+harmonics).
+
+* No. 231. _Legend of Kitesh_ [[297]]--2 Solo violins + Picc.
+
+
+Limits of orchestral range.
+
+It is seldom that the entire orchestral conception is centred in the
+upper register of the orchestra (the 5th and 6th octaves), still
+more rarely is it focussed wholly in the lowest range (octaves 1 and
+-1) where the proximity of harmonic intervals creates a bad effect. In
+the first case the flutes and piccolo should be used along with the
+upper notes of the violins, _soli_ or _divisi_; in the second case
+the double bassoon and the low notes of the bassoons, bass clarinet,
+horns, trombones and tuba are brought into play. The first method
+gives brilliant colour, the second combination is dark and gloomy. The
+contrary would be fundamentally impossible.
+
+_Examples:_
+
+_Pan Voyevoda_ [[122]], [[137]]           }
+_Servilia_ [[168]], 8th bar. (cf. Ex. 62) }   low
+No. 232. _The Golden Cockerel_ [[220]];   }   register.
+  cf. also [[218]], [[219]]               }
+
+* _Snegourotchka_, before [[25]]                  }
+* _Legend of Kitesh_, before [[34]]               }  high
+* No. 233. _The Golden Cockerel_ [[113]], [[117]] }  register.
+* No. 234. _Shéhérazade_, 2nd movement pp. 59-62  }
+
+The upper and lower parts of a passage can seldom be widely separated
+without the intermediate octaves being filled in, for this is contrary
+to the first principles of proper distribution of chords. Nevertheless
+the unusual resonance thus produced serves for strange and grotesque
+effects. In the first of the following examples the piccolo figure
+doubled by the harp and the sparkling notes of the _glockenspiel_ is
+set about four octaves apart from the bass, which is assigned to a
+single Double bass and Tuba. But in the 3rd octave, the augmented
+fourths and diminished fifths in the two flutes help to fill up the
+intermediate space and lessen the distance between the two extreme
+parts, thus forming some sort of link between them. The general effect
+is fanciful.
+
+_Examples:_
+
+No. 235. _Snegourotchka_ [[255]].
+
+* No. 236.      "        [[315]], 5th and 6th bars.
+
+                "        [[274]] (cf. Ex. 9).
+
+_A Fairy Tale_ [[A]].
+
+_The Golden Cockerel_ [[179]], 9th bar. (cf. Ex. 229).
+
+
+Transference of passages and phrases.
+
+A phrase or a figure is often transferred from one instrument to
+another. In order to connect the phrases on each instrument in the
+best possible way, the last note of each part is made to coincide with
+the first note of the following one. This method is used for passages
+the range of which is too wide to be performed on any one instrument,
+or when it is desired to divide a phrase into two different timbres.
+
+_Examples:_
+
+* _Snegourotchka_ [[137]]--The melody is transferred from the violins
+                  to the flute and clarinet (cf. Ex. 28).
+
+*        "        before [[191]]--Solo violin--Solo 'cello.
+
+_Pan Voyevoda_ [[57]]--Trombones--Trumpets; Horn--Ob. + Cl.
+
+A similar operation is used in scoring passages covering the entire
+orchestral scale, or a great portion of it. When one instrument is on
+the point of completing its allotted part, another instrument takes up
+the passage, starting on one or two notes common to both parts, and so
+on. This division must be carried out to ensure the balance of the
+whole passage.
+
+_Examples:_
+
+_Snegourotchka_ [[36]], [[38]], [[131]]--Strings.
+
+_The Tsar's Bride_ [[190]]--Wood-wind.
+
+_Sadko_ [[72]]--Strings (cf. Ex. 112).
+
+   "    [[223]]--Strings.
+
+_The Christmas Night_, before [[180]]--Strings, wind and chorus (cf.
+Ex. 132).
+
+* No. 237. _The Christmas Night_, before [[181]]--String figure.
+
+* _Servilia_ [[111]]--Strings (cf. Ex. 88).
+
+      "      [[29]], 5th bar.--Ob.--Fl.; Cl.--Bass cl., Fag.
+
+No. 238. _The Golden Cockerel_, before [[9]]--Wood-wind.
+
+*          "    "       "       [[5]]--Fag.--Eng. horn (+ 'Cellos
+                                _pizz._).
+
+
+Chords of different tone quality used alternately.
+
+1. The most usual practice is to employ chords on different groups of
+instruments alternately. In dealing with chords in different registers
+care should be taken that the progression of parts, though broken in
+passing from one group to another, remains as regular as if there
+were no leap from octave to octave; this applies specially to
+chromatic passages in order to avoid false relation.
+
+_Examples:_
+
+No. 239. _Ivan the Terrible_, Act II [[29]].
+
+No. 240-241.  _The Tsar's Bride_ [[123]], before [[124]].
+
+* No. 242-243.  "    "      "    [[178]], [[179]].
+
+     * _Note._ The rules regulating progression of parts may
+     sometimes be ignored, when extreme contrast of timbre
+     between two adjacent chords is intended.
+
+     _Examples:_
+
+     * _Shéhérazade_, 8th bar from the beginning, (the
+     chromatic progression at the 12th bar is undertaken by
+     the same instruments, the 2nd cl. is therefore placed
+     above the first in the opening)--cf. Ex. 109.
+
+     * _The Christmas Night_, opening (cf. Ex. 106).
+
+2. Another excellent method consists in transferring _the same chord
+or its inversion_ from one orchestral group to another. This operation
+demands perfect balance in progression of parts as well as register.
+The first group strikes a chord of short value, the other group takes
+possession of it simultaneously in the same position and distribution,
+either in the same octave or in another. The dynamic gradations of
+tone need not necessarily be the same in both groups.
+
+_Examples:_
+
+_Ivan the Terrible_, commencement of the overture (cf. Ex. 85).
+
+No. 244. _Snegourotchka_ [[140]].
+
+
+Amplification and elimination of tone qualities.
+
+The operation which consists in contrasting the resonance of two
+different groups (* or the different timbres of one and the same
+group), either in sustained notes or chords, transforms a simple into
+a complex timbre, suddenly, or by degrees. It is used in establishing
+a _crescendo_. While the first group effects the _crescendo_
+gradually, the second group enters _piano_ or _pianissimo_, and
+attains its _crescendo_ more rapidly. The whole process is thereby
+rendered more tense as the timbre changes. The converse operation--the
+transition from a complex to a simple timbre, by the suppression of
+one of the groups, belongs essentially to the _diminuendo_.
+
+_Examples:_
+
+No. 245. _Snegourotchka_ [[313]].
+
+                "        [[140]] (cf. Ex. 244).
+
+_A Fairy Tale_ [[V]].
+
+_Shéhérazade_, 2nd movement [[D]] (cf. Ex. 74).
+
+*     "        4th movement p. 221.
+
+No. 246. _Servilia_ [[228]]; cf. also [[44]].
+
+_The Christmas Night_ [[165]] (cf. Ex. 143).
+
+No. 247. _The Tsar's Bride_, before [[205]].
+
+* No. 248. _Russian Easter Fête_ [[D]].
+
+* No. 249-250. _Legend of Kitesh_ [[5]], [[162]].
+
+
+Repetition of phrases, imitation, echo.
+
+As regards choice of timbre, phrases in imitation are subject to the
+law of register. When a phrase is imitated in the upper register it
+should be given to an instrument of higher range and _vice versa_. If
+this rule is ignored an unnatural effect will be produced, as when the
+clarinet in its upper range replies to the oboe in the lower compass
+etc. The same rule must be followed in dealing with phrases, actually
+different, but similar in character; repeated phrases of different
+character should be scored in a manner most suitable to each.
+
+_Examples:_
+
+_The Tsar's Bride_ [[157]], [[161]].
+
+_Legend of Kitesh_ [[40-41]].
+
+* No. 251. _Spanish Capriccio_ [[S]].
+
+In echo phrases, that is to say imitation entailing not only decrease
+in volume of tone but also an effect of distance, the second
+instrument should be weaker than the first, but the two should possess
+some sort of affinity. An echo given to muted brass following the same
+phrase not muted produces this distant effect. Muted trumpets are
+eminently suited to echo a theme in the oboes; flutes also may imitate
+clarinets and oboes successfully. A wood-wind instrument cannot be
+used to echo the strings, or _vice versa_, on account of the
+dissimilarity in timbre. Imitation in octaves (with a decrease in
+resonance) creates an effect resembling an echo.
+
+_Examples:_
+
+_Ivan the Terrible_, Act III [[3]].
+
+No. 252. _Sadko_ [[264]].
+
+* _Spanish Capriccio_ [[E]].--This example is not precisely an echo
+but resembles one in character (cf. Ex. 44).
+
+* _Shéhérazade_, 4th movement before [[O]].
+
+
+_Sforzando-piano_ and _piano-sforzando_ chords.
+
+Besides the natural dynamic process of obtaining these marks of
+expression, a process which depends upon the player, they may also be
+produced by artificial means of orchestration.
+
+a) At the moment when the wood-wind begins a _piano_ chord, the
+strings attack it _sforzando_, a compound chord for preference, either
+_arco_ or _pizz._ In the opposite case the _sf_ in the strings must
+occur at the end of the wood-wind chord. The first method is also
+employed for a _sf-dim._, and the second for a _cresc.-sf_ effect.
+
+b) It is not so effective, and therefore less frequent to give the
+notes of sustained value to the strings, and the short chords to the
+wood-wind. In such cases the _tenuto_ chord is played _tremolando_ on
+the strings.
+
+_Examples:_
+
+_Vera Scheloga_, before [[35]], [[38]], 10th bar.
+
+* No. 253. _Legend of Kitesh_, before [[15-16]].
+
+* _Shéhérazade_, 2nd movement, [[P]], 14th bar.
+
+
+Method of emphasising certain notes and chords.
+
+In order to stress or emphasise a certain note or chord, besides the
+marks of expression [music symbol: decrescendo] and _sf_, chords of 2,
+3, and 4 notes can be inserted into the melodic progression by the
+instruments of the string quartet, each playing a single note; short
+notes in the wood-wind may also be used as well as a chain of three
+or four grace notes, in the form of a scale, either in strings or
+wood-wind. These unstressed notes (anacrusis), generally written very
+small, form a kind of upward glide, the downward direction being less
+common. As a rule they are connected to the main note by a slur. In
+the strings they should not lead up to chords of three or four notes,
+as this would be awkward for the bow.
+
+_Examples:_
+
+No. 254. _The Tsar's Bride_ [[142]]--Anacrusis in the strings.
+
+* No. 255. _Shéhérazade_, 2nd movement [[C]]--Short _pizz._ chords.
+
+*                "         "     "     [[P]]--Short wind chords
+                                       (cf. Ex. 19).
+
+
+_Crescendo_ and _diminuendo_.
+
+Short _crescendi_ and _diminuendi_ are generally produced by natural
+dynamic means; when prolonged, they are obtained by this method
+combined with other orchestral devices. After the strings, the brass
+is the group most facile in producing dynamic shades of expression,
+glorifying _crescendo_ chords into the most brilliant _sforzando_
+climaxes. Clarinets specialise in _diminuendo_ effects and are capable
+of decreasing their tone to a breath (_morendo_). Prolonged orchestral
+_crescendi_ are obtained by the gradual addition of other instruments
+in the following order: strings, wood-wind, brass. _Diminuendo_
+effects are accomplished by the elimination of the instruments in the
+reverse order (brass, wood-wind, strings). The scope of this work does
+not lend itself to the quotation of prolonged _crescendo_ and
+_diminuendo_ passages. The reader is referred, therefore, to the full
+scores:
+
+* _Shéhérazade_, pp. 5-7, 92-96, 192-200.
+
+* _Antar_ [[6]], [[51]].
+
+* _The Christmas Night_ [[183]].
+
+* _Sadko_ [[165-166]].
+
+* _The Tsar's Bride_ [[80-81]].
+
+Many examples of shorter _crescendi_ and _diminuendi_ will be found in
+Vol. II.
+
+
+Diverging and converging progressions.
+
+In the majority of cases, diverging and converging progressions simply
+consist in the gradual ascent of the three upper parts, with the bass
+descending. The distance separating the bass from the other parts is
+trifling at first, and grows by degrees. On the other hand, in
+converging progressions, the three upper parts, at first so far
+distant from the bass, gradually approach it. Sometimes these
+progressions involve an increase or a decrease in tone. The
+intermediate intervals are filled up by the introduction of fresh
+parts as the distance widens, so that the upper parts become doubled
+or trebled. In converging progressions the tripled and doubled parts
+are simplified, as the duplicating instruments cease to play.
+Moreover, if the harmony allows it, the group in the middle region
+which remains stationary is the group to be retained, or else the
+sustained note which guarantees unity in the operation. Below, the
+reader will find double examples of both descriptions. The first pair
+represents a diverging progression, 1. _piano_, in which the human
+voice takes part; 2. a purely orchestral _crescendo_. The second
+depicts two similar diverging progressions, firstly a gradual
+_crescendo_, secondly _dim._, during which the strings become more and
+more divided as the wind instruments cease to play. Ex. 258
+accompanies the apparition of Mlada, Ex. 259, its disappearance. The
+atmosphere and colouring are weird and fanciful. The third pair of
+examples forms instances of converging progressions. In the first (Ex.
+260) Princess Volkhova relates the wonders of the sea. Then in the
+middle of a powerful orchestral _crescendo_ the Sea-King appears (Ex.
+261). Both examples include a sustained stationary chord of the
+diminished seventh. The handling of such progressions requires the
+greatest care.
+
+_Examples:_
+
+No. 256-257. _The Tsar's Bride_ [[102]] and [[107]].
+
+No. 258-259. _Mlada_, Act III [[12]] and [[19]].
+
+No. 260-261. _Sadko_ [[105]] and [[119]].
+
+_Sadko_ [[72]] (cf. Ex. 112).
+
+   "    before [[315]].
+
+* _The Christmas Night_, beginning (cf. Ex. 106).
+
+* No. 262. _Antar_, end of 3rd movement.
+
+_Note._ A sustained note between the diverging parts does not always
+allow the empty space to be more completely filled up.
+
+_Example:_
+
+No. 263. _The Golden Cockerel_, before [[106]].
+
+
+Tone quality as a harmonic force.
+
+Harmonic basis.
+
+Melodic design comprising notes foreign to the harmony, passing or
+grace notes, embellishments etc., does not permit that a florid
+outline should proceed at the same time with another one, reduced to
+essential and fundamental notes:
+
+[Music]
+
+If, in the above example, the upper part is transposed an octave
+lower, the discordant effect produced by the contact of appoggiaturas
+and fundamental notes will be diminished; the quicker the passage is
+played the less harsh the effect will be, and _vice versa_. But it
+would be ill-advised to lay down any hard and fast rule as to the
+permissible length of these notes. There is no doubt that the harmonic
+notes, the thirds of the fundamental one (_E_) are more prominent from
+their proximity with the notes extraneous to the harmony. If the
+number of parts is increased (for instance, if the melodic figure is
+in thirds, sixths etc.), the question becomes still more complicated,
+since, to the original harmonic scheme, chords with different root
+bases are added, producing false relation.
+
+Nevertheless, for the solution of such problems, orchestration
+provides an element of the greatest importance: difference of timbres.
+The greater the dissimilarity in timbre between the harmonic basis on
+the one hand and the melodic design on the other, the less discordant
+the notes extraneous to the harmony will sound. The best example of
+this is to be found between the human voice and the orchestra, next
+comes the difference of timbres between the groups of strings,
+wood-wind, plucked strings and percussion instruments. Less important
+differences occur between wood-wind and brass; in these two groups,
+therefore, the harmonic basis generally remains an octave removed from
+the melodic design, and should be of inferior dynamic power.
+
+_Examples of harmonic basis in chords:_
+
+No. 264. _Pan Voyevoda_, Introduction.
+
+_Legend of Kitesh_, Introduction (cf. also Ex. 125 and 140).
+
+* _Mlada_, Act III [[10]].
+
+The harmonic basis may be ornamental in character, in which case it
+should move independently of the concurrent melodic design.
+
+_Examples:_
+
+* No. 265-266. _Tsar Saltan_ [[103-104]], [[128]], [[149]],
+[[162-165]] (cf. below).
+
+Chords the most widely opposed in character may be used on a simple,
+stationary harmonic basis, a basis, founded, for example, on the chord
+of the tonic or diminished seventh.
+
+_Examples:_
+
+No. 267. _Legend of Kitesh_ [[326-328]]--Wood-wind and harps on a
+string basis.
+
+No. 268-269. _Kashtcheï the Immortal_ [[33]], [[43]].
+
+No. 270. _Mlada_, Act II, before [[17]], [[18]]], [[20]].
+
+No. 271. _The Golden Cockerel_ [[125]]--Chords of the diminished
+seventh, on arpeggio basis (augmented fifth).
+
+The effect of alternating harmony produced between two melodic
+figures, e.g. one transmitting a note, held in abeyance, to the other,
+or the simultaneous progression of a figure in augmentation and
+diminution etc. becomes comprehensible and pleasant to the ear when
+the fundamental sustained harmony is different.
+
+_Examples:_
+
+_Legend of Kitesh_ [[34]], [[36]], [[297]] (cf. Ex. 34 and 231).
+
+No. 272-274. _Tsar Saltan_ [[104]], [[162-165]] (cf. also
+[[147-148]]).
+
+* _Russian Easter Fête_, before [[V]].
+
+The whole question as to what is allowed and what forbidden in the
+employment of notes extraneous to the harmony is one of the most
+difficult in the whole range of composition; the permissible length of
+such notes is in no way established. In absence of artistic feeling,
+the composer who relies entirely on the difference between two timbres
+will often find himself using the most painful discords. Innovations
+in this direction in the latest post-Wagnerian music are often very
+questionable; they depress the ear and deaden the musical senses,
+leading to the unnatural conclusion that what is good, taken
+separately, must necessarily be good in combination.
+
+
+Artificial effects.
+
+I apply this name to some orchestral operations which are based on
+certain defects of hearing and faculty of perception. Having no wish
+to specify those that already exist or to foretell those which may yet
+be invented, I will mention, in passing, a few which have been used by
+me in my own works. To this class belong _glissando_ scales or
+arpeggios in the harp, the notes of which do not correspond with those
+played simultaneously by other instruments, but which are used from
+the fact that long _glissandi_ are more resonant and brilliant than
+short ones.
+
+_Examples:_
+
+_Snegourotchka_ [[325]] (cf. Ex. 95).
+
+No. 275. _Pan Voyevoda_ [[128]].
+
+* _Shéhérazade_, 3rd movement [[M]], 5th bar (cf. Ex. 248).
+
+* _Russian Easter Fête_ [[D]] (cf. Ex. 248).
+
+* Enharmonic _glissando_ in the strings should also be mentioned.
+
+No. 276. _The Christmas Night_ [[180]], 13th bar--'Cellos
+_glissando_.
+
+
+Use of percussion instruments for rhythm and colour.
+
+Whenever some portion of the orchestra executes a rhythmic figure,
+percussion instruments should always be employed concurrently. An
+insignificant and playful rhythm is suitable to the triangle,
+tambourine, castanets and side drum, a vigourous and straightforward
+rhythm may be given to the bass drum, cymbals and gong. The strokes on
+these instruments should almost invariably correspond to the strong
+beats of the bar, highly-accented syncopated notes or disconnected
+_sforzandi_. The triangle, side drum and tambourine are capable of
+various rhythmic figures. Sometimes the percussion is used separately,
+independently of any other group of instruments.
+
+The brass and wood-wind are the two groups which combine the most
+satisfactorily with percussion from the standpoint of colour. The
+triangle, side drum, and tambourine go best with harmony in the upper
+register; cymbals, bass drum and gong with harmony in the lower. The
+following are the combinations most generally employed: _tremolo_ on
+the triangle and tambourine with trills in wood-wind and violins;
+_tremolo_ on the side drum, or cymbals struck with drum sticks, and
+sustained chords on trumpets and horns; _tremolo_ on the bass drum or
+the gong with chords on trombones or low sustained notes on 'cellos
+and double basses. It must not be forgotten that the bass drum,
+cymbals, gong and a _tremolo_ on the side drum, played _fortissimo_,
+is sufficient to overpower any orchestral _tutti_.
+
+* The reader will find instances of the use of percussion instruments
+in any full score, and in several examples of the present work.
+
+_Examples:_
+
+* _Shéhérazade_ pp. 107-119, also many passages in 4th movement.
+
+* _Antar_ [[40]], [[43]] (cf. Ex. 73, 29).
+
+* _Spanish capriccio_ [[P]] (cf. Ex. 64); the cadences to be studied
+in the 4th movement, where they are accompanied by various
+percussion instruments.
+
+* _Russian Easter Fête_ [[K]] (cf. Ex. 217).
+
+* _The Tsar's Bride_ [[140]].
+
+* _Legend of Kitesh_ [[196-197]]--"The Battle of Kerjémetz".
+
+* _Pan Voyevoda_ [[71-72]].
+
+
+Economy in orchestral colour.
+
+Neither musical feeling nor the ear itself can stand, for long, the
+full resources of the orchestra combined together. The favourite group
+of instruments is the strings, then follow in order the wood-wind,
+brass, kettle-drums, harps, _pizzicato_ effects, and lastly the
+percussion, also, in point of order, triangle, cymbals, big drum, side
+drum, tambourine, gong. Further removed stand the celesta,
+_glockenspiel_ and xylophone, which instruments, though melodic, are
+too characteristic in timbre to be employed over frequently. The same
+may be said of the piano and castanets. A quantity of national
+instruments not included in the present work may be incorporated into
+the orchestra; such are the guitar, the domra, zither, mandoline, the
+oriental tambourine, small tambourine etc. These instruments are
+employed from time to time for descriptive-aesthetic purposes.
+
+These instruments are most frequently used in the above-named order. A
+group of instruments which has been silent for some time gains fresh
+interest upon its reappearance. The trombones, trumpets and tuba are
+occasionally _tacet_ for long periods, the percussion is seldom
+employed, and practically never all together, but in single
+instruments or in two's and three's. In national dances or music in
+ballad style, percussion instruments may be used more freely.
+
+After a long rest the re-entry of the horns, trombones and tuba should
+coincide with some characteristic intensity of tone, either _pp_ or
+_ff_; _piano_ and _forte_ re-entries are less successful, while
+re-introducing these instruments _mezzo-forte_ or _mezzo-piano_
+produces a colourless and common-place effect. This remark is capable
+of wider application. For the same reasons it is not good to commence
+or finish any piece of music either _mf_ or _mp_. The scope of the
+musical examples in this work does not permit of illustrating by
+quotation the use of economy in orchestral colour, nor the re-entry of
+instruments thrown into prominence by prolonged rests. The reader must
+examine these questions in full scores.
+
+
+
+
+Chapter V.
+
+COMBINATION OF THE HUMAN VOICE WITH ORCHESTRA. THE STAGE BAND.
+
+
+Orchestral accompaniment of solo voices.
+
+General remarks.
+
+In accompanying the voice orchestral scoring should be light enough
+for the singer to make free use of all the dynamic shades of
+expression without hardness of tone. In overflowing lyrical moments,
+where full voice is required, the singer should be well supported by
+the orchestra.
+
+Opera singing may be divided into two general classes, lyric singing
+and declamation or recitative. The full, round, _legato_ aria affords
+greater facility for tone production than florid music or recitative,
+and the more movement and rhythmic detail contained in the vocal part,
+the greater freedom and liberty must there be given to the voice. In
+such a case the latter should not be doubled by the orchestra, neither
+should rhythmical figures be written for any instrument corresponding
+with those in the vocal part. In accompanying the voice the composer
+should bear these points in mind before turning his attention to the
+choice of orchestral colour. A confused, heavy accompaniment will
+overpower the singer; an accompaniment which is too simple in
+character will lack interest, and one which is too weak will not
+sustain the voice sufficiently.
+
+In modern opera it is rare that orchestral writing is confined to
+accompaniment pure and simple. It frequently happens that the
+principal musical idea, often complex in character, is contained in
+the orchestra. The voice may then be said to form the accompaniment,
+exchanging musical for literary interest. It becomes subordinate to
+the orchestra, as though it were an extra part, subsequently added as
+an after-thought. But it is evident that great care must be taken with
+orchestral writing in such cases. The scoring must not be so heavy or
+complicated as to drown the voice and prevent the words from being
+heard, thereby breaking the thread of the text, and leaving the
+musical imagery unexplained. Certain moments may require great volume
+of orchestral tone, so great that a voice of even phenomenal power is
+incapable of being heard. Even if the singer is audible, such unequal
+struggles between voice and orchestra are most inartistic, and the
+composer should reserve his orchestral outbursts for the intervals
+during which the voice is silent, distributing the singer's phrases
+and pauses in a free and natural manner, according to the sense of the
+words. If a prolonged _forte_ passage occurs in the orchestra it may
+be used concurrently with action on the stage. All artificial
+reduction of tone contrary to the true feeling of a passage, the sole
+object being to allow the voice to come through, should be strictly
+avoided, as it deprives orchestral writing of its distinctive
+brilliance. It must also be remembered that too great a disparity in
+volume of tone between purely orchestral passages and those which
+accompany the voice create an inartistic comparison. Therefore, when
+the orchestra is strengthened by the use of wood-wind in three's or
+four's, and brass in large numbers, the division of tone and colour
+must be manipulated skillfully and with the greatest care.
+
+In previous sections I have frequently stated that the structure of
+the orchestra is closely related to the music itself. The scoring of a
+vocal work proves this relationship in a striking manner, and, indeed,
+it may be stipulated that _only that which is well written can be well
+orchestrated_.
+
+
+Transparence of accompaniment. Harmony.
+
+The group of strings is the most transparent medium and the one least
+likely to overpower the voice. Then come the wood-wind and the brass,
+the latter in the following order: horns, trombones, trumpets. A
+combination of strings, _pizz._, and the harp forms a setting
+eminently favourable for the voice. As a general rule a singer is more
+easily overpowered by long sustained notes than by short detached
+ones. Strings doubled in the wood-wind and brass, and brass doubled
+by wood-wind are combinations liable to drown the singer. This may be
+done even more easily by _tremolando_ in the kettle-drums and other
+percussion instruments, which, even by themselves are capable of
+overpowering any other orchestral group of instruments. Doubling of
+wood-wind and horns, and the use of two clarinets, two oboes or two
+horns in unison to form one harmonic part is likewise to be avoided,
+as such combinations will have a similar effect on the voice. The
+frequent use of long sustained notes in the double basses is another
+course unfavourable to the singer; these notes in combination with the
+human voice produce a peculiar throbbing effect.
+
+Juxtaposition of strings and wood-wind which overweights _legato_ or
+declamatory singing may nevertheless be employed if one of the groups
+forms the harmony in sustained notes and the other executes a melodic
+design, when, for instance the sustaining instruments are clarinet,
+and bassoon, or bassoon and horn, and the melodic design is entrusted
+to violins or violas--or in the opposite case, when the harmony is
+given to violas and 'cellos _divisi_, and the harmonic [Transcriber's
+Note: melodic] figure to the clarinets.
+
+Sustained harmony in the register of the second octave to the middle
+of the third does not overpower women's voices, as these develop
+_outside_ this range; neither is it too heavy for men's voices, which
+although opening out _within_ the range itself sound an octave higher,
+as in the case of the tenor voice. As a rule women's voices suffer
+more than men's when they come in contact with harmony in a register
+similar to their own. Taken separately, and used in moderation, each
+group of orchestral instruments may be considered favourable to each
+type of voice. But the combination of two or three groups cannot be so
+considered unless they each play an independent part and are not
+united together at full strength. Incessant four-part harmony is to be
+deprecated. Satisfactory results will be obtained when the number of
+harmonic parts is gradually decreased, with some of them sustaining
+pedal notes, and when the harmony, interspersed with necessary pauses
+is confined to the limits of one octave, distributed over several
+octaves, or duplicated in the higher register.
+
+These manipulations allow the composer to come to the singer's aid; in
+voice-modulations, when the singer passes from the _cantabile_ to the
+declamatory style, the composer may reduce or eliminate some harmony
+which is found to be too heavy as the vocal tone diminishes, and
+conversely, support the voice by a fuller orchestral tone in broad
+phrases and climaxes.
+
+Ornamental writing and polyphonic accompaniment should never be too
+intricate in character, entailing the use of an unnecessary number of
+instruments. Some complicated figures are better partially entrusted
+to _pizz._ strings and harp, as this combination has little chance of
+overpowering the voice. Some examples of accompanying an _aria_ are
+given below.
+
+_Examples:_
+
+_The Tsar's Bride_, Lykow's supplementary _Aria_ (Act III).
+
+  "    "      "     [[16-19]]--Griasnov's _Aria_.
+
+No. 277. _Snegourotchka_ [[45]].
+
+* _Snegourotchka_ [[187-188]], [[212-213]] the two Cavatinas of Tsar
+Berendey (cf. extracts, Ex. 102, 225).
+
+No. 278. _Sadko_ [[143]].
+
+            "    [[204-206]]--The Venetian's Song.
+
+* _Legend of Kitesh_ [[39-41]], [[222-223]] (cf. Ex. 31).
+
+* _The Golden Cockerel_ [[153-157]], [[163]].
+
+Florid singing which limits volume of tone requires a light
+accompaniment, simple in outline and colour, involving no duplication
+of instruments.
+
+_Examples:_
+
+No. 279. _Snegourotchka_ [[42-48]]--_Snegourotchka's Aria_ (Prologue),
+Fragment.
+
+* _Sadko_ [[195-197]]--Hindoo Song (cf. Ex. 122).
+
+* _The Christmas Night_ [[45-50]]--Oxana's _Aria_.
+
+* _The Golden Cockerel_ [[131-136]]--_Aria_ of Queen Shémakhâ.
+
+
+Doubling voices in the orchestra.
+
+Melodic doubling of voices by orchestral instruments (in unison or
+octaves) is of frequent occurrence, but incessant duplication for an
+extended period of time should be avoided; it is only permissible in
+isolated phrases. The most natural duplication in unison of womens'
+voices is performed by violins, violas, clarinets and oboes; that of
+mens' voices by violas, 'cellos, bassoons and horns. Doubling in
+octaves is usually done in the upper register. Trombones and trumpets
+overpower the voice and cannot be used for this purpose. Uninterrupted
+or too frequent duplication should be avoided, not only because the
+operation deprives the singer of full freedom of expression, but also
+because it replaces by a mixed timbre the rare characteristic
+qualities of the human voice. Doubling, when limited to a few special
+phrases supports the voice and endows it with beauty and colour. It is
+only suitable _in tempo_; to apply it, in unison or octaves to a
+passage _ad. lib._ is both ineffective and dangerous.
+
+_Examples:_
+
+_Snegourotchka_ [[50-52]]--Snegourotchka's Arietta (cf. Ex. 41).
+
+_Sadko_ [[309-311]]--Volkhova's Cradle-song (cf. Ex. 81).
+
+Besides the question of doubling the voice for the object of colour
+there are instances when the singer executes only part of a phrase,
+allotted in its entirely to an orchestral instrument.
+
+_Example:_
+
+_Vera Scheloga_ [[30]], [[36]] (cf. Ex. 49).
+
+Lyrical climaxes, _a piena voce_, or dramatic passages for the voice
+situated outside its normal range should be supported melodically and
+harmonically by the orchestra, in the register in which the voice is
+placed. The culminating point in such passages often coincides with
+the entry or sudden attack of the trombones or other brass
+instruments, or by a rush of strings. Strengthening the accompaniment
+in this manner will soften the tone of the voice.
+
+_Examples:_
+
+No. 280. _The Tsar's Bride_ [[206]].
+
+_Servilia_ [[126-127]].
+
+    "      [[232]].
+
+No. 281. _Sadko_ [[314]].
+
+_Vera Scheloga_ [[41]].
+
+If the culminating point is soft in colour and outline it is better
+left unsupported in the orchestra, but sometimes the wood-wind,
+sustaining such passages with light transparent melody or harmony may
+produce an entrancing effect.
+
+_Examples:_
+
+_Snegourotchka_ [[188]].
+
+       "        [[318]] (cf. Ex. 119).
+
+No. 282. _The Tsar's Bride_ [[214]].
+
+It is a common practice to support voices in concerted numbers by
+harmony and duplication; this operation makes for accuracy and
+brilliance when applied to duets, trios, quartets etc.
+
+_Examples:_
+
+_Snegourotchka_ [[292-293]]--Duet (cf. Ex. 118).
+
+_Sadko_ [[99-101]]--Duet (cf. Ex. 289 and 290).
+
+No. 283. _The Tsar's Bride_ [[169]]--sextet.
+
+           "    "      "    [[117]] quartet.
+
+_Legend of Kitesh_ [[341]]--quartet and sextet (cf. Ex. 305).
+
+The beautiful effect produced by a solo instrument accompanying a
+_cantabile aria_ cannot be denied. In such cases the instruments used
+are generally the violin, viola, and 'cello, or the flute, oboe, Eng.
+horn, clar., bass clar., bassoon, horn and harp. The accompaniment is
+often contrapuntal or composed of polyphonic designs. The solo
+instrument either plays alone or as the leading melodic voice in the
+_ensemble_. In combination with the voice, or associated with some
+action on the stage, a solo instrument is a powerful expedient for
+musical characterisation. Instances of this description are numerous.
+
+_Examples:_
+
+_Snegourotchka_ [[50]]--Soprano and oboe (cf. Ex. 41).
+
+       "        [[97]]--Contralto and Eng. horn.
+
+       "        [[243]], [[246]]--Baritone and bass clar.
+                (cf. Ex. 47-48).
+
+No. 284. _The Tsar's Bride_ [[108]]--Soprano, 'cello and oboe.
+
+* _The Golden Cockerel_ [[163]]--Soprano and viola (cf. Ex. 226).
+
+It is comparatively rare for percussion instruments to take part in
+accompanying the voice. The triangle is occasionally used, the cymbals
+less frequently. An accompaniment may be formed by a figure or a
+_tremolo_ on the kettle-drums.
+
+_Examples:_
+
+_Snegourotchka_ [[97]], [[224]], [[247]] (Lell's 1st and 3rd
+songs).
+
+_Tsar Saltan_, before [[5]].
+
+* No. 285. _The Golden Cockerel_ [[135]]; cf. also [[161]], [[197]].
+
+The following are examples of powerful and expressive orchestral
+passages, the voice _tacet_:
+
+No. 286. _The Tsar's Bride_ [[81]].
+
+* _Legend of Kitesh_ [[282]], [[298]].
+
+* _Servilia_ [[130]].
+
+
+Recitative and declamation.
+
+The accompaniment of recitative and melodic declamatory phrases should
+be light enough to allow the voice to come through without strain, and
+the words to be heard distinctly. The most convenient method is to
+employ sustained chords and _tremolo_ on the strings or wood-wind,
+giving free latitude to the voice from a rhythmic point of view (_a
+piacere_).
+
+Another excellent plan is to write short chords in the strings
+combined with wood-wind in different ways. Sustained chords and those
+entailing change of position should occur preferably when the voice is
+silent, thus permitting both conductor and orchestra to keep a closer
+watch over the singer's irregularities of rhythm in _a piacere_
+recitatives. If the accompaniment is more complex in character,
+melodic, polyphonic or ornamental in design, the recitative must be
+sung _in tempo_. Any phrase which it is necessary to emphasise in
+accordance with the sense of the words assumes a more _cantabile_
+character, and must be reinforced by the orchestra. Opera, today,
+besides demanding much greater care in the treatment of the text than
+in the past, abounds in constant transition from declamation to
+_cantabile_, or in the fusion of the two. The orchestra offers more
+variety of texture and must be handled with greater regard to its
+relationship to the words, and the action on the stage. This class of
+orchestration can only be studied from lengthy examples. I refer the
+reader to operatic full scores and content myself with giving one or
+[Transcriber's Note: 'two' missing in original] short instances:
+
+_Examples:_
+
+No. 287. _Snegourotchka_ [[16]].
+
+No. 288. _The Tsar's Bride_ [[124-125]].
+
+The following double examples, similar from a musical point of view,
+show different methods of handling an orchestra from the standpoint of
+accompaniment to the voice, and the _tutti_ form.
+
+_Examples:_
+
+No. 289-291. _Sadko_ [[99-101]] and [[305-307]] (compare also Ex. 75).
+
+_Vera Scheloga_ [[3-7]] and [[28]].
+
+Care should be taken not to score too heavily when accompanying
+singers in the wings.
+
+_Examples:_
+
+* No. 292. _Sadko_ [[316]], [[318]], [[320]].
+
+* _Legend of Kitesh_ [[286-289]], [[304-305]].
+
+
+Orchestral accompaniment of the chorus.
+
+The chorus, possessing much greater unity and power than the solo
+voice, does not demand such careful handling in the accompaniment. On
+the contrary, too great a refinement of orchestral treatment will
+prove harmful to the resonance of the chorus. As a general rule
+orchestration of choral works follows the rules laid down for purely
+instrumental scoring. It is obvious that dynamic marks of expression
+must correspond in both bodies, but doubling one orchestral group with
+another and coupling instruments of the same kind in unison (2 Ob., 2
+Cl., 4 Horns, 3 Trombones etc.) are both possible operations, if
+performed according to the requirements of the musical context.
+Doubling choral parts by instruments is generally a good plan. In
+_cantabile_ passages such duplication may be melodic in character,
+and the design more ornamental in the orchestra than in the chorus.
+
+_Examples:_
+
+_Ivan the Terrible_, Act II [[3-6]]; Act III [[66-69]].
+
+_The May Night_, Act I [[X-Y]]; Act III [[L-Ee]], [[Ddd-Fff]].
+
+_Snegourotchka_ [[61-73]], [[147-153]], [[323-328]].
+
+_Mlada_, Act II [[22-31]], [[45-63]]; Act IV [[31-36]].
+
+_The Christmas Night_ [[59-61]], [[115-123]].
+
+_Sadko_ [[37-39]], [[50-53]], [[79-86]], [[173]], [[177]], [[187]],
+[[189]], [[218-221]], [[233]], [[270-273]].
+
+_The Tsar's Bride_ [[29-30]], [[40-42]], [[50-59]], [[141]].
+
+_Tsar Saltan_ [[67-71], [[91-93]], [[133-145]], [[207-208]].
+
+_Legend of Kitesh_ [[167]], [[177-178]].
+
+_The Golden Cockerel_ [[237-238]], [[262-264]].
+
+The reader will find instances of choral accompaniment in many
+examples relating to other sections of the work.
+
+In the case of solitary exclamations or phrases in recitative, melodic
+doubling is not always suitable. It is better to support the voice
+simply by harmonic duplication.
+
+The repetition of notes--required by declamation--forming no
+fundamental part of the rhythmical structure of a phrase or chord
+should not be reproduced in the orchestra; the melodic or harmonic
+basis alone should be doubled. Sometimes the rhythmical structure of a
+choral phrase is simplified in comparison with its orchestral
+duplication.
+
+_Examples:_
+
+No. 293. _The Tsar's Bride_ [[96]].
+
+No. 294. _Ivan the Terrible_, Act I, before [[75]].
+
+Choral passages, the musical context of which is complete in itself,
+forming a chorus _a cappella_ often remain undoubled by the orchestra,
+accompanied solely by sustained notes or an independent polyphonic
+figure.
+
+_Examples:_
+
+No. 295. _Sadko_ [[219]].
+
+* _Tsar Saltan_ [[207]].
+
+* _Legend of Kitesh_ [[167]] (cf. Ex. 116).
+
+* _The Golden Cockerel_ [[236]].
+
+Heavier scoring is required for a mixed chorus; for a male voice
+chorus the orchestration should be lighter; still more so for women's
+voices alone. In scoring a certain passage the composer should not
+lose sight of the number of choristers he is employing, for scenic
+conditions may necessitate a reduction of that figure. The approximate
+number should be marked in the full score as a basis upon which to
+work.
+
+_Examples:_
+
+No. 296. _Ivan the Terrible_, Act II [[37]].
+
+* _Sadko_ [[17]], [[20]].
+
+* _Legend of Kitesh_ [[61]] (cf. Ex. 198).
+
+     _Note._ It must also be remembered that a _ff_ passage on an
+     enlarged orchestra, comprising wood-wind in fours, and
+     numerous brass (sometimes in three's), is capable of
+     overpowering a large mixed chorus.
+
+A chorus in the wings requires as light an accompaniment as that
+employed for a solo singer on the stage.
+
+_Examples:_
+
+* _Ivan the Terrible_, Act I [[25-26]], [[90]]; Act III [[13-14]].
+
+* _The May Night_, Act I, before [[X]]; Act III [[Bbb-Ccc]].
+
+* No. 297. _Sadko_ [[102]].
+
+* _Legend of Kitesh_ [[54-56]] (cf. Ex. 196 and 197).
+
+
+Solo voice with chorus.
+
+When an _aria_ or recitative is coupled with the chorus great care
+must be taken in the choral writing. A woman's solo voice stands out
+well against a male voice chorus, likewise a solo male voice against a
+women's chorus, for in both cases, the timbre of the solo voice
+differs from the rest. But the combination of solo voice and chorus,
+of the same timbre, or mixed chorus, creates a certain amount of
+difficulty. In such cases the soloist should sing in a higher register
+than the chorus, the former _a piena voce_, the latter _piano_. The
+soloist should stand as near to the footlights as possible; the chorus
+up-stage. The orchestration should be adapted to the soloist, not to
+the chorus.
+
+_Examples:_
+
+No. 298. _Snegourotchka_ [[143]].
+
+_Ivan the Terrible._ Act II [[37]] (cf. Ex. 296).
+
+When the chorus sings in the wings the soloist is always heard
+distinctly.
+
+_Examples:_
+
+_Ivan the Terrible_, Act I [[25-26]].
+
+* _The May Night_, Act III [[Ccc]].
+
+* _Sadko_ [[102]], [[111]].
+
+
+Instruments on the stage and in the wings.
+
+The use of instruments on the stage or in the wings dates from distant
+times (Mozart, _Don Giovanni_, string orchestra in Act I, _finale_).
+In the middle of last century orchestras of brass instruments, or
+brass and wood-wind combined, made their appearance on the stage
+(Glinka, Meyerbeer, Gounod and others). More modern composers have
+abandoned this clumsy practice, not only unfortunate from the
+spectators' point of view, but also detrimental to the mediaeval or
+legendary setting of the majority of operas. Only those stage
+instruments are now used which suit the scene and surroundings in
+which the opera is laid. As regards instruments in the wings,
+invisible to the audience, the question is simple. Nevertheless, for
+the musician of today the choice of these instruments must be
+regulated by aesthetic considerations of greater importance than those
+governing the selection of a military band. The instruments are played
+in the wings, those visible on the stage are only for ornament.
+Sometimes stage-instruments may be replicas of those common to the
+period which the opera represents, (the sacred horns in _Mlada_, for
+example). The orchestral accompaniment must vary in power according
+to the characteristics of the instruments played in the wings. It is
+impossible to illustrate the use of all the instruments mentioned
+below, and to outline suitable accompaniments. I can only give a few
+examples and refer the reader once again to the passages in the full
+scores.
+
+a) Trumpets:
+
+_Servilia_ [[12]], [[25]].
+
+* _Legend of Kitesh_ [[53]], [[55]], [[60]].
+
+* _Tsar Saltan_ [[139]] and further on.
+
+
+b) Horns, in the form of hunting horns:
+
+_Pan Voyevoda_ [[38-39]].
+
+
+c) Trombones, leaving the orchestra to go on the stage:
+
+_Pan Voyevoda_ [[191]].
+
+
+d) Cornets:
+
+_Ivan the Terrible_, Act III [[3]], [[7]].
+
+
+e) Sacred horns (natural brass instruments in various keys):
+
+_Mlada_, Act II, pp. 179 onwards.
+
+
+f) Small clarinets and piccolos:
+
+No. 299-300. _Mlada_, Act III [[37]], [[39]].
+
+
+g) Pipes of Pan: instruments, specially made, with many holes which
+are passed over the lips. These particular pipes produce a special
+enharmonic scale (_B_ flat, _C_, _D_ flat, _E_ flat, _E_, _F_ sharp,
+_G_, _A_), which has the effect of a glissando:
+
+_Mlada_, Act III [[39]], [[43]] (cf. Ex. 300).
+
+
+h) Harp, reproducing the effect of an aeolian harp:
+
+_Kashtcheï the Immortal_ [[32]] and further on (cf. Ex. 268, 269).
+
+
+i) Lyres. Instruments specially made and tuned so as to be able to
+perform a glissando chord of the diminished seventh:
+
+_Mlada_, Act III [[39]], [[43]] (cf. Ex. 300).
+
+
+k) Pianoforte, grand or upright:
+
+_Mozart and Salieri_ [[22-23]].
+
+
+l) Gong, imitating a church bell:
+
+_Ivan the Terrible_, Act I [[57]] and further on.
+
+
+m) Bass Drum (without cymbals) to imitate the sound of cannon:
+
+_Tsar Saltan_ [[139]] and later.
+
+
+n) Small kettle-drum, in _D_ flat (3rd octave):
+
+_Mlada_, Act III [[41]] and later (cf. Ex. 60).
+
+
+o) Bells in various keys:
+
+_Sadko_ [[128]] and [[139]].
+
+No. 301. _Legend of Kitesh_ [[181]] and further on. See also [[241]],
+[[323]] and later.
+
+* _Tsar Saltan_ [[139]] and further on.
+
+
+p) Organ:
+
+No. 302. _Sadko_ [[299-300]].
+
+Wood-wind and strings are comparatively seldom used on the stage or in
+the wings. In Russian opera the strings are employed in this way by
+Rubinstein (_Gorioucha_), and in a splendidly characteristic manner by
+Serov (_Hostile Power_): in the latter opera the _E_ flat clarinet is
+used to imitate the fife in the Carnival procession.[17]
+
+[Footnote 17: Mention should be made of the happy use of a small
+orchestra in the wings (2 picc., 2 cl., 2 horns, 1 trombone,
+tambourine, 4 Vns, 2 violas, 1 D-bass) in _The May Night_, Act II,
+Sc. I. [[M-P]]. (Editor's note.)]
+
+
+
+
+Chapter VI (Supplementary).
+
+VOICES.
+
+
+Technical Terms.
+
+Among all the confused terms employed in singing to denote the
+compass, register and character of the human voice, there are four
+which may be said to represent elemental types: soprano, alto or
+contralto, tenor and bass. These names are used to denote the
+composition of the chorus with sub-divisions of _firsts_ and
+_seconds_, to determine how the parts must be divided. (Sopr. I, Sopr.
+II etc.) While the range of an instrument is exactly governed by its
+construction, the compass of the voice, on the other hand, depends on
+the individuality of the singer. It is therefore impossible to define
+the exact limits of each of these vocal types. When it is a question
+of dividing choristers into 1st and 2nd parts, those with the
+higher voices are classed among the firsts and _vice versa_.
+
+Besides the principal terms mentioned above, the names mezzo-soprano
+(between sop. and alto), and baritone (between tenor and bass) are
+also employed.
+
+     _Note._ In the chorus mezzo-sopranos are classed with 2nd
+     sopranos or 1st altos, baritones with 2nd tenors or
+     first basses, according to quality and timbre of voice.
+
+Apart from these denominations which represent the six principal solo
+voices, a quantity of others are in use to denote either compass,
+timbre or technique, such as light soprano, _soprano giusto_, lyric
+soprano, dramatic soprano, light tenor, _tenorino-altino_,
+_baryton-martin_, lyric tenor, dramatic tenor, _basso cantante_
+("singing bass"), _basso profondo_ (deep bass) etc. To this lengthy
+list must be added the term _mezzo-carattere_, of intermediate
+character (between lyric and dramatic soprano, for example).
+
+If we try to discover the real meaning of these designations it soon
+becomes apparent that they are derived from widely different
+sources--for instance, "light soprano" implies agility and mobility in
+the voice; "dramatic tenor", the power to express strong dramatic
+feeling; _basso profondo_ signifies great resonance in the deep
+register.
+
+Minute examination of all the methods of attack and emission of sound
+lies within the province of the singing master and to enumerate them
+here would only perplex the student. The same applies to the position
+and exact limits of register (chest voice, middle and head voice in
+women; chest voice, mixed voice and falsetto in men). The work of a
+teacher of singing consists in equalising the voice throughout its
+whole compass, so that the transition from one register to another, on
+all the vowels, may be accomplished imperceptibly. Some voices are
+naturally even and flexible. The professor of singing must correct
+faults in breathing, determine the range of the voice and place it,
+equalise its tone, increase its flexibility, instruct as to the
+pronunciation of vowels, modulation from one grade of expression to
+another, etc. A composer should be able to rely upon flexible and
+equal voices without having to trouble himself as to the abilities or
+defects of individual singers. In these days a part is seldom written
+for a particular artist, and composers and librettists do not find it
+necessary to entrust a certain rôle to _fioriture_ singers, another to
+heavy dramatic voices. Poetic and artistic considerations demand
+greater variety of resource in the study of opera or vocal music in
+general.
+
+
+Soloists.
+
+Range and register.
+
+I advise the composer to be guided by Table F. which gives the
+approximate range of the six principal solo voices. A bracket under
+the notes defines the normal octave, the register in which the voice
+is generally used. Within these limits the composer may write freely
+without fear of hardening or tiring the voice. The normal octave
+applies also to declamatory singing and recitative; the notes above it
+are exceptional and should be used for the culminating points of a
+passage or for climaxes, the notes below, for the fall or decline of a
+melody. Employing voices in unusual registers for long periods of time
+will weary both singer and listener, but these registers may
+occasionally be used for brief intervals so as not to confine the
+voice too strictly to one octave. A few examples are added to
+illustrate melody in different types of voices.
+
+_Examples:_
+
+_The Tsar's Bride_ [[102-109]] (for extracts cf. Ex. 256, 280,
+                   284)--Marfa's Aria (Soprano).
+
+  "    "      "    [[16-18]]--Griaznov's Aria (Baritone).
+
+_Snegourotchka_--The 3 songs of Lell. (Contralto).
+
+_Sadko_ [[46-49]] (cf. extract, Ex. 120)--Sadko's Aria (Tenor).
+
+   "    [[129-131]]--Lioubava's Aria (Mezzo-sopr.).
+
+   "    [[191-193]] (cf. extract, Ex. 131)--Bass Aria.
+
+
+Vocalisation.
+
+A good vocal melody should contain notes of at least three different
+values, minims, crotchets and quavers (or crotchets, quavers and
+semiquavers etc.). Monotony in rhythmic construction is unsuited to
+vocal melody; it is applicable to instrumental music, but only in
+certain cases. _Cantabile_ melody requires a fair number of long
+notes, and a change of syllable in a word should occur at a moment
+when the voice quits a long sustained note. Short, single notes,
+changing with every syllable produce a harmonious effect. Owing to the
+requirements of diction, extended melodic figures sung _legato_ on one
+syllable must be used with care on the part of the composer; to
+perform these the singer must possess greater command over flexibility
+and technique. The possibility of taking breath in the right place is
+one of the conditions essential to all vocal writing. Breath cannot be
+taken in the middle of a word, sometimes not even during the course of
+a sentence or phrase in the text; hence the voice part must be
+suitably interspersed with rests.
+
+
+Table F. Voices.
+
+Chorus:
+
+[Music: Soprano.
+
+Contralto.
+
+Tenor.
+
+Bass.]
+
+
+Soloists:
+
+[Music:
+
+Soprano.
+Mezzo-soprano.
+Contralto.
+Tenor.
+Baritone.
+Bass.]
+
+     _Note._ It must be remembered that there are some words upon
+     which the voice may not dwell, or sing more than one or two
+     notes. These words may be nouns, pronouns, numerals,
+     prepositions, conjunctions and other parts of speech. It
+     would be impossible and ridiculous, for instance, to write a
+     sustained note on such words as "who", "he" etc. The voice
+     may dwell on certain words which, so to speak, possess some
+     poetical colour.[18]
+
+[Footnote 18: Here the author approaches a question so well known to
+the Russians that it does not require any further elucidation for
+their guidance. But a whole book would have to be written to form a
+compendium of practical rules on this subject, and to point out the
+errors which nearly all French composers openly commit--even those who
+are famous for their sense of diction and literary style. We can only
+conclude that the question has come to be considered of minor
+importance in France, perhaps on account of the lack of definite
+stress on the syllables of words, which is characteristic of the
+French language. It is not within the translator's province to discuss
+the question of French versification or to elaborate the excellent
+maxims laid down by Rimsky-Korsakov, the first, among many, to touch
+upon this delicate and important subject. (Translator's note.)]
+
+_Examples:_
+
+No. 303. _Sadko_ [[236]]--Sadko's Aria (Tenor).
+
+            "    [[309-311]] (see extract, Ex. 81). Volkhova's Cradle
+                 Song (Soprano).
+
+_Snegourotchka_ [[9]]--Fairy Spring's Aria (Mezzo-sopr.).
+
+       "        [[187-188]], [[212-213]] (see extracts, Ex. 102 and
+                225)--the two Cavatinas of Tsar Berendey (Tenor).
+
+       "        [[247]]--Miskir's Aria (Baritone).
+
+
+Vowels.
+
+As regards vocalisation on one syllable, on long sustained notes and
+in the high register, the choice of vowels is a matter of some
+importance. The difference in the position of the mouth and lips in
+forming the open vowel =a= and the closed vowel =ou= is apparent to
+everyone. The series of vowels from the point of view of open sounds
+is: =a=, =i=, =o=, =e=, =u=. In women's voices the easiest vowel on
+high notes is =a=, for men it is =o=. The vowel =i= softens the
+penetrating quality of the top notes of a bass voice, and the vowel
+=a= adds to the extension of range in the very lowest compass. Lengthy
+florid passages are often written on the interjection =ah=, or simply
+on the vowel =a=. Owing to the restrictions imposed by literary and
+dramatic laws, the composer can only follow the above rules to a
+limited extent.
+
+_Examples:_
+
+_Snegourotchka_ [[293]], [[318-319]] (cf. Ex. 119).
+
+No. 304. _Sadko_ [[83]].
+
+
+Flexibility.
+
+Voices possess the greatest amount of flexibility in their normal
+octave. Women's voices are more supple than men's, but in all types,
+the higher voice is the more agile, sopranos in women, the tenor voice
+in men. Although capable of performing florid and complicated figures,
+different varieties of phrasing and the rapid change from staccato to
+legato, the human voice is infinitely less flexible than a musical
+instrument. In passages of any rapidity, diatonic scales and
+_arpeggios_ in thirds come easiest to the voice. Intervals bigger than
+fourths in quick succession and chromatic scales are extremely
+difficult. Skips of an octave or more starting from a short note
+should always be avoided. Preparation should precede any extremely
+high note either by leading up to it gradually, or by the clear leap
+of a fourth, fifth or octave; but sometimes the voice may attack a
+high note without any due preparation.
+
+_Examples:_
+
+_Snegourotchka_ [[46-48]] (cf. extract, Ex. 279)--Snegourotchka's
+                Aria (Soprano).
+
+       "        [[96-97]]--Lell's first song (Contralto).
+
+_Sadko_ [[196-193]] [Transcriber's Note: so in original] (cf. extract,
+        Ex. 122)--Hindoo song (Tenor).
+
+   "    [[203-206]]--Venetian song (Baritone).
+
+_Pan Voyevoda_ [[20-26]]--Maria's cradle song (Sopr).
+
+
+Colour and character of voices.
+
+The colouring of the voice, whether it be brilliant or dull, sombre or
+sonorous depends upon the individual singer, and the composer has no
+need to consider it. The chief question is interpretation and may be
+solved by the judicious choice of artists. From the point of view of
+flexibility and expression voices may be divided into two classes,
+_lyric_ and _dramatic_. The latter is more powerful and of greater
+range, the former possesses more suppleness and elasticity and is more
+readily disposed to different shades of expression. Granted that the
+rare combination of the two classes is the composer's ideal, he should
+nevertheless be content to follow the main artistic purpose which he
+has set out the [Transcriber's Note: to] achieve. In complicated and
+important works the composer should bear in mind the characteristics
+of the various voices he employs; moreover, if he use two voices of
+the same calibre, e.g. 2 Sopranos or 2 Tenors, he should discriminate
+between the range and register of their respective parts, writing for
+one slightly higher than the other. It is no rare occurrence to meet
+with voices of an intermediate character (mezzo-carattere) combining
+the qualities of each type to a modified extent. To such voices the
+composer may assign rôles demanding the characteristics of each class,
+especially secondary rôles. At the present day, besides the rôles
+suitable to the dramatic and lyric type of voice, it is customary to
+give prominence to those demanding some special qualifications, voices
+of a certain tenderness or power, a specified range or degree of
+flexibility--attributes decided by the artistic object in view. In
+casting secondary and minor rôles the composer is advised to employ a
+medium range and less exacting demands on technique.
+
+     _Note._ After Meyerbeer, who was the first to write for a
+     special type of heavy mezzo-soprano and baritone, Richard
+     Wagner created a type of powerful dramatic soprano, of
+     extensive range, combining the quality and scope of the
+     soprano and mezzo-soprano voices; likewise a similar type of
+     tenor, possessing the attributes and compass of the tenor
+     and baritone together. To demand that voices shall be
+     equally brilliant and resonant in the high and low register,
+     that singers shall be endowed with a super-powerful
+     breathing apparatus and an extraordinary faculty for
+     resistance to fatigue (Siegfried, Parsifal, Tristan,
+     Brünhilda, Kundry, Isolda), is to exact something little
+     short of the miraculous. Such voices are to be found, but
+     there are some singers with excellent though not phenomenal
+     vocal powers, who, by the constant pursuit of Wagnerian
+     parts endeavour to increase their range and volume, and only
+     succeed in depriving the voice of correct intonation, beauty
+     of tone, and all subtlety of _nuances_. I believe that less
+     exacting demands and greater perception of what is required,
+     skilful and judicious use of the high and low registers of
+     the voice, a proper understanding of _cantabile_ writing
+     combined with orchestration which never overpowers the vocal
+     part will be of greater service to the composer, from an
+     artistic point of view, than the more elaborate methods of
+     Richard Wagner.
+
+
+Voices in combination.
+
+Treating solo voices in a polyphonico-harmonic manner is the best
+method of preserving their individual character in _ensembles_. A
+distribution which is wholly harmonic or entirely polyphonic is seldom
+found. The first plan, largely used in choral writing, simplifies the
+movement of the voices too greatly, eliminating their melodic
+character; the second method is wearisome and somewhat disturbing to
+the ear.
+
+As a general rule the voices are arranged according to the law of
+normal register. Crossing of parts is rare and should only be done
+with the intention of emphasising the melody in the ascending voices
+above those adjacent in register, e.g. the tenor part above contralto,
+the mezzo-soprano above the soprano, etc.
+
+
+Duet.
+
+The combinations most conducive to the proper movement of parts are
+those of two voices related within an octave 8 [Sopr./Ten.,
+M.-sopr./Bar., C.-alto/Bass. Movement in tenths, sixths, thirds or
+octaves (the last very seldom) will always produce satisfactory
+_ensemble_, and if the parts progress polyphonically, it need not
+happen _frequently_ that they are separated by more than a tenth, or
+that undesirable crossing of parts will result.
+
+_Examples:_
+
+_Sadko_ [[99-101]]--Sopr. and Tenor (cf. Ex. 289, 290).
+
+_Servilia_ [[143]]--Sopr. and Tenor.
+
+_Ivan the Terrible_, Act I [[48-50]]--Sopr. and Tenor.
+
+_Kashtcheï the Immortal_ [[62-64]]. Mezzo-sopr. and Baritone.
+
+=Voices related in fifths and fourths, 5 [Sopr./C.-alto, 4
+[C.-alto/Ten., 5 [Ten./Bass.= should progress nearer to one another; it
+is rare for them to move in tenths, common in sixths and thirds; they
+may also proceed in unison. The two voices are seldom separated at a
+greater distance than an octave, and certain cases will require
+crossing of parts, which, however, should only be for periods of short
+duration.
+
+_Examples:_
+
+_Snegourotchka_ [[263-264]]--Soprano and Alto.
+
+* _The Christmas Night_ [[78-80]]--Alto and Tenor.
+
+* _Legend of Kitesh_ [[338]]--Tenor and Bass.
+
+Voices related in thirds;
+
+3 [Sopr.     M.-sopr. Ten.  Bar.
+  [M.-sopr., C.-alto, Bass, Bass,
+
+may move in unison, in thirds and sixths, and admit very largely of
+the crossing of parts. Separation by more than an octave must only be
+momentary, and is generally to be avoided.
+
+_Examples:_
+
+* _The Tsar's Bride_ [[174]]--Sopr. and Mezzo-sopr.
+
+* _Tsar Saltan_ [[5-6]]--Sopr. and Mezzo-sopr.
+
+In the case of voices related in twelfths: 12 [Sopr./Bass, intervals
+approaching one another do not create a good effect, for this
+transplants the deeper voice into the upper register and _vice versa_.
+Singing in unison is no longer possible, and thirds are to be avoided;
+the use of sixths, tenths and thirteenths is recommended. The voices
+will often be separated by more than a twelfth and crossing of parts
+is out of the question.
+
+_Example:_
+
+* _Tsar Saltan_ [[254-255]].
+
+Relationship in tenths 10 [Sopr./Bar. or M.-sopr./Bass is fairly
+common. The explanations given above are also applicable in this case.
+
+_Example:_
+
+_Snegourotchka_ [[291-300]] (cf. extract, Ex. 118) Sopr. and Bar.
+
+The use of similar voices in pairs: Sopr./Sopr., Ten./Ten. entails
+singing in unison and thirds. They should rarely be separated beyond a
+sixth, but crossing of parts is inevitable, as otherwise the resultant
+volume of tone would be too weak.
+
+     _Note._ Other possible combinations: C.-alto/Bar.,
+     M.-sopr./Ten., call for no special remarks.
+
+_Examples:_
+
+* _The May Night_, Act I pp. 59-64--Mezzo-sopr. and Tenor.
+
+* _Sadko_ [[322-324]]--Mezzo-sopr. and Tenor.
+
+As a general rule, writing for two voices is only successful when the
+progression of parts is clear, when discords are prepared by a common
+note, or are the outcome of conveniently separated movement and
+correctly resolved. Empty intervals of fourths and perfect fifths,
+elevenths and twelfths should be avoided on the strong beats of a bar,
+especially on notes of some value. If, however, one of the voices
+assumes a melodic character, the other forming the harmonic
+accompaniment in declamatory style, it is not absolutely necessary to
+avoid the intervals mentioned above.
+
+     _Note._ It is not within the scope of the present work to
+     consider the writing of vocal parts in closer detail. This
+     question must be left to the professor of free counterpoint.
+     It remains to be noted that the human voice accompanied by
+     the orchestra is always heard independently as something
+     apart, something complete in itself. For this reason a
+     composer may never rely on the orchestra to fill up an empty
+     space or correct a fault in the handling of voices. All the
+     rules of harmony and counterpoint, down to the last detail,
+     must be applied to vocal writing, which is never dependent
+     upon orchestral accompaniment.
+
+
+Trios, quartets etc.
+
+All that has been said regarding the relationship of voices in duet
+applies with equal force to the combination of three, four, five or
+more voices. An _ensemble_ of several voices is seldom purely
+polyphonic; as a rule, although some parts move polyphonically,
+progression in thirds, sixths, tenths and thirteenths is used for the
+remainder. Declamation for some voices on notes forming the harmony is
+also possible. This variety of simultaneous movement of vocal parts
+renders the comprehension of the total effect less difficult for the
+ear, and sanctions the distribution of distinctive and suitable
+figures or tone colouring to certain voices with other figures or
+timbres which may be proceeding at the same time. The skilful
+arrangement of pauses and re-entries facilitates the understanding of
+the whole, and gives desirable prominence to detail.
+
+_Examples:_
+
+_Snegourotchka_ [[267]]--Trio, Finale to Act III.
+
+_The Tsar's Bride_ [[116-118]]--Quartet in Act II.
+
+  "    "      "    [[168-171]]--Sextet in Act III (cf. extract, Ex. 283).
+
+_Servilia_ [[149-152]]--Quintet in Act III.
+
+The movement of solo voices is seldom purely harmonic in character
+with predominance given to the upper voices homophonically treated.
+The blending of all the parts into an harmonic whole, without any
+distinctive predominant feature in any one part (as in a chorale) is
+employed for songs or _ensembles_ in traditional style, prayers,
+hymns, etc. If this method is adopted for the quartet of voices,
+Sopr./Alto/Ten./Bass, it will be noted that widely-spaced part writing
+is the most natural and suitable form (especially in _forte_
+passages), as the four voices can sing together in their proper
+registers (low, middle and high), while, in close part writing they
+may find themselves at a given moment in registers, which are entirely
+foreign. But both methods should be employed, as, otherwise, it would
+be impossible to guarantee equality in even the shortest succession of
+chords.
+
+_Examples:_
+
+_Snegourotchka_ [[178]] Hymn of Tsar Berendey's subjects.
+
+No. 305. _Legend of Kitesh_ [[341]].
+
+The second half of the last example is an instance of six-part
+harmonic writing; the upper voice stands out prominently, the rest
+form a kind of accompaniment.
+
+
+Chorus.
+
+Range and register.
+
+The range of choral voices is slightly more limited than that of
+soloists. The exceptional register may be considered as two notes
+above and below the normal octave. The dotted lines extended still
+further indicate the limits upon which a composer may rely in very
+exceptional cases, as every full chorus must contain a few voices of
+more than average compass, in this respect approaching the solo voice
+in character. In many choruses one or two bass singers may be found
+who are able to go still lower than the limit of the exceptional range
+(they are called _octavists_).[19]
+
+[Footnote 19: _Contrebasses_ voices as they are called when mentioned
+in French works are peculiar to Russia, in which country they are
+plentiful. (Translator's note.)]
+
+     _Note._ These uncommonly deep notes must be moderately well
+     sustained and can only be used when the whole chorus is
+     singing quite _piano_; they are hardly applicable except in
+     unaccompanied choruses (_a cappella_).
+
+The difference in range between the "firsts" and "seconds" in each
+type may be fixed as follows: the normal octave and the exceptionally
+low register should be allotted to the "seconds", the same octave and
+the exceptionally high register to the "firsts".
+
+The composition of the chorus is approximately as follows: for a full
+chorus, 32 singers to each of the 4 parts sopr., alt., ten. and bass;
+for a chorus of medium size, from 16 to 20, and for a small chorus
+from 8 to 10 singers. The number of women will often predominate, and
+more voices are given to the "firsts" than to the "seconds".
+
+On account of stage requirements a chorus may have to be divided into
+two or even three separate parts. This is a great disadvantage,
+especially with a small chorus, as each chorister becomes more or less
+a soloist.
+
+The methods of writing for operatic chorus are very numerous. Besides
+the primary harmonico-polyphonic arrangement, containing the whole
+musical idea, the voices may be made to enter separately, singing or
+declaiming phrases of varying length; they may progress in unison or
+in octaves; one vocal part may repeat certain notes or the whole
+chorus reiterate certain chords; one melodic part may predominate (the
+upper part for preference), the others forming an harmonic
+accompaniment; isolated exclamatory phrases may be given to the whole
+chorus or to certain portions of it, and finally, the entire chorus
+may be treated in a purely harmonic manner in chords, with the
+essential melodic design allotted to the orchestra. Having outlined
+the principal methods of handling the chorus, I advise the reader to
+study vocal and orchestral scores where he will find many
+illustrations impossible to deal with here.
+
+There exists another most important operation, the division of the
+chorus into different groups. The most natural method is to divide it
+into men's chorus and women's chorus. Less frequent combinations are
+altos, tenors and basses, or sopranos, altos and tenors. There remains
+yet another point to be considered, the sub-division of each part into
+two's and three's. Men's and women's choruses, considered as distinct
+unities may alternate either one with the other, or with the principal
+chorus. For this reason sub-division increases the possibilities of
+choral writing, and, as I have already remarked, it is only by the
+study of choral works that the student will acquire mastery over this
+branch of composition, the fundamental principles of which can only be
+faintly outlined in the course of the present work.
+
+
+Melody.
+
+Melody is more limited in the chorus than in the solo voice, both as
+regards range as well as mobility. Choristers' voices are less
+"settled" and not so highly trained as those of soloists. Sometimes
+solo and choral melody are similar in point of range and technique,
+but more often the latter is lacking in freedom and variety of rhythm,
+restricted as it is to the repetition of short phrases, while the solo
+voice demands broader melodic outline and greater freedom in
+construction. In this respect choral melody more closely resembles
+instrumental melody. Pauses for taking breath are not so important
+with chorus singers as with soloists; the former do not need to
+breathe all together and each singer may take a slight rest from time
+to time, thus obviating the necessity for sudden complete silences.
+The question of suitable vowels is likewise of secondary importance.
+
+The change from notes of short value to long, vocalisation on
+syllables and other questions mentioned above are equally applicable
+to choral melody, but in a minor degree. Not more than two or three
+notes should be written on one syllable except for fanciful and
+whimsical effects.
+
+_Example:_
+
+No. 306. _The Golden Cockerel_ [[262]]; see also before [[123]].
+
+
+A. Mixed chorus.
+
+Chorus in unison.
+
+The simplest and most natural combination of voices is sopranos and
+altos, or tenors and basses. These combinations produce ample and
+vigourous tone, and the mixed timbres serve to give prominence to a
+melody in the upper or bass parts. In practice the other voices are
+often divided to thicken the harmony. The combination of altos and
+tenors produces a peculiar mixed tone quality, somewhat _bizarre_ and
+seldom used.
+
+_Examples:_
+
+_Snegourotchka_ [[64]].
+
+_Sadko_ [[208]] (cf. Ex. 14).
+
+
+Progression in octaves.
+
+The most beautiful and natural combinations are sopranos and tenors 8
+[Sopr./Ten., altos and basses 8 [Altos/Basses; they produce a tone
+both brilliant and powerful. Progression of sopranos and altos, or
+tenors and basses is seldom practised. Though the latter combinations
+may occur in choruses for women and men alone, they can only be used
+in melodies of restricted length. The difference of register in which
+the voices move does not permit of the same balance of tone obtained
+by voices of a distinctive kind.
+
+_Examples:_
+
+_Snegourotchka_ [[60]], [[61]]--Carnival Procession.
+
+       "        [[113]]--Wedding Ceremony.
+
+_Sadko_ [[37]]--Chorus of Guests, 1st Tableau.
+
+Dividing kindred voices in octaves is seldom done, 8 [Sopr. I/Sopr. II
+etc., except perhaps in the basses 8 [Basses I/Basses II, when the
+progression of parts demand it, or it is required to double the bass
+part in octaves.
+
+_Examples:_
+
+_Ivan the Terrible_, Act III [[68]]--Final chorus (cf. Ex. 312).
+
+_Sadko_ [[341]]--Final chorus.
+
+A beautifully round tone results from doubling men's and women's
+voices in octaves 8 [Sopr. + Altos/Ten. + Basses.
+
+_Example:_
+
+_Snegourotchka_ [[323]]--Final chorus.
+
+Brilliance and vigour is achieved when sopranos and altos progress in
+thirds doubled in octaves by tenors and basses also in thirds: 8
+[Sopr./Altos] 3/[Ten./Basses] 3.
+
+_Examples:_
+
+_Mlada_, Act I [[24]]; Act II, before [[31]].
+
+_The Golden Cockerel_ [[235]].
+
+On the rare occasions when the whole chorus progresses in double
+octaves the usual arrangement is:
+
+Sopr. + Altos]            8 [Sopr.
+     8 [Ten. ] 8, or else   [Altos + Ten.  ]
+       [Basses                       Basses] 8.
+
+_Examples:_
+
+_Snegourotchka_ [[319]].
+
+_Sadko_ [[182]].
+
+
+Voices (_divisi_); harmonic use of the mixed chorus.
+
+The purely harmonic progression of a four-part mixed chorus is more
+natural and resonant when the harmony is of the widely divided order,
+so that the volume of tone is equally distributed throughout.
+
+_Example:_
+
+No. 307. _Sadko_ [[144]]--Beginning of 3rd tableau.
+
+To secure a well-balanced _forte_ chord in close part writing the
+following distribution is recommended:
+
+[Sopr. I
+[Sopr. II
+
+ Altos
+
+[Ten. I
+[Ten. II
+
+[Basses I
+[Basses II.
+
+Three harmonic parts in the high register (2 sopranos and altos) are
+doubled an octave lower by 2 tenors and the 1st basses. The lower
+part is undertaken by the 2nd basses. In this manner the tenors
+sing in the soprano octave, the 1st basses in the alto octave and
+the 2nd basses are independent.
+
+_Examples:_
+
+_Snegourotchka_ [[327]]--End of the work.
+
+_Mlada_, Act II [[20]]--Procession of Princes.
+
+_Ivan the Terrible_, Act II [[19]] (cf. Ex. 212).
+
+Division of parts can be adopted when one of them is entrusted with a
+melody, the remainder forming a sufficiently full accompaniment. The
+choice of parts to be divided depends upon the range of the upper one.
+When a harmonic-melodic phrase is repeated in different keys and
+registers, it may be necessary to distribute the parts and divide them
+in another manner, so as to maintain proper choral balance. As an
+illustration I give two extracts of identical musical context, the
+second (_F_ major) being a third higher than the first (_D_ major). In
+the first example the altos are added to the sopranos to strengthen
+the melody; the tenors and basses _divisi_ form the harmony. In the
+second example the melody being a third higher may be given to the
+sopranos alone; the altos therefore take part in the harmony, and
+consequently the lower parts are divided in a different way.
+
+_Examples:_
+
+_Sadko_ [[173]] and [[177]] (cf. Ex. 205 and 206); compare also the
+same music in _G_ major [[189]].
+
+No. 309-310. _Ivan the Terrible_, Act I [[77]].
+
+Example 307 is an instance of widely-spaced four-part writing forming
+the harmonic basis, with the melodic idea in the orchestra. In Example
+308, the same in musical context, the melodic figure is given to the
+sopranos, and among the other parts which form the harmony the tenors
+are divided.
+
+_Example:_
+
+No. 308. _Sadko_ [[152]].
+
+In polyphonic writing exceeding 4 part harmony the voices should be
+divided so as to obtain the necessary number of actual parts. One part
+may be divided into as many as three different parts, 3 sopranos, 3
+altos etc.
+
+_Examples:_
+
+No. 312. _Ivan the Terrible_, Act III [[69]]--Final chorus.
+
+_Servilia_ [[233]]--Final chorus.
+
+_Mlada_, Act IV [[35-36]]--Final chorus.
+
+In _fugato_ writing and fugal imitation for mixed chorus the
+distribution is generally in four parts, but this number may be
+increased for cumulative effects as in the example quoted. In such
+cases the composer should be careful as to the arrangement of the
+final chord, the summit and climax of the passage. After the entry of
+the last of the voices the progression of such a passage should be
+handled with a view to the tone of the final chord. The treatment
+should be such that concords produced by divided voices or different
+groups of voices retain their full value; and if the final chord be a
+discord its effect may be heightened by means of crossing of parts.
+The reader is advised to examine carefully the progression of parts
+leading up to the final chord in each of the examples given above,
+paying special attention to the distribution of these final chords.
+Crossing of parts must not be effected at random. The arrangement of
+choral parts follows the natural order of register and can only be
+altered for short spaces of time to give momentary prominence to some
+melodic or declamatory phrase.
+
+_Examples:_
+
+_Ivan the Terrible_, Act I [[79]], Act II [[5]], Act III [[67]].
+
+
+B. Men's chorus and women's chorus.
+
+In writing a three-part female chorus the division should be either
+Sopr. I/Sopr. II/Altos or Sopr./Altos I/Altos II; the same for men:
+Ten. I/Ten. II/Bass or Ten./Bass I/Bass II. The choice of distribution
+depends upon which voice is to predominate, or the register in which
+the group is to be placed. The manner of dividing the parts may
+change, one following the other at will. In four-part harmonic writing
+the method of division is self-evident:
+
+Sopr. I
+Sopr. II
+Altos I
+Altos II
+
+Ten. I
+Ten. II
+Bass I
+Bass II
+
+To give prominence to a melody in the middle part in three-part
+harmony, the following method may be adopted:
+
+Sopr. I                Ten. I
+Sopr. II + Altos I, or Ten. II + Bass I.
+Altos II               Bass II
+
+If, in three-part writing, the melody has to stand out in the upper
+part, the harmony may be either widely-divided or close.
+
+_Examples:_
+
+_Ivan the Terrible_, Act I [[25-26]], [[23-31]] (Women's chorus).
+
+_Sadko_, before [[181]]--Men's chorus (cf. Ex. 27).
+
+No. 311. _Sadko_ [[270-272]]--Women's chorus.
+
+In four-part choral writing close harmony is preferable, otherwise the
+upper part will be in too high a register and the range of the bottom
+part too low.
+
+_Examples:_
+
+_Sadko_ [[17]]--Male chorus.
+
+_Ivan the Terrible_, Act II [[36-38]]--Female chorus (cf. Ex. 296).
+
+Distribution in two parts which is generally polyphonic does not call
+for any special remarks; the same may be said of chorus in unison.
+
+_Examples:_
+
+_Sadko_ [[50]]--Male chorus.
+
+_Mlada_, beginning of Act I.            }
+_Ivan the Terrible_, Act III [[13-15]]. } Female chorus.
+_Servilia_ [[26]].                      }
+
+If male and female choruses are handled in a purely harmonic manner
+close part writing should be adopted. This is the only way to secure
+proper balance of tone in chords given to voices of the same kind.
+Successions of chords in three parts are more frequent than those in
+four; sometimes a series of chords is practicable only in two parts.
+
+_Examples:_
+
+_Snegourotchka_ [[19]]--Chorus of Birds.
+
+       "        [[281-285]]--Chorus of Flowers (cf. Ex. 26).
+
+In _fugato_ writing, and fugal imitation in three parts, allotted to a
+chorus composed of voices of one kind, the principal subject is given
+to two parts, the counter subject to one; by this method the doubled
+themes will stand out to better advantage.
+
+_Examples:_
+
+_Sadko_ [[20-21]].
+
+* _The Tsar's Bride_ [[29-30]].
+
+Male and female choruses, apart from the part they play as individual
+unities, may be introduced as separate groups in mixed choruses
+alternating with the whole _ensemble_.
+
+_Example:_
+
+_Snegourotchka_ [[198]]--Hymn of Tsar Berendey's Subjects (cf. Ex.
+166).
+
+As a general rule a female chorus does not contain the real harmonic
+bass part when this part is situated in the low register, so that no
+octaves are formed between the real bass and the lower choral voice.
+Harmony in a chorus for women is generally given to the three upper
+parts, the lower part acting as accompanying bass. It will be noticed
+that this rule may lead to the employment of chords of the sixth and
+empty consecutive fourth's and fifth's which should be avoided. In
+example No. 311 (_Sadko_ [[270]]), this is remedied by the high
+position of the bass part; later an empty interval (4/5) occurs, but
+only for a moment, and still further on another such interval is
+avoided by the union of all the voices in the octave (_B/B_). In Ex.
+No. 304 (_Sadko_ [[83]]) the harmonic bass in the low register is
+carefully omitted, but when transferred to the upper register it is
+doubled.
+
+I conclude the present chapter with the following necessary
+observations:
+
+1. The operation of dividing voices undoubtedly weakens their
+resonance, and as the reader will have observed, one of the principal
+factors in good orchestration is _equal_ balance of tone in the
+distribution of chords. But in choral writing the question is somewhat
+different. The orchestra, even after repeated rehearsal always _plays
+from music_; the operatic chorus, on the other hand, sings by heart.
+The chorus master can carry out the composer's instructions as to the
+division of parts in one way or another, varying and adjusting the
+number of singers to each part. By manipulating some shade of
+expression he can maintain a balance of tone between divided and
+undivided voices. In orchestral material the composer has to handle a
+great number of timbres, widely different in character and volume of
+tone. In the chorus there are but four qualities. A chorus moving
+about the stage cannot convey varying shades of expression so exactly
+as an orchestra seated at the desk. It may therefore be safely assumed
+that a composer is entitled to some licence in the question of
+dividing choral parts; dealing with the orchestra involves greater
+foresight and care.
+
+2. In trying to obtain equal balance in writing three-part choruses
+for male or female chorus I have often resorted to the method of
+doubling the middle part as recommended on p. 149. The chorus master
+is at liberty to equalise the chorus by transferring voices from one
+part to another. In choruses divided into three parts I have noticed
+that chorus masters are in the habit of giving the upper part to Sopr.
+I, or Ten. I, and the two lower parts to Sopr. II and Ten. II divided.
+I consider this arrangement unsound, as the balance of parts can never
+be equal. The attention of chorus masters is called to the necessity
+of strengthening middle parts, for the expedient of giving prominence
+to the upper part concerns melody alone and leaves harmony out of the
+question.
+
+3. Skilful management of choral parts is a fairly safe guarantee of
+clear and satisfactory performance. Miscalculations in writing are a
+great hindrance to study, and the most experienced chorus may come to
+grief through faulty progression of parts. If the progression of parts
+is correct, if discords are properly prepared, sudden and remote
+modulations, even of the harshest and most uncommon kind will be
+comparatively simple and may be approached with some degree of
+confidence. This is a fact which composers do not always bear in mind,
+but singers know it well and appreciate its importance to the full. As
+an instance I quote the very difficult modulation which occurs in Ex.
+No. 169 (_Sadko_ [[302]]). I doubt whether it could be sung if written
+in any other way. Careful endeavour on the part of a composer is
+better than useless struggle inflicted upon the performer.
+
+July 31st (Aug. 13th) 1905.
+
+
+
+
+_Principles
+of Orchestration_
+
+[VOLUME II]
+
+
+The musical examples in this volume are taken from the composer's
+following works:
+
+
+W. BESSEL & CO., publishers, Petrograd.
+
+"IVAN THE TERRIBLE", opera in 3 acts, 1894 edition.
+"SNEGOUROTCHKA", opera in prologue and 4 acts (1880-1881).
+"THE LEGEND OF TSAR SALTAN", opera in prologue and 4 acts (1899-1900).
+"SERVILIA", opera in 5 acts (1900-1901).
+"KASHTCHEÏ THE IMMORTAL", opera in 1 act of 3 scenes (1902).
+"PAN VOYEVODA", opera in 4 acts (1902-1903).
+"VERA SCHELOGA", prologue to "IVAN THE TERRIBLE", op. 54 (1898).
+"ANTAR", symphonic suite (2nd symphony), _new edition_ of 1897, published
+  in 1913.
+
+
+P. JURGENSON, publisher, Moscow.
+
+"SADKO", symphonic poem, 1891-1892 edition.
+"THE GOLDEN COCKEREL", opera in 3 acts (1906-1907).
+
+
+M.P. BELAIEFF, publisher, Leipzig.
+
+"THE MAY NIGHT", opera in 3 acts (1878-1879).
+"MLADA", opera-ballet in 4 acts (1889-1890).
+"THE CHRISTMAS NIGHT", opera in 4 acts (1894-1895).
+"SADKO", opera-legend in 7 scenes (1895-1896).
+"THE TSAR'S BRIDE", opera in 4 acts (1898).
+"THE LEGEND OF THE INVISIBLE CITY OF KITESH AND THE MAID FEVRONIA",
+  opera in 4 acts (1903-1905).
+"SPANISH CAPRICCIO", op. 34 (1887).
+"SHEHERAZADE", symphonic suite from the "THOUSAND AND ONE NIGHTS",
+  op. 35 (1888).
+"RUSSIAN EASTER FÊTE", Overture on Russian Church Themes, op. 36 (1888).
+
+
+[Transcriber's Note: See the HTML version for the musical examples in
+Volume II.]
+
+
+
+
+
+End of the Project Gutenberg EBook of Principles of Orchestration, by 
+Nikolay Rimsky-Korsakov
+
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+Project Gutenberg's Principles of Orchestration, by Nikolay Rimsky-Korsakov
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Principles of Orchestration
+       With musical examples drawn from his own works
+
+Author: Nikolay Rimsky-Korsakov
+
+Editor: Maximilian Steinberg
+
+Translator: Edward Agate
+
+Release Date: September 30, 2010 [EBook #33900]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PRINCIPLES OF ORCHESTRATION ***
+
+
+
+
+Produced by Mark C. Orton, Linda Cantoni, and the Online
+Distributed Proofreading Team at http://www.pgdp.net. Music
+transcribed by Linda Cantoni. Thanks to Alex Guzman for
+his assistance in interpreting orchestral notation.
+
+
+
+
+
+
+
+
+
+[Transcriber's Notes: This e-book was prepared from a 1964 reprint
+published by Dover Publications, Inc., New York, which in turn was
+prepared from the two-volume 1922 English translation published by
+Edition Russe de Musique, Paris.
+
+Volume I contains the text of the work; Volume II contains the musical
+examples referred to in Volume I. This plaintext version of the e-book
+contains only Volume I and the front matter of Volume II. To see and
+hear the musical examples in Volume II, see the HTML version.
+
+The original uses boxed numbers to refer to sections of musical
+scores. They are represented here in double square brackets, e.g.,
+[[27]], [[B]]. See the footnote at the beginning of Chapter II for the
+editor's explanation of the musical examples and the boxed rehearsal
+numbers. The use of asterisks is explained in the Editor's Preface.
+
+Obvious printer errors have been corrected without note. Other
+apparent errors are noted with a [Transcriber's Note].
+
+The original contains a number of tables of instrument distribution.
+Those occurring in the middle of a line are rendered in a single line,
+using forward slashes to indicate line breaks. For example, where the
+following occurs in the middle of a line, in the original,
+
+Vns I  ]
+Vns II ]
+Vns III] 8
+
+it is rendered in this e-book as
+
+Vns I/Vns II/Vns III] 8.
+
+This e-book uses the octave numbering system to describe the
+single-note music examples. Under this system, for example, middle C
+is C4, and the scale following would be D4, E4, etc.; the C below
+middle C is rendered as C3, and the scale following would be D3, E3,
+etc.; the C above middle C is rendered as C5, and the scale following
+would be D5, E5, etc.
+
+Sharp, flat, and natural symbols are rendered as [sharp], [flat], and
+[natural], respectively. Other musical symbols are rendered as
+[symbol: name].
+
+Italics are surrounded by _underscores_. Boldface text is surrounded
+by =equal signs=.]
+
+
+
+
+NIKOLAY RIMSKY-KORSAKOV
+
+
+_Principles of Orchestration_
+
+
+_with musical examples
+drawn from his own works_
+
+
+Edited by
+MAXIMILIAN STEINBERG
+
+English translation by
+EDWARD AGATE
+
+
+[VOLUME I]
+
+
+[Edition Russe de Musique, Paris, 1922]
+
+
+
+
+CONTENTS
+
+
+                                                                  page
+
+Editor's Preface                                              VII--XII
+Extract from the Author's preface (1891)                             1
+Extract from the Preface to the last edition                         5
+
+Chapter I.--General review of orchestral groups
+
+  A. Stringed instruments                                            6
+  B. Wind instruments:
+     Wood-wind                                                      12
+     Brass                                                          21
+  C. Instruments of little sustaining power:
+     Plucked strings                                                26
+       Pizzicato                                                    27
+       Harp                                                         27
+     Percussion instruments producing determinate sounds, keyed
+       instruments
+       Kettle-drums                                                 29
+       Piano and Celesta                                            30
+       _Glockenspiel_, Bells, Xylophone                             32
+     Percussion instruments producing indefinite sounds             32
+     Comparison of resonance in orchestral groups, and combination
+       of different tone qualities                                  33
+
+Chapter II.--Melody
+
+  Melody in stringed instruments                                    36
+  Grouping in unison                                                39
+    Stringed instruments doubling in octaves                        40
+    Melody in double octaves                                        44
+    Doubling in three and four octaves                              45
+    Melody in thirds and sixths                                     45
+  Melody in the wood-wind                                           46
+    Combination in unison                                           47
+    Combination in octaves                                          49
+    Doubling in two, three and four octaves                         51
+    Melody in thirds and sixths                                     52
+    Thirds and sixths together                                      53
+  Melody in the brass                                               53
+    Brass in unison, in octaves, thirds and sixths                  55
+  Melody in different groups of instruments combined together       56
+    A. Combination of wind and brass in unison                      56
+    B. Combination of wind and brass in octaves                     57
+    C. Combination of strings and wind                              58
+    D. Combination of strings and brass                             61
+    E. Combination of the three groups                              61
+
+Chapter III.--Harmony
+
+  General observations                                              63
+    Number of harmonic parts--Duplication                           64
+    Distribution of notes in chords                                 67
+  String harmony                                                    69
+  Wood-wind harmony                                                 71
+    Four-part and three-part harmony                                72
+    Harmony in several parts                                        76
+    Duplication of timbres                                          77
+    Remarks                                                         78
+  Harmony in the brass                                              82
+    Four-part writing                                               82
+    Three-part writing                                              84
+    Writing in several parts                                        84
+    Duplication in the brass                                        85
+  Harmony in combined groups                                        88
+    A. Combination of wind and brass                                88
+       1. In unison                                                 88
+       2. Overlaying, crossing, enclosure of parts                  90
+    B. Combination of strings and wind                              94
+    C. Combination of the three groups                              95
+
+Chapter IV.--Composition of the orchestra
+
+  Different ways of orchestrating the same music                    97
+  Full _Tutti_                                                     101
+  _Tutti_ in the wind                                              103
+  _Tutti pizzicato_                                                103
+  _Tutti_ in one, two and three parts                              104
+  _Soli_ in the strings                                            104
+  Limits of orchestral range                                       106
+  Transference of passages and phrases                             107
+  Chords of different tone quality used alternately                108
+  Amplification and elimination of tone qualities                  109
+  Repetition of phrases, imitation, echo                           110
+  _Sforzando-piano_ and _piano-sforzando_ chords                   111
+  Method of emphasising certain notes and chords                   111
+  _Crescendo_ and _diminuendo_                                     112
+  Diverging and converging progressions                            113
+  Tone quality as a harmonic force. Harmonic basis                 114
+  Artificial effects                                               116
+  Use of percussion instruments for rhythm and colour              117
+  Economy in orchestral colour                                     118
+
+Chapter V.--Combination of the human voice with orchestra.
+The Stage band
+
+  Orchestral accompaniment of solo voices                          119
+    General remarks                                                119
+    Transparence of accompaniment. Harmony                         120
+    Doubling voices in the orchestra                               122
+    Recitative and declamation                                     125
+  Orchestral accompaniment of the chorus                           126
+    Solo voice with chorus                                         128
+  Instruments on the stage and in the wings                        129
+
+Chapter VI (Supplementary).--Voices
+
+  Technical terms                                                  132
+  Soloists                                                         133
+    Range and register                                             133
+    Vocalisation                                                   134
+    Vowels                                                         136
+    Flexibility                                                    137
+    Colour and character of voices                                 137
+  Voices in combination                                            139
+    Duet                                                           139
+    Trios, quartets etc.                                           141
+  Chorus                                                           142
+    Range and register                                             142
+    Melody                                                         144
+  A. Mixed chorus                                                  145
+     Chorus in unison                                              145
+     Progression in octaves                                        145
+     Voices _divisi_; harmonic use of the mixed chorus             146
+  B. Men's chorus and Women's chorus                               148
+
+
+
+
+Editor's Preface.
+
+
+Rimsky-Korsakov had long been engrossed in his treatise on
+orchestration. We have in our possession a thick note book of some 200
+pages in fine hand writing, dating from the years 1873-1874,
+containing a monograph on the question of acoustics, a classification
+of wind instruments and a detailed description of the construction and
+fingering of the different kinds of flute, the oboe, clarinet and
+horn.[1]
+
+[Footnote 1: This manuscript was given to me by Alexander Glazounov;
+if a Rimsky-Korsakov museum is ever founded it will be placed there.]
+
+In his "Memoirs of my musical life" (1st edition, p. 120) the
+following passage occurs: "I had planned to devote all my energies to
+the compilation of a full treatise on orchestration. To this end I
+made several rough copies, jotting down explanatory notes detailing
+the technique of different instruments. What I intended to present to
+the world on this subject, was to include _everything_. The writing of
+this treatise, or, to be more exact, the sketch for it took up most of
+my time in the years 1873 and 1874. After reading the works of Tyndall
+and Helmholtz, I framed an introduction to my work, in which I
+endeavoured to expound the laws of acoustics as applied to the
+principles governing the construction of musical instruments. My
+manual was to begin with a detailed list of instruments, classified in
+groups and tabulated, including a description of the various systems
+in use at the present day. I had not yet thought of the second part of
+the book which was to be devoted to instruments in combination. But I
+soon realised that I had gone too far. With wind instruments in
+particular, the different systems were innumerable, and each
+manufacturer favoured his own pet theory. By the addition of a certain
+key the maker endowed his instrument with the possibility of a new
+trill, and made some difficult passages more playable than on an
+instrument of another kind.
+
+"There was no end to such complications. In the brass, I found
+instruments with three, four, and five valves, the mechanism varying
+according to the make. Obviously, I could not hope to cover so large a
+field; besides, of what value would such a treatise be to the student?
+Such a mass of detailed description of the various systems, their
+advantages and drawbacks, could not but fail to confuse the reader
+only too eager to learn. Naturally he would wish to know what
+instrument to employ, the extent of its capabilities etc., and getting
+no satisfactory information he would throw my massive work aside. For
+these reasons my interest in the book gradually waned, and finally I
+gave up the task."
+
+In 1891 Rimsky-Korsakov, now an artist of standing, the composer of
+_Snegourotchka_, _Mlada_, and _Sheherazade_, a master of the
+orchestral technique he had been teaching for twenty years, returned
+to his handbook on instrumentation. He would seem to have made notes
+at different times from 1891 to 1893, during which period, after the
+first performance of _Mlada_, he gave up composition for a while.
+These notes, occasionally referred to in his _Memoirs_, are in three
+volumes of manuscript-paper. They contain the unfinished preface of
+1891, a paragraph full of clear, thoughtful writing, and reprinted in
+this book.[2]
+
+[Footnote 2: This preface had already been published in his _Notes and
+Articles on Music_ (St. Petersburgh, 1911).]
+
+As the author tells us in his _Memoirs_ (p. 297), the progress of his
+work was hampered by certain troublesome events which were happening
+at the time. Dissatisfied with his rough draft, he destroyed the
+greater part of it, and once more abandoned his task.
+
+In 1894 he composed _The Christmas Night_; this was the beginning of
+his most fertile period. He became entirely engrossed in composition,
+making plans for a fresh opera as soon as the one in hand was
+completed. It was not until 1905 that his thoughts returned to the
+treatise on orchestration, his musical output remaining in abeyance
+through no fault of his own. Since 1891 the plan of the work had been
+entirely remodelled, as proved by the rough drafts still extant. The
+author had given up the idea of describing different instruments from
+their technical standpoint, and was more anxious to dwell upon the
+value of tone qualities and their various combinations.
+
+Among the author's papers several forms of the book have been found,
+each widely differing in detail from the other. At last, in the summer
+of 1905 Rimsky-Korsakov brought his plans to a head, and outlined the
+six chapters which form the foundation of the present volume. But the
+work suffered a further interruption, and the sketches were once more
+laid aside. In his _Memoirs_, Rimsky-Korsakov explains the fact by
+lack of interest in the work and a general feeling of weariness: "The
+treatise remained in abeyance. To start with, the form of the book was
+not a success, and I awaited the production of _Kitesh_, in order to
+give some examples from that work" (p. 360).
+
+Then came the autumn of 1906. The composer experienced another rush of
+creative energy; his opera, _The Golden Cockerel_ made rapid strides,
+and kept him busy all that winter and the following summer. When it
+was finished, in the autumn of 1907, his thoughts reverted to the
+treatise on orchestration. But the work made little progress. The
+author had his doubts as to the adequacy of the plan he had adopted,
+and, in spite of the entreaties of his pupils and friends, he could
+not bring himself to broach the latter part of the book. Towards the
+end of 1907 Rimsky-Korsakov was constantly ailing in health, and this
+materially affected his energy. He spent the greater part of his time
+reading old notes and classifying examples. About the 20th of May
+he set out for his summer residence in Lioubensk, and having just
+recovered from a third severe attack of inflammation of the lungs,
+began to work on the first chapter of the treatise in its present,
+final form. This chapter was finished on June 7/20, about 4 o'clock in
+the afternoon; the same night, the composer was seized with a fourth
+attack which proved fatal.
+
+The honour fell on me to prepare this last work of Rimsky-Korsakov for
+publication. Now that _Principles of Orchestration_ has appeared in
+print I think it necessary to devote a few words to the essential
+features of the book, and to the labour imposed upon me in my capacity
+as editor.
+
+On the first point I will say but little. The reader will observe from
+the Contents that the work differs from others, not merely by reason
+of its musical examples, but more especially in the systematic
+arrangement of material, not according to orchestral division in
+groups (the method adopted by Gevaert for instance), but according to
+_each constituent of the musical whole, considered separately_. The
+orchestration of melodic and harmonic elements (Chapters II and III)
+receives special attention, as does the question of orchestration in
+general (Chapter IV). The last two chapters are devoted to operatic
+music, and the sixth takes a supplementary form, having no direct
+bearing on the previous matter.
+
+Rimsky-Korsakov altered the title of his book several times, and his
+final choice was never made. The title I have selected seems to me to
+be the one most suitable to the contents of the work, "principles" in
+the truest sense of the word. Some may expect to find the "secrets" of
+the great orchestrator disclosed; but, as he himself reminds us in his
+preface, "to orchestrate is to create, and this is something which
+cannot be taught."
+
+Yet, as invention, in all art, is closely allied to technique, this
+book may reveal much to the student of instrumentation.
+Rimsky-Korsakov has often repeated the axiom that _good orchestration
+means proper handling of parts_. The simple use of tone-colours and
+their combinations may also be taught, but there the science of
+instruction ends. From these standpoints the present book will furnish
+the pupil with nearly everything he requires. The author's death
+prevented him from discussing a few questions, amongst which I would
+include full polyphonic orchestration and the scoring of melodic and
+harmonic designs. But these questions can be partly solved by the
+principles laid down in Chapters II and III, and I have no wish to
+overcrowd the first edition of this book with extra matter which can
+be added later, if it is found to be necessary. I had first of all to
+prepare and amplify the sketches made by Rimsky-Korsakov in 1905;
+these form a connected summary throughout the whole six chapters.
+Chapter I was completed by the author; it is published as it stands,
+save for a few unimportant alterations in style. As regards the other
+five chapters, I have tried to keep to the original drafts as far as
+possible, and have only made a few changes in the order, and one or
+two indispensable additions. The sketches made between 1891 and 1893
+were too disconnected to be of much use, but, in point of fact, they
+corresponded very closely to the final form of the work.
+
+The musical examples are of greater importance. According to the
+original scheme, as noted on the 1891 MS., they were to be drawn from
+the works of Glinka and Tschaikovsky; those of Borodin and Glazounov
+were to be added later. The idea of choosing examples solely from his
+own works only came to Rimsky-Korsakov by degrees. The reasons for
+this decision are partly explained in the unfinished preface of 1905,
+but other motives may be mentioned. If Rimsky-Korsakov had chosen his
+examples from the works of these four composers, he would have had to
+give some account of their individual, and often strongly marked
+peculiarities of style. This would have been a difficult undertaking,
+and then, how to justify the exclusion of West-European composers,
+Richard Wagner, for example, whose orchestration Rimsky-Korsakov so
+greatly admired? Besides, the latter could hardly fail to realise that
+his own compositions afforded sufficient material to illustrate every
+conceivable manner of scoring, examples _emanating from one great
+general principle_. This is not the place to criticise his method;
+Rimsky-Korsakov's "school" is here displayed, each may examine it for
+himself. The brilliant, highly-coloured orchestration of Russian
+composers, and the scoring of the younger French musicians are largely
+developments of the methods of Rimsky-Korsakov, who, in turn, looked
+upon Glinka as his spiritual father.
+
+The table of examples found among the author's papers was far from
+complete; some portions were badly explained, others, not at all. The
+composer had not mentioned which musical quotations were to be printed
+in the second volume, and which examples were to indicate the study of
+the full score; further, no limit was fixed to the length of
+quotation. All this was therefore left to the editor's discretion. I
+selected the examples only after much doubt and hesitation, finding it
+difficult to keep to those stipulated by the composer, as every page
+of the master's works abounds in appropriate instances of this or that
+method of scoring.
+
+I was guided by the following considerations which agreed with the
+opinions of the author himself: in the first place the examples should
+be as simple as possible, so as not to distract the student's
+attention from the point under discussion; secondly, it was necessary
+that one example should serve to illustrate several sections of the
+book, and lastly, the majority of quotations should be those mentioned
+by the author. These amount to 214, in the second volume; the
+remaining 98 were added by me. They are drawn, as far as possible,
+from Rimsky-Korsakov's dramatic music, since operatic full-scores are
+less accessible than those of symphonic works.[3]
+
+[Footnote 3: Recently the firm of Belaieff has published
+Rimsky-Korsakov's symphonic works in miniature score, pocket-size.]
+
+At the end of Vol. II I have added three tables showing different ways
+of scoring full chords; all my additions to the text are marked with
+asterisks. I consider that the careful study of the examples contained
+in the second volume will be of the greatest use to the student
+_without replacing_ the need for the study of other composers' scores.
+Broadly speaking, the present work should be studied together with the
+reading of full scores in general.
+
+A few words remain to be said regarding Rimsky-Korsakov's intention to
+point out the faulty passages in his orchestral works, an intention
+expressed in his preface to the last edition. The composer often
+referred to the instructional value of such examinations. His purpose
+however was never achieved. It is not for me to select these examples,
+and I shall only mention two which were pointed out by the composer
+himself: 1. _The Legend of Tsar Saltan_ [[220]], 7th bar--the theme
+in the brass is not sufficiently prominent the trombones being _tacet_
+(a mistake easily rectified); 2. _The Golden Cockerel_ [[233]], bars
+10-14, if the marks of expression are observed in the brass, the
+counter-melody on the violas and violoncellos doubled by the wood-wind
+will hardly be heard. Example 75 may also be mentioned, to which the
+note on page 63, in the text, refers. I will confine myself to these
+examples.
+
+In conclusion I desire to express my deep gratitude to Madame
+Rimsky-Korsakov for having entrusted me with the task of editing this
+work, thereby providing me with the opportunity of performing a duty
+sacred to the memory of a master, held so deeply in reverence.
+
+_St. Petersburgh_, December 1912.
+
+MAXIMILIAN STEINBERG.
+
+
+
+
+Extract from the Author's Preface (1891).
+
+
+Our epoch, the post-Wagnerian age, is the age of brilliance and
+imaginative quality in orchestral tone colouring. Berlioz, Glinka,
+Liszt, Wagner, modern French composers--Delibes, Bizet and others;
+those of the new Russian school--Borodin, Balakirev, Glazounov and
+Tschaikovsky--have brought this side of musical art to its zenith;
+they have eclipsed, as colourists, their predecessors, Weber,
+Meyerbeer and Mendelssohn, to whose genius, nevertheless, they are
+indebted for their own progress. In writing this book my chief aim has
+been to provide the well-informed reader with the fundamental
+principles of modern orchestration from the standpoint of brilliance
+and imagination, and I have devoted considerable space to the study of
+tonal resonance and orchestral combination.
+
+I have tried to show the student how to obtain a certain quality of
+tone, how to acquire uniformity of structure and requisite power. I
+have specified the character of certain melodic figures and designs
+peculiar to each instrument or orchestral group, and reduced these
+questions briefly and clearly to general principles; in short I have
+endeavoured to furnish the pupil with matter and material as carefully
+and minutely studied as possible. Nevertheless I do not claim to
+instruct him as to how such information should be put to artistic use,
+nor to establish my examples in their rightful place in the poetic
+language of music. For, just as a handbook of harmony, counterpoint,
+or form presents the student with harmonic or polyphonic matter,
+principles of construction, formal arrangement, and sound technical
+methods, but will never endow him with the talent for composition, so
+a treatise on orchestration can demonstrate how to produce a
+well-sounding chord of certain tone-quality, uniformly distributed,
+how to detach a melody from its harmonic setting, correct progression
+of parts, and solve all such problems, but will never be able to teach
+the art of poetic orchestration. To orchestrate is to create, and this
+is something which cannot be taught.
+
+It is a great mistake to say: this composer scores well, or, that
+composition is well orchestrated, for orchestration is _part of the
+very soul of the work_. A work is thought out in terms of the
+orchestra, certain tone-colours being inseparable from it in the mind
+of its creator and native to it from the hour of its birth. Could the
+essence of Wagner's music be divorced from its orchestration? One
+might as well say that a picture is well _drawn_ in colours.
+
+More than one classical and modern composer has lacked the capacity to
+orchestrate with imagination and power; the secret of colour has
+remained outside the range of his creative faculty. Does it follow
+that these composers do not _know how_ to orchestrate? Many among them
+have had greater knowledge of the subject than the mere colourist. Was
+Brahms ignorant of orchestration? And yet, nowhere in his works do we
+find evidence of brilliant tone or picturesque fancy. The truth is
+that his thoughts did not turn towards colour; his mind did not exact
+it.
+
+The power of subtle orchestration is a secret impossible to transmit,
+and the composer who possesses this secret should value it highly, and
+never debase it to the level of a mere collection of formulae learned
+by heart.
+
+Here I may mention the case of works scored by others from the
+composer's rough directions. He who undertakes such work should enter
+as deeply as he may into the spirit of the composer, try to realise
+his intentions, and develop them in all their essential features.
+
+Though one's own personality be subordinate to that of another, such
+orchestration is nevertheless creative work. But on the other hand, to
+score a composition never intended for the orchestra, is an
+undesirable practice. Many musicians have made this mistake and
+persist in it.[4] In any case this is the lowest form of
+instrumentation, akin to colour photography, though of course the
+process may be well or badly done.
+
+[Footnote 4: In the margin of the MS. a question mark is added here.
+(Editor's note.)]
+
+As regards orchestration it has been my good fortune to belong to a
+first-rate school, and I have acquired the most varied experience. In
+the first place I have had the opportunity of hearing all my works
+performed by the excellent orchestra of the St. Petersburgh Opera.
+Secondly, having experienced leanings towards different directions, I
+have scored for orchestras of different sizes, beginning with simple
+combinations (my opera _The May Night_ is written for natural horns
+and trumpets), and ending with the most advanced. In the third place,
+I conducted the choir of the Military Marine for several years and was
+therefore able to study wind-instruments. Finally I formed an
+orchestra of very young pupils, and succeeded in teaching them to
+play, quite competently, the works of Beethoven, Mendelssohn, Glinka,
+etc. All this has enabled me to present this work to the public as the
+result of long experience.
+
+As a starting-point I lay down the following fundamental axioms:
+
+I. _In the orchestra there is no such thing as ugly quality of tone._
+
+II. _Orchestral writing should be easy to play_; a composer's work
+stands the best chance when the parts are well written.[5]
+
+[Footnote 5: A. Glazounov has well expressed the various degrees of
+excellence in scoring, which he divides into three classes: 1. When
+the orchestra sounds well, playing from sight; magnificent, after a
+few rehearsals. 2. When effects cannot be brought off except with the
+greatest care and attention on the part of conductor and players. 3.
+When the orchestra never sounds well. Evidently the chief aim in
+orchestration is to obtain the first of these results. (Author's
+note.)]
+
+III. _A work should be written for the size of orchestra that is to
+perform it_, not for some imaginary body, as many composers persist in
+doing, introducing brass instruments in unusual keys upon which the
+music is impracticable because it is not played in the key the
+composer intends.
+
+It is difficult to devise any method of learning orchestration without
+a master. As a general rule it is best to advance by degrees from the
+simplest scoring to the most complicated.
+
+The student will probably pass through the following phases: 1. the
+phase during which he puts his entire faith in percussion
+instruments, believing that beauty of sound emanates entirely from
+this branch of the orchestra--this is the earliest stage; 2. the
+period when he acquires a passion for the harp, using it in every
+possible chord; 3. the stage during which he adores the wood-wind and
+horns, using stopped notes in conjunction with strings, muted or
+_pizzicato_; 4. the more advanced period, when he has come to
+recognise that the string group is the richest and most expressive of
+all. When the student works alone he must try to avoid the pitfalls of
+the first three phases. The best plan is to study full-scores, and
+listen to an orchestra, score in hand. But it is difficult to decide
+what music should be studied and heard. Music of all ages, certainly,
+but, principally, that which is fairly modern. Fairly modern music
+will teach the student how to score--classical music will prove of
+negative value to him. Weber, Mendelssohn, Meyerbeer (_The Prophet_),
+Berlioz, Glinka, Wagner, Liszt, and modern French and Russian
+composers--these will prove his best guides. It is useless for a
+Berlioz or a Gevaert to quote examples from the works of Gluck. The
+musical idiom is too old-fashioned and strange to modern ears; such
+examples are of no further use today. The same may be said of Mozart
+and of Haydn (the father of modern orchestration).
+
+The gigantic figure of Beethoven stands apart. His music abounds in
+countless leonine leaps of orchestral imagination, but his technique,
+viewed in detail, remains much inferior to his titanic conception. His
+use of the trumpets, standing out above the rest of the orchestra, the
+difficult and unhappy intervals he gives to the horns, the distinctive
+features of the string parts and his often highly-coloured employment
+of the wood-wind,--these features will combine causing the student of
+Beethoven to stumble upon a thousand and one points in contradiction.
+
+It is a mistake to think that the beginner will light upon no simple
+and instructive examples in modern music, in that of Wagner and
+others. On the contrary, clearer, and better examples are to be found
+amongst modern composers than in what is called the range of classical
+music.
+
+
+
+
+Extract from the Preface to the last edition.
+
+
+My aim in undertaking this work is to reveal the principles of modern
+orchestration in a somewhat different light than that usually brought
+to bear upon the subject. I have followed these principles in
+orchestrating my own works, and, wishing to impart some of my ideas to
+young composers, I have quoted examples from my own compositions, or
+given references to them, endeavouring to show, in all sincerity, what
+is successful and what is not. No one can know except the author
+himself the purpose and motives which governed him during the
+composition of a certain work, and the practice of explaining the
+intentions of a composer, so prevalent amongst annotators, however
+reverent and discreet, appears to me far from satisfactory. They will
+attribute a too closely philosophic, or excessively poetic meaning to
+a plain and simple fact. Sometimes the respect which great composers'
+names command will cause inferior examples to be quoted as good; cases
+of carelessness or ignorance, easily explained by the imperfections of
+current technique, give rise to whole pages of laborious exposition,
+in defence, or even in admiration of a faulty passage.
+
+This book is written for those who have already studied
+instrumentation from Gevaert's excellent treatise, or any other
+well-known manual, and who have some knowledge of a number of
+orchestral scores.
+
+I shall therefore only just touch on such technical questions as
+fingering, range, emission of sound etc.[6]
+
+[Footnote 6: A short review of these various questions forms the first
+chapter of the book. (Editor's note.)]
+
+The present work deals with the combination of instruments in separate
+groups and in the entire orchestral scheme; the different means of
+producing strength of tone and unity of structure; the sub-division of
+parts; variety of colour and expression in scoring,--the whole,
+principally from the standpoint of dramatic music.
+
+
+
+
+Chapter I.
+
+GENERAL REVIEW OF ORCHESTRAL GROUPS.
+
+
+A. Stringed Instruments.
+
+The following is the formation of the string quartet and the number of
+players required in present day orchestras, either in the theatre or
+concert-room.
+
+--------------+-----------+-----------+-----------+
+              | Full      | Medium    | Small     |
+              | orchestra | orchestra | orchestra |
+--------------+-----------+-----------+-----------+
+              |           |           |           |
+Violins I     |   16      |   12      |   8       |
+              |           |           |           |
+   "   II     |   14      |   10      |   6       |
+              |           |           |           |
+Violas        |   12      |    8      |   4       |
+              |           |           |           |
+Violoncellos  |   10      |    6      |   3       |
+              |           |           |           |
+Double basses | 8-10      |  4-6      | 2-3       |
+--------------+-----------+-----------+-----------+
+
+In larger orchestras, the number of first violins may amount to 20 and
+even 24, the other strings being increased proportionately. But such a
+great quantity of strings overpowers the customary wood-wind section,
+and entails re-inforcing the latter. Sometimes orchestras contain less
+than 8 first violins; this is a mistake, as the balance between
+strings and wind is completely destroyed. In writing for the orchestra
+it is advisable to rely on a medium-sized body of strings. Played by a
+larger orchestra a work will be heard to greater advantage; played by
+a smaller one, the harm done will be minimised.
+
+Whenever a group of strings is written for more than five
+parts--without taking double notes or chords into consideration--these
+parts may be increased by dividing each one into two, three and four
+sections, or even more (_divisi_). Generally, one or more of the
+principal parts is split up, the first or second violins, violas or
+violoncellos. The players are then divided by desks, numbers 1, 3, 5
+etc. playing the upper part, and 2, 4, 6 etc., the lower; or else the
+musician on the right-hand of each desk plays the top line, the one on
+the left the bottom line. Dividing by threes is less easy, as the
+number of players in one group is not always divisible by three, and
+hence the difficulty of obtaining proper balance. Nevertheless there
+are cases where the composer should not hesitate to employ this method
+of dividing the strings, leaving it to the conductor to ensure
+equality of tone. It is always as well to mark how the passage is to
+be divided in the score; Vns I, 1, 2, 3 desks, 6 'Cellos div. a 3,
+and so on. Division into four and more parts is rare, but may be used
+in _piano_ passages, as it greatly reduces volume of tone in the group
+of strings.
+
+     _Note._ In small orchestras passages sub-divided into many
+     parts are very hard to realise, and the effect obtained is
+     never the one required.
+
+String parts may be divided thus:
+
+_a_ {Vns I div.  _b_ {Vns II div.  _c_ {Violas div.  _d_ {'Cellos div.
+    {Vns II div.     {Violas div.      {'Cellos div.     {D. basses div.
+
+Possible combinations less frequently used are:
+
+_e_ {Vns I div.    _f_ {Vns II div.   _g_ {Violas div.
+    {Violas div.       {'Cellos div.      {D. basses div. etc.
+
+     _Note._ It is evident that the tone quality in _b_ and _e_
+     will be similar. Still _b_ is preferable since the number of
+     Vns II (14-10-6) and Violas (12-8-4) is practically the
+     same, the respective roles of the two groups are more
+     closely allied, and from the fact that second violins
+     generally sit nearer to the violas than the first, thereby
+     guaranteeing greater unity in power and execution.
+
+The reader will find all manner of divisions in the musical examples
+given in Vol. II. Where necessary, some explanation as to the method
+of dividing strings will follow in due course. I dwell on the subject
+here in order to show how the usual composition of the string quartet
+may be altered.
+
+Stringed instruments possess more ways of producing sound than any
+other orchestral group. They can pass, better than other instruments
+from one shade of expression to another, the varieties being of an
+infinite number. Species of bowing such as _legato_, detached,
+_staccato_, _spiccato_, _portamento_, _martellato_, light _staccato_,
+_saltando_, attack at the nut and at the point, [symbol: down bow] and
+[symbol: up bow] (down bow and up bow), in every degree of tone,
+_fortissimo_, _pianissimo_, _crescendo_, _diminuendo_, _sforzando_,
+_morendo_--all this belongs to the natural realm of the string
+quartet.
+
+The fact that these instruments are capable of playing double notes
+and full chords across three and four strings--to say nothing of
+sub-division of parts--renders them not only melodic but also harmonic
+in character.[7]
+
+[Footnote 7: To give a list of easy three and four-note chords, or to
+explain the different methods of bowing does not come within the scope
+of the present book.]
+
+From the point of view of activity and flexibility the violin takes
+pride of place among stringed instruments, then, in order, come the
+viola, 'cello and double bass. In practice the notes of extreme limit
+in the string quartet should be fixed as follows:
+
+for violins: [Music: A7], for violas: [Music: A5],
+for 'cellos: [Music: A4], for double basses: [Music: G4].
+
+Higher notes given in Table A, should only be used with caution, that
+is to say when they are of long value, in _tremolando_, slow, flowing
+melodies, in not too rapid sequence of scales, and in passages of
+repeated notes. Skips should always be avoided.
+
+     _Note._ In quick passages for stringed instruments long
+     chromatic figures are never suitable; they are difficult to
+     play and sound indistinct and muddled. Such passages are
+     better allotted to the wood-wind.
+
+A limit should be set to the use of a high note on any one of the
+three lower strings on violins, violas and 'cellos. This note should
+be the one in the fourth position, either the octave note or the ninth
+of the open string.
+
+Nobility, warmth, and equality of tone from one end of the scale to
+the other are qualities common to all stringed instruments, and render
+them essentially superior to instruments of other groups. Further,
+each string has a distinctive character of its own, difficult to
+define in words. The top string on the violin (_E_) is brilliant in
+character, that of the viola (_A_) is more biting in quality and
+slightly nasal; the highest string on the 'cello (_A_) is bright and
+possesses a "chest-voice" timbre. The _A_ and _D_ strings on the
+violin and the _D_ string on the violas and 'cellos are somewhat
+sweeter and weaker in tone than the others. Covered strings (_G_), on
+the violin (_G_ and _C_), on the viola and 'cello are rather harsh.
+Speaking generally, the double bass is equally resonant throughout,
+slightly duller on the two lower strings (_E_ and _A_), and more
+penetrating on the upper ones (_D_ and _G_).
+
+     _Note._ Except in the case of pedal notes, the double bass
+     rarely plays an independent part, usually moving in octaves
+     or in unison with the 'cellos, or else doubling the
+     bassoons. The quality of the double bass tone is therefore
+     seldom heard by itself and the character of its different
+     strings is not so noticeable.
+
+The rare ability to connect sounds, or a series of sounds, the
+vibration of stopped strings combined with their above-named
+qualities--warmth and nobility of tone--renders this group of
+instruments far and away the best orchestral medium of melodic
+expression. At the same time, that portion of their range situated
+beyond the limits of the human voice, e.g. notes on the violin higher
+than the extreme top note of the soprano voice, from
+
+[Music: E6]
+
+upwards, and notes on the double bass below the range of the bass
+voice, descending from
+
+[Music: D3] (written sound)
+
+lose in expression and warmth of tone. Open strings are clearer and
+more powerful but less expressive than stopped strings.
+
+Comparing the range of each stringed instrument with that of the human
+voice, we may assign: to the violin, the soprano and contralto voice
+plus a much higher range; to the viola, the contralto and tenor voice
+plus a much higher register; to the 'cello, the tenor and bass voices
+plus a higher register; to the double bass, the bass voice plus a
+lower range.
+
+The use of harmonics, the mute, and some special devices in bowing
+produce great difference in the resonance and tone quality of all
+these instruments.
+
+Harmonics, frequently used today, alter the timbre of a stringed
+instrument to a very appreciable extent. Cold and transparent in soft
+passages, cold and brilliant in loud ones, and offering but little
+chance for expression, they form no fundamental part of orchestral
+writing, and are used simply for ornament. Owing to their lack of
+resonant power they should be used sparingly, and, when employed,
+should never be overpowered by other instruments. As a rule harmonics
+are employed on sustained notes, _tremolando_, or here and there for
+brilliant effects; they are rarely used in extremely simple melodies.
+Owing to a certain tonal affinity with the flute they may be said to
+form a kind of link between string and wood-wind instruments.
+
+Another radical change is effected by the use of mutes. When muted,
+the clear, singing tone of the strings becomes dull in soft passages,
+turns to a slight hiss or whistle in loud ones, and the volume of tone
+is always greatly reduced.
+
+The position of the bow on the string will affect the resonance of an
+instrument. Playing with the bow close to the bridge (_sul
+ponticello_), chiefly used _tremolando_, produces a metallic sound;
+playing on the finger-board (_sul tasto_, _flautando_) creates a dull,
+veiled effect.
+
+     _Note._ Another absolutely different sound results from
+     playing with the back or wood of the bow (_col legno_). This
+     produces a sound like a xylophone or a hollow _pizzicato_.
+     It is discussed under the heading of instruments of little
+     sustaining power.
+
+
+Table A. String group.
+
+(These instruments give all chromatic intervals.)
+
+Violin.
+(I. II.)
+
+Viola.
+
+Violoncello.
+
+Double bass.
+
+[Music]
+
+
+Black lines on each string denote the general range in orchestral
+writing, the dotted lines give the registers, low, medium, high, very
+high.
+
+The five sets of strings with number of players given above produce a
+fairly even balance of tone. If there is any surplus of strength it
+must be on the side of the first violins, as they must be heard
+distinctly on account of the important part they play in the harmonic
+scheme. Besides this, an extra desk of first violins is usual in all
+orchestras, and as a general rule they possess a more powerful tone
+than second violins. The latter, with the violas, play a secondary
+part, and do not stand out so prominently. The 'cellos and double
+basses are heard more distinctly, and in the majority of cases form
+the bass in octaves.
+
+In conclusion it may be said that the group of strings, as a melodic
+element, is able to perform all manner of passages, rapid and
+interrupted phrases of every description, diatonic or chromatic in
+character. Capable of sustaining notes without difficulty, of playing
+chords of three and four notes; adapted to the infinite variety of
+shades of expression, and easily divisible into numerous sundry parts,
+the string group in an orchestra may be considered as an harmonic
+element particularly rich in resource.
+
+
+B. Wind instruments.
+
+Wood-wind.
+
+Apart from the varying number of players, the formation of the string
+group, with its five constituent parts remains constant, satisfying
+the demands of any orchestral full score. On the other hand the group
+of wood-wind instruments varies both as regards number of parts and
+the volume of tone at its command, and here the composer may choose at
+will. The group may be divided into three general classes: wood-wind
+instruments in pair's, in three's and in four's, (see table on page
+13).
+
+Arabic numerals denote the number of players on each instrument; roman
+figures, the parts (1st, 2nd etc.). Instruments which do not
+require additional players, but are taken over by one or the other
+executant in place of his usual instrument, are enclosed in brackets.
+As a rule the first flute, first oboe, first clarinet and first
+bassoon never change instruments; considering the importance of their
+parts it is not advisable for them to turn from one mouth-piece to
+another. The parts written for piccolo, bass flute, English horn,
+small clarinet, bass clarinet and double bassoon are taken by the
+second and third players in each group, who are more accustomed to
+using these instruments of a special nature.
+
+---------------------+--------------------------+-------------------------+
+   Wood-wind         |     Wood-wind            |     Wood-wind           |
+   in pair's         |     in three's           |     in four's           |
+---------------------+--------------------------+-------------------------+
+                     |                          |                         |
+  (II--Piccolo).     |    (III--Piccolo).       |    1 Piccolo (IV).      |
+                     |                          |                         |
+  2 Flutes I. II.    |  3 Flutes I. II. III.    |   3 Flutes I. II. III.  |
+                     |                          |                         |
+                     |    (II--Bass flute).     |    (III--Bass flute).   |
+                     |                          |                         |
+  2 Oboes I. II.     |     2 Oboes I. II.       |   3 Oboes I. II. III.   |
+                     |                          |                         |
+ (II--Eng. horn).    |   1 Eng. horn (III).     |    1 Eng. horn (IV).    |
+                     |                          |                         |
+                     |  (II--Small clarinet).   |  (II--Small clarinet).  |
+                     |                          |                         |
+ 2 Clarinets I. II.  |  3 Clarinets I. II. III. | 3 Clarinets I. II. III. |
+                     |                          |                         |
+(II--Bass clarinet). |  (III--Bass clarinet).   |  1 Bass clarinet (IV).  |
+                     |                          |                         |
+  2 Bassoons I. II.  |    2 Bassoons I. II.     |  3 Bassoons I. II. III. |
+                     |                          |                         |
+                     | 1 Double bassoon (III).  |  1 Double bassoon (IV). |
+---------------------+--------------------------+-------------------------+
+
+The formation of the first class may be altered by the permanent
+addition of a piccolo part. Sometimes a composer writes for two
+piccolos or two Eng. horns etc. without increasing the original number
+of players required (in three's or four's).
+
+     _Note I._ Composers using the first class in the course of a
+     big work (oratorio, opera, symphony, etc.) may introduce
+     special instruments, called _extras_, for a long or short
+     period of time; each of these instruments involves an extra
+     player not required throughout the entire work. Meyerbeer
+     was fond of doing this, but other composers, Glinka for
+     example, refrain from increasing the number of performers by
+     employing _extras_ (Eng. horn part in _Rousslan_). Wagner
+     uses all three classes in the above table (in pair's:
+     _Tannhaeuser_--in three's: _Tristan_--in four's: _The Ring_).
+
+     _Note II._ _Mlada_ is the only work of mine involving
+     formation by four's. _Ivan the Terrible_, _Sadko_, _The
+     Legend of Tsar Saltan_, _The Legend of the Invisible City of
+     Kitesh_ and _The Golden Cockerel_ all belong to the second
+     class, and in my other works, wood-wind in pair's is used
+     with a varying number of extras. _The Christmas Night_, with
+     its two oboes, and two bassoons, three flutes and three
+     clarinets, forms an intermediate class.
+
+Considering the instruments it comprises, the string group offers a
+fair variety of colour, and contrast in compass, but this diversity of
+range and timbre is subtle and not easily discerned. In the wood-wind
+department, however, the difference in register and quality of flutes,
+oboes, clarinets and bassoons is striking to a degree. As a rule,
+wood-wind instruments are less flexible than strings; they lack the
+vitality and power, and are less capable of different shade of
+expression.
+
+In each wind instrument I have defined the _scope of greatest
+expression_, that is to say the range in which the instrument is best
+qualified to achieve the various grades of tone, (_forte_, _piano_,
+_cresc._, _dim._, _sforzando_, _morendo_, etc.)--the register which
+admits of the most _expressive_ playing, in the truest sense of the
+word. Outside this range, a wind instrument is more notable for
+richness of colour than for expression. I am probably the originator
+of the term "scope of greatest expression". It does not apply to the
+piccolo and double bassoon which represent the two extremes of the
+orchestral compass. They do not possess such a register and belong to
+the body of highly-coloured but non-expressive instruments.
+
+The four kinds of wind instruments: flutes, oboes, clarinets and
+bassoons may be generally considered to be of equal power. The same
+cannot be said of instruments which fulfil a special purpose: piccolo,
+bass flute, Eng. horn, small clarinet, bass clarinet and double
+bassoon. Each of these instruments has four registers: low, middle,
+high and extremely high, each of which is characterised by certain
+differences of quality and power. It is difficult to define the exact
+limits of each register; adjacent registers almost blend together and
+the passage from one to another is scarcely noticeable. But when the
+instrument jumps from one register to another the difference in power
+and quality of tone is very striking.
+
+The four families of wind instruments may be divided into two classes:
+a) instruments of nasal quality and dark resonance--oboes and bassoons
+(Eng. horn and double bassoon); and b) instruments of "chest-voice"
+quality and bright tone--flutes and clarinets (piccolo, bass flute,
+small clarinet, bass clarinet).
+
+These characteristics of colour and resonance--expressed in too simple
+and rudimentary a form--are specially noticeable in the middle and
+upper registers. The lower register of the oboes and bassoons is thick
+and rough, yet still nasal in quality; the very high compass is
+shrill, hard and dry. The clear resonance of the flutes and clarinets
+acquires something nasal and dark in the lower compass; in the very
+high register it becomes somewhat piercing.
+
+
+Note to Table B.
+
+     In the following Table B the top note in each register
+     serves as the bottom note in the next, as the limits to each
+     register are not defined absolutely. The note _G_ fixes the
+     register of flutes and oboes, _C_ for the clarinets and
+     bassoons. In the very high compass those notes are only
+     given which can really be used; anything higher and not
+     printed as actual notes are either too difficult to produce
+     or of no artistic value. The number of sounds obtainable in
+     the highest compass is indefinite, and depends, partly on
+     the quality of the instrument itself, partly on the position
+     and application of the lips. The signs [music symbol:
+     decrescendo] [music symbol: crescendo] are not to be
+     mistaken for _crescendo_ and _diminuendo_; they indicate how
+     the resonance of an instrument increases or diminishes in
+     relation to the characteristic quality of its timbre. The
+     scope of greatest expression for each typical instrument is
+     marked thus, [symbol: horizontal bracket] under the notes; the
+     range is the same in each instrument of the same type.
+
+Table B. Wind group.
+
+These instruments give all chromatic intervals.
+
+Piccolo.
+
+Flute.
+
+Bass Flute
+Alto Fl. _F_, _G_).
+
+Oboe.
+
+English Horn
+(Cor anglais, alto oboe _F_).
+
+Small Clarinet
+(_E[flat]-D_).
+
+Clarinet
+(_B[flat]-A_).
+
+Bass Clarinet
+(_B[flat]-A_).
+
+Bassoon
+(Fagotto).
+
+Double bassoon
+(Contra-fagotto).
+
+[Music]
+
+
+     _Note._ It is a difficult matter to define tone quality in
+     words; we must encroach upon the domain of sight, feeling,
+     and even taste. Though borrowed from these senses, I have no
+     doubt as to the appropriateness of my comparisons, but, as a
+     general rule definitions drawn from other sources are too
+     elementary to be applied to music. No condemnatory meaning
+     however should be attached to my descriptions, for in using
+     the terms thick, piercing, shrill, dry, etc. my object is to
+     express _artistic_ fitness in words, rather than material
+     exactitude. Instrumental sounds which have no musical
+     meaning are classed by me in the category of _useless
+     sounds_, and I refer to them as such, giving my reasons.
+     With the exception of these, the reader is advised to
+     consider all other orchestral timbres beautiful from an
+     artistic point of view, although it is necessary, at times,
+     to put them to other uses.
+
+     Further on, a table of wind instruments is appended,
+     outlining the approximate limit of range, defining different
+     qualities of tone and indicating the scope of greatest
+     expression (the piccolo and double bassoon excepted).
+
+Flutes and clarinets are the most flexible wood-wind instruments (the
+flutes in particular), but for expressive power and subtlety in
+_nuances_ the clarinet supersedes them; this instrument can reduce
+volume of tone to a mere breath. The nasal instruments, oboe and
+bassoon, are less mobile and supple; this is accounted for by their
+double reed, but, having to effect all sorts of scales and rapid
+passages in common with the flutes and clarinets, oboes and bassoons
+may be considered melodic instruments in the real sense of the word,
+only of a more _cantabile_ and peaceful character. In very quick
+passages they often double the flutes, clarinets or strings.
+
+The four families are equally capable of _legato_ and _staccato_
+playing and changing from one to the other in different ways, but
+distinct and penetrating _staccato_ passages are better suited to the
+oboes and bassoons, while the flutes and clarinets excel in
+well-sustained _legato_ phrases. Composite _legato_ passages should be
+allotted to the first two instruments, composite _staccato_ passages
+to the latter pair, but these general directions should not deter the
+orchestrator from adopting the opposite plan.
+
+In comparing the technical individualities of the wood-wind the
+following fundamental differences should be noted:
+
+a) The rapid repetition of a single note by single tonguing is common
+to all wind instruments; repetition of a single note by means of
+double tonguing is only possible on the flute, a reedless instrument.
+
+b) On account of its construction the clarinet is not well adapted to
+sudden leaps from one octave to another; these skips are easier on
+flutes, oboes and bassoons.
+
+c) _Arpeggios_ and rapid alternation of two intervals _legato_ sound
+well on flutes and clarinets, but not on oboes and bassoons.
+
+Wood-wind players cannot manage extremely long sustained passages, as
+they are compelled to take breath; care must be taken therefore to
+give them a little rest from time to time. This is unnecessary in the
+case of string players.
+
+In the endeavour to characterise the timbre of each instrument typical
+of the four families, from a psychological point of view, I do not
+hesitate to make the following general remarks which apply generally
+to the middle and upper registers of each instrument:
+
+a) Flute.--Cold in quality, specially suitable, in the major key, to
+melodies of light and graceful character; in the minor key, to slight
+touches of transient sorrow.
+
+b) Oboe.--Artless and gay in the major, pathetic and sad in the minor.
+
+c) Clarinet.--Pliable and expressive, suitable, in the major, to
+melodies of a joyful or contemplative character, or to outbursts of
+mirth; in the minor, to sad and reflective melodies or impassioned and
+dramatic passages.
+
+d) Bassoon.--In the major, an atmosphere of senile mockery; a sad,
+ailing quality in the minor.
+
+In the extreme registers these instruments convey the following
+impressions to my mind:
+
+                _Low register_         _Very high register_
+
+a) Flute--      Dull, cold             Brilliant
+b) Oboe--       Wild                   Hard, dry
+c) Clarinet--   Ringing, threatening   Piercing
+d) Bassoon--    Sinister               Tense.
+
+     _Note._ It is true that no mood or frame of mind, whether it
+     be joyful or sad, meditative or lively, careless or
+     reflective, mocking or distressed can be aroused by one
+     single isolated timbre; it depends more upon the general
+     melodic line, the harmony, rhythm, and dynamic shades of
+     expression, upon the whole formation of a given piece of
+     music. The choice of instruments and timbre to be adopted
+     depends on the position which melody and harmony occupy in
+     the seven-octave scale of the orchestra; for example, a
+     melody of light character in the tenor register could not be
+     given to the flutes, or a sad, plaintive phrase in the high
+     soprano register confided to the bassoons. But the ease with
+     which tone colour can be adapted to expression must not be
+     forgotten, and in the first of these two cases it may be
+     conceded that the mocking character of the bassoon could
+     easily and quite naturally assume a light-hearted aspect,
+     and in the second case, that the slightly melancholy timbre
+     of the flute is somewhat related to the feeling of sorrow
+     and distress with which the passage is to be permeated. The
+     case of a melody coinciding in character with the instrument
+     on which it is played is of special importance, as the
+     effect produced cannot fail to be successful. There are also
+     moments when a composer's artistic feeling prompts him to
+     employ instruments, the character of which is at variance
+     with the written melody (for eccentric, grotesque effects,
+     etc.).
+
+The following remarks illustrate the characteristics, timbre, and
+employment of special instruments:
+
+The duty of the piccolo and small clarinet is, principally, to extend
+the range of the ordinary flute and clarinet in the high register. The
+whistling, piercing quality of the piccolo in its highest compass is
+extraordinarily powerful, but does not lend itself to more moderate
+shades of expression. The small clarinet in its highest register is
+more penetrating than the ordinary clarinet. The low and middle range
+of the piccolo and small clarinet correspond to the same register in
+the normal flute and clarinet, but the tone is so much weaker that it
+is of little service in those regions. The double bassoon extends the
+range of the ordinary bassoon in the low register. The characteristics
+of the bassoon's low compass are still further accentuated in the
+corresponding range of the double bassoon, but the middle and upper
+registers of the latter are by no means so useful. The very deep notes
+of the double bassoon are remarkably thick and dense in quality, very
+powerful in _piano_ passages.
+
+     _Note._ Nowadays, when the limits of the orchestral scale
+     are considerably extended (up to the high _C_ of the 7th
+     octave, and down to the low _C_, 16 ft. contra octave), the
+     piccolo forms an indispensable constituent of the
+     wind-group; similarly, it is recognised that the double
+     bassoon is capable of supplying valuable assistance. The
+     small clarinet is rarely employed and only for colour
+     effects.
+
+The English horn, or alto oboe (oboe in _F_) is similar in tone to the
+ordinary oboe, the listless, dreamy quality of its timbre being sweet
+in the extreme. In the low register it is fairly penetrating. The bass
+clarinet, though strongly resembling the ordinary clarinet, is of
+darker colour in the low register and lacks the silvery quality in the
+upper notes; it is incapable of joyful expression. The bass flute is
+an instrument seldom used even today; it possesses the same features
+as the flute, but it is colder in colour, and crystalline in the
+middle and high regions. These three particular instruments, apart
+from extending the low registers of the instruments to which they
+belong, have their own distinctive peculiarities of timbre, and are
+often used in the orchestra, as solo instruments, clearly exposed.
+
+     _Note._ Of the six special instruments referred to above,
+     the piccolo and double bassoon were the first to be used in
+     the orchestra; the latter, however, was neglected after
+     Beethoven's death and did not reappear until towards the end
+     of the 19th century. The Eng. horn and bass clarinet were
+     employed initially during the first half of the same century
+     by Berlioz, Meyerbeer, and others, and for some time
+     retained their position as _extras_, to become, later on,
+     permanent orchestral factors, first in the theatre, then in
+     the concert room. Very few attempts have been made to
+     introduce the small clarinet into the orchestra (Berlioz
+     etc.); this instrument together with the bass flute is used
+     in my opera-ballet _Mlada_ (1892), and also in my most
+     recent compositions, _The Christmas Night_, and _Sadko_; the
+     bass flute will also be found in _The Legend of the
+     Invisible City of Kitesh_, and in the revised version of
+     "_Ivan the Terrible_".
+
+Of late years the habit of muting the wood-wind has come into fashion.
+This is done by inserting a soft pad, or a piece of rolled-up cloth
+into the bell of the instrument. Mutes deaden the tone of oboes, Eng.
+horns, and bassoons to such an extent that it is possible for these
+instruments to attain the extreme limit of _pianissimo_ playing. The
+muting of clarinets is unnecessary, as they can play quite softly
+enough without artificial means. It has not yet been discovered how to
+mute the flutes; such a discovery would render great service to the
+piccolo. The lowest notes on the bassoon,
+
+[Music: B1] and on the oboe and Eng. horn [Music: B3]
+
+are impossible when the instruments are muted. Mutes have no effect in
+the highest register of wind instruments.
+
+
+Brass.
+
+The formation of the group of brass instruments, like that of the
+wood-wind is not absolutely uniform, and varies in different scores.
+The brass group may be divided into three general classes
+corresponding to those of the wood-wind (in pair's, in three's, and in
+four's).
+
+----------------------+-------------------------+-------------------------+
+ Group corresponding  |  Group corresponding    |  Group corresponding    |
+  to the wood-wind    |   to the wood-wind      |    to the wood-wind     |
+     in pair's        |      in three's         |       in four's         |
+----------------------+-------------------------+-------------------------|
+                      |                         |  (II--Small trumpet).   |
+  2 Trumpets I, II.   | 3 Trumpets I, II, III.  | 3 Trumpets I, II, III.  |
+                      |  (III--Alto trumpet     |  (III--Alto trumpet or  |
+                      |         or:             |     Bass trumpet.)      |
+                      |  {2 Cornets I, II.      |                         |
+                      |  {2 Trumpets I, II.)    |                         |
+                      |                         |                         |
+  4 Horns I, II,      | 4 Horns I, II, III, IV. | 6 or 8 Horns I, II,     |
+          III, IV.    |                         |         III, IV, V,     |
+                      |                         |      VI, VII, VIII.     |
+                      |                         |                         |
+   3 Trombones.       | 3 Trombones I, II, III. | 3 Trombones I, II, III. |
+                      |                         |                         |
+      1 Tuba.         |     1 Tuba[8].          |       1 Tuba.           |
+----------------------+-------------------------+-------------------------+
+
+[Footnote 8: Of late years sometimes two tubas are employed, by
+Glazounov for instance in his Finnish Fantasia. (Editor's note.)]
+
+The directions are the same as in the preceding table for wood-wind.
+It is evident that in all three classes the formation may vary as the
+composer wishes. In music for the theatre or concert room page after
+page may be written without the use of trumpets, trombones and tuba,
+or some instrument may be introduced, temporarily as an _extra_. In
+the above table I have given the most typical formations, and those
+which are the most common at the present day.
+
+     _Note I._ Besides the instruments given above, Richard
+     Wagner used some others in _The Ring_, notably the quartet
+     of tenor and bass tubas, and a contrabass trombone.
+     Sometimes these additions weigh too heavily on the other
+     groups, and at other times they render the rest of the brass
+     ineffective. For this reason composers have doubtless
+     refrained from employing such instruments, and Wagner
+     himself did not include them in the score of _Parsifal_.
+     Some present-day composers (Richard Strauss, Scriabine)
+     write for as many as five trumpets.
+
+     _Note II._ From the middle of the 19th century onward the
+     natural brass disappeared from the orchestra, giving place
+     to valve instruments. In my second opera, _The May Night_ I
+     used natural horns and trumpets, changing the keys, and
+     writing the best notes "stopped"; this was purposely done
+     for practise.
+
+Though far less flexible than the wood-wind, brass instruments
+heighten the effect of other orchestral groups by their powerful
+resonance. Trumpets, trombones, and tubas are about equal in
+strength; cornets have not quite the same force; horns, in _forte_
+passages, are about one half as strong, but _piano_, they have the
+same weight as other brass instruments played softly. To obtain an
+equal balance, therefore, the marks of expression in the horns should
+be one degree stronger than in the rest of the brass; if the trumpets
+and trombones play _pp_, the horns should be marked _p_. On the other
+hand, to obtain a proper balance in _forte_ passages, two horns are
+needed to one trumpet or one trombone.
+
+Brass instruments are so similar in range and timbre that the
+discussion of register is unnecessary. As a general rule quality
+becomes more brilliant as the higher register is approached, and _vice
+versa_, with a decrease in tone. Played _pp_ the resonance is sweet;
+played _ff_ the tone is hard and "crackling". Brass instruments
+possess a remarkable capacity for swelling from _pianissimo_ to
+_fortissimo_, and reducing the tone inversely, the _sf_ [music symbol:
+decrescendo] _p_ effect being excellent.
+
+The following remarks as to character and tone quality may be added:
+
+a) 1. _Trumpets_ (_B[flat]-A_). Clear and fairly penetrating in tone,
+stirring and rousing in _forte_ passages; in _piano_ phrases the high
+notes are full and silvery, the low notes troubled, as though
+threatening danger.
+
+2. _Alto trumpet_ (in _F_). An instrument of my own invention, first
+used by me in the opera-ballet _Mlada_. In the deep register (notes 2
+to 3 in the trumpet scale) it possesses a fuller, clearer, and finer
+tone. Two ordinary trumpets with an alto trumpet produce greater
+smoothness and equality in resonance than three ordinary trumpets.
+Satisfied with the beauty and usefulness of the alto trumpet, I have
+consistently written for it in my later works, combined with wood-wind
+in three's.
+
+     _Note._ To obviate the difficulty of using the alto trumpet
+     in ordinary theatres and some concert rooms, I have not
+     brought into play the last four notes of its lowest register
+     or their neighbouring chromatics; by this means the alto
+     trumpet part may be played by an ordinary trumpet in _B[flat]_
+     or _A_.
+
+3. _Small trumpet_ (in _E[flat]-D_). Invented by me and used for the
+first time in _Mlada_ to realise the very high trumpet notes without
+difficulty. In tonality and range the instrument is similar to the
+soprano cornet in a military band.
+
+     _Note._ The small trumpet, (_B[flat]-A_) sounding an octave
+     higher than the ordinary trumpet has not yet appeared in
+     musical literature.
+
+b) _Cornets_ (in _B[flat]-A_). Possessing a quality of tone similar to
+the trumpet, but softer and weaker. It is a beautiful instrument
+though rarely employed today in theatre or concert room. Expert
+players can imitate the cornet tone on the trumpet, and _vice versa_.
+
+c) _Horn_ (in _F_). The tone of this instrument is soft, poetical, and
+full of beauty. In the lower register it is dark and brilliant; round
+and full in the upper. The middle notes resemble those of the bassoon
+and the two instruments blend well together. The horn, therefore,
+serves as a link between the brass and wood-wind. In spite of valves
+the horn has but little mobility and would seem to produce its tone in
+a languid and lazy manner.
+
+d) _Trombone._ Dark and threatening in the deepest register, brilliant
+and triumphant in the high compass. The _piano_ is full but somewhat
+heavy, the _forte_ powerful and sonorous. Valve trombones are more
+mobile than slide trombones, but the latter are certainly to be
+preferred as regards nobility and equality of sound, the more so from
+the fact that these instruments are rarely required to perform quick
+passages, owing to the special character of their tone.
+
+e) _Tuba._ Thick and rough in quality, less characteristic than the
+trombone, but valuable for the strength and beauty of its low notes.
+Like the double bass and double bassoon, the tuba is eminently useful
+for doubling, an octave lower, the bass of the group to which it
+belongs. Thanks to its valves, the tuba is fairly flexible.
+
+
+Table C. Brass group.
+
+These instruments give all chromatic intervals.
+
+Trumpet, Cornet.
+(_B[flat]-A, alto in F_).[A]
+
+Horn
+(_F, E_).
+
+Trombone
+(tenor-bass).[B]
+
+Tuba
+(_C_-bass).
+
+[Music]
+
+Natural sounds are given in white notes. The upper lines indicate the
+scope of greatest expression.
+
+[Footnote A: The 7th natural harmonic is everywhere omitted as
+useless; the same in the horns, the notes 11, 13, 14 and 15.]
+
+[Footnote B: The _b[natural]_ of the octave -1 does not exist on the
+trombones.]
+
+
+The group of brass instruments, though uniform in resonance throughout
+its constituent parts, is not so well adapted to expressive playing
+(in the exact sense of the word) as the wood-wind group. Nevertheless,
+a scope of greatest expression may be distinguished in the middle
+registers. In company with the piccolo and double bassoon it is not
+given to the small trumpet (_E[flat]-D_) and tuba to play with any great
+amount of expression. The rapid and rhythmical repetition of a note by
+single tonguing is possible to all members of the brass, but double
+tonguing can only be done on instruments with a small mouth-piece,
+trumpets and cornets. These two instruments can execute rapid
+_tremolando_ without difficulty. The remarks on breathing, in the
+section devoted to the wood-wind, apply with equal force to the brass.
+
+The use of stopped notes and mutes alters the character of brass tone.
+Stopped notes can only be employed on trumpets, cornets and horns; the
+shape of trombones and tubas prevents the hand from being inserted
+into the bell. Though mutes are applied indiscriminately to all brass
+instruments in the orchestra, tubas rarely possess them. Stopped and
+muted notes are similar in quality. On the trumpet, muting a note
+produces a better tone than stopping it.
+
+In the horn both methods are employed; single notes are stopped in
+short phrases, muted in longer ones. I do not propose to describe the
+difference between the two operations in detail, and will leave the
+reader to acquire the knowledge for himself, and to form an opinion as
+to its importance from his own personal observation. Sufficient to say
+that the tone is deadened by both methods, assuming a wild "crackling"
+character in _forte_ passages, tender and dull in _piano_. Resonance
+is greatly reduced, the silvery tone of the instrument so lost and a
+timbre resembling that of the oboe and Eng. horn is approached.
+Stopped notes (_con sordino_) are marked [music symbol: mute]
+underneath the note, sometimes followed by [music symbol: no mute],
+denoting the resumption of open sounds, _senza sordini_. Brass
+instruments, when muted, produce an effect of distance.
+
+
+C. Instruments of little sustaining power.
+
+Plucked strings.
+
+When the usual orchestral string quartet (Vns I, Vns II, Violas,
+'Cellos, D. basses) does not make use of the bow, but plucks the
+strings with the finger, it becomes to my mind a new and independent
+group with its own particular quality of tone. Associated with the
+harp, which produces sound in a similar manner, I consider it
+separately under the heading of plucked strings.
+
+     _Note._ In this group may be classed the guitar, zither,
+     balalaika; instruments plucked with a quill, such as the
+     domra,[9] the mandoline etc., all of which may be used in an
+     orchestra, but have no place in the scope of the present
+     book.
+
+[Footnote 9: A Russian instrument which, like the balalaika, is better
+known abroad. (Translator's note.)]
+
+
+Pizzicato.
+
+Although capable of every degree of power from _ff_ to _pp_,
+_pizzicato_ playing has but small range of expression, and is used
+chiefly as a colour effect. On open strings it is resonant and heavy,
+on stopped strings shorter and duller; in the high positions it is
+rather dry and hard.
+
+Table D on page 31 indicates the range in which _pizzicato_ may be
+used on each stringed instrument.
+
+In the orchestra, _pizzicato_ comes into operation in two distinct
+ways: a) on single notes, b) on double notes and chords. The fingers
+of the right hand playing _pizz._ are far less agile than the bow;
+_pizz._ passages therefore can never be performed as quickly as those
+played _arco_. Moreover, the speed of _pizzicato_ playing depends upon
+the thickness of the strings; on the double basses, for instance, it
+must always be much slower than on the violins.
+
+In _pizzicato_ chords it is better to avoid open strings, which
+produce a more brilliant tone than of covered strings. Chords of four
+notes allow of greater freedom and vigour of attack, as there is no
+danger of accidentally touching a wrong note. Natural harmonics played
+_pizz._ create a charming effect; the tone is weak however, and they
+are chiefly successful on the violoncello.
+
+
+Harp.
+
+In the orchestra, the harp is almost entirely an harmonic or
+accompanying instrument. The majority of scores require only one harp
+part, but in recent times composers have written for two or even three
+harps, which are sometimes compressed into the one part.
+
+     _Note._ Full orchestras should include three or even four
+     harps. My operas _Sadko_, _The Legend of the Invisible City
+     of Kitesh_, and _The Golden Cockerel_ are designed for two
+     harps, _Mlada_ for three.
+
+The special function of the harp lies in the execution of chords, and
+the florid figures springing from them. As only four notes at the most
+can be played by each hand, the notes of a chord should be written
+close together, with not too great a space between one hand and the
+other. The chords must always be broken (_arpeggiato_); should the
+composer wish otherwise he should notify it (_non arpeggiato_). In the
+middle and lower octaves the resonance of the strings is slightly
+prolonged, and dies away gradually. In changes of harmony the player
+stops the vibration of the strings with his hands, but, in quick
+modulations, this method is not feasible, and the mixture of one chord
+with another produces a discordant effect. It follows that more or
+less rapid figures can only be realised clearly and neatly in the
+upper register of the harp, where the strings are shorter and harder
+in tone.
+
+As a general rule, in the whole range of the harp:
+
+[Music: C1[flat]-F7[sharp]]
+
+only the notes of the first to the fourth octave are used; the extreme
+notes in both compasses may be employed in special circumstances, and
+for doubling in octaves.
+
+The harp is essentially a diatonic instrument, since all chromatic
+passages depend on the manipulation of the pedals. For this reason the
+harp does not lend itself to rapid modulation, and the orchestrator is
+advised to bear this fact in mind. But the difficulty may be obviated
+by using two harps alternately.[10]
+
+[Footnote 10: A chromatic harp without pedals has now been invented in
+France (Lyon's system), on which the most abrupt modulations are
+possible. (Translator's note.)]
+
+     _Note._ I would remind the reader that the harp is not
+     capable of double sharps or double flats. For this reason,
+     certain modulations from one key to another one, adjacent to
+     it can only be accomplished enharmonically. For instance,
+     the transition from _C_ flat, _G_ flat or _D_ flat, major to
+     their minor subdominant chords or keys is not possible owing
+     to double flats. It is therefore necessary to start
+     enharmonically from the keys of _B_, _F_ sharp or _C_ sharp,
+     major. Similarly, on account of double sharps, it is
+     impossible to change from _A_ sharp, _D_ sharp or _G_ sharp,
+     minor to their respective dominant major chords or keys; _B_
+     flat, _E_ flat and _A_ flat, minor must be the
+     starting-points.
+
+The technical operation known as _glissando_ is peculiar to the harp
+alone. Taking for granted that the reader is conversant with the
+methods of acquiring different scales by means of double-notched
+pedals, it will be sufficient to remark that _glissando_ scales
+produce a discordant medley of sound owing to the length of time the
+strings continue to vibrate, and therefore, as a _purely musical_
+effect, _glissando_ can only be used in the upper octaves, quite
+_piano_, where the sound of the strings is sufficiently clear, yet not
+too prolonged. _Forte glissando_ scales, entailing the use of the
+lower and middle strings are only permissible as embellishments.
+Glissando passages in chords of the seventh and ninth, enharmonically
+obtained, are much more common, and as the above reservations do not
+apply, every dynamic shade of tone is possible. Chords in harmonics
+can only consist of three notes written close together, two for the
+left hand and one for the right.
+
+The tender poetic quality of the harp is adapted to every dynamic
+shade, but it is never a very powerful instrument, and the
+orchestrator should treat it with respect.
+
+At least three, if not four harps in unison are necessary, if they are
+to be heard against a full orchestra playing _forte_. The more rapidly
+a _glissando_ passage is played, the louder it will sound. Harmonic
+notes on the harp have great charm but little resonance, and are only
+possible played quite softly. Speaking generally, the harp, like the
+string quartet, _pizzicato_, is more an instrument of colour than
+expression.
+
+
+Percussion instruments producing determinate sounds, keyed
+instruments.
+
+Kettle-drums.
+
+Kettle-drums, indispensable to every theatre and concert orchestra
+occupy the most important place in the group of percussion
+instruments. A pair of kettle-drums (_Timpani_), in the tonic and
+dominant keys, was the necessary attribute of an orchestra up to, and
+including Beethoven's time, but, from the middle of the 19th
+century onward, in western Europe and in Russia, an ever-increasing
+need was felt for the presence of three or even four kettle-drums,
+during the whole course or part of a work. If the expensive chromatic
+drum, permitting instant tuning is rarely met with, still, in the
+majority of good orchestras, three screw drums are generally to be
+found. The composer can therefore take it for granted that a good
+timpanist, having three kettle-drums at his command, will be able to
+tune at least one of them during a pause of some length.
+
+The limits of possible change in Beethoven's time was considered to
+be:
+
+Big kettle-drum: [Music: F2-C3 (chromatically)]
+Small kettle-drum: [Music: B[flat]2-F3 (chromatically)]
+
+In these days it is difficult to define the precise extent of high
+compass in the kettle-drums, as this depends entirely on the size and
+quality of the smallest one, of which there are many kinds, but I
+advise the composer to select:
+
+[Music: E2-G[sharp]3 (chromatically)]
+
+     _Note._ A magnificent kettle-drum of very small size was
+     made for my opera-ballet _Mlada_; this instrument gave the
+     _D[flat]_ of the fourth octave.
+
+Kettle-drums are capable of every dynamic shade of tone, from
+thundering _fortissimo_ to a barely perceptible _pianissimo_. In
+_tremolando_ they can execute the most gradual _crescendo_,
+_diminuendo_, the _sfp_ and _morendo_.
+
+To deaden the sound, a piece of cloth is generally placed on the skin
+of the drum, according to the instruction: _timpani coperti_ (muffled
+drums).
+
+
+Table D.
+
+Pizzicato.
+
+Violin.
+
+Viola.
+
+Violoncello.
+
+Double bass.
+
+[Music]
+
+The black notes are dry and hard, without resonance, and should only
+be used when doubled with the wood-wind.
+
+
+* Table E.
+
+Glockenspiel, celesta, xylophone.
+
+Glockenspiel
+(with keyboard).
+
+Glockenspiel
+(ordinary).
+
+Celesta.
+
+Xylophone.
+
+[Music]
+
+
+Piano and Celesta.
+
+The use of a piano in the orchestra (apart from pianoforte concertos)
+belongs almost entirely to the Russian school.[11] The object is
+two-fold: the quality of tone, either alone, or combined with that
+of the harp, is made to imitate a popular instrument, the guzli, (as
+in Glinka), or a soft peal of bells. When the piano forms part of an
+orchestra, not as a solo instrument, an upright is preferable to a
+grand, but today the piano is gradually being superseded by the
+celesta, first used by Tschaikovsky. In the celesta, small steel
+plates take the place of strings, and the hammers falling on them
+produce a delightful sound, very similar to the _glockenspiel_. The
+celesta is only found in full orchestras; when it is not available it
+should be replaced by an upright piano, and not the _glockenspiel_.
+
+[Footnote 11: Rimsky-Korsakov's opera _Sadko_ and Moussorgsky's _Boris
+Godounov_ are particularly interesting in this respect. (Translator's
+note.)]
+
+
+Glockenspiel, Bells, Xylophone.
+
+The _glockenspiel_ (_campanelli_) may be made of steel bars, or played
+with a keyboard. The first type is the more satisfactory and possesses
+greater resonance. The use of the _glockenspiel_ is similar to the
+celesta, but its tone is more brilliant and penetrating. Big bells in
+the shape of hollow discs or metal tubes,[12] or real church bells of
+moderate size may be considered more as theatrical properties than
+orchestral instruments.
+
+[Footnote 12: Recently, bells have been made of suspended metal plates
+possessing the rare quality of a fairly pure tone, and which are
+sufficiently portable to be used on the concert platform. (Editor's
+note.)]
+
+The xylophone is a species of harmonica composed of strips or
+cylinders of wood, struck with two little hammers. It produces a
+clattering sound, both powerful and piercing.
+
+To complete this catalogue of sounds mention should be made of the
+strings playing _col legno_, that is with the wood or back of the bow.
+The sound produced is similar to the xylophone, and gains in quality
+as the number of players is increased.
+
+A table is appended showing the range of the celesta, _glockenspiel_
+and xylophone.
+
+
+Percussion instruments producing indefinite sounds.
+
+Instruments in this group, such as triangle, castanets, little bells,
+tambourine, switch or rod (_Rute._ Ger.), side or military drum,
+cymbals, bass drum, and Chinese gong do not take any harmonic or
+melodic part in the orchestra, and can only be considered as
+ornamental instruments pure and simple. They have no intrinsic
+musical meaning, and are just mentioned by the way. The first three
+may be considered as _high_, the four following as _medium_, and the
+last _two_ as deep instruments. This may serve as a guide to their use
+with percussion instruments of determinate sounds, playing in
+corresponding registers.
+
+
+Comparison of resonance in orchestral groups and combination of
+different tone qualities.
+
+In comparing the resonance of the respective groups of
+sound-sustaining instruments we arrive at the following approximate
+conclusions:
+
+In the most resonant group, the brass, the strongest instruments are
+the trumpets, trombones and tuba. In loud passages the horns are only
+one-half as strong, 1 Trumpet = 1 Trombone = 1 Tuba = 2 Horns.
+Wood-wind instruments, in _forte_ passages, are twice as weak as the
+horns, 1 Horn = 2 Clarinets = 2 Oboes = 2 Flutes = 2 Bassoons; but, in
+_piano_ passages, all wind-instruments, wood or brass are of fairly
+equal balance.
+
+It is more difficult to establish a comparison in resonance between
+wood-wind and strings, as everything depends on the number of the
+latter, but, in an orchestra of medium formation, it may be taken for
+granted that in _piano_ passages, the whole of one department (_all_
+1st Violins or _all_ 2nd Violins etc.) is equivalent in strength
+to one wind instrument, (Violins I = 1 Flute etc.), and, in _forte_
+passages, to two wind instruments, (Violins I = 2 Flutes = 1 Oboe + 1
+Clarinet, etc.).
+
+It is still harder to form a comparison with instruments of little
+sustaining power, for too great a diversity in production and emission
+of sound exists. The combined force of groups of sustained resonance
+easily overpowers the strings played _pizz._ or _col legno_, the piano
+played softly, or the celesta. As regards the _glockenspiel_, bells,
+and xylophone, their emphatic tone will easily prevail over other
+groups in combination. The same may be said of the kettle-drums with
+their ringing, resounding quality, and also of other subsidiary
+instruments.
+
+The influence of the timbre of one group on another is noticeable when
+the groups are doubled; for instance, when the wood-wind timbre is
+closely allied to the strings on the one hand, and to the brass on the
+other. Re-inforcing both, the wind _thickens_ the strings and
+_softens_ the brass. The strings do not blend so well with the brass,
+and when the two groups are placed side by side, each is heard too
+distinctly. The combination of the three different timbres in unison
+produces a rich, mellow and coherent tone.
+
+All, or several wind instruments in combination will absorb one
+department of added strings:
+
+     2 Fl.  +  2 Ob.   +  Vns I,
+or:  2 Ob.  +  2 Cl.   +  Violas,
+or:  2 Cl.  +  2 Fag.  +  'Cellos.
+
+One department of strings added to the wood-wind in unison produces a
+sweet coherent quality, the wood-wind timbre still predominating; but
+the addition of one wind instrument to all or part of the strings in
+unison, only thickens the resonance of the latter, the wood-wind
+timbre being lost in the process:
+
+     Vns I    +  Vns II     +  1 Ob.,
+or:  Violas   +  'Cellos    +  1 Cl.
+or:  'Cellos  +  D. basses  +  1 Fag.
+
+Muted strings do not combine so well with wood-wind, as the two tone
+qualities remain distinct and separate. Uniting plucked strings and
+percussion with instruments of sustained resonance results in the
+following: wind instruments, wood and brass, strengthen and clarify
+_pizzicato_ strings, harp, kettle-drums and percussion generally, the
+latter lending a touch of relief to the tone of the wood-wind. Uniting
+plucked strings and percussion with bowed instruments does not produce
+such a satisfactory blend, both qualities being heard independently.
+The combination of plucked strings with percussion alone, is
+excellent; the two blend perfectly, and the consequent increase in
+resonance yields an admirable effect.
+
+The relationship which exists between string harmonics and the flute
+or piccolo constitutes a link between the two groups in the upper
+range of the orchestra. Moreover, the timbre of the viola may be
+vaguely compared to the middle register of the bassoon and the lowest
+compass of the clarinet; hence, in the medium orchestral range, a
+point of contact is established between the quartet of strings and the
+wood-wind.
+
+The bassoon and horn provide the connection between wood-wind and
+brass, these two instruments being somewhat analogous in character
+when played _piano_ or _mezzo-forte_; the flute also, in its lowest
+register, recalls the _pianissimo_ trumpet tone. Stopped and muted
+notes in horns and trumpets are similar in quality to the oboe and
+Eng. horn, and blend tolerably well with the latter instrument.
+
+Concluding this survey of orchestral groups I add a few remarks which
+seem to me of special importance.
+
+The principal part in music is undertaken by three instrumental groups
+of sustained resonance, representing the three primary elements,
+melody, harmony and rhythm. Instruments of little sustaining power,
+though sometimes used independently, are chiefly employed for ornament
+and colour; instruments producing indeterminate sounds play no melodic
+or harmonic part, their functions being purely rhythmical.
+
+By glancing at the order in which the six orchestral groups are
+placed, strings, wood-wind, brass, plucked strings, percussion
+producing definite, and those producing indefinite sounds, the reader
+will be able to determine the part played by each in the art of
+orchestration, from the secondary standpoint of colour and expression.
+As regards expression, the strings come first, and the expressive
+capacity of the other groups diminishes in the above order, colour
+being the only attribute of the last group of percussion instruments.
+
+The same order obtains from the standpoint of general effect in
+orchestration. We can listen to strings for an almost indefinite
+period of time without getting tired, so varied are their
+characteristics (_vide_ the number of string quartets, suites,
+serenades etc. written for strings alone). The addition of a single
+group of strings will add lustre to a passage for wind instruments. On
+the other hand, the quality of wind instruments soon becomes
+wearisome; the same may be said of plucked strings, and also
+percussion of every kind which should only be employed at reasonable
+intervals in orchestral composition.
+
+It cannot be denied that the constant use of compound timbres, in
+pair's, in three's etc. eliminates characteristics of tone, and
+produces a dull, neutral texture, whereas the employment of simple,
+elementary combinations gives infinitely greater scope for variety in
+colour.
+
+7 (20) June 1908.
+
+
+
+
+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.
+
+
+Melody in stringed instruments.
+
+Instances of the melodic use of stringed instruments are innumerable.
+The reader will find many examples in the present treatise. With the
+exception of the double basses,--dull in tone and of little
+flexibility, chiefly employed in unison or in octaves with the
+violoncellos,--each of the other stringed instruments, taken
+independently, is qualified to assume full responsibility for the
+melodic line.
+
+
+a) Violins.
+
+Melody in the soprano-alto register and an extra-high compass usually
+falls to the lot of the 1st Violins, sometimes to the 2nd
+Violins or to both in unison, a process which produces fuller
+resonance without impairing quality of tone.
+
+_Examples:_
+
+_The Tsar's Bride_ [[84]].[C]--_Pianissimo_ melody (Vns I) of a
+troubled dramatic character. Harmonic accompaniment (Vns II and
+Violas _tremolando_--middle parts; the Violoncellos forming the bass).
+
+[Footnote C: The present volume is divided into two parts, text (pp.
+1-152) and musical examples (pp. 1-333). The first page of the second
+part lists the standard full-score editions of Rimsky-Korsakov's works
+that are referred to throughout the book. These references to specific
+passages are always indicated by boxed numbers or boxed letters
+corresponding to the ones marking the sub-divisions of the particular
+score. On the other hand, references in the text to the 312 musical
+examples in the second part of the book are always indicated as "No.
+1," "No. 2," etc. Thus, "_The Tsar's Bride_ [[84]]" indicates that the
+reader should look at section [[84]] of the score of _The Tsar's
+Bride_ as published by Belaieff in Leipzig, the music of which is not
+reprinted here; whereas "No. 1. _Sheherazade_ 2nd movement [[B]]"
+indicates that the reader should look at the first musical example in
+the second part of the present book, which comes from the section
+marked [[B]] in the second movement of the score of _Sheherazade_ as
+published by Belaieff.]
+
+_Antar_, before [[70]].--Descending melodic phrase, Vns I _con
+sordini piano_.
+
+No. 1. _Sheherazade_ 2nd movement [[B]]. A _piano_ melody (Vns
+I) graceful in character.
+
+_Antar_ [[12]]. Light graceful melody, oriental in style; a dance
+measure (Vns I _con sord._), the mutes producing a dull ethereal
+quality of tone.
+
+No. 2. _The Legend of the Invisible City of Kitesh_ [[283]].
+
+No. 3. _Spanish Capriccio_ [[J]]. Vns I in the upper register
+doubling the high register of the wood-wind. Choice resonance.
+
+
+b) Violas.
+
+Melody in the alto-tenor register and a still higher compass is
+assigned to the violas. _Cantabile_ melodies however are not so
+frequently written for violas as for violins and 'cellos, partly
+because the viola tone is slightly nasal in quality and better fitted
+for short characteristic phrases, partly because the number of viola
+players in an orchestra is smaller. Melodies confided to the violas
+are generally doubled by other strings or by the wood-wind.
+
+_Examples:_
+
+No. 4. _Pan Voyevoda_, duet in Act II [[145]]. A long _cantabile_
+melody in the violas, _dolce_, in unison with the _mezzo soprano_
+voice.
+
+No. 5. _The Golden Cockerel_ [[193]].--Flowing _cantabile_.
+
+No. 6. _Sadko._ Symphonic tableau [[12]].--Muted violas. A short dance
+theme, _piano_ in _D[flat]_ major. (The same theme in Eng. horn in the
+6th scene of the opera _Sadko_ is slightly more penetrating in
+tone).
+
+
+c) Violoncellos.
+
+Violoncellos, representing the tenor-bass range + an extra-high
+compass are more often entrusted with tense passionate _cantabile_
+melody than with distinctive figures or rapid phrases. Such melodies
+are usually laid out for the top string (_A_) which possesses a
+wonderfully rich "chest" quality.
+
+_Examples:_
+
+_Antar_ [[56]]. _Cantabile_ on the _A_ string.
+
+_Antar_ [[63]]. The same melody in _D[flat]_ maj. on the _D_ string
+(doubled by the bassoons).
+
+No. 7. _Pan Voyevoda_ [[134]], nocturne, "Moonlight". A broad melody
+_dolce ed espressivo_, afterwards doubled by the first violins an
+octave higher.
+
+No. 8. _Snegourotchka_ [[231]]. At the fifth bar, a melody on the _A_
+string _cantabile ed espressivo_, imitating the first clarinet.
+
+No. 9. _Snegourotchka_ [[274]]. Melodic phrase with embellishments.
+
+
+d) Double basses.
+
+Owing to its register--_basso profondo_ + a still lower compass,--and
+its muffled resonance, the double bass is little capable of broad
+_cantabile_ phrases and only in unison or in octaves with the 'cellos.
+In my own compositions there is no phrase of any importance given to
+the double bass without the support of 'cellos or bassoons.
+
+_Examples:_
+
+* No. 10. _Legend of Kitesh_ [[306]]. Double bass solo, doubled first
+by the double bassoon, later by the bassoon. This example affords an
+instance of the rare use of the alto clef (in the last few notes).
+
+* No. 11. _The Golden Cockerel_ [[120]].--D. basses + D. bassoons.
+
+
+Grouping in unison.
+
+a) Vns I + Vns II.--It goes without saying that this combination
+entails no alteration in colour; it gains in power and richness of
+tone by reason of the increased number of players, and is usually
+attended by doubling of the melody in some departments of the
+wood-wind. The large number of violins prevents the wood-wind
+predominating, and the tone quality remains that of the string
+quartet, enriched and amplified.
+
+_Examples:_
+
+No. 12. _Sheherazade_, beginning of the third movement. _Cantabile_
+for Vns I and II on the _D_ string, then on the _A_.
+
+_The May Night_, overture [[D]]. Quick _piano_ melody, beginning
+_cantabile_ and divided later in octaves (Vns I/Vns II] 8) with
+florid embellishment.
+
+No. 13. _The Golden Cockerel_ [[170]].--Vns I + II muted.
+
+b) Violins + Violas.--The combination of violins and violas presents
+no special characteristics, as in the preceding case. The violins
+remain predominant, and the resonance is rich and full.
+
+_Examples:_
+
+No. 14. _Sadko_ [[208]].--Vns I + II + Violas (_G_ string). Quiet
+_cantabile_ melody _pp_, in unison with the altos and tenors of the
+chorus.
+
+The _Golden Cockerel_ [[142]].--Same combination.
+
+c) Violas + 'Cellos.--Produces a rich full resonance, the 'cello
+quality predominating.
+
+_Examples:_
+
+No. 15. _Snegourotchka_ [[5]].--Apparition of Spring. Violas + 'Cellos
++ Eng. horn. The same melody, _mezzo-forte cantabile_ as in Ex. 9; but
+in a brighter key, a third higher, its resonance is more brilliant and
+tense. The addition of the Eng. horn makes no essential difference to
+the compound tone; the 'cellos stand out above the rest.
+
+No. 16. _The Golden Cockerel_ [[71]]. Violas + 'Cellos muted.
+
+d) Violins + 'Cellos.--A combination similar to the preceding one. The
+'cello tone prevails and the resonance is fuller.
+
+_Examples:_
+
+No. 17. _Snegourotchka_ [[288]]. "Spring descends upon the lake".
+Vns I + Vns II + 'Cellos + Eng. horn. The same _cantabile_ as in
+Ex. 9, and 15. The Eng. horn is absorbed in the musical texture, the
+principal colour being that of the 'cellos. Still more powerful in
+resonance.
+
+No. 18. _The May Night._ Act III [[L]]. Chorus of _Roussalki_. The
+combination of the solo 'cello with the violins gives the latter a
+touch of the 'cello timbre.
+
+e) Vns I + II + Violas + 'Cellos.--Combining violins, violas and
+'cellos in unison is not possible except in the alto-tenor register;
+this process unites the full resonance of the instruments into an
+_ensemble_ of complex quality, very tense and powerful in _forte_
+passages, extremely full and rich in _piano_.
+
+_Examples:_
+
+No. 19. _Sheherazade_, 2nd movement [[P]].--Energetic phrase _ff_.
+
+_Mlada_, Lithuanian dance, before [[36]].
+
+_Mlada_, Act III. [[40]].--Cleopatra's dance. _Cantabile_ embellished
+in oriental fashion.
+
+f) Violoncellos + D. basses.--A combination of rich full resonance,
+used occasionally for phrases in the very low register.
+
+_Examples:_
+
+No. 20. _Sadko_ [[260]].--A persistent _forte_ figure, severe in
+character.
+
+No. 21. _Legend of Kitesh_ [[240]].--A _pianissimo_ phrase, sinister
+and horrible in character.
+
+
+Stringed instruments doubling in octaves.
+
+a) Vns I and Vns II in octaves.
+
+This is a very common process used for all kinds of melodic figures,
+in particular those in the very high register. It has already been
+stated that the _E_ string diminishes in fulness of tone the higher
+it ascends from the limits of the soprano voice. Moreover, melodic
+figures in the very high register of the violins become too isolated
+from the rest of the _ensemble_ unless doubled in octaves. Such
+doubling secures expression, fulness of tone and firmness of timbre.
+The reader will find numerous examples of violins in octaves; a few
+are added below, chiefly broad and expressive phrases.
+
+_Examples:_
+
+No. 22. _The Tsar's Bride_ [[166]]. _Cantabile, piano._
+
+_The Tsar's Bride_ [[206]]. _Cantabile, mezzo-piano_; the lower part
+is in unison with the soprano voice.
+
+_Sheherazade_, 3rd movement [[J]]. _Cantabile_ in _G_ major;
+_dolce_ and _cantabile_ (the same as Ex. 12).
+
+No. 23. _The Legend of Tsar Saltan_ [[227]]. Melody with reiterated
+notes, _dolce, espress. e cantabile_.
+
+_Sadko_, Symphonic tableau [[12]]. Vns I/Vns II] 8 muted. A short
+dance phrase _pianissimo_, given first to the violas, then to the
+violins (cf. Ex. 6).
+
+No. 24. _Sadko_, opera [[207]]. Perhaps an unique example of its kind;
+violins playing in the very extremity of the high register.
+
+     _Note._ This passage is difficult but nevertheless quite
+     playable. One or two desks of the 1st Violins are
+     sufficient to double the melody in the upper octave, all the
+     other 1st Violins can play the octave below. In this way
+     the piercing quality of the highest notes will be
+     diminished, the melody will acquire a clearer and more
+     pleasant sound, and the expressive tone quality of the lower
+     octave will be strengthened.
+
+* _The Golden Cockerel_ [[156]].
+
+*   "    "       "      [[165]].
+
+* _Antar_, 1st movement [[11]].
+
+* No. 25. _Ivan the Terrible_, Act III [[63]].
+
+
+b) Violins _divisi_ in octaves.
+
+First and second violins divided in two parts and progressing in
+octaves will deprive the melody of resonance, since the number of
+players is diminished by half, the consequences being specially
+noticeable in small orchestras. Nevertheless the method can be used
+occasionally when the strings are doubled by the wood-wind, and when
+the melody falls in a sufficiently high register.
+
+_Examples:_
+
+_Snegourotchka_ [[166]].--Vns I/Vns II] 8 _mezzo-forte
+espressivo_. Partial doubling of Coupava's song (Sopr.). One flute and
+one oboe double the melody.
+
+No. 26. _Snegourotchka_ [[283]].--Chorus of Flowers--2 Vns
+soli/Vns I + Fl. I] 8. _Pianissimo cantabile_ in two octaves,
+progressing with the women's chorus (Sopr. I), and given out earlier
+by the Eng. horn. The flute and all the 1st Violins except two play
+in the lower octave, the two solo violins, only, in the upper. The
+solo desk will be sufficiently prominent owing to the general
+_pianissimo_.
+
+
+c) Violins and Violas in octaves.
+
+First and second Violins progressing with the Violas in octaves is a
+common method, especially when the lower octave in the melody happens
+to go below the open _G_ string on the violins.
+
+1. Vns (I or II)/Violas] 8.
+
+_Example:_
+
+_Snegourotchka_ [[137]], finale of Act I. Quick melody, _piano_.
+
+2. Vns I + II/Violas] 8 and 3. Vns I/Vns II + Violas] 8.
+
+These two distributions are not exactly the same. The first should be
+used to obtain greater brilliance in the upper part, the second to
+give the lower part a fuller and more _cantabile_ quality.
+
+_Examples:_
+
+No. 27. _Sadko_, before [[181]].--Vns I + II/Violas] 8. Quick
+animated passage, _forte_, introducing reiterated notes.
+
+No. 28. _Snegourotchka_ [[137]], finale to Act I--Vns I/Vns II +
+Violas] 8. _Cantabile_ phrase, transmitted to the flute and clarinet
+(cf. Ex. 8).
+
+
+d) Violas and Violoncellos in octaves.
+
+Of special use when the Violins are otherwise employed.
+
+_Example:_
+
+* _Legend of Kitesh_ [[59]], Violas/Cellos] 8, doubled by bassoons.
+
+
+e) Violins and Violoncellos in octaves.
+
+Used in very expressive passages where the 'cellos have to play on the
+_A_ or _D_ strings. This method produces a more resonant tone than the
+preceding one; instances of it are frequent.
+
+_Examples:_
+
+No. 29. _Antar_ [[43]].--Vns I + Vns II/'Cellos] 8. _Cantabile_
+of Eastern origin.
+
+_Sheherazade_, 3rd movement [[H]].--Vns I/'Cellos] 8. _Cantabile
+mezzo-forte appassionato_ (cf. Ex. 1).
+
+* No. 30. _Sheherazade_, 3rd movement, before [[P]]--Vns
+I/Vns II + 'Cellos] 8 and Vns I + II/'Cellos] 8. The first
+arrangement is rarely found.
+
+_Pan Voyevoda_ [[134]], nocturne "Moonlight"--Vns I/'Cellos] 8.
+_Cantabile_ melody given first to 'cellos alone (cf. Ex. 7).
+
+_The May Night_, Act III [[B, C, D]]--Vns I + Vns II/'Cellos] 8.
+A _forte_ melodic phrase.
+
+
+f) Violoncellos and Double basses in octaves.
+
+The bass is usually constructed in this manner. Examples of it are to
+be found everywhere. Sometimes the double bass part is simplified in
+comparison with the 'cello part.
+
+_Example:_
+
+_Snegourotchka_ [[9]], Fairy Spring's _Aria_.
+
+
+g) Violas and Double basses in octaves.
+
+This combination seldom arises and is only used when the 'cellos are
+otherwise employed.
+
+_Example:_
+
+No. 31. _Legend of Kitesh_ [[223]].
+
+
+h) Parts progressing in octaves, each part doubled in unison. Melodies
+situated in the middle orchestral range may be allotted to 1st and
+2nd Vns, in octaves with Violas and 'Cellos. This arrangement is
+constantly found, and produces a beautiful quality of tone, somewhat
+severe in character.
+
+_Examples:_
+
+_Snegourotchka_ [[58]], [[60]], [[65]] and [[68]]. The same melody,
+played twice _pianissimo_, not doubled, then twice (_mezzo-forte_ and
+_forte_), doubled in the wood-wind.
+
+_Mlada_, Act II, the beginning of the Lithuanian dance. A lively
+_piano_ theme.
+
+_Ivan the Terrible_, Act II [[28]].
+
+     _Note I._ It may be of use to point out that melodies lying
+     in the extreme upper register, e.g. those exceeding the
+     middle of the 5th octave, are generally doubled an octave
+     below, whilst those situated in the extreme low register
+     (below the middle of the 1st octave) are doubled an
+     octave higher.
+
+_Examples:_
+
+_Sadko_ [[207]] (cf. Ex. 24).
+
+     _Note II._ Progression in octaves of divided strings _of the
+     same kind_ is generally to be avoided:
+
+     Violas I   'Cellos I   D. basses I  ]
+     Violas II, 'Cellos II, D. basses II ] 8,
+
+     for, in such cases the parts are played on strings which do
+     not correspond, and unity of tone is impaired. This,
+     however, does not apply to violins.
+
+     _Note III._ The following distribution is occasionally
+     found:
+
+     Violas    + 'Cellos I  ]
+     D. basses + 'Cellos II ] 8.
+
+
+Melody in double octaves.
+
+a) Vns I] 8/Vns II/Violas] 8 or Vns I] 8/Vns II/'Cellos] 8
+may be used for full _cantabile_ melodies extremely tense in
+character, and in _forte_ passages for choice.
+
+_Example:_
+
+No. 32. _Antar_ [[65]].--Vns I] 8./Vns II/Violas + 'Cellos] 8.
+
+
+b) Violas] 8/'Cellos/D. basses] 8 or Vns I + II] 8/Violas +
+'Cellos/D. basses] 8 or Vns I + II + Violas] 8/'Cellos/D. basses] 8
+are employed when the low register of each instrument is brought into
+play, and also to suit phrases of a rough and severe character.
+
+_Examples:_
+
+_Legend of Kitesh_ [[66]], opening of the 2nd Act.
+
+No. 33. _Snegourotchka_ [[215]]. Tumblers' dance.
+
+     _Note._ The lack of balance in the distribution:
+
+     Vns I + II +Violas   ] 8
+
+     'Cellos              ]
+     D. basses            ] 8
+
+     is not of any great importance, for, in such cases, the
+     partial harmonics of one octave support the tone of the
+     other, and _vice versa_.
+
+
+Doubling in three and four octaves.
+
+The distribution Vns I/Vns II/Violas/'Cellos/D. basses] 8/8/8/8
+is very seldom found, and as a rule, only when supported by wind
+instruments.
+
+_Examples:_
+
+_The Legend of Kitesh_ [[150]] (_allargando_).
+
+* _Sheherazade_, 4th movement, commencing at the 10th bar.
+
+Vns I            ]
+Vns II           ]
+Violas + 'Cellos ] 8.
+D. basses        ]
+
+
+Melody in thirds and sixths.
+
+In confiding a melody in thirds to the strings it is frequently
+necessary to use the same quality of tone in both parts, but in the
+case of a melody in sixths different timbres may be employed. In
+writing thirds doubled in octaves, the first and second violins should
+be used. In spite of the difference in the quantity of players, the
+thirds will not sound unequal. The same arrangement may obtain in the
+viola and 'cello groups, but it is useless in the case of melody in
+sixths.
+
+_Examples:_
+
+* No. 34. _Legend of Kitesh_ [[34]]--Vns I _div._) 3/Vns II
+_div._) 3] 8.
+
+* _Legend of Kitesh_ [[39]]--Vns I/Violas] 6.
+
+Cf. also _Legend of Kitesh_ [[223]]: Vns I/Vns II} 3/Vns
+I/Vns II} 3] 8 (Ex. 31).
+
+Distribution in octaves, thirds, and sixths is usually regulated by
+the normal register of the respective instruments, so as to avoid any
+suggestion of mannerism resulting from the disturbance of balance. But
+such a departure from the recognised order may be permitted in special
+cases. For instance, in the following example of writing in sixths the
+upper part is allotted to the 'cellos, the lower part to the violins
+on the _G_ string; this arrangement produces a quality of tone
+distinctly original in character.
+
+_Example:_
+
+No. 35. _Spanish Capriccio_ [[D]]--'Cellos/Vns I + II] 6.
+
+
+Melody in the wood-wind.
+
+* The choice of instruments for characteristic and expressive melody
+is based on their distinctive qualities, discussed minutely in the
+foregoing chapter. To a large extent the question is left to the
+orchestrator's own personal taste. Only the best methods of using the
+wood-wind in unison or octaves, and distributing a melody in thirds,
+sixths and mixed intervals, from the standpoint of resonance and tone
+quality will be indicated in this section of the work. Examples of the
+use of solo wood-wind are to be found in any score; the following are
+typical instances:
+
+_Examples of solo wood-wind:_
+
+1. _Piccolo: Serbian Fantasia_ [[C]]; No. 36. _Tsar Saltan_ [[216]];
+_Snegourotchka_ [[54]].
+
+2. _Flute: Antar_ [[4]]; _Servilia_ [[80]]; _Snegourotchka_ [[79]],
+[[183]]; _A Fairy Tale_ [[L]]; _The Christmas Night_ [[163]]; No. 37.
+_Sheherazade_, 4th movement, before [[A]] (_Fl. a 2_ in the low
+register).
+
+_Flute_ (double tonguing): _Pan Voyevoda_ [[72]]; _Sheherazade_,
+4th movement, after [[V]]; No. 38. _Ivan the Terrible_, Act III,
+after [[10]].
+
+3. _Bass flute_: No. 39. _Legend of Kitesh_ [[44]].
+
+4. _Oboe_: No. 40. _Sheherazade_, 2nd movement [[A]]; _The May
+Night_, Act III [[Kk]]; No. 41. _Snegourotchka_ [[50]];
+_Snegourotchka_ [[112]], [[239]]; _The Tsar's Bride_ [[108]] (cf. Ex.
+284), No. 42 and 43. _The Golden Cockerel_ [[57]] and [[97]].
+
+5. _Eng. horn: Snegourotchka_ [[97]], [[283]] (cf. Ex. 26); No. 44.
+_Spanish Capriccio_ [[E]]; No. 45. _The Golden Cockerel_ [[61]].
+
+6. _Small Clarinet_: No. 46. _Mlada_, Act II [[33]]; _Mlada_, Act III
+[[37]].
+
+7. _Clarinet: Serbian Fantasia_ [[G]]; _Spanish Capriccio_ [[A]];
+_Snegourotchka_ [[90]], [[99]], [[224]], [[227]], [[231]] (cf. Ex. 8);
+_The May Night_, Act I, before [[X]]; _Sheherazade_, 3rd movement
+[[D]]; _A Fairy Tale_ [[M]]; _The Tsar's Bride_ [[50]], [[203]]; _The
+Golden Cockerel_ [[97]] (lowest register, cf. Ex. 43).
+
+8. _Bass clarinet_: No. 47 and 48. _Snegourotchka_ [[243]] and
+[[246-247]].
+
+9. _Bassoon: Antar_ [[59]]; No. 49. _Vera Scheloga_ [[36]];
+_Sheherazade_, 2nd movement, beginning (cf. Ex. 40); No. 50. _The
+Golden Cockerel_ [[249]]; No. 51. _Mlada_, Act III, after [[29]]; cf.
+also Ex. 78.
+
+10. _Double bassoon: Legend of Kitesh_, before [[84]], [[289]]; cf.
+also Ex. 10 (D. bassoon + D. bass solo).
+
+The normal order of wood-wind instruments and that which produces the
+most natural resonance is the following: _Flutes_, _Oboes_,
+_Clarinets_, _Bassoons_ (the order used in orchestral full scores).
+Departure from this natural order, e.g. placing bassoons above
+clarinets and oboes, or flutes below oboes and clarinets, and
+especially below the bassoons, creates a far-fetched, unnatural tone,
+useful, however, in certain cases to attain certain special effects. I
+do not advise the student to make too free a use of this proceeding.
+
+
+Combination in unison.
+
+The combination of two different wood-wind instruments in unison
+yields the following tone qualities:
+
+a) _Flute + Oboe._ A quality fuller than that of the flute, sweeter
+than that of the oboe. Played softly, the flute will predominate in
+the low, the oboe in the upper register. Example: No. 52.
+_Snegourotchka_ [[113]].
+
+b) _Flute + Clarinet._ A quality fuller than that of the flute, duller
+than that of the clarinet. The flute will predominate in the lower,
+the clarinet in the higher register. Examples: No. 53. _Legend of
+Kitesh_ [[330]]; also [[339]] and [[342]].
+
+c) _Oboe + Clarinet._ A fuller quality than that of either instrument
+heard separately. The dark, nasal tone of the oboe will prevail in the
+low register, the bright, "chest" quality of the clarinet in the high
+compass. Examples: _Snegourotchka_ [[19]]; No. 54. _Snegourotchka_
+[[115]]. Cf. also _Legend of Kitesh_ [[68]], [[70]], [[84]]--2 Ob. + 3
+Cl. (Ex. 199-201).
+
+d) _Flute + Oboe + Clarinet._ Very full in quality. The flute
+predominates in the low register, the oboe in the middle, and the
+clarinet in the high compass. Examples: _Mlada_, Act I [[1]]; *
+_Sadko_ [[58]] (2 Fl. + 2 Ob. + Small Cl.).
+
+e) _Bassoon + Clarinet._ Very full quality. The gloomy character of
+the clarinet prevails in the lower register, the sickly quality of the
+bassoon in the higher. Example: _Mlada_, Act II, after [[49]].
+
+f) _Bassoon + Oboe_, and
+
+g) _Bassoon + Flute._
+
+The combinations _f_ and _g_, as well as _Bassoon + Clarinet + Oboe_,
+and _Bassoon + Clarinet + Flute_ are very seldom found except in
+certain orchestral _tutti_, where they produce increased resonance
+without creating a fresh atmosphere. But in such combinations, the
+range of which is practically restricted to the limits of the third
+octave, the low notes of the flute will predominate in the lower third
+of this register, and the high notes of the bassoon in the middle
+third. The clarinet, weak in the middle compass will not stand out
+prominently in this particular combination.
+
+h) _Bassoon + Clarinet + Oboe + Flute._ This combination is equally
+rare. The colour is rich, and difficult to define in words. The tone
+of each instrument will be separated from the others more or less in
+the manner detailed above. Examples: _Russian Easter Fete_, the
+beginning; No. 55. _Snegourotchka_ [[301]]; _The May Night_, Act III
+[[Qqq]].
+
+The process of combining two or more qualities of tone in unison,
+while endowing the music with greater resonance, sweetness and power,
+possesses the disadvantage of restricting the variety of colour and
+expression. Individual timbres lose their characteristics when
+associated with others. Hence such combinations should be handled with
+extreme care. Phrases or melodies demanding diversity of expression
+alone should be entrusted to solo instruments of simple timbres. The
+same applies to the coupling of two instruments of the same kind, such
+as 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. The quality of tone
+will lose nothing of its individuality, and will gain in power, but
+its capacity for expression will be diminished accordingly. An
+instrument enjoys greater independence and freedom when used as a solo
+than when it is doubled. The use of doubling and mixed timbres is
+naturally more frequent in loud passages than in soft ones, also where
+expression and colour is broad rather than individual or intimate in
+character.
+
+     I cannot refrain from mentioning how greatly I dislike the
+     method of duplicating all the wood-wind, in order to balance
+     a group of strings, reinforced out of all reason, to suit
+     the ever-growing dimensions of concert halls. I am convinced
+     that, artistically speaking, a limit should be set to the
+     size of both concert room and orchestra. The music performed
+     at these super-concerts must be specially composed on a plan
+     of its own--a subject which cannot be considered here.
+
+
+Combination in octaves.
+
+When the melody is entrusted to two wood-wind instruments in octaves,
+the usual arrangement producing natural resonance is:
+
+8 [Fl. Fl. Fl. Ob. Ob. Cl.
+  [Ob. Cl. Fag. Cl. Fag. Fag.] 8.
+
+The combination of flute and bassoon in octaves is rare on account of
+the widely separated registers of the two instruments. Deviation from
+the natural order, such as placing the bassoon above the clarinet or
+oboe, the clarinet above the oboe or flute etc., creates an unnatural
+resonance occasioned by the confusion of registers, the instrument of
+lower compass playing in its high register and _vice versa_. The lack
+of proper relationship between the different tone qualities then
+becomes apparent.
+
+_Examples:_
+
+No. 56. _Spanish Capriccio_ [[O]]--Fl./Ob.] 8.
+
+No. 57. _Snegourotchka_ [[254]]--Fl./Eng. horn] 8.
+
+* No. 58. _Sheherazade_, 3rd movement [[E]]--Fl./Cl.] 8.
+
+_Sadko_ [[195]]--Fl./Eng. horn] 8.
+
+_Pan Voyevoda_ [[132]]--Fl./Cl.] 8.
+
+_Tsar Saltan_ [[39]]--Cl./Fag.] 8.
+
+No. 59. _Vera Scheloga_ [[30]]--Cl./Fag.] 8, likewise any number of
+examples in the scores of various composers.
+
+The use of two instruments of the same colour in octaves, e.g. 2
+flutes, 2 clarinets or 2 bassoons etc., if not exactly to be avoided
+is certainly not to be recommended, as the instruments, playing in
+different registers will not correspond one with the other.
+Nevertheless this method may be safely employed when stringed
+instruments, _arco_ or _pizzicato_ double the two members of the
+wood-wind, and especially in the middle compass. The process is most
+satisfactory for repeated notes or sustained passages.
+
+_Examples:_
+
+_The May Night_, Act I [[T]]--Cl. I/Cl. II] 8.
+
+* _Sadko_, after [[159]]--Ob. I/Ob. II] 3, doubled by _pizz._ strings.
+
+* _Servilia_, after [[21]]--Fag. I/Fag. II] 8 + _pizz._ strings.
+
+Instruments of the same branch playing in octaves, e.g.
+
+8 [Fag.    Cl.       Ob.       Small cl. Flute    Picc.]
+  [C-Fag.  Cl. basso Eng. horn Clar.     Alto Fl. Fl.  ] 8
+
+always produce a good effect.
+
+_Examples:_
+
+_Snegourotchka_ [[5]]--Picc./Fl.] 8 (cf. Ex. 15).
+
+_The Tsar's Bride_ [[133]]--Picc./Fl.] 8.
+
+_Tsar Saltan_ [[216]]--Picc./Fl.] 8 (cf. Ex. 36).
+
+_Sadko_, after [[59]] Small cl./Cl.] 8.
+
+_Legend of Kitesh_ [[240]]--Fag./C-Fag.] 8 (cf. Ex. 21).
+
+No 60. _Mlada_, Act III, before [[44]]--Ob./Eng. horn] 8.
+
+As in the strings, so in the wood-wind it is advisable to double in
+octaves any melody situated in the extremely high or low compass; an
+octave lower in the first case, an octave higher in the second. Thus
+the piccolo will be doubled by the flute, oboe or clarinet an octave
+lower; the double bassoon will be doubled by bassoon, clarinet or bass
+clarinet an octave higher.
+
+8 [Picc. Picc. Picc.]
+  [Fl.   Ob.   Cl.  ] 8.
+
+8 [Fag.   Bass cl. Cl.  Cl.      Fag. Fag.    ]
+  [C-Fag. Fag.     Fag. Bass cl. Fag. Bass cl.] 8.
+
+_Examples:_
+
+* _Tsar Saltan_ [[39]]--Picc./Ob.] 8.
+
+* No. 61. _Mlada_, Act II, Lithuanian dance [[32]]--Picc./Small cl.]
+8.
+
+_Sadko_ [[150]]--Picc./Small cl.] 8.
+
+* Mixed qualities of tone may be employed in doubling in octaves, the
+above remarks still holding good.
+
+_Examples:_
+
+_Pan Voyevoda_ [[134]]--Cl. + Ob./Cl. + Eng. horn] 8 (cf. Ex. 7).
+
+No. 62. _Servilia_ [[168]]--2 Fl. + Ob./2 Cl. + Eng. horn] 8.
+
+No. 63. _The Tsar's Bride_ [[120]]--3 Fl. + Ob./2 Cl. + Fag. + Eng.
+horn] 8.
+
+_Mlada_, Act III [[41]]--Fl. + Bass fl./Cl. + Bass cl.] 8.
+
+
+Doubling in two, three and four octaves.
+
+In such cases the student should follow the above-mentioned rules, and
+should take care not to infringe the natural order:
+
+              Fl. Ob. Fl. Fl.   ] 8
+In 3 octaves: Ob. Cl. Cl. Ob.   ]
+              Cl. Fag. Fag. Fag.] 8.
+
+
+
+              Fl. ] 8
+In 4 octaves: Ob. ]
+              Cl. ] 8
+              Fag.] 8.
+
+Mixed timbres may also be employed.
+
+_Examples:_
+
+No. 64. _Spanish Capriccio_ [[P]]--melody in 4 octaves:
+Picc./2 Fl./2 Ob. + Cl./Fag.] 8/8/8.
+
+_The Tsar's Bride_ [[141]]--melody in 3 octaves.
+
+* _Legend of Kitesh_ [[212]]--2 Cl./Bass cl./D. bassoon] 8/8.
+
+* No. 65. _Antar_, (1st version) 3rd movement, the
+beginning--Picc. + 2 Fl./2 Ob. + 2 Cl./2 Fag.] 8/8; also [[C]], melody
+in 4 octaves (piccolo in the upper octaves).
+
+* _Mlada_, Act III, after [[42]]--Fl./Ob./Eng. horn] 8/8.
+
+No. 66. _Sheherazade_, 3rd movement [[G]]--Picc./Cl. I/Cl. II] 8/8.
+
+Examples of melody doubled in five octaves are extremely rare; in such
+cases the strings participate in the process.
+
+
+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. Fl. Ob. Cl.  Ob. ]
+Ob. Cl. Cl. Fag. Fag.] 3 (6).
+
+If this order is inverted, e.g. Ob. Cl. Fag./Fl. Fl. 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. + Cl.
+Fl. + Ob. ] 3 (6) or Fl. + Cl. ] 3 (6) etc., as well as:
+
+Fl. + Ob. ]          Ob. + Fl. ]
+Fl. + Cl. ] 3 (6) or Fl. + Cl. ] 3 (6) etc.
+
+In the case of tripling the following arrangement may be adopted:
+
+Fl. + Ob. + Cl. ]          Ob. + 2 Fl. ]
+Fl. + Ob. + Cl. ] 3 (6) or 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.
+
+
+Thirds and sixths together.
+
+[Music]
+
+Apart from the obvious distribution:
+
+Fl.    Ob.
+Ob. or Cl.,
+Cl.    Fag.
+
+there are certain complicated methods which involve doubling:
+
+Upper part.  Ob. + Fl.
+Middle  "    Fl. + Cl.
+Lower   "    Ob. + Cl.
+
+The following is a complex instance somewhat vague in character:
+
+No. 69. Legend of Kitesh [[35]]--Ob./Ob./Cl. + Cl. and Fl./Fl./Ob. +
+Ob.
+
+
+Melody in the brass.
+
+The natural scale, the only one which brass instruments had at their
+disposal prior to the invention of valves was:
+
+[Music]
+
+giving, in two part harmony:
+
+[Music]
+
+With the help of rhythm, these component parts have given rise to a
+whole series of themes and phrases named fanfares, trumpet calls or
+flourishes, best adapted to the character of brass instruments.
+
+In modern music, thanks to the introduction of valves, this scale is
+now possible in all keys for every chromatic brass instrument, without
+it being necessary to change the key, and the addition of a few notes
+foreign to the natural scale has enriched the possibilities of these
+flourishes and fanfares, and endowed them with greater variety of
+expression.
+
+These phrases, either as solos, or in two or three parts, fall
+specially to the lot of the trumpets and horns, but they may also be
+given to the trombones. The full, clear, ringing notes of the middle
+and upper register of horns and trumpets are best suited to figures of
+this description.
+
+_Examples:_
+
+_Servilia_ [[20]]--Trumpets.
+
+_The Christmas Night_ [[182]]--Horn, Trumpets.
+
+_Vera Scheloga_, beginning of Overture, and after [[45]]--Horn,
+Trumpets.
+
+_Ivan the Terrible_, Act III [[3]]--Cornet.
+
+_Snegourotchka_ [[155]]--Trumpets.
+
+No. 70. _Legend of Kitesh_ [[65]] and elsewhere.--3 Trumpets, 4 Horns.
+
+_Pan Voyevoda_ [[191]]--2 Trombones, Trumpet.
+
+* _The Golden Cockerel_ [[20]]--2 Horns and Trumpets/Horns] 8 (cf.
+further on).
+
+After fanfare figures, those melodies best suited to the brass quality
+are those of an unmodulated diatonic character, rousing and triumphant
+in the major key, dark and gloomy in the minor.
+
+_Examples:_
+
+No. 71. _Sadko_ [[342]]--Trumpet.
+
+_Sadko_, before [[181]]--Trombones (cf. Ex. 27).
+
+No. 72. _Snegourotchka_ [[71]]--Trumpet.
+
+_Russian Easter Fete_ [[M]]--Trombone.
+
+_Spanish Capriccio_ [[E]]--Alternative use in the horn of open and
+stopped notes (cf. Ex. 44).
+
+_Ivan the Terrible_, Act II, before [[17]]--Bass trumpet, and 3 Horns
+a little further on.
+
+_Mlada_, Act II [[33]]--Bass trumpet (cf. Ex. 46).
+
+The genial and poetic tone of the horn in _piano_ passages affords
+greater scope in the choice of melodies and phrases that may be
+entrusted to this instrument.
+
+_Examples:_
+
+_The May Night_, Overture [[13]].
+
+_The Christmas Night_ [[1]].
+
+_Snegourotchka_ [[86]].
+
+_Pan Voyevoda_ [[37]].
+
+No. 73. _Antar_ [[40]].
+
+Melodies involving chromatic or enharmonic writing are much less
+suitable to the character of brass instruments. Nevertheless such
+melodies may sometimes be allotted to the brass, as in the music of
+Wagner, and the modern Italian realists, who, however, carry the
+proceeding to extremes. Vigourous phrases in the form of a fanfare,
+although introducing chromatic notes sound singularly beautiful on the
+brass.
+
+_Example:_
+
+No. 74. _Sheherazade_, 2nd movement [[D]].
+
+As a general rule, brass instruments lack the capacity to express
+passion or geniality. Phrases charged with these sentiments become
+sickly and insipid when confided to the brass. Energetic power, free
+or restrained, simplicity and eloquence constitute the valuable
+qualities of this group.
+
+
+Brass in unison, in octaves, thirds and sixths.
+
+As, from its very nature, the brass is not called upon to realise a
+wide range of expression, kindred instruments of one group may be
+employed _solo_, as well as in unison. The combination of 3 trombones
+or 4 horns in unison is frequently met with, and produces extreme
+power and resonance of tone.
+
+_Examples:_
+
+_Snegourotchka_ [[5]]--4 Horns (cf. Ex. 15).
+
+_Snegourotchka_ [[199]]--4 Horns and 2 Trumpets.
+
+_Sadko_ [[175]]--1, 2, 3 Trumpets.
+
+No. 75. _Sadko_ [[305]][13]--3 Trombones.
+
+[Footnote 13: The composer has emended the score in the following
+manner: from the fifth to the ninth bar after [[305]], and also from
+the fifth to the ninth bar after [[306]], the three clarinets play in
+unison, the trumpet being marked _forte_ instead of _fortissimo_; in
+the example, the first of these passages is corrected according to the
+composer's alteration. (Editor's note.)]
+
+No. 76. _The May Night_, beginning of Act III--1, 2, 3, 4 Horns.
+
+_Legend of Kitesh_, end of Act I--4 Horns (cf. Ex. 70).
+
+No. 77. _Sheherazade_, 4th movement p. 204--3 Trombones.
+
+_Mlada_; Lithuanian dance--6 Horns (cf. Ex. 61).
+
+Owing to the resonant power of the entire group, the equality and even
+gradation of tone between the dark colour of the deep compass and the
+bright quality of the upper register, the use of brass instruments of
+the same kind in octaves, thirds or sixths invariably leads to
+satisfactory results. For the same reason the employment of brass
+instruments of different kinds, arranged according to normal order of
+register:
+
+Trumpet  Trumpet   Trombone  2 Trombones      2 Trumpets   2 Horns
+2 Horns  Trombone  Tuba      Trombone + Tuba  2 Trombones  Tuba
+
+is likewise successful whether the instruments are doubled or not.
+Another possible method, though not so reliable, is to combine horns
+(above) with trombones, exclusively in octaves:
+
+2 Horns   ]      4 Horns    ]
+1 Trombone] 8 or 2 Trombones] 8.
+
+_Examples:_
+
+_Sadko_, before [[120]]--Trumpet/Trumpet] 8.
+
+_Sadko_ [[5]]--2 Trumpets/4 Horns] 8.
+
+_Snegourotchka_ [[222]]--2 Trombones/Trombone + Tuba] 8.
+
+_Ivan the Terrible_, Act III [[10]] 1 Trombone + Trumpet/2 Trombones]
+8 (cf. Ex. 38)
+
+_The Golden Cockerel_ [[125]]--Trumpet/Trombone] 8.
+
+Cf. also _Snegourotchka_ [[325-326]]--Trombone/Trombone] 8 (Ex. 95).
+
+
+Melody in different groups of instruments combined together.
+
+A. Combination of wind and brass in unison.
+
+The combination of a wood-wind and brass instrument produces a complex
+resonance in which the tone of the brass predominates. This resonance
+is naturally more powerful than that of each instrument taken
+separately, but slightly sweeter than the brass instrument alone. The
+tone of the wood-wind blends with that of the brass, softens and
+rarefies it, as in the process of combining two wood-wind instruments
+of different colour. Instances of such doubling are fairly numerous,
+especially in _forte_ passages. The trumpet is the instrument most
+frequently doubled: Trumpet + Cl., Trumpet + Ob., Trumpet + Fl., as
+well as Trumpet + Cl. + Ob. + Fl.; the horn, less often: Horn + Cl.,
+Horn + Fag. Trombones and Tuba may also be doubled: Trombone + Fag.,
+Tuba + Fag. Combining the Eng. horn, bass clarinet and double bassoon
+with the brass, in corresponding registers, presents the same
+characteristics.
+
+_Examples:_
+
+_Legend of Kitesh_ [[56]]--Trombone + Eng. horn.
+
+* _Mlada_, Act III, before [[34]]--3 Trombones + Bass cl.
+
+As a rule, the addition of a wind to a brass instrument yields a finer
+legato effect than when the latter instrument plays alone.
+
+
+B. Combination of wind and brass in octaves.
+
+Doubling the horns in octaves by clarinets, oboes or flutes often
+replaces the combination
+
+1 Trumpet           ]
+1 Horn (or 2 Horns) ] 8.
+
+This is done when it is a question of introducing a rich tone into the
+upper octave which the trumpet is not capable of imparting. If a
+single horn is used, the upper part is allotted to 2 clarinets, 2
+oboes, or 2 flutes. But if there are two horns playing the lower
+octave in unison, three or four wind instruments will be necessary
+above, especially in _forte_ passages:
+
+8 [2 Ob. or 2 Cl. or 2 Fl.
+  [1 Horn
+
+as well as
+
+1 Ob. + 1 Cl.]    2 Fl. + 2 Cl.]
+1 Horn       ] 8; 2 Horns      ] 8.
+
+To double a trumpet in the upper octave three or four wind instruments
+are required, but in the top register two flutes will suffice.
+
+[Music] [Music]
+
+Wood-wind instruments should not be used to double a trombone in the
+octave above; trumpets are more suitable.
+
+
+Examples of doubling in octaves:
+
+* _Snegourotchka_ [[71]]--Ob. + Cl./Horn] 8.
+
+* _Legend of Tsar Saltan_, before [[180]]--Ob. + Cl./Ob. + Cl.]
+6/Horn/Horn] 6] 8.
+
+* Mention should also be made of mixed timbres (wood and brass) in
+progression in octaves.
+
+_Examples:_
+
+_Mlada_, Act III, beginning of Scene III--Trombone + Bass cl./Tuba +
+C-fag.] 8.
+
+No. 78. _Mlada_, Act III after [[25]]--2 Cl. + 2 Horns + Trombone/Bass
+cl. + 2 Horns + Trombone] 8 (low register).
+
+No. 79. _Mlada_, Act III, before [[35]]--general unison.
+
+When it is desired to distribute the melody over three or four
+octaves, it is difficult to achieve perfect balance of tone.
+
+_Examples:_
+
+* _Sheherazade_, 4th movement, 15th bar after [[W]]--Picc./2 Fl.
++ 2 Ob./2 Trumpets] 8/8.
+
+* _Legend of Tsar Saltan_ [[228]]--Picc./2 Fl. + 2 Ob./Trumpet + Eng.
+horn] 8/8.
+
+
+C. Combination of strings and wind.
+
+In commencing this section of the work I consider it necessary to lay
+down the following fundamental rules which apply equally to melody,
+harmony, counterpoint and polyphonic writing.
+
+All combinations of strings and wood-wind are good; a wind instrument
+progressing in unison with a stringed instrument increases the
+resonance of the latter and amplifies its tone, while the quality of
+the strings softens that of the wood-wind. In such combinations the
+strings will predominate provided that the two instruments are of
+equal power, e.g. when violins are coupled with an oboe, a bassoon
+with the 'cellos. If several wind instruments play in unison with one
+group of strings, the latter will be overpowered. As a rule all
+combinations refine the characteristics of each instrument taken
+separately, the wood-wind losing more than the strings.
+
+
+_Doubling in unison._
+
+The best and most natural combinations are between instruments whose
+registers correspond the nearest:
+
+Vns + Fl. (Bass fl., picc.), Vns + Ob., Vns + Cl. (small Cl.);
+Violas + Ob. (Eng. horn), Violas + Cl., Violas + Fag.
+'Cellos + Cl. (Bass cl.), 'Cellos + Fag.;
+D. basses + Bass cl., D. basses + Fag.; D. basses + C-fag.
+
+The object of these combinations is: a) to obtain a new timbre of
+definite colour; b) to strengthen the resonance of the strings; c) to
+soften the quality of the wood-wind.
+
+_Examples:_
+
+_Snegourotchka_ [[5]]--'Cellos + Violas + Eng. horn (cf. Ex. 15).
+
+      "         [[28]]--Violas + Ob. + Eng. horn.
+
+      "         [[116]]--Vns I + II + Ob. + Cl.
+
+      "         [[288]]--Vns I + II + 'Cellos + Eng. horn (cf. Ex. 17).
+
+No. 80. _The May Night_, Act III [[Bb]]--Violas + Cl.
+
+No. 81. _Sadko_ [[311]]--Vns + Ob.
+
+No. 82.    "    [[77]]--Violas + Eng. horn.
+
+No. 83.    "    [[123]]--Violas + Eng. horn.
+
+_Servilia_ [[59]]--Vns _G_ string + Fl.
+
+_Tsar Saltan_ [[30]]--Vns I + II + 2 Cl.
+
+No. 84. _Tsar Saltan_ [[30]], 10th bar.--'Cellos + Violas + 3 Cl. +
+Fag.
+
+_Tsar Saltan_ [[156-159]]--Vns detached + Fl. _legato_.
+
+_The Tsar's Bride_ [[10]] Violas + 'Cellos + Fag.
+
+_Antar_, 4th movement [[63]]--'Cellos + 2 Fag.
+
+_Sheherazade_, 3rd movement [[H]]--Violas + Ob. + Eng. horn.
+
+
+_Parts doubled in octaves._
+
+Examples of strings in octaves doubled by wood-wind also in octaves
+are numerous, and do not require special description; they are used
+according to the rules already laid down. The following are examples
+of melody distributed over 1, 2, 3 and 4 octaves:
+
+_Examples:_
+
+No. 85. _Ivan the Terrible_, beginning of Overture--Vns I + II + 2
+Cl./Violas + 'Cellos + 2 Fag.] 8.
+
+No. 86. _Sadko_ [[3]]--'Cellos + Bass cl./D. basses + C-fag.] 8.
+
+_Sadko_ [[166]]--'Cellos + Fag./D. basses + C-fag.] 8.
+
+   "    [[235]]--Violas + 2 Cl./'Cellos + D. basses + 2 Fag.] 8.
+
+_The Tsar's Bride_ [[14]]--'Cellos + Fag./D. basses + Fag.] 8.
+
+_The Tsar's Bride_ [[81]]--Vns I/Vns II div. + Fl./+ Ob.] 8.
+
+  "    "      "    [[166]]--Vns I + Fl./Vns II + Ob.] 8 (cf. Ex. 22).
+
+In three and four octaves:
+
+_Servilia_ [[93]]--Vns + 3 Fl./Violas + 2 Ob./'Cellos + 2 Fag.]
+8/8.
+
+No. 87. _Kashtchei_ [[105]]--Vns I + Picc./Vns II + Fl. +
+Ob./Violas + 'Cellos + 2 Cl. + Eng. horn + Fag.] 8/8.
+
+_Sheherazade_, 3rd movement [[M]]--Vns I + Fl./Vns II +
+Ob./'Cellos + Engl. horn] 8/8.
+
+
+_Examples of melody in thirds and sixths:_
+
+_Servilia_ [[44]]--Fl. + Ob. + Cl. + Vns/Fl. + Ob. + Cl. + Vns
+div.] 3.
+
+No. 88. _Servilia_ [[111]]--Strings and wood-wind in thirds.
+
+No. 89.     "      [[125]]--same combination, in thirds and sixths.
+
+_Kashtchei_ [[90]]--The same.
+
+It is necessary to pay more attention to cases where, of the two parts
+in octaves, only one is doubled. When this method is applied to a
+melody in the soprano register it is better to allow the wood-wind to
+progress in octaves, the lower part only being doubled by one of the
+string groups; Picc./Fl. + Vns] 8. Fl./Ob. (Cl.) + Vns] 8.
+
+_Examples:_
+
+_Tsar Saltan_ [[102]]--2 Fl. + Picc./Vns I + II + Ob.] 8 (cf. Ex.
+133).
+
+* No. 90. _Sheherazade_, 4th movement [[U]]--2 Cl./'Cellos + 2
+Horns] 8.
+
+In the case of a melody in the low register demanding a sweet soft
+tone, the violoncellos and double basses should be made to progress in
+octaves, the former doubled by a bassoon, the latter not doubled at
+all: 'Cellos + Fag./D. basses] 8. Sometimes a composer is obliged to
+use this method on account of the very low register of the double
+bass, especially if a double bassoon is not included in his orchestral
+scheme.[14]
+
+[Footnote 14: The process of doubling strings and wood-wind in
+octaves: Fl./Vns] 8, Ob./'Cellos] 8, etc. often used by the
+classics to obtain balance of tone, is not to be recommended, as the
+tone quality of the two groups is so widely different. As a result of
+the ever-increasing tendency to profusion of colour, this method has
+recently come into fashion again, notably among the younger French
+composers. (Editor's note.)]
+
+_Example:_
+
+No. 91. _Tsar Saltan_ [[92]]--Violas + Fag./'Cellos + Fag./D. basses]
+8/8.
+
+
+D. Combination of strings and brass.
+
+Owing to the dissimilarity between the quality of string and brass
+tone, the combination of these two groups in unison can never yield
+such a perfect blend as that produced by the union of strings and
+wood-wind. When a brass and a stringed instrument progress in unison,
+each can be heard separately, but the instruments in each group which
+can be combined with the greatest amount of success are those whose
+respective registers correspond the most nearly; Violin + Trumpet;
+Viola + Horn; 'Cellos/D. basses + Trombones/Tuba (for heavy massive
+effects).
+
+The combination of horns and 'cellos, frequently employed, produces a
+beautifully blended, soft quality of tone.
+
+_Examples:_
+
+_Tsar Saltan_ [[29]]--Vns I + II + Horn.
+
+* No. 92. _The Golden Cockerel_ [[98]]--Violas _con sord._ + Horn.
+
+
+E. Combination of the three groups.
+
+The combination of members of the three groups in unison is more
+common, the presence of the wood-wind imparting a fuller and more
+evenly blended tone. The question as to which group will predominate
+in timbre depends upon the number of instruments employed. The most
+natural combinations, and those most generally in use are: Vns +
+Ob. (Fr., Cl.) + Trumpet; Violas (or 'Cellos) + Cl. (Eng. horn) +
+Horn; 'Cellos/D. basses + 2 Fag. + 3 Trombones + Tuba.
+
+Such groupings are used for preference in loud passages or for a heavy
+_piano_ effect.
+
+_Examples:_
+
+No. 93-94. _Snegourotchka_ [[218]] and [[219]]--Vns I + II + Cl. +
+Horn and Vns I + II + Cl. + Trumpet.
+
+_Servilia_ [[168]]--Violas + Trombones/'Cellos + Trombone + Bass
+Cl./D. basses + Tuba + Fag.] 8/8 (cf. Ex. 62).
+
+No. 95. _Snegourotchka_ [[325]]--'Cellos + Violas + Fag. + Trombone/D.
+basses + Fag. + Tuba] 8.
+
+_Pan Voyevoda_ [[224]]--Vns + Fag. + Horn + Vn. + Cl. + Trumpet.
+(Stopped notes in the brass.)
+
+* _Mlada_, Act III, after [[23]]--Violas + 2 Cl. + Bass trumpet.
+
+* No. 96. _Ivan the Terrible_, Act III, before [[66]]--Bass Cl. + Horn
+/D. basses + C-fag. + Tuba] 8.
+
+* _Ivan the Terrible_, Overture, 4th bar after [[9]]--Violas +
+'Cellos + Eng. horn + 2 Cl. + Bass Cl. + 2 Fag. + 4 Horns. (The melody
+simplified in the horns.)
+
+
+
+
+Chapter III.
+
+HARMONY.
+
+
+General observations.
+
+The art of orchestration demands a beautiful and well-balanced
+distribution of chords forming the harmonic texture. Moreover,
+transparence, accuracy and purity in the movement of each part are
+essential conditions if satisfactory resonance is to be obtained. No
+perfection in resonance can accrue from faulty progression of parts.
+
+     _Note._ There are people who consider orchestration simply
+     as the art of selecting instruments and tone qualities,
+     believing that if an orchestral score does not sound well,
+     it is entirely due to the choice of instruments and timbres.
+     But unsatisfactory resonance is often solely the outcome of
+     faulty handling of parts, and such a composition will
+     continue to sound badly whatever choice of instruments is
+     made. So, on the other hand, it often happens that a passage
+     in which the chords are properly distributed, and the
+     progression of parts correctly handled, will sound equally
+     well if played by strings, wood-wind or brass.
+
+The composer should picture to himself the exact harmonic formation of
+the piece he intends to orchestrate. If, in his rough sketch, there
+exist any uncertainly as to the number or movement of harmonic parts,
+he is advised to settle this at once. It is likewise essential for him
+to form a clear idea as to the construction and musical elements of
+the piece, and to realise the exact nature and limitations of the
+themes, phrases and ideas he is going to employ. Every transition from
+one order of harmonic writing to another, from four-part harmony to
+three, or from five-part harmony to unison etc., must coincide with
+the introduction of a new idea, a fresh theme or phrase; otherwise the
+orchestrator will encounter many unforeseen and insurmountable
+difficulties. For example, if, during a passage written in four parts
+a chord in five-part harmony is introduced, a fresh instrument must
+needs be added to play this particular fifth part, and this addition
+may easily damage the resonance of the chord in question, and render
+the resolution of a discord or the correct progression of parts
+impossible.
+
+
+Number of harmonic parts--Duplication.
+
+In the very large majority of cases harmony is written in four parts;
+this applies not only to single chords or a succession of them, but
+also to the formation of the harmonic basis. Harmony which at first
+sight appears to comprise 5, 6, 7 and 8 parts, is usually only four
+part harmony with extra parts added. These additions are nothing more
+than the duplication in the adjacent upper octave of one or more of
+the three upper parts forming the original harmony, the bass being
+doubled in the lower octave only. The following diagrams will explain
+my meaning:
+
+[Music: _A. Close part-writing._
+
+Four part harmony.
+Duplication of 1 part.
+Duplication of 2 parts.
+Duplication of 3 parts.]
+
+[Music: _B. Widely-divided part-writing._
+
+Four part harmony.
+Duplication of 1 part.
+Duplication of 2 parts.]
+
+     _Note._ In widely-spaced harmony only the soprano and alto
+     parts may be doubled in octaves. Duplicating the tenor part
+     is to be avoided, as close writing is thereby produced, and
+     doubling the bass part creates an effect of heaviness. The
+     bass part should never mix with the others:
+
+     Bad: [Music]
+
+On account of the distance between the bass and the three other parts,
+only partial duplication is possible.
+
+Good: [Music]
+
+     _Note._ Notes in unison resulting from correct duplication
+     need not be avoided, for although the tone in such cases is
+     not absolutely uniform, the ear will be satisfied with the
+     correct progression of parts.
+
+Consecutive octaves between the upper parts are not permissible:
+
+Bad: [Music]
+
+Consecutive fifths resulting from the duplication of the three upper
+parts moving in chords of sixths are of no importance:
+
+Good: [Music]
+
+The bass of an inversion of the dominant chord should never be doubled
+in any of the upper parts:
+
+Good: [Music] Bad: [Music]
+
+This applies also to other chords of the seventh and diminished
+seventh:
+
+Bad: [Music] Good: [Music]
+
+The rules of harmony concerning sustained and pedal passages apply
+with equal force to orchestral writing. As regards passing and
+auxiliary notes, _echappees_, considerable licence is permitted in
+rapid passages of different texture:
+
+One texture: [Music]
+
+A different one: [Music]
+
+One texture: [Music]
+
+A different one: [Music]
+
+A certain figure and its essentials, in simplified form, may proceed
+concurrently, as in the following example:
+
+One texture: [Music]
+
+A different one: [Music]
+
+A third: [Music]
+
+Upper and inner pedal notes are more effective on the orchestra than
+in pianoforte or chamber music, owing to the greater variety of tone
+colour:
+
+[Music]
+
+In Vol. II of the present work many examples of the above methods will
+be found.
+
+
+Distribution of notes in chords.
+
+The normal order of sounds or the natural harmonic scale:
+
+[Music]
+
+may serve as a guide to the orchestral arrangement of chords. It will
+be seen that the widely-spaced intervals lie in the lower part of the
+scale, gradually becoming closer as the upper register is approached:
+
+[Music]
+
+The bass should rarely lie at a greater distance than an octave from
+the part directly above it (tenor harmony). It is necessary to make
+sure that the harmonic notes are not lacking in the upper parts:
+
+To be avoided: [Music]
+
+The use of sixths in the upper parts, and the practice of doubling the
+upper note in octaves are sometimes effective methods:
+
+[Music] [Music]
+
+When correct progression increases the distance between the top and
+bottom notes of the upper parts, this does not matter:
+
+Good: [Music]
+
+But it would be distinctly bad to fill in the second chord thus:
+
+Not good: [Music]
+
+Hence it follows that the distribution of intermediate parts is a
+question of the greatest importance. Nothing is worse than writing
+chords, the upper and lower parts of which are separated by wide,
+empty intervals, especially in _forte_ passages; in _piano_ passages
+such distribution may be possible. Progression in contrary motion, the
+upper and lower parts diverging by degrees gives rise to the gradual
+addition of extra parts occupying the middle register:
+
+Schematic Example: [Music]
+
+When the voices converge, the middle parts are eliminated one by one:
+
+Schematic Example: [Music]
+
+
+String harmony.
+
+It is an incontrovertible rule that the resonance of different
+harmonic parts must be equally balanced, but this balance will be less
+noticeable in short sharp chords than in those which are connected and
+sustained. Both these cases will be studied separately. In the first
+case, in order to increase the number of harmonic parts, each
+instrument in the string group may be provided with double notes or
+chords of three and four notes. In the second case, the resources are
+limited to double notes _unis_, or division of parts.
+
+A. _Short chords._ Chords of three or four notes can only be executed
+rapidly on the strings.
+
+     _Note._ It is true that the two upper notes of a chord can
+     be sustained and held a long time; this, however, involves
+     complications and will be considered later.
+
+Short chords, _arco_, only sound well when played _forte_ (_sf_), and
+when they can be supported by wind instruments. In the execution of
+double notes and chords of three and four notes on the strings,
+balance, perfect distribution of tone, and correct progression of
+parts are of minor importance. What must be considered before
+everything is the resonance of the chords themselves, and the degree
+of ease with which they can be played. Those comprising notes on the
+gut strings are the most powerful. Chords played on several strings
+are usually assigned to 1st and 2nd violins and violas, the
+different notes being divided between them according to ease in
+execution and the demands of resonance. On account of its low register
+the 'cello is rarely called upon to play chords on three or four
+strings, and is usually allotted the lowest note of the chord in
+company with the double bass. Chords on the latter instrument are even
+more uncommon, but it may supply the octave on an uncovered string.
+
+_Examples:_
+
+No. 97. _Snegourotchka_ [[171]]; cf. also before [[140]] and before
+[[200]].
+
+* _Spanish Capriccio_, before [[V]] (cf. Ex. 67).
+
+_Sheherazade_, 2nd movement [[P]] (cf. Ex. 19.)
+
+* No. 98. _Tsar Saltan_ [[135]]; cf. also [[141]] and before [[182]].
+
+Isolated chords may be added to a melodic figure in the upper part,
+accentuating, _sforzando_, certain rhythmical moments.
+
+_Example:_
+
+No. 99. _Snegourotchka_, before [[126]]; cf. also [[326]].
+
+B. _Sustained and tremolando chords._ Chords sustained for a shorter
+or longer period of time, or tremolando passages, often used as a
+substitute, demand perfect balance of tone. Taking for granted that
+the different members of the string group are equal in power, the
+parts being written according to the usual order of register, (cf.
+Chap. I), it is patent that a passage in close four-part harmony, with
+the bass in octaves will also be uniformly resonant. When it is
+necessary to introduce notes to fill up the empty middle register, the
+upper parts being farther distant from the bass, doubled notes on the
+violins or violas should be used, or on both instruments together. The
+method of dividing strings, which is sometimes adopted, should be
+avoided in such cases, as certain parts of the chord will be divided
+and others will not; but, on the other hand, if a passage in six and
+seven-part harmony be written entirely for strings divided in the same
+manner, the balance of tone will be completely satisfactory, e.g.,
+
+div. { Vns I/Vns I
+div. { Vns II/Vns II
+div. { Violas I/Violas II
+
+If the harmony in the three upper parts, thus strengthened, is written
+for divided strings, the 'cellos and basses, playing _non divisi_ will
+prove a trifle heavy; their tone must therefore be eased, either by
+marking the parts down or reducing the number of players.
+
+In the case of sustained chords or _forte tremolando_ on two strings,
+the progression of parts is not always according to rule, the
+intervals chosen being those which are the easiest to play.
+
+_Examples:_
+
+No. 100. _The Christmas Night_ [[161]]--Full _divisi_.
+
+No. 101.   "      "       "    [[210]]--Violas div./'Cellos div.} 4
+                               part harmony.
+
+No. 102. _Snegourotchka_ [[187-188]]--Four-part harmony, Vns I,
+                         Vns II, Violas and Violoncellos.
+
+                "        [[243]]--4 Solo 'cellos _divisi_.
+
+_Sheherazade_, 2nd movement, beginning.--4 D. bass soli div. (cf.
+Ex. 40).
+
+_The Tsar's Bride_ [[179]]--Chords on all strings (cf. Ex. 243).
+
+No. 103. _Legend of Kitesh_ [[8]]--Harmonic basis in the strings.
+
+             "   "    "     [[240]]--(Cf. Ex. 21).
+
+             "   "    "     [[283]]--Harmonic basis in the strings
+                            (cf. Ex. 2).
+
+No. 104. _The Golden Cockerel_ [[4]]--Basis in the strings.
+
+           "    "       "      [[125]]--Undulating rhythm in the
+                               strings as harmonic basis (cf. Ex. 271).
+
+In a _forte_ or _sfp_ chord, where one or two of the upper notes is
+held, either sustained or _tremolando_, the balance of tone must still
+be maintained, as in the following example:
+
+[Music:
+
+Vns I
+VnII
+Violas
+D. basses]
+
+
+Wood-wind harmony.
+
+Before entering upon this section of the work I would remind the
+reader of the general principles laid down in the beginning of the
+chapter.
+
+Harmonic texture, composed of plain chords or ornamental designs,
+simple or contrapuntal in character, must possess a resonance equally
+distributed throughout. This may be obtained by the following means:
+
+1. Instruments forming chords must be used continuously in the same
+way during a given passage, that is to say they must be doubled or not
+throughout, except when one of the harmonic parts is to be made
+prominent:
+
+To be avoided: [Music]
+
+2. The normal order of register must be followed, except in the case
+of crossing or enclosure of parts, which will be discussed later on:
+
+To be avoided: [Music]
+
+3. Corresponding or adjacent registers should be made to coincide
+except for certain colour effects:
+
+To be avoided: [Music]
+
+The second flute will sound too weak and the oboes too piercing.
+
+4. Concords (octaves, thirds and sixths) and not discords (fifths,
+fourths, seconds and sevenths), should be given to instruments of the
+same kind or colour, except when discords are to be emphasised. This
+rule should be specially observed in writing for the oboe with its
+penetrating quality of tone:
+
+To be avoided: [Music]
+
+
+Four-part and three-part harmony.
+
+Harmonic writing for the wood-wind may be considered from two points
+of view: a) instruments in pairs, 2 Fl., 2 Ob., 2 Cl., 2 Fag.; and b)
+instruments in three's, 3 Fl., 2 Ob., Eng. horn, 3 Cl., 2 Fag., C-fag.
+
+A. _In pairs._ There are three ways of distribution: 1.
+_Superposition_ or _overlaying_ (strictly following the normal order
+of register), 2. _Crossing_, and 3. _Enclosure_ of parts. The last
+two methods involve a certain disturbance of the natural order of
+register:
+
+[Music: Overlaying. Crossing. Enclosure.]
+
+In choosing one of these three methods the following points must not
+be forgotten: a) the register of a particular isolated chord; the soft
+and weak register of an instrument should not be coupled with the
+powerful and piercing range of another:
+
+[Music:
+
+Overlaying.
+Oboe too
+piercing.
+
+Crossing.
+Low notes
+of the flute
+too weak.
+
+Enclosure.
+Bassoon too
+prominent.]
+
+
+b) In a succession of chords the general progression of parts must be
+considered; one tone quality should be devoted to the stationary and
+another to the moving parts:
+
+[Music]
+
+When chords are in widely-divided four-part harmony notes may be
+allotted in pairs to two different tone qualities, adhering to the
+normal order of register:
+
+Good: [Music] etc.
+
+Any other distribution will result unquestionably in a grievous lack
+of relationship between registers:
+
+To be avoided: [Music] etc.
+
+If one tone quality is to be enclosed, it must be between two
+different timbres:
+
+Good: [Music] etc.
+
+It is possible to lend four distinct timbres to a chord in
+widely-divided four-part harmony, though such a chord will possess no
+uniformity in colour; but the higher the registers of the different
+instruments are placed, the less perceptible becomes the space which
+separates them:
+
+[Music: Fairly good Better Still better]
+
+The use of four different timbres in close four-part harmony is to be
+avoided, as the respective registers will not correspond:
+
+[Music: Bad Better Still slightly better]
+
+     _Note._ In _Mozart and Salieri_, which is only scored for 1
+     Fl., 1 Ob., 1 Cl. and 1 Fag., wood-wind chords in four-part
+     harmony are of necessity devoted to these four different
+     timbres.
+
+The same rules apply to writing in three-part harmony, which is the
+most customary form when it is a question of establishing a harmonic
+basis, the lowest register of which is entrusted to another group of
+instruments (strings _arco_ or _pizz._, for example). Chords in
+three-part harmony are generally given to two instruments of one
+timbre and a third instrument of another, but never to three different
+timbres. Overlaying of parts is the best course to adopt:
+
+[Music] etc.
+
+The use of crossing and enclosure of parts (which in a way amount to
+the same thing) must depend on the manner of their progression:
+
+[Music: Enclosure]
+
+B. _Wood-wind in three's._ Here the distribution of chords in close
+three-part harmony is self-evident; any grouping of three instruments
+of the same timbre is sure to sound well:
+
+[Music]
+
+also: [Music]
+
+[Music]
+
+Overlaying of parts is the best method to follow in writing close
+four-part harmony; three instruments of the same timbre with a fourth
+instrument of another. Crossing and enclosure of parts may also be
+employed. Correspondence of timbres and the progression of remote
+parts must be kept in mind:
+
+[Music]
+
+The method of using three instruments of the same timbre in
+widely-divided three-part harmony is inferior:
+
+[Music: Not good Better Better Not good Better Better]
+
+But if the third instrument is of low register (Bass Fl., Eng. horn,
+Bass cl., or C-fag.), the resonance will be satisfactory:
+
+[Music]
+
+In chords of four-part harmony, three instruments of the same timbre
+should be combined with a fourth instrument of another:
+
+[Music] etc.
+
+
+Harmony in several parts.
+
+In writing chords of 5, 6, 7 and 8 part-harmony, whether they are
+independent, or constitute the harmonic basis, the student should
+follow the principles outlined in the previous chapter, dealing with
+the progression of wood-wind instruments in octaves. As the 5th,
+6th, 7th and 8th notes are only duplications in octaves of
+lower notes of the real harmony (in 4 parts), instruments should be
+chosen which combine amongst themselves to give the best octaves. The
+process of crossing and enclosure of parts may also be used.
+
+A. Wood-wind in pairs (close distribution):
+
+[Music]
+
+In widely-divided harmony chords in several parts are to be avoided as
+they will entail both close and extended writing:
+
+[Music]
+
+     _Note._ In the majority of cases this distribution is
+     employed when the two upper harmonic parts have a special
+     melodic duty to perform--this question is discussed above.
+
+B. Wood-wind in three's:
+
+[Music]
+
+[Music] etc.
+
+Overlaying of parts is the most satisfactory method in dealing with
+close three-part harmony. Crossing of parts is not so favourable, as
+octaves will be produced contrary to the natural order of register:
+
+[Music] Here the arrangement [Music] is bad.
+
+
+Duplication of timbres.
+
+A. If the wood-wind is in pairs it is a good plan to mix the doubled
+timbres as much as possible:
+
+[Music: Excellent],
+
+also: [Music]
+
+In chords of four-part harmony the classical method may be adopted:
+
+[Music]
+
+In this case, though the high _C_ in the flute is fairly powerful, the
+resonance of the _G_ and _E_ in the oboes is softened by the
+duplication of the 2nd flute and 1st clarinet, while the _C_ in
+the 2nd clarinets (not doubled) is feeble in comparison with the
+other notes. In any case the two extreme parts are the thinnest and
+weakest in tone, the intermediate parts the fullest and strongest.
+
+B. _Wood-wind in three's_ admit of perfectly balanced mixed timbres in
+chords of three-part harmony:
+
+[Music]
+
+These timbres may even originate from three-fold duplication:
+
+[Music]
+
+
+Remarks.
+
+1. Modern orchestrators do not allow any void in the intermediate
+parts in writing close harmony; it was permitted to some extent by the
+classics:
+
+[Music]
+
+These empty spaces create a bad effect especially in _forte_ passages.
+For this reason widely-divided harmony, which is fundamentally based
+on the extension of intervals, can be used but seldom and only in
+_piano_ passages. Close writing is the more frequent form in all
+harmony devoted to the wood-wind, _forte_ or _piano_.
+
+2. As a general rule a chord of greatly extended range and in several
+parts is distributed according to the order of the natural scale, with
+wide intervals (octaves and sixths), in the bass part, lesser
+intervals (fifths and fourths) in the middle, and close intervals
+(3rds or 2nds) in the upper register:
+
+[Music]
+
+3. In many cases correct progression of parts demands that one of them
+should be temporarily doubled. In such cases the ear is reconciled to
+the brief overthrow of balance for the sake of a single part, and is
+thankful for the logical accuracy of the progression. The following
+example will illustrate my meaning:
+
+[Music]
+
+In the second bar of this example the _D_ is doubled in unison on
+account of the proximity of the three upper parts to their
+corresponding parts an octave lower. In the fourth bar the _F_ is
+doubled in unison in both groups.
+
+4. The formation of the harmonic basis, which is essentially in four
+parts, does not by any means devolve upon the wood-wind alone. One of
+the parts is often devoted to the strings, _arco_ or _pizz._ More
+frequently the bass part is treated separately, the chords of greater
+value in the three upper parts being allotted to the wood-wind. Then,
+if the upper part is assigned to a group of strings, there remains
+nothing for the wind except the sustained harmony in the two middle
+parts. In the first case the three-part harmony in the wood-wind
+should form an independent whole, receiving no assistance from the
+bass; in this manner intervals of open fourths and fifths will be
+obviated. In the second case it is desirable to provide the
+intermediate parts with a moderately full tone, choosing no other
+intervals except seconds, sevenths, thirds or sixths.
+
+All that has been said with regard to the use of wood-wind in the
+formation of harmony, and the division of simple and mixed timbres
+applies with equal force to sustained chords, or harmonic progressions
+interchanging rapidly with _staccato_ chords. In short chords,
+separated by rests of some importance, the arrangement and division of
+timbres is not so perceptible to the ear, and progression of parts
+attracts less attention. It would be useless, nay, impossible to
+examine the countless combinations of tone colour, all the varieties
+of duplication and distribution of chords. It has been my aim to
+denote the fundamental principles upon which to work, and to indicate
+the general rules to be followed. Once having mastered these, if the
+student devote a little time to the study of full scores, and listen
+to them on the orchestra, he will soon learn when certain methods
+should be used and when to adopt others. The pupil is advised,
+generally, to write for wood-wind in its normal order of distribution,
+to take heed that each particular chord is composed entirely either of
+duplicated or non-duplicated parts, (except in certain cases resulting
+from progression), to use the methods of crossing and enclosure of
+timbres with full knowledge of what he is doing, and finally to
+concentrate his attention on close part-writing.
+
+_Examples of wood-wind harmony:_
+
+a) Independent chords.
+
+No. 105. _The Christmas Night_ [[148]]--Cl., 2 Fag.
+
+No. 106.   "      "       "    beginning--Ob., Cl., Fag. (crossing
+                               of parts).
+
+_Snegourotchka_ [[16]]--2 Cl., Fag.
+
+       "        [[79]], 5th bar.--2 Ob., 2 Fag. (cf. Ex. 136).
+
+* No. 107. _Snegourotchka_ [[197]]--Picc., 2 Fl. (_tremolando_).
+
+No. 108.          "        [[204]]--2 Fl., 2 Ob. (high register).
+
+No. 109. _Sheherazade_, beginning--Total wood-wind in different
+distribution.
+
+* _Russian Easter Fete_ [[A]]--3 Fl. _tremolando_ (cf. Ex. 176).
+
+* _Tsar Saltan_ [[45]] Ob., 2 Fag.
+
+No. 110. _Tsar Saltan_, before [[115]]--mixed timbres.
+
+No. 111.   "     "      [[115]], and other similar passages--very
+                        sweet effect of wood-wind in three's.
+
+           "     "      [[177]]--2 Ob., 2 Fag.
+
+_Sadko_, Symphonic Tableau [[9]]--Ob., 2 Cl., Fag.
+
+* _Sadko_, Opera [[4]]--Eng. horn, 2 Cl.
+
+     "       "   before [[5]]--Total wood-wind.
+
+No. 112. _Sadko_ [[72]]--Chords in three-part harmony; simple and
+mixed timbres.
+
+* No. 113. _The Tsar's Bride_ [[126]] Full wind.
+
+* No. 114. _Legend of Kitesh_, before [[90]]--Enclosure of parts
+                               (Ob. I in the high register).
+
+No. 115.      "    "    "      before [[161]]--Wind and brass
+                               alternately.
+
+No. 116.      "    "    "      [[167]]--Full wind except oboe,
+                               with chorus.
+
+_Legend of Kitesh_ [[269]]--Fl., Cl., Fag.
+
+* _The Golden Cockerel_ [[125]]--Various wind instruments, 4 part
+                        harmony (cf. Ex. 271).
+
+    "     "      "      [[218]]--Ob., Eng. horn, Fag., C-fag.; cf.
+                        also [[254]].
+
+No. 117. _The Golden Cockerel_, before [[236]]--Mixed timbre; 2 Fag.
+form the bass.
+
+b) Harmonic basis (sometimes joined by the horns).
+
+_The May Night_, Act III [[L]]--2 Fag., Eng. horn (cf. Ex. 18).
+
+_Antar_ [[68]]--3 Flutes.
+
+_Snegourotchka_ [[20]]--2 Cl., high register.
+
+       "        before [[50]]--2 Fl., Fag.
+
+       "        [[187]]--2 Ob., 2 Fag.
+
+       "        [[274]]--2 Cl., low register (cf. Ex. 9).
+
+       "        [[283]]--Fl., Eng. horn, Cl., Fag. (cf. Ex. 26).
+
+No. 118. _Snegourotchka_ [[292]]--Widely-divided harmony and
+                              doubling of parts in the wind.
+
+No. 119.        "        [[318-319]]--2 Flutes.
+
+_Sheherazade_, 2nd movement [[B]]--2 Cl., Fag. (sustained note in
+the horn) (cf. Ex. 1).
+
+_The Christmas Night_ [[1]]--3 Cl.
+
+_Sadko_ [[1]]--Cl., Bass Cl., Fag., C-fag.
+
+No. 120. _Sadko_ [[49]]--Ob., Cl., Horn, Fag.
+
+            "    [[99]]--2 Cl. (cf. Ex. 289, 290).
+
+No. 121. _Sadko_ [[144]]--Cl., Fag.
+
+No. 122.    "    [[195-196]]--2 Cl., Bass Cl.
+
+_The Tsar's Bride_ [[80]]--Cl., Fag.
+
+  "    "      "    [[166]]--harmonic parts in motion, Fl. and
+                   Cl. (cf. Ex. 22).
+
+_Servilia_ [[59]]--Cl. (low. register), Fag.
+
+* No. 123. _Kashtchei the Immortal_ [[80]]--Ob., Fag. muted.
+
+* No. 124. _Legend of Kitesh._ [[52]]--Fl., Fag.
+
+              "    "     "     [[55]]--Fl., Ob. (cf. Ex. 197).
+
+              "    "     "     [[68]]--Eng. horn, Fag., C-fag. (cf.
+                               Ex. 199).
+
+No. 124.      "    "     "     [[118]]--mixed timbre: 2 Ob., Eng.
+                               horn and 3 Cl.
+
+              "    "     "     [[136]]--harmonic parts in motion:
+
+              "    "     "     before [[185]]--3 Fl. (low register)
+                               and 2 Cl.
+
+              "    "     "     [[223]]--Fl., Ob., Cl. (cf. Ex. 31).
+
+* No. 125.    "    "     "     [[247]]--2 Cl., Bass Cl.
+
+              "    "     "     [[273]]--Eng. horn, 2 Cl. and Bass
+                               Cl., Fag.
+
+* No. 126.    "    "     "     [[355]]--Eng. horn muted, Cl., 2 Fag.
+
+* No. 127. _The Golden Cockerel_ [[3]]--Cl., Bass Cl., Fag., C-fag.
+
+             "    "       "      [[40-41]] Bass Cl., Fag.; Fl., Cl.;
+                                 Cl., Bass Cl.
+
+* No. 128.   "    "       "      [[156]]--harmonic parts in motion:
+                                 Fl. and Cl.
+
+
+Harmony in the brass.
+
+Here, as in the wood-wind, part writing should be of the close order
+with no empty spaces in the intervals.
+
+Four-part writing.
+
+It is evident that the quartet of horns presents every facility for
+four-part harmony, perfectly balanced in tone, without doubling the
+bass in octaves:
+
+[Music]
+
+     _Note._ In the diagrams of the present section the actual
+     sounds of horns and trumpets are given, as in a piano score,
+     for the sake of simplicity.
+
+When it is found necessary to double the bass in octaves, the too
+resonant trombone and tuba are seldom used, the duplication being
+effected by the bassoon, as explained further on. The quartet of
+trombones and tuba is not often employed in close four-part harmony;
+the third trombone and the tuba usually form the bass in octaves, and
+the three upper parts are generally allotted to the two remaining
+trombones reinforced by a trumpet or two horns in unison, so as to
+obtain a perfect balance of tone:
+
+[Music]
+
+I have often adopted the following combination of brass instruments,
+and consider it eminently satisfactory: 2 horns and tuba to form the
+bass in octaves, the three other parts given to the trombones:
+
+[Music] (beautiful full resonance).
+
+In the higher registers, four-part harmony, of which the two upper
+parts are given to the trumpets, may be completed by two trombones or
+four horns in pairs:
+
+[Music]
+
+When 3 trumpets are available the fourth part should be allotted to
+one trombone, or two horns in unison:
+
+[Music]
+
+Enclosure of parts may be used in single chords:
+
+[Music]
+
+or in progression:
+
+[Music]
+
+Three-part writing.
+
+The best combination is trombones, horns, or trumpets in three's. If
+the instruments are mixed the number of horns should be doubled:
+
+[Music] etc.
+
+Writing in several parts.
+
+When the whole group is used the number of horns should be doubled:
+
+[Music] etc.
+
+In seven, six, or five-part harmony certain instruments must be
+omitted:
+
+[Music]
+
+[Music] etc.
+
+Discords of the seventh or second are preferably entrusted to
+instruments of different tone colour:
+
+[Music]
+
+When such chords are written for an orchestra which only includes two
+trumpets, it is impossible for the horns to proceed in pairs. In such
+cases the following arrangement may obtain, the horns being marked one
+degree louder than the other instruments, to secure balance of tone:
+
+[Music]
+
+The same method should be followed whenever the use of horns in pairs
+fails to produce satisfactory tone.
+
+When chords of widely-divided harmony are distributed throughout
+several harmonic registers, the register occupied by the horns need
+not be doubled; the arrangement of the chord will resemble that of a
+chorale written for double or triple choir. For example:
+
+[Music]
+
+Duplication in the brass.
+
+Duplication in the brass group is most frequently effected by placing
+a chord for horns side by side with the same chord written for
+trumpets or trombones. The soft round quality of the horns intensifies
+the tone, and moderates the penetrating timbre of the trumpets and
+trombones:
+
+[Music]
+
+Similar juxtaposition of trumpets and trombones:
+
+[Music]
+
+is not so common, as this unites the two most powerful agents in the
+group.
+
+In handling an orchestra the brass is frequently employed to sustain
+notes in two or three octaves; this sphere of activity must not be
+ignored. The _tenuto_ is generally given to two trumpets, or to two or
+four horns in the octave, (in double octaves). The octave is sometimes
+formed by trumpets and horns acting together:
+
+[Music]
+
+The trombone with its ponderous tone rarely takes part in such
+combinations. Sustained notes in double octaves are usually
+apportioned thus:
+
+[Music]
+
+The imperfect balance arising from the duplication of the middle note
+is compensated for by the mixture of timbres, which lends some unity
+to the chord.
+
+_Examples of harmony in the brass:_
+
+a) Independent chords:
+
+_Snegourotchka_ [[74]]--3 Trombones, 2 Horns.
+
+       "        [[140]]--3 Trombones, 2 Horns. Chords in different
+                groups alternately (cf. Ex. 244).
+
+       "        [[171]]--Full brass; further on 3 Trombones (cf. Ex. 97).
+
+       "        [[255]]--4 Horns (stopped).
+
+No. 129. _Snegourotchka_, before [[289]]--4 Horns.
+
+                "         [[289]]--Full brass.
+
+* _Sadko_, before [[9]]--Full brass (enclosure of parts).
+
+No. 130. _Sadko_ [[175]]--Mixed timbres (juxtaposition) 3 Horns
+                 + 3 Trumpets.
+
+            "    before [[338]]--Full brass except Tuba.
+
+No. 131.    "    [[191-193]] (Full brass).
+
+No. 132. _The Christmas Night_, before [[180]]--Full muted brass.
+
+           "      "       "     [[181]]--4 Horns + 3 Trombones
+                                + Tuba (cf. Ex. 237).
+
+* _The Tsar's Bride_ [[178]]--Strings and brass alternately (cf. Ex.
+242).
+
+* No. 133. _Tsar Saltan_ [[102]], 7th bar.--2 Trumpets, 2 Trombones
+                         + 4 Horns (juxtaposition).
+
+              "    "     [[230]]--Full brass, thickly scored (cf.
+                         Table of chords No. II at the end of Vol. II,
+                         Ex. 12).
+
+* _Servilia_ [[154]]--Various brass instruments.
+
+* _Legend of Kitesh_ [[130]]--3 Trumpets, Trombone and Tuba.
+
+No. 134. _Legend of Kitesh_ [[199]]--Short chords (juxtaposition).
+
+* No. 135. _The Golden Cockerel_ [[115]]--Horns, Trombones
+(enclosure).
+
+b) Harmonic basis:
+
+No. 136. _Snegourotchka_ [[79]], 6th bar.--4 Horns.
+
+                "        [[231]]--3 Trombones, soft and sweet (cf.
+                         Ex. 8).
+
+_Antar_ [[64-65]]--4 Horns; later 3 Trombones (cf. Ex. 32).
+
+* _Sheherazade_, 1st movement, [[A]], [[E]], [[H]], [[K]],
+[[M]]--Harmonic bases of different power and timbre (cf. Ex. 192-195).
+
+No. 137. _Servilia_ [[93]]--Full brass.
+
+* No. 138. _Tsar Saltan_ [[127]]--4 muted Horns + 3 Trombones
+                         and Tuba _con sord. pp._
+
+              "    "     before [[147]]--Full brass _ff_ (the 2 Oboes
+                         and Eng. horn are of no particular importance).
+
+* _Pan Voyevoda_ [[136]], 9th bar.--4 Horns, then Trombones, 2
+Horns.
+
+* No. 139. _Legend of Kitesh_ [[158]]--Trumpets, Trombones.
+
+No. 140.      "    "    "     [[248]]--3 Trombones.
+
+              "    "    "     before [[362]]--Full brass.
+
+
+Harmony in combined groups.
+
+A. Combination of wind and brass.
+
+Wind and brass instruments may be combined by the method of placing a
+chord in one timbre side by side with the same chord in another
+timbre, or by any of the three methods already described: overlaying,
+crossing and enclosure of parts.
+
+1. _In unison (juxtaposition or contrast of tone qualities)._
+
+This class of combination possesses the same features as combinations
+in the melodic line (cf. Chap. II). Wood-wind reinforces the brass,
+softens it and reduces its characteristic qualities. Arrangements such
+as the following are possible:
+
+2 Trumpets + 2 Fl.; 2 Trumpets + 2 Ob.; 2 Trumpets + 2 Cl.
+3 Trumpets + 3 Fl.; 3 Trumpets + 3 Ob.; 3 Trumpets + 3 Cl.
+
+Also
+
+[Music] etc.
+
+as well as:
+
+2 Horns + 2 Fag.; 2 Horns + 2 Cl.;
+3 Horns + 3 Fag.; 3 Horns + 3 Cl.; and:
+2 Horns + 2 Fag. + 2 Cl. etc.
+
+The combinations 3 Trombones + 3 Fag., or 3 Trombones + 3 Cl. are very
+rare.
+
+A chord scored for full brass doubled by the same chords scored for
+full wood-wind (in pairs) produces a magnificent and uniform tone.
+
+_Examples:_
+
+_Snegourotchka_ [[315]]--2 Horns + 2 Cl. and 2 Horns + 2 Ob. (cf. Ex.
+236).
+
+No. 141. _The Tsar's Bride_ [[50]]--4 Horns + 2 Cl., 2 Fag.
+
+No. 142.   "    "      "    [[142]]--Juxtaposition of full wind
+                            and brass.
+
+_Ivan the Terrible_, Act II [[30]]--Juxtaposition and enclosure (cf.
+Table of chords II, Ex. 8).
+
+No. 143. _The Christmas Night_ [[165]]--4 Horns + Fl., Cl., Fag.
+
+* No. 144. _Sadko_, before [[79]]--Horn, Trumpet + doubled wood-wind.[15]
+
+No. 145.      "     [[242]]--Full brass + Fl., Cl.
+
+[Footnote 15: In the full score a misprint occurs in the clarinet
+part; it is corrected in the example. (Editor's note.)]
+
+_Legend of Kitesh_, beginning--Horn, Trombones + Cl., Fag. (cf. also
+[[5]]--Ex. 249).
+
+* No. 146. _Legend of Kitesh_ [[10]]--Eng. horn, 2 Cl., Fag. _legato_
+                                   + 4 Horns non legato.
+
+              "    "    "     [[324]]--Full brass + wind.
+
+* No. 147. _The Golden Cockerel_ [[233]]--Trumpets + Ob./Horn + Cl.]
+8.
+
+Stopped or muted notes in trumpets and horns resemble the oboe and
+Eng. horn in quality; the combination of these instruments produces a
+magnificent tone.
+
+_Examples:_
+
+No. 148. _Russian Easter Fete_, p. 11.--Horn (+), Trumpets (low
+register) + Ob., Cl.
+
+* _The Christmas Night_, before [[154]]--Full muted brass + wind.
+
+* No. 149. _Tsar Saltan_ [[129]]--2 Ob., Eng. horn, + 3 Trumpets
+                              muted (3 Cl. at the bottom).
+
+* No. 150.    "    "     [[131]] 17th bar.--Same combination with
+                         added horns.
+
+* No. 151. _Antar_ [[7]]--Ob., Eng. horn, 2 Fag. + 4 Horns (+).
+
+A beautiful dark tone is derived from the combination of middle notes
+in stopped horns and deep notes in the clarinet:
+
+[Music]
+
+If bassoons are substituted for clarinets the effect loses part of its
+character.
+
+_Examples:_
+
+* _Kashtchei the Immortal_ [[29]], 11th bar,--2 Ob., 2 Cl. + 4 Horns (+).
+
+       "      "     "      [[107]], 6th bar.--2 Cl., Fag. + 3 Horns (+).
+
+* _The Christmas Night_, p. 249--Cl., Fag. + 3 Horns (+).
+
+* _Mlada_, Act III [[19]]--3 Horns (+) + 3 Fag. and 3 Horns (+) + 3
+Ob. (cf. Ex. 259).
+
+2. _Overlaying (superposition), crossing, enclosure of parts._
+
+It has already been stated that the bassoon and horn are the two
+instruments best capable of reconciling the groups of wood-wind and
+brass. Four-part harmony given to two bassoons and two horns,
+especially in soft passages, yields a finely-balanced tone recalling
+the effect of a quartet of horns, but possessing slightly greater
+transparence. In _forte_ passages the horns overwhelm the bassoons,
+and it is wiser to employ four horns alone. In the former case
+crossing of parts is to be recommended for the purposes of blend, the
+concords being given to the horns, the discords to the bassoons:
+
+[Music] and not: [Music]
+
+Bassoons may also be written inside the horns, but the inverse process
+is not to be recommended:
+
+[Music]
+
+The same insetting of parts may be used for sustained trumpet notes in
+octaves. In soft passages, thirds played in the low register of the
+flutes, sometimes combined with clarinets, produce a beautiful
+mysterious effect between trumpets in octaves. In a chain of
+consecutive chords it is advisable to entrust the stationary parts to
+the brass, the moving parts to the wood-wind.
+
+Clarinets, on account of their tone quality should rarely be set
+inside the horns, but, in the upper register, and in the higher
+harmonic parts, a chord of four horns, (_piano_), may be completed by
+clarinets as effectively as by oboes or flutes; the bassoon may then
+double the base an octave below:
+
+[Music]
+
+Played _forte_, the horns are more powerful than the wood-wind;
+balance may be established by doubling the upper harmonic parts:
+
+[Music]
+
+_Examples:_
+
+a) Superposition.
+
+* _Sadko_, Symphonic Tableau [[1]], [[9]]--Fl., Ob., Cl., Horn (basis).
+
+     "     before [[14]]--2 Fl., Cl., Horns.
+
+     "     final chord--Fl., Cl., Horn.
+
+* _Antar_ [[22]]--Fl., Cl., Horns (basis).
+
+No. 152. _Antar_ [[56]]--3 Fl., 4 Horns (basis).
+
+* _Snegourotchka_ [[300]]--Full wind and horns.
+
+* _Sheherazade_--Final chords of 1st and 4th movements.
+
+* _Russian Easter Fete_ [[D]]--Fl., Cl., Horn; later trumpets and
+trombones in juxtaposition (cf. Ex. 248).
+
+* No. 153. _The Christmas Night_ [[212]], 10th bar.--Wind and Horns;
+                                      trumpets and trombones added
+                                      later.
+
+             "      "       "    [[215]] 3 Fl. + 3 Cl./3 Horns] 8.
+
+* _Sadko_, Opera [[165]]--Juxtaposition and Superposition.
+
+No. 154. _Sadko_ [[338]]--Same distribution.
+
+No. 155. _Servilia_ [[73]] 3 Fl + 2 Ob., Cl./4 Horns.
+
+* No. 156. _Legend of Kitesh_, before [[157]]--3 Flutes, 3 Trombones.
+
+              "    "    "      final chord (cf. Table III of chords,
+                               Ex. 15).
+
+* _The Golden Cockerel_, before [[219]]--Mixed timbre of wood-wind, 4
+Horns.
+
+
+b) Crossing.
+
+* _The Christmas Night_, before [[53]]--Horn, Fag.
+
+    "      "       "     [[107]]--Clar., Horn, Fag.
+
+* _Legend of Tsar Saltan_, before [[62]]--Horn, Fag.
+
+* _The Golden Cockerel_ [[220]]--3 Trombones, 2 Fag., C-fag. (cf. Ex.
+232).
+
+* No. 157. _Antar_, before [[30]]--Wood-wind, Horns, then Trumpets.
+
+
+c) Enclosure:
+
+No. 158. _Ivan the Terrible_, Act I [[33]]--Flutes within horns; later
+horns within bassoons.
+
+No. 159. _Snegourotchka_ [[183]]--Trumpet/Fl., 2 Cl./Trumpet
+
+* _Sadko_, symphonic tableau [[3]]--Cl. + Fag./4 Horns/Cl. + Fag.
+
+* _Antar_ before [[37]]--Fag./2 Horns (+)/Cl.
+
+* _Sadko_, Opera [[105]]--Harmonic basis; oboes within trumpets (cf.
+Ex. 260).
+
+* No. 160. _Sadko_, Opera, before [[155]]--Flutes within trumpets.
+
+* _The Tsar's Bride_, end of Overture--Bassoons within horns (cf.
+Table III of chords, Ex. 14).
+
+* No. 161. _Tsar Saltan_ [[50]]--Trumpets within wood-wind doubled.
+
+No. 162.      "    "     [[59]]--Flutes within trumpets; clarinets
+                         within horns.
+
+* No. 163. _Legend of Kitesh_ [[82]]--Oboes and clarinets within
+trumpets.
+
+The relationship which has been shown to exist between stopped horns
+and oboe or Eng. horn authorizes the simultaneous use of these
+instruments in one and the same chord, played _p_ or _sfp_:
+
+[Music]
+
+_Examples:_
+
+* _The Christmas Night_ [[75]]--3 Horns (+) + Oboe.
+
+_The Tsar's Bride_ [[123]]--Ob., Eng. horn, Horn (+) (cf. Ex. 240).
+
+* _Legend of Kitesh_ [[244]]--Cl., 2 Fl., + 2 Ob., Eng. horn, 3 Horn
+(+).
+
+* No. 164. _Legend of Kitesh_, before [[256]]--2 Ob., Eng. horn/3
+Horns (+)] 8.
+
+* Cf. also _Tsar Saltan_, before [[115]]--Horn (+)/2 Fl. + 2 Fag. (Ex.
+110).
+
+If trumpets and trombones take part in a chord, flutes, oboes and
+clarinets are better used to form the harmonic part above the
+trumpets. The following should be the arrangement:
+
+[Music] etc.
+
+[Music] etc.
+
+_Examples:_
+
+* _Sadko_, symphonic tableau [[20]].
+
+* No. 165. _The May Night_, Act I [[Ee]]--3 Trombones, 2 Ob.
+                                       + 2 Cl. + 2 Fag.
+
+             "   "    "     p. 325.--Final chord, _C_ maj. (cf.
+                            Table I of chords, Ex. 1).
+
+* No. 166. _Snegourotchka_ [[198]]; cf. also [[200]] and before
+[[210]].
+
+* _Sheherazade_, 1st movement [[E]], 2nd movement [[P]], 3rd
+movement [[M]], 4th movement p. 203 (cf. Ex. 195, 19, 210, 77).
+
+No. 167. _The Christmas Night_ [[205]]; cf. also [[161]], [[212]],
+14th bar. (Ex. 100, 153).
+
+* _Mlada_, end of Act I (cf. Chord Table II, Ex. 13). Act II [[20]].
+
+No. 168-169. _Sadko_, Opera, before [[249]], [[302]]; cf. also Ex.
+120.
+
+No. 170. _Sadko_, Opera [[244]]--Chord of widely extended range;
+                             bassoons at the limit of low compass.
+
+            "       "   [[142]], [[239]]; cf. also [[3]] (Ex. 86).
+
+* _The Tsar's Bride_ [[179]] (cf. Ex. 243).
+
+_Antar_ [[65]]--Alternation of notes in horns and wood-wind on
+trombone chords (cf. Ex. 32).
+
+_General observations._ It is not always possible to secure proper
+balance in scoring for full wood-wind. For instance, in a succession
+of chords where the melodic position is constantly changing,
+distribution is subordinate to correct progression of parts. In
+practice, however, any inequality of tone may be counterbalanced by
+the following acoustic phenomenon: in every chord the parts in octaves
+strengthen one another, the harmonic sounds in the lowest register
+coinciding with and supporting those in the highest. In spite of this
+fact it rests entirely with the orchestrator to obtain the best
+possible balance of tone; in difficult cases this may be secured by
+judicious dynamic grading, marking the wood-wind one degree louder
+than the brass.
+
+B. Combination of strings and wind.
+
+1. We frequently meet with the combination of strings and wood-wind in
+the light of comparison of one timbre with another, either in long
+sustained notes, or _tremolando_ in the strings. Apart from the
+complete or partial doubling of the string quartet (two methods
+frequently used), the general and most natural arrangement is:
+
+Fl./Ob. (Cl.) + Vns div.; Clar./Fag. + 'Cellos + Violas div., etc.
+
+_Examples:_
+
+* _Sadko_, Symphonic Tableau before [[4]], and [[4]], 9th bar.
+
+* _Sheherazade_, 1st movement [[M]] 6 Vns soli + 2 Ob. (2 Fl.),
+Cl.
+
+* _Antar_ [[7]]--String quartet _divisi_ + wood-wind (cf. Ex. 151).
+
+* No. 171. _Antar_ [[57]]--Vns II, Violas div. + Fl., Horn (florid
+accompaniment in the Clar.).
+
+* _Legend of Kitesh_ [[295]]--the same; rhythmic motion in the wind,
+sustained harmony in the strings (cf. Ex. 213).
+
+2. Owing to the complete absence of any affinity in tone quality, the
+combination of strings with brass is seldom employed in juxtaposition,
+crossing, or enclosure of parts.
+
+The first method may be used however when the harmony is formed by the
+strings _tremolando_, and the brass is employed in sustaining chords,
+also when the strings play short disconnected chords, _sforzando_.
+Another possible exception may be mentioned; the splendid effect of
+horns doubled by divided violas or 'cellos.
+
+_Examples:_
+
+_Snegourotchka_ [[242]]--Full brass + strings _tremolando_ (cf. 1st
+Table of chords, Ex. 6).
+
+* _Legend of Kitesh_, before [[240]]--the same (Horn, Trumpet +).
+
+* _Sadko_, Opera, before [[34]]--Horn + Violas _div._, Trombones +
+'Cellos _div._[16]
+
+[Footnote 16: A splendid example of the combination of strings and
+brass may be found in the introduction to the 2nd scene of the
+4th act of "_Khovanstchina_" by Moussorgsky, orchestrated by
+Rimsky-Korsakov. (Editor's note.)]
+
+C. Combination of the three groups.
+
+The combination of strings, wood-wind and brass instruments, set side
+by side, produces a full, round and firm tone.
+
+_Examples:_
+
+No. 172. _The Tsar's Bride_, before [[145]]--Ob., Fag. + Horns
+                             + Strings.
+
+           "    "      "     final chord (cf. Table I of chords,
+                             Ex. 5).
+
+* No. 173. _Sadko_, end of 1st tableau--short chords. Last chords
+of the 1st, 3rd and 7th tableaux (cf. Table I and III, Vol.
+II, Ex. 9, 10, 18).
+
+* No. 174. _The Christmas Night_ [[22]]--Wind + Brass _c. sord._ +
+_tremolo_ strings.
+
+_Legend of Kitesh_ [[162]] (cf. Ex. 250).
+
+_Snegourotchka_--end of opera, (cf. Table III in Vol. II, Ex. 17) and
+a host of other examples.
+
+_General Observations._ Balance and correct distribution of tone is
+much more important in dealing with long sustained chords or those of
+rhythmic design; in the case of short, disconnected chords resonance
+is a minor consideration, but one which should not be entirely
+neglected.
+
+I have endeavoured to outline the general principles to be followed,
+but I do not profess to deal with all the countless cases which may
+arise in the course of orchestration. I have given a few examples of
+well-sounding chords; for further information I advise the reader to
+study full scores with care, as this is the only method to acquire
+perfect knowledge of the distribution and doubling of various
+instruments.
+
+
+
+
+Chapter IV.
+
+COMPOSITION OF THE ORCHESTRA.
+
+
+Different ways of orchestrating the same music.
+
+There are times when the general tone, character and atmosphere of a
+passage, or a given moment in an orchestral work point to one, and
+only one particular manner of scoring. The following simple example
+will serve for explanation. Take a short phrase where a flourish or
+fanfare call is given out above a _tremolando_ accompaniment, with or
+without change in harmony. There is no doubt that any orchestrator
+would assign the _tremolo_ to the strings and the fanfare to a
+trumpet, never _vice versa_. But taking this for granted, the composer
+or orchestrator may still be left in doubt. Is the fanfare flourish
+suitable to the range of a trumpet? Should it be written for two or
+three trumpets in unison, or doubled by other instruments? Can any of
+these methods be employed without damaging the musical meaning? These
+are questions which I shall endeavour to answer.
+
+If the phrase is too low in register for the trumpets it should be
+given to the horns (instruments allied to the trumpet); if the phrase
+is too high it may be entrusted to the oboes and clarinets in unison,
+this combination possessing the closest resemblance to the trumpet
+tone both in character and power. The question whether one trumpet or
+two should be employed must be decided by the degree of power to be
+vested in the given passage. If a big sonorous effect is required the
+instruments may be doubled, tripled, or even multiplied by four; in
+the opposite case one solo brass instrument, or two of the wood-wind
+will suffice (1 Ob. + 1 Cl.). The question whether the _tremolo_ in
+the strings should be supported by sustained harmony in the wood-wind
+depends upon the purpose in view. A composer realises his intentions
+beforehand, others who orchestrate his music can only proceed by
+conjecture. Should the composer desire to establish a strongly-marked
+difference between the harmonic basis and the melodic outline it is
+better not to employ wood-wind harmony, but to obtain proper balance
+of tone by carefully distributing his dynamic marks of expression,
+_pp_, _p_, _f_ and _ff_. If, on the contrary, the composer desires a
+full round tone as harmonic basis and less show of brilliance in the
+harmonic parts, the use of harmony in the wood-wind is to be
+recommended. The following may serve as a guide to the scoring of
+wood-wind chords: the harmonic basis should differ from the melody not
+only in fullness and intensity of tone, but also in colour. If the
+fanfare figure is allotted to the brass (trumpets or horns) the
+harmony should be given to the wood-wind; if the phrase is given to
+the wood-wind (oboes and clarinets) the harmony should be entrusted to
+the horns. To solve all these questions successfully a composer must
+have full knowledge of the purpose he has in view, and those who
+orchestrate his work should be permeated with his intentions. Here the
+question arises, what should those intentions be? This is a more
+difficult subject.
+
+The aim of a composer is closely allied to the form of his work, to
+the aesthetic meaning of its every moment and phrase considered apart,
+and in relation to the composition as a whole. The choice of an
+orchestral scheme depends on the musical matter, the colouring of
+preceding and subsequent passages. It is important to determine
+whether a given passage is a complement to or a contrast with what
+goes before and comes after, whether it forms a climax or merely a
+step in the general march of musical thought. It would be impossible
+to examine all such possible types of relationship, or to consider the
+_role_ played by each passage quoted in the present work. The reader
+is therefore advised not to pay too much attention to the examples
+given, but to study them and their bearing on the context in their
+proper place in the full scores. Nevertheless I shall touch upon a few
+of these points in the course of the following outline. To begin with,
+young and inexperienced composers do not always possess a clear idea
+of what they wish to do. They can improve in this direction by
+reading good scores and by repeatedly listening to an orchestra,
+provided they concentrate the mind to the fullest possible extent. The
+search after extravagant and daring effects in orchestration is quite
+a different thing from mere caprice; _the will to achieve is not
+sufficient; there are certain things which should not be achieved_.
+
+       *       *       *       *       *
+
+The simplest musical ideas, melodic phrases in unison and octaves, or
+repeated throughout several octaves, chords, of which no single part
+has any melodic meaning are scored in various ways according to
+register, dynamic effect and the quality of expression or tone colour
+that may be desired. In many cases, one idea will be orchestrated in a
+different way every time it recurs. Later on I shall frequently touch
+upon this more complicated question.
+
+_Examples:_
+
+* _Snegourotchka_ [[58]]; [[65]] and before [[68]]--sustained note in
+unison.
+
+There are fewer possible ways of scoring more complex musical ideas,
+harmonico-melodic phrases, polyphonic designs etc.; sometimes there
+are but two methods to be followed, for each of the primary elements
+in music, melody, harmony, and counterpoint possesses its own special
+requirements, regulating the choice of instruments and tone colour.
+The most complicated musical ideas sometimes admit of only one manner
+of scoring, with a few hardly noticeable variations in detail. To the
+following example, very simple in structure I add an alternative
+method of scoring:
+
+_Example:_
+
+No. 175. _Vera Scheloga_, before [[35]]--a) actual orchestration,
+*b)--another method.
+
+It is obvious that the method b) will produce satisfactory tone. But a
+3rd and 4th way of scoring would be less successful, and a
+continuation of this process would soon lead to the ridiculous. For
+instance if the chords were given to the brass the whole passage would
+sound heavy, and the soprano recitative in the low and middle register
+would be overpowered. If the _F_ sharp in the double basses were
+played _arco_ by 'cellos and basses together it would sound clumsy, if
+it were given to the bassoons a comic effect would be produced, and if
+played by the brass it would sound rough and coarse, etc.
+
+The object of scoring the same musical phrase in different ways is to
+obtain variety either in tone colour or resonance. In each case the
+composer may resort to the inversion of the normal order of
+instruments, duplication of parts, or the two processes in
+combination. The first of these is not always feasible. In the
+preceding sections of the book I have tried to explain the
+characteristics of each instrument and the part which each group of
+instruments plays in the orchestra. Moreover many methods of doubling
+are to be avoided; these I have mentioned, while there are also some
+instruments which cannot be combined owing to the great difference in
+their peculiarities. Therefore, as regards the general composition of
+the orchestra, the student should be guided by the general principles
+laid down in the earlier stages of the present work.
+
+The best means of orchestrating the same musical idea in various ways
+is by the adaptation of the musical matter. This can be done by the
+following operations: a) complete or partial transference into other
+octaves; b) repetition in a different key; c) extension of the whole
+range by the addition of octaves to the upper and lower parts; d)
+alteration of details (the most frequent method); e) variation of the
+general dynamic scheme, e.g. repeating a phrase _piano_, which has
+already been played _forte_.
+
+These operations are always successful in producing variety of
+orchestral colour.
+
+_Examples:_
+
+No. 176, 177. _Russian Easter Fete_ [[A]] and [[C]].
+
+_The Christmas Night_ [[158]] and [[179]].
+
+No. 178-181. _The Tsar's Bride_, Overture: beginning, [[1]], [[2]],
+[[7]].
+
+_Sadko_ [[99-101]] and [[305-307]] (cf. Ex. 289, 290, and 75).
+
+No. 182-186. _Tsar Saltan_ [[14]], [[17]], [[26]], [[28]], [[34]].
+
+No. 187-189.    "    "     [[181]], [[246]], [[220]].
+
+* No. 190-191. _Ivan the Terrible_, Overture [[5]] and [[12]].
+
+_Spanish Capriccio_--compare 1st and 3rd movement.
+
+* No. 192-195. _Sheherazade_, 1st movement--beginning of the
+                              _allegro_ [[A]], [[E]], [[M]].
+
+                     "        3rd movement--beginning [[A]], [[I]].
+
+                     "        3rd     "       [[E]], [[G]], [[O]].
+
+* No. 196-198. _Legend of Kitesh_ [[55]], [[56]], [[62]].
+
+* No. 199-201.    "    "    "     [[68]], [[70]], [[84]].
+
+(Cf. also Ex. 213, 214. _Legend of Kitesh_ [[294]] and [[312]].)
+
+* No. 202-203. _The Golden Cockerel_ [[229]], [[233]].
+
+The process of scoring the same or similar ideas in different ways is
+the source of numerous musical operations, _crescendo_, _diminuendo_,
+interchange of tone qualities, variation of tone colour etc., and
+incidentally throws new light upon the fundamental composition of the
+orchestra.
+
+
+Full _Tutti_.
+
+The word _tutti_ generally means the simultaneous use of all
+instruments, but the word "all" is used relatively, and it must not be
+inferred that every single instrument must necessarily be employed to
+form a _tutti_. In order to simplify the following illustrations I
+will divide the word into two classes, _full tutti_ and _partial
+tutti_,--independently of whether the orchestra is constructed in
+pairs, in three's, or a larger number of instruments. I call _full
+tutti_ the combination of all melodic groups, strings, wind, and
+brass. By _partial tutti_ I mean passages in which the brass group
+only takes part, whether two horns or two trumpets participate alone,
+or whether two horns are combined with one or three trombones, without
+tuba, trumpets, or the two remaining horns, etc.:
+
+[4 Horns, 2 Horns           2 Horns    ]
+[...      or 2 Trumpets, or ...  etc.  ]
+[...      ...               3 Trombones].
+
+In both species of _tutti_ full wood-wind may be employed or not,
+according to the register and musical context of the passage. For
+instance, in the extreme high register it may be essential to include
+the piccolo; in the low register flutes will be unnecessary, and yet
+the passage can still be called _tutti_. The inclusion of
+kettle-drums, harp, and other instruments of little sustaining power,
+as of the percussion in general, does not come under discussion.
+
+The variety of orchestral operations increases with the number of
+instruments forming a _tutti_, in fact, so great does it become that
+it is impossible to consider all combinations. I can only give a few
+examples of full and partial _tutti_, and leave the reader to draw his
+own conclusions. Some of these examples fall under the double heading
+of full and partial _tutti_, and the student is reminded that the
+_tutti_ is used essentially in _forte_ and _fortissimo_, rarely in
+_pianissimo_ and _piano_ passages.
+
+_Examples:_
+
+_Snegourotchka_ [[61]] and [[62]]--Partial and full _Tutti_.
+
+       "        [[231]] Partial _Tutti_, without the trumpets
+                (cf. Ex. 8).
+
+No. 204. _Snegourotchka_ [[216]]--Full _Tutti_.
+
+                "        [[325-326]]--Full _Tutti_ and chorus
+                         (cf. Ex. 8).
+
+_Sadko_ [[3]], [[223]], [[239]]--Full _Tutti_ (cf. Ex. 86).
+
+No. 205-206. _Sadko_ [[173]], [[177]]--Full _Tutti_ with chorus,
+differently scored.
+
+No. 207-208. _The Christmas Night_ [[184]] and [[186]]--Full _Tutti_,
+orchestrated in different ways, with and without chorus.
+
+* _The Tsar's Bride_, Overture [[1]], [[2]], [[7]]--Full and partial
+                      _Tutti_ (cf. Ex. 179-181).
+
+*   "    "      "     [[141]]--Full _Tutti_.
+
+*   "    "      "     [[177]]--  "     "
+
+_Pan Voyevoda_ [[186]] and [[188]] Full _Tutti_.
+
+* _Antar_ [[65]]--(cf. Ex. 32).
+
+* No. 209. _Sheherazade_, 3rd movement [[M]]; cf. also 1st
+movement [[A]], [[E]], [[H]]; 2nd movement [[K]], [[P]], [[R]];
+3rd movement [[G]], [[O]]; 4th movement [[G]], [[P]], [[W]] and
+further on to [[Y]] (No. 193, 194, 19, 66, 77).
+
+* _Spanish Capriccio_ [[B]], [[F]], [[J]], [[P]], [[V]], [[X-Z]] (cf.
+Ex. 3).
+
+* _Russian Easter Fete_ [[F]], [[J]], before [[L]], [[Y]], up to the
+end.
+
+* _3rd Symphony_, 1st movement [[D]], [[R-T]], [[X]]; 2nd
+movement [[A]], [[E]]; 4th movement [[A]], [[H]], [[S]].
+
+* _Sadko_, Symphonic tableau [[20-24]].
+
+* _Mlada_, Act III [[12]] (cf. Ex. 258).
+
+* For examples of _Tutti_ chords, see special Tables at the end of
+Vol. II.
+
+
+_Tutti_ in the wind.
+
+In many cases the wood-wind and brass groups can form a _tutti_ by
+themselves for periods of varying length. Sometimes this is effected
+by the wood-wind alone, but more frequently with the support of horns.
+At other times the horns are found alone without the wood-wind, and,
+lastly, a _tutti_ may be comprised of instruments of each group in
+varying numbers. The addition of kettle-drums and the rest of the
+percussion is quite common and constitutes what the Germans call
+"Janitscharenmusik", or Turkish infantry music. Violoncellos and
+double basses playing more or less important _pizz._ notes are often
+added to wood-wind instruments (_tutti_), likewise the remainder of
+the strings and the harps; this process renders the sustained notes in
+the wood-wind more distinct. _Tutti_ passages in wood-wind and horns
+do not produce any great amount of power in _forte_ passages, but, on
+the other hand _tutti_ in the brass groups alone may attain an
+extraordinary volume of tone. In the following examples the formation
+of pedal notes by strings or wood-wind in no way alters the general
+character of the _Tutti_:
+
+_Examples:_
+
+No. 210-211. _Snegourotchka_ [[149]], [[151]] (compare).
+
+_Tsar Saltan_ [[14]], [[17]], [[26]] (cf. Ex. 182-184).
+
+_Pan Voyevoda_ [[57]], [[186]], [[262]].
+
+No. 212. _Ivan the Terrible_, Act II [[19]]; cf. also Act. III [[5]].
+
+* No. 213-214. _Legend of Kitesh_ [[294]], [[312]] (compare).
+
+* No. 215. _The Golden Cockerel_ [[116]]; cf. also [[82]] and [[84]].
+
+* _Antar_ [[37]] (cf. Ex. 65).
+
+
+_Tutti pizzicato._
+
+The quartet of strings (_pizzicato_), reinforced occasionally by the
+harp and piano, may, in certain cases constitute a particular kind of
+_tutti_, which can only attain any great degree of strength by support
+from the wood-wind. Without this support it is of medium power, though
+still fairly brilliant in quality.
+
+_Examples:_
+
+No. 216. _Snegourotchka_, before [[128]]; cf. also [[153]] and before
+[[305]].
+
+* No. 217. _Russian Easter Fete_ [[K]]; cf. also [[U]] and [[V]].
+
+* _Spanish Capriccio_ [[A]], [[C]], before [[S]], before [[P]]; cf.
+also [[O]] (Ex. 56).
+
+_Mlada_, Act II [[15]].
+
+* _Sadko_: [[220]] (cf. Ex. 295).
+
+* _Legend of Kitesh_ [[101]].
+
+* No. 218. _The May Night_, Act I, The Mayor's Song--combination of
+strings, _arco_ and _pizz._
+
+
+_Tutti_ in one, two and three parts.
+
+It often happens that a moderately full orchestral _ensemble_ executes
+a passage composed of one or two harmonic parts, in unison or in
+octaves. Such melodic phrases call for more or less simple
+orchestration with the usual doubling of parts, or, in ornamental
+writing, admit of contrast in tone colouring, occasionally with the
+addition of sustained notes.
+
+_Examples:_
+
+_Snegourotchka_, before [[152]], [[174]], [[176]].
+
+_The Tsar's Bride_ [[120-121]] (cf. Ex. 63).
+
+_The Golden Cockerel_ [[215]].
+
+* No. 219-221. _Legend of Kitesh_ [[142]], [[144]], [[147]]--3 part
+_Tutti_, with different scoring.
+
+* _Legend of Kitesh_ [[138]], [[139]]--_Tutti_ in one part.
+
+
+_Soli_ in the strings.
+
+Although, in any orchestral piece, numerous instances are to be found
+of melodies and phrases entrusted to a solo wind instrument (generally
+the first of each group, wood-wind or brass), solos for stringed
+instruments, on the other hand, are extremely rare. Whilst the 1st
+violin and 1st 'cello are fairly frequently used in this manner,
+the solo viola is seldom found, and a solo on the double bass is
+practically unknown. Phrases demanding particular individuality of
+expression are entrusted to solo instruments; likewise passages that
+require extraordinary technique, beyond the scope of the orchestral
+rank and file. The comparatively weak tone of the solo instrument
+necessitates light, transparent accompaniment. Difficult virtuoso
+solos should not be written, as they attract too much attention to a
+particular instrument. Solo stringed instruments are also used when
+vigourous expression and technical facility are not required, but
+simply in order to obtain that singular difference in colour which
+exists between a solo stringed instrument and strings in unison. Two
+solo instruments can be coupled together, e.g. 2 _Violins soli_, etc.
+and in very rare cases a quartet of solo strings may be employed.
+
+_Examples:_
+
+_Violin solo:_
+
+No. 222-223. _Snegourotchka_ [[54]], [[275]].
+
+_The May Night_, pp. 64-78.
+
+_Mlada_, Act I [[52]]; Act III, before [[19]].
+
+* _A Fairy Tale_ [[W]].
+
+* _Sheherazade_, 1st movement [[C]], [[G]]; also the passages at
+the start of each movement.
+
+* _Spanish Capriccio_ [[H]], [[K]], [[R]], and the cadence on p. 38.
+
+* No. 224. _Legend of Kitesh_ [[310]]--Vn. solo, on harmonic basis of
+strings _sul ponticello_ and wood-wind.
+
+_Snegourotchka_ [[274]], [[279]]--2 Vns soli (cf. Ex. 9).
+
+
+_Viola solo:_
+
+No. 225. _Snegourotchka_ [[212]].
+
+_Sadko_ [[137]].
+
+* No. 226. _The Golden Cockerel_ [[163]]; cf. also [[174]], [[177]].
+
+
+_Violoncello solo:_
+
+_Snegourotchka_ [[187]] (cf. Ex. 102).
+
+_The Christmas Night_, before [[29]], [[130]].
+
+_Mlada_, Act III [[36]].
+
+* _The Golden Cockerel_ [[177]], [[180]] (cf. Ex. 229).
+
+
+_Double bass solo:_
+
+* No. 227. _Mlada_, Act II [[10-12]]--a special instance where the
+first string is tuned down.
+
+
+_Solo quartet:_
+
+_The Christmas Night_ [[222]]--Vn., Viola, 'Cello, D. bass.
+
+* No. 228. _Tsar Saltan_ [[248]]--Vn. I, Vn. II, Viola, 'Cello.
+
+* The case of a solo stringed instrument doubled by the wood-wind in
+unison must not be forgotten. The object is to attain great purity and
+abundance of tone, without impairing the timbre of the solo instrument
+(especially in the high and low registers), or to produce a certain
+highly-coloured effect.
+
+_Examples:_
+
+* _Mlada_, Act II [[52]]--Vn. + Fl.; Act IV [[31]]--Viol. + Fl. +
+Harp.
+
+* _The Christmas Night_ [[212]]--2 Vns + Fl. + Small Cl. (cf. Ex.
+153).
+
+* _Pan Voyevoda_ [[67]]--2 Vns + 2 Ob.; 2 Violas + 2 Cl.
+
+* _Legend of Kitesh_ [[306]]--Bass cl. + C-fag. (cf. Ex. 10).
+
+     "    "    "     [[309]]--Vn. + Fl.
+
+* No. 229. _The Golden Cockerel_ [[179]]--Vn. + Picc.; 'Cello + Bass
+cl.
+
+* As shown in Chap. II, 2 Vns soli or Violin solo + Fl. (Picc.) are
+often sufficient to double a melody in the upper register.
+
+_Examples:_
+
+_Sadko_ [[207]]--cf. Chap. II, p. 42 and Ex. 24.
+
+* No. 230. _Russian Easter Fete_, p. 32--2 Solo violins (in
+harmonics).
+
+* No. 231. _Legend of Kitesh_ [[297]]--2 Solo violins + Picc.
+
+
+Limits of orchestral range.
+
+It is seldom that the entire orchestral conception is centred in the
+upper register of the orchestra (the 5th and 6th octaves), still
+more rarely is it focussed wholly in the lowest range (octaves 1 and
+-1) where the proximity of harmonic intervals creates a bad effect. In
+the first case the flutes and piccolo should be used along with the
+upper notes of the violins, _soli_ or _divisi_; in the second case
+the double bassoon and the low notes of the bassoons, bass clarinet,
+horns, trombones and tuba are brought into play. The first method
+gives brilliant colour, the second combination is dark and gloomy. The
+contrary would be fundamentally impossible.
+
+_Examples:_
+
+_Pan Voyevoda_ [[122]], [[137]]           }
+_Servilia_ [[168]], 8th bar. (cf. Ex. 62) }   low
+No. 232. _The Golden Cockerel_ [[220]];   }   register.
+  cf. also [[218]], [[219]]               }
+
+* _Snegourotchka_, before [[25]]                  }
+* _Legend of Kitesh_, before [[34]]               }  high
+* No. 233. _The Golden Cockerel_ [[113]], [[117]] }  register.
+* No. 234. _Sheherazade_, 2nd movement pp. 59-62  }
+
+The upper and lower parts of a passage can seldom be widely separated
+without the intermediate octaves being filled in, for this is contrary
+to the first principles of proper distribution of chords. Nevertheless
+the unusual resonance thus produced serves for strange and grotesque
+effects. In the first of the following examples the piccolo figure
+doubled by the harp and the sparkling notes of the _glockenspiel_ is
+set about four octaves apart from the bass, which is assigned to a
+single Double bass and Tuba. But in the 3rd octave, the augmented
+fourths and diminished fifths in the two flutes help to fill up the
+intermediate space and lessen the distance between the two extreme
+parts, thus forming some sort of link between them. The general effect
+is fanciful.
+
+_Examples:_
+
+No. 235. _Snegourotchka_ [[255]].
+
+* No. 236.      "        [[315]], 5th and 6th bars.
+
+                "        [[274]] (cf. Ex. 9).
+
+_A Fairy Tale_ [[A]].
+
+_The Golden Cockerel_ [[179]], 9th bar. (cf. Ex. 229).
+
+
+Transference of passages and phrases.
+
+A phrase or a figure is often transferred from one instrument to
+another. In order to connect the phrases on each instrument in the
+best possible way, the last note of each part is made to coincide with
+the first note of the following one. This method is used for passages
+the range of which is too wide to be performed on any one instrument,
+or when it is desired to divide a phrase into two different timbres.
+
+_Examples:_
+
+* _Snegourotchka_ [[137]]--The melody is transferred from the violins
+                  to the flute and clarinet (cf. Ex. 28).
+
+*        "        before [[191]]--Solo violin--Solo 'cello.
+
+_Pan Voyevoda_ [[57]]--Trombones--Trumpets; Horn--Ob. + Cl.
+
+A similar operation is used in scoring passages covering the entire
+orchestral scale, or a great portion of it. When one instrument is on
+the point of completing its allotted part, another instrument takes up
+the passage, starting on one or two notes common to both parts, and so
+on. This division must be carried out to ensure the balance of the
+whole passage.
+
+_Examples:_
+
+_Snegourotchka_ [[36]], [[38]], [[131]]--Strings.
+
+_The Tsar's Bride_ [[190]]--Wood-wind.
+
+_Sadko_ [[72]]--Strings (cf. Ex. 112).
+
+   "    [[223]]--Strings.
+
+_The Christmas Night_, before [[180]]--Strings, wind and chorus (cf.
+Ex. 132).
+
+* No. 237. _The Christmas Night_, before [[181]]--String figure.
+
+* _Servilia_ [[111]]--Strings (cf. Ex. 88).
+
+      "      [[29]], 5th bar.--Ob.--Fl.; Cl.--Bass cl., Fag.
+
+No. 238. _The Golden Cockerel_, before [[9]]--Wood-wind.
+
+*          "    "       "       [[5]]--Fag.--Eng. horn (+ 'Cellos
+                                _pizz._).
+
+
+Chords of different tone quality used alternately.
+
+1. The most usual practice is to employ chords on different groups of
+instruments alternately. In dealing with chords in different registers
+care should be taken that the progression of parts, though broken in
+passing from one group to another, remains as regular as if there
+were no leap from octave to octave; this applies specially to
+chromatic passages in order to avoid false relation.
+
+_Examples:_
+
+No. 239. _Ivan the Terrible_, Act II [[29]].
+
+No. 240-241.  _The Tsar's Bride_ [[123]], before [[124]].
+
+* No. 242-243.  "    "      "    [[178]], [[179]].
+
+     * _Note._ The rules regulating progression of parts may
+     sometimes be ignored, when extreme contrast of timbre
+     between two adjacent chords is intended.
+
+     _Examples:_
+
+     * _Sheherazade_, 8th bar from the beginning, (the
+     chromatic progression at the 12th bar is undertaken by
+     the same instruments, the 2nd cl. is therefore placed
+     above the first in the opening)--cf. Ex. 109.
+
+     * _The Christmas Night_, opening (cf. Ex. 106).
+
+2. Another excellent method consists in transferring _the same chord
+or its inversion_ from one orchestral group to another. This operation
+demands perfect balance in progression of parts as well as register.
+The first group strikes a chord of short value, the other group takes
+possession of it simultaneously in the same position and distribution,
+either in the same octave or in another. The dynamic gradations of
+tone need not necessarily be the same in both groups.
+
+_Examples:_
+
+_Ivan the Terrible_, commencement of the overture (cf. Ex. 85).
+
+No. 244. _Snegourotchka_ [[140]].
+
+
+Amplification and elimination of tone qualities.
+
+The operation which consists in contrasting the resonance of two
+different groups (* or the different timbres of one and the same
+group), either in sustained notes or chords, transforms a simple into
+a complex timbre, suddenly, or by degrees. It is used in establishing
+a _crescendo_. While the first group effects the _crescendo_
+gradually, the second group enters _piano_ or _pianissimo_, and
+attains its _crescendo_ more rapidly. The whole process is thereby
+rendered more tense as the timbre changes. The converse operation--the
+transition from a complex to a simple timbre, by the suppression of
+one of the groups, belongs essentially to the _diminuendo_.
+
+_Examples:_
+
+No. 245. _Snegourotchka_ [[313]].
+
+                "        [[140]] (cf. Ex. 244).
+
+_A Fairy Tale_ [[V]].
+
+_Sheherazade_, 2nd movement [[D]] (cf. Ex. 74).
+
+*     "        4th movement p. 221.
+
+No. 246. _Servilia_ [[228]]; cf. also [[44]].
+
+_The Christmas Night_ [[165]] (cf. Ex. 143).
+
+No. 247. _The Tsar's Bride_, before [[205]].
+
+* No. 248. _Russian Easter Fete_ [[D]].
+
+* No. 249-250. _Legend of Kitesh_ [[5]], [[162]].
+
+
+Repetition of phrases, imitation, echo.
+
+As regards choice of timbre, phrases in imitation are subject to the
+law of register. When a phrase is imitated in the upper register it
+should be given to an instrument of higher range and _vice versa_. If
+this rule is ignored an unnatural effect will be produced, as when the
+clarinet in its upper range replies to the oboe in the lower compass
+etc. The same rule must be followed in dealing with phrases, actually
+different, but similar in character; repeated phrases of different
+character should be scored in a manner most suitable to each.
+
+_Examples:_
+
+_The Tsar's Bride_ [[157]], [[161]].
+
+_Legend of Kitesh_ [[40-41]].
+
+* No. 251. _Spanish Capriccio_ [[S]].
+
+In echo phrases, that is to say imitation entailing not only decrease
+in volume of tone but also an effect of distance, the second
+instrument should be weaker than the first, but the two should possess
+some sort of affinity. An echo given to muted brass following the same
+phrase not muted produces this distant effect. Muted trumpets are
+eminently suited to echo a theme in the oboes; flutes also may imitate
+clarinets and oboes successfully. A wood-wind instrument cannot be
+used to echo the strings, or _vice versa_, on account of the
+dissimilarity in timbre. Imitation in octaves (with a decrease in
+resonance) creates an effect resembling an echo.
+
+_Examples:_
+
+_Ivan the Terrible_, Act III [[3]].
+
+No. 252. _Sadko_ [[264]].
+
+* _Spanish Capriccio_ [[E]].--This example is not precisely an echo
+but resembles one in character (cf. Ex. 44).
+
+* _Sheherazade_, 4th movement before [[O]].
+
+
+_Sforzando-piano_ and _piano-sforzando_ chords.
+
+Besides the natural dynamic process of obtaining these marks of
+expression, a process which depends upon the player, they may also be
+produced by artificial means of orchestration.
+
+a) At the moment when the wood-wind begins a _piano_ chord, the
+strings attack it _sforzando_, a compound chord for preference, either
+_arco_ or _pizz._ In the opposite case the _sf_ in the strings must
+occur at the end of the wood-wind chord. The first method is also
+employed for a _sf-dim._, and the second for a _cresc.-sf_ effect.
+
+b) It is not so effective, and therefore less frequent to give the
+notes of sustained value to the strings, and the short chords to the
+wood-wind. In such cases the _tenuto_ chord is played _tremolando_ on
+the strings.
+
+_Examples:_
+
+_Vera Scheloga_, before [[35]], [[38]], 10th bar.
+
+* No. 253. _Legend of Kitesh_, before [[15-16]].
+
+* _Sheherazade_, 2nd movement, [[P]], 14th bar.
+
+
+Method of emphasising certain notes and chords.
+
+In order to stress or emphasise a certain note or chord, besides the
+marks of expression [music symbol: decrescendo] and _sf_, chords of 2,
+3, and 4 notes can be inserted into the melodic progression by the
+instruments of the string quartet, each playing a single note; short
+notes in the wood-wind may also be used as well as a chain of three
+or four grace notes, in the form of a scale, either in strings or
+wood-wind. These unstressed notes (anacrusis), generally written very
+small, form a kind of upward glide, the downward direction being less
+common. As a rule they are connected to the main note by a slur. In
+the strings they should not lead up to chords of three or four notes,
+as this would be awkward for the bow.
+
+_Examples:_
+
+No. 254. _The Tsar's Bride_ [[142]]--Anacrusis in the strings.
+
+* No. 255. _Sheherazade_, 2nd movement [[C]]--Short _pizz._ chords.
+
+*                "         "     "     [[P]]--Short wind chords
+                                       (cf. Ex. 19).
+
+
+_Crescendo_ and _diminuendo_.
+
+Short _crescendi_ and _diminuendi_ are generally produced by natural
+dynamic means; when prolonged, they are obtained by this method
+combined with other orchestral devices. After the strings, the brass
+is the group most facile in producing dynamic shades of expression,
+glorifying _crescendo_ chords into the most brilliant _sforzando_
+climaxes. Clarinets specialise in _diminuendo_ effects and are capable
+of decreasing their tone to a breath (_morendo_). Prolonged orchestral
+_crescendi_ are obtained by the gradual addition of other instruments
+in the following order: strings, wood-wind, brass. _Diminuendo_
+effects are accomplished by the elimination of the instruments in the
+reverse order (brass, wood-wind, strings). The scope of this work does
+not lend itself to the quotation of prolonged _crescendo_ and
+_diminuendo_ passages. The reader is referred, therefore, to the full
+scores:
+
+* _Sheherazade_, pp. 5-7, 92-96, 192-200.
+
+* _Antar_ [[6]], [[51]].
+
+* _The Christmas Night_ [[183]].
+
+* _Sadko_ [[165-166]].
+
+* _The Tsar's Bride_ [[80-81]].
+
+Many examples of shorter _crescendi_ and _diminuendi_ will be found in
+Vol. II.
+
+
+Diverging and converging progressions.
+
+In the majority of cases, diverging and converging progressions simply
+consist in the gradual ascent of the three upper parts, with the bass
+descending. The distance separating the bass from the other parts is
+trifling at first, and grows by degrees. On the other hand, in
+converging progressions, the three upper parts, at first so far
+distant from the bass, gradually approach it. Sometimes these
+progressions involve an increase or a decrease in tone. The
+intermediate intervals are filled up by the introduction of fresh
+parts as the distance widens, so that the upper parts become doubled
+or trebled. In converging progressions the tripled and doubled parts
+are simplified, as the duplicating instruments cease to play.
+Moreover, if the harmony allows it, the group in the middle region
+which remains stationary is the group to be retained, or else the
+sustained note which guarantees unity in the operation. Below, the
+reader will find double examples of both descriptions. The first pair
+represents a diverging progression, 1. _piano_, in which the human
+voice takes part; 2. a purely orchestral _crescendo_. The second
+depicts two similar diverging progressions, firstly a gradual
+_crescendo_, secondly _dim._, during which the strings become more and
+more divided as the wind instruments cease to play. Ex. 258
+accompanies the apparition of Mlada, Ex. 259, its disappearance. The
+atmosphere and colouring are weird and fanciful. The third pair of
+examples forms instances of converging progressions. In the first (Ex.
+260) Princess Volkhova relates the wonders of the sea. Then in the
+middle of a powerful orchestral _crescendo_ the Sea-King appears (Ex.
+261). Both examples include a sustained stationary chord of the
+diminished seventh. The handling of such progressions requires the
+greatest care.
+
+_Examples:_
+
+No. 256-257. _The Tsar's Bride_ [[102]] and [[107]].
+
+No. 258-259. _Mlada_, Act III [[12]] and [[19]].
+
+No. 260-261. _Sadko_ [[105]] and [[119]].
+
+_Sadko_ [[72]] (cf. Ex. 112).
+
+   "    before [[315]].
+
+* _The Christmas Night_, beginning (cf. Ex. 106).
+
+* No. 262. _Antar_, end of 3rd movement.
+
+_Note._ A sustained note between the diverging parts does not always
+allow the empty space to be more completely filled up.
+
+_Example:_
+
+No. 263. _The Golden Cockerel_, before [[106]].
+
+
+Tone quality as a harmonic force.
+
+Harmonic basis.
+
+Melodic design comprising notes foreign to the harmony, passing or
+grace notes, embellishments etc., does not permit that a florid
+outline should proceed at the same time with another one, reduced to
+essential and fundamental notes:
+
+[Music]
+
+If, in the above example, the upper part is transposed an octave
+lower, the discordant effect produced by the contact of appoggiaturas
+and fundamental notes will be diminished; the quicker the passage is
+played the less harsh the effect will be, and _vice versa_. But it
+would be ill-advised to lay down any hard and fast rule as to the
+permissible length of these notes. There is no doubt that the harmonic
+notes, the thirds of the fundamental one (_E_) are more prominent from
+their proximity with the notes extraneous to the harmony. If the
+number of parts is increased (for instance, if the melodic figure is
+in thirds, sixths etc.), the question becomes still more complicated,
+since, to the original harmonic scheme, chords with different root
+bases are added, producing false relation.
+
+Nevertheless, for the solution of such problems, orchestration
+provides an element of the greatest importance: difference of timbres.
+The greater the dissimilarity in timbre between the harmonic basis on
+the one hand and the melodic design on the other, the less discordant
+the notes extraneous to the harmony will sound. The best example of
+this is to be found between the human voice and the orchestra, next
+comes the difference of timbres between the groups of strings,
+wood-wind, plucked strings and percussion instruments. Less important
+differences occur between wood-wind and brass; in these two groups,
+therefore, the harmonic basis generally remains an octave removed from
+the melodic design, and should be of inferior dynamic power.
+
+_Examples of harmonic basis in chords:_
+
+No. 264. _Pan Voyevoda_, Introduction.
+
+_Legend of Kitesh_, Introduction (cf. also Ex. 125 and 140).
+
+* _Mlada_, Act III [[10]].
+
+The harmonic basis may be ornamental in character, in which case it
+should move independently of the concurrent melodic design.
+
+_Examples:_
+
+* No. 265-266. _Tsar Saltan_ [[103-104]], [[128]], [[149]],
+[[162-165]] (cf. below).
+
+Chords the most widely opposed in character may be used on a simple,
+stationary harmonic basis, a basis, founded, for example, on the chord
+of the tonic or diminished seventh.
+
+_Examples:_
+
+No. 267. _Legend of Kitesh_ [[326-328]]--Wood-wind and harps on a
+string basis.
+
+No. 268-269. _Kashtchei the Immortal_ [[33]], [[43]].
+
+No. 270. _Mlada_, Act II, before [[17]], [[18]]], [[20]].
+
+No. 271. _The Golden Cockerel_ [[125]]--Chords of the diminished
+seventh, on arpeggio basis (augmented fifth).
+
+The effect of alternating harmony produced between two melodic
+figures, e.g. one transmitting a note, held in abeyance, to the other,
+or the simultaneous progression of a figure in augmentation and
+diminution etc. becomes comprehensible and pleasant to the ear when
+the fundamental sustained harmony is different.
+
+_Examples:_
+
+_Legend of Kitesh_ [[34]], [[36]], [[297]] (cf. Ex. 34 and 231).
+
+No. 272-274. _Tsar Saltan_ [[104]], [[162-165]] (cf. also
+[[147-148]]).
+
+* _Russian Easter Fete_, before [[V]].
+
+The whole question as to what is allowed and what forbidden in the
+employment of notes extraneous to the harmony is one of the most
+difficult in the whole range of composition; the permissible length of
+such notes is in no way established. In absence of artistic feeling,
+the composer who relies entirely on the difference between two timbres
+will often find himself using the most painful discords. Innovations
+in this direction in the latest post-Wagnerian music are often very
+questionable; they depress the ear and deaden the musical senses,
+leading to the unnatural conclusion that what is good, taken
+separately, must necessarily be good in combination.
+
+
+Artificial effects.
+
+I apply this name to some orchestral operations which are based on
+certain defects of hearing and faculty of perception. Having no wish
+to specify those that already exist or to foretell those which may yet
+be invented, I will mention, in passing, a few which have been used by
+me in my own works. To this class belong _glissando_ scales or
+arpeggios in the harp, the notes of which do not correspond with those
+played simultaneously by other instruments, but which are used from
+the fact that long _glissandi_ are more resonant and brilliant than
+short ones.
+
+_Examples:_
+
+_Snegourotchka_ [[325]] (cf. Ex. 95).
+
+No. 275. _Pan Voyevoda_ [[128]].
+
+* _Sheherazade_, 3rd movement [[M]], 5th bar (cf. Ex. 248).
+
+* _Russian Easter Fete_ [[D]] (cf. Ex. 248).
+
+* Enharmonic _glissando_ in the strings should also be mentioned.
+
+No. 276. _The Christmas Night_ [[180]], 13th bar--'Cellos
+_glissando_.
+
+
+Use of percussion instruments for rhythm and colour.
+
+Whenever some portion of the orchestra executes a rhythmic figure,
+percussion instruments should always be employed concurrently. An
+insignificant and playful rhythm is suitable to the triangle,
+tambourine, castanets and side drum, a vigourous and straightforward
+rhythm may be given to the bass drum, cymbals and gong. The strokes on
+these instruments should almost invariably correspond to the strong
+beats of the bar, highly-accented syncopated notes or disconnected
+_sforzandi_. The triangle, side drum and tambourine are capable of
+various rhythmic figures. Sometimes the percussion is used separately,
+independently of any other group of instruments.
+
+The brass and wood-wind are the two groups which combine the most
+satisfactorily with percussion from the standpoint of colour. The
+triangle, side drum, and tambourine go best with harmony in the upper
+register; cymbals, bass drum and gong with harmony in the lower. The
+following are the combinations most generally employed: _tremolo_ on
+the triangle and tambourine with trills in wood-wind and violins;
+_tremolo_ on the side drum, or cymbals struck with drum sticks, and
+sustained chords on trumpets and horns; _tremolo_ on the bass drum or
+the gong with chords on trombones or low sustained notes on 'cellos
+and double basses. It must not be forgotten that the bass drum,
+cymbals, gong and a _tremolo_ on the side drum, played _fortissimo_,
+is sufficient to overpower any orchestral _tutti_.
+
+* The reader will find instances of the use of percussion instruments
+in any full score, and in several examples of the present work.
+
+_Examples:_
+
+* _Sheherazade_ pp. 107-119, also many passages in 4th movement.
+
+* _Antar_ [[40]], [[43]] (cf. Ex. 73, 29).
+
+* _Spanish capriccio_ [[P]] (cf. Ex. 64); the cadences to be studied
+in the 4th movement, where they are accompanied by various
+percussion instruments.
+
+* _Russian Easter Fete_ [[K]] (cf. Ex. 217).
+
+* _The Tsar's Bride_ [[140]].
+
+* _Legend of Kitesh_ [[196-197]]--"The Battle of Kerjemetz".
+
+* _Pan Voyevoda_ [[71-72]].
+
+
+Economy in orchestral colour.
+
+Neither musical feeling nor the ear itself can stand, for long, the
+full resources of the orchestra combined together. The favourite group
+of instruments is the strings, then follow in order the wood-wind,
+brass, kettle-drums, harps, _pizzicato_ effects, and lastly the
+percussion, also, in point of order, triangle, cymbals, big drum, side
+drum, tambourine, gong. Further removed stand the celesta,
+_glockenspiel_ and xylophone, which instruments, though melodic, are
+too characteristic in timbre to be employed over frequently. The same
+may be said of the piano and castanets. A quantity of national
+instruments not included in the present work may be incorporated into
+the orchestra; such are the guitar, the domra, zither, mandoline, the
+oriental tambourine, small tambourine etc. These instruments are
+employed from time to time for descriptive-aesthetic purposes.
+
+These instruments are most frequently used in the above-named order. A
+group of instruments which has been silent for some time gains fresh
+interest upon its reappearance. The trombones, trumpets and tuba are
+occasionally _tacet_ for long periods, the percussion is seldom
+employed, and practically never all together, but in single
+instruments or in two's and three's. In national dances or music in
+ballad style, percussion instruments may be used more freely.
+
+After a long rest the re-entry of the horns, trombones and tuba should
+coincide with some characteristic intensity of tone, either _pp_ or
+_ff_; _piano_ and _forte_ re-entries are less successful, while
+re-introducing these instruments _mezzo-forte_ or _mezzo-piano_
+produces a colourless and common-place effect. This remark is capable
+of wider application. For the same reasons it is not good to commence
+or finish any piece of music either _mf_ or _mp_. The scope of the
+musical examples in this work does not permit of illustrating by
+quotation the use of economy in orchestral colour, nor the re-entry of
+instruments thrown into prominence by prolonged rests. The reader must
+examine these questions in full scores.
+
+
+
+
+Chapter V.
+
+COMBINATION OF THE HUMAN VOICE WITH ORCHESTRA. THE STAGE BAND.
+
+
+Orchestral accompaniment of solo voices.
+
+General remarks.
+
+In accompanying the voice orchestral scoring should be light enough
+for the singer to make free use of all the dynamic shades of
+expression without hardness of tone. In overflowing lyrical moments,
+where full voice is required, the singer should be well supported by
+the orchestra.
+
+Opera singing may be divided into two general classes, lyric singing
+and declamation or recitative. The full, round, _legato_ aria affords
+greater facility for tone production than florid music or recitative,
+and the more movement and rhythmic detail contained in the vocal part,
+the greater freedom and liberty must there be given to the voice. In
+such a case the latter should not be doubled by the orchestra, neither
+should rhythmical figures be written for any instrument corresponding
+with those in the vocal part. In accompanying the voice the composer
+should bear these points in mind before turning his attention to the
+choice of orchestral colour. A confused, heavy accompaniment will
+overpower the singer; an accompaniment which is too simple in
+character will lack interest, and one which is too weak will not
+sustain the voice sufficiently.
+
+In modern opera it is rare that orchestral writing is confined to
+accompaniment pure and simple. It frequently happens that the
+principal musical idea, often complex in character, is contained in
+the orchestra. The voice may then be said to form the accompaniment,
+exchanging musical for literary interest. It becomes subordinate to
+the orchestra, as though it were an extra part, subsequently added as
+an after-thought. But it is evident that great care must be taken with
+orchestral writing in such cases. The scoring must not be so heavy or
+complicated as to drown the voice and prevent the words from being
+heard, thereby breaking the thread of the text, and leaving the
+musical imagery unexplained. Certain moments may require great volume
+of orchestral tone, so great that a voice of even phenomenal power is
+incapable of being heard. Even if the singer is audible, such unequal
+struggles between voice and orchestra are most inartistic, and the
+composer should reserve his orchestral outbursts for the intervals
+during which the voice is silent, distributing the singer's phrases
+and pauses in a free and natural manner, according to the sense of the
+words. If a prolonged _forte_ passage occurs in the orchestra it may
+be used concurrently with action on the stage. All artificial
+reduction of tone contrary to the true feeling of a passage, the sole
+object being to allow the voice to come through, should be strictly
+avoided, as it deprives orchestral writing of its distinctive
+brilliance. It must also be remembered that too great a disparity in
+volume of tone between purely orchestral passages and those which
+accompany the voice create an inartistic comparison. Therefore, when
+the orchestra is strengthened by the use of wood-wind in three's or
+four's, and brass in large numbers, the division of tone and colour
+must be manipulated skillfully and with the greatest care.
+
+In previous sections I have frequently stated that the structure of
+the orchestra is closely related to the music itself. The scoring of a
+vocal work proves this relationship in a striking manner, and, indeed,
+it may be stipulated that _only that which is well written can be well
+orchestrated_.
+
+
+Transparence of accompaniment. Harmony.
+
+The group of strings is the most transparent medium and the one least
+likely to overpower the voice. Then come the wood-wind and the brass,
+the latter in the following order: horns, trombones, trumpets. A
+combination of strings, _pizz._, and the harp forms a setting
+eminently favourable for the voice. As a general rule a singer is more
+easily overpowered by long sustained notes than by short detached
+ones. Strings doubled in the wood-wind and brass, and brass doubled
+by wood-wind are combinations liable to drown the singer. This may be
+done even more easily by _tremolando_ in the kettle-drums and other
+percussion instruments, which, even by themselves are capable of
+overpowering any other orchestral group of instruments. Doubling of
+wood-wind and horns, and the use of two clarinets, two oboes or two
+horns in unison to form one harmonic part is likewise to be avoided,
+as such combinations will have a similar effect on the voice. The
+frequent use of long sustained notes in the double basses is another
+course unfavourable to the singer; these notes in combination with the
+human voice produce a peculiar throbbing effect.
+
+Juxtaposition of strings and wood-wind which overweights _legato_ or
+declamatory singing may nevertheless be employed if one of the groups
+forms the harmony in sustained notes and the other executes a melodic
+design, when, for instance the sustaining instruments are clarinet,
+and bassoon, or bassoon and horn, and the melodic design is entrusted
+to violins or violas--or in the opposite case, when the harmony is
+given to violas and 'cellos _divisi_, and the harmonic [Transcriber's
+Note: melodic] figure to the clarinets.
+
+Sustained harmony in the register of the second octave to the middle
+of the third does not overpower women's voices, as these develop
+_outside_ this range; neither is it too heavy for men's voices, which
+although opening out _within_ the range itself sound an octave higher,
+as in the case of the tenor voice. As a rule women's voices suffer
+more than men's when they come in contact with harmony in a register
+similar to their own. Taken separately, and used in moderation, each
+group of orchestral instruments may be considered favourable to each
+type of voice. But the combination of two or three groups cannot be so
+considered unless they each play an independent part and are not
+united together at full strength. Incessant four-part harmony is to be
+deprecated. Satisfactory results will be obtained when the number of
+harmonic parts is gradually decreased, with some of them sustaining
+pedal notes, and when the harmony, interspersed with necessary pauses
+is confined to the limits of one octave, distributed over several
+octaves, or duplicated in the higher register.
+
+These manipulations allow the composer to come to the singer's aid; in
+voice-modulations, when the singer passes from the _cantabile_ to the
+declamatory style, the composer may reduce or eliminate some harmony
+which is found to be too heavy as the vocal tone diminishes, and
+conversely, support the voice by a fuller orchestral tone in broad
+phrases and climaxes.
+
+Ornamental writing and polyphonic accompaniment should never be too
+intricate in character, entailing the use of an unnecessary number of
+instruments. Some complicated figures are better partially entrusted
+to _pizz._ strings and harp, as this combination has little chance of
+overpowering the voice. Some examples of accompanying an _aria_ are
+given below.
+
+_Examples:_
+
+_The Tsar's Bride_, Lykow's supplementary _Aria_ (Act III).
+
+  "    "      "     [[16-19]]--Griasnov's _Aria_.
+
+No. 277. _Snegourotchka_ [[45]].
+
+* _Snegourotchka_ [[187-188]], [[212-213]] the two Cavatinas of Tsar
+Berendey (cf. extracts, Ex. 102, 225).
+
+No. 278. _Sadko_ [[143]].
+
+            "    [[204-206]]--The Venetian's Song.
+
+* _Legend of Kitesh_ [[39-41]], [[222-223]] (cf. Ex. 31).
+
+* _The Golden Cockerel_ [[153-157]], [[163]].
+
+Florid singing which limits volume of tone requires a light
+accompaniment, simple in outline and colour, involving no duplication
+of instruments.
+
+_Examples:_
+
+No. 279. _Snegourotchka_ [[42-48]]--_Snegourotchka's Aria_ (Prologue),
+Fragment.
+
+* _Sadko_ [[195-197]]--Hindoo Song (cf. Ex. 122).
+
+* _The Christmas Night_ [[45-50]]--Oxana's _Aria_.
+
+* _The Golden Cockerel_ [[131-136]]--_Aria_ of Queen Shemakha.
+
+
+Doubling voices in the orchestra.
+
+Melodic doubling of voices by orchestral instruments (in unison or
+octaves) is of frequent occurrence, but incessant duplication for an
+extended period of time should be avoided; it is only permissible in
+isolated phrases. The most natural duplication in unison of womens'
+voices is performed by violins, violas, clarinets and oboes; that of
+mens' voices by violas, 'cellos, bassoons and horns. Doubling in
+octaves is usually done in the upper register. Trombones and trumpets
+overpower the voice and cannot be used for this purpose. Uninterrupted
+or too frequent duplication should be avoided, not only because the
+operation deprives the singer of full freedom of expression, but also
+because it replaces by a mixed timbre the rare characteristic
+qualities of the human voice. Doubling, when limited to a few special
+phrases supports the voice and endows it with beauty and colour. It is
+only suitable _in tempo_; to apply it, in unison or octaves to a
+passage _ad. lib._ is both ineffective and dangerous.
+
+_Examples:_
+
+_Snegourotchka_ [[50-52]]--Snegourotchka's Arietta (cf. Ex. 41).
+
+_Sadko_ [[309-311]]--Volkhova's Cradle-song (cf. Ex. 81).
+
+Besides the question of doubling the voice for the object of colour
+there are instances when the singer executes only part of a phrase,
+allotted in its entirely to an orchestral instrument.
+
+_Example:_
+
+_Vera Scheloga_ [[30]], [[36]] (cf. Ex. 49).
+
+Lyrical climaxes, _a piena voce_, or dramatic passages for the voice
+situated outside its normal range should be supported melodically and
+harmonically by the orchestra, in the register in which the voice is
+placed. The culminating point in such passages often coincides with
+the entry or sudden attack of the trombones or other brass
+instruments, or by a rush of strings. Strengthening the accompaniment
+in this manner will soften the tone of the voice.
+
+_Examples:_
+
+No. 280. _The Tsar's Bride_ [[206]].
+
+_Servilia_ [[126-127]].
+
+    "      [[232]].
+
+No. 281. _Sadko_ [[314]].
+
+_Vera Scheloga_ [[41]].
+
+If the culminating point is soft in colour and outline it is better
+left unsupported in the orchestra, but sometimes the wood-wind,
+sustaining such passages with light transparent melody or harmony may
+produce an entrancing effect.
+
+_Examples:_
+
+_Snegourotchka_ [[188]].
+
+       "        [[318]] (cf. Ex. 119).
+
+No. 282. _The Tsar's Bride_ [[214]].
+
+It is a common practice to support voices in concerted numbers by
+harmony and duplication; this operation makes for accuracy and
+brilliance when applied to duets, trios, quartets etc.
+
+_Examples:_
+
+_Snegourotchka_ [[292-293]]--Duet (cf. Ex. 118).
+
+_Sadko_ [[99-101]]--Duet (cf. Ex. 289 and 290).
+
+No. 283. _The Tsar's Bride_ [[169]]--sextet.
+
+           "    "      "    [[117]] quartet.
+
+_Legend of Kitesh_ [[341]]--quartet and sextet (cf. Ex. 305).
+
+The beautiful effect produced by a solo instrument accompanying a
+_cantabile aria_ cannot be denied. In such cases the instruments used
+are generally the violin, viola, and 'cello, or the flute, oboe, Eng.
+horn, clar., bass clar., bassoon, horn and harp. The accompaniment is
+often contrapuntal or composed of polyphonic designs. The solo
+instrument either plays alone or as the leading melodic voice in the
+_ensemble_. In combination with the voice, or associated with some
+action on the stage, a solo instrument is a powerful expedient for
+musical characterisation. Instances of this description are numerous.
+
+_Examples:_
+
+_Snegourotchka_ [[50]]--Soprano and oboe (cf. Ex. 41).
+
+       "        [[97]]--Contralto and Eng. horn.
+
+       "        [[243]], [[246]]--Baritone and bass clar.
+                (cf. Ex. 47-48).
+
+No. 284. _The Tsar's Bride_ [[108]]--Soprano, 'cello and oboe.
+
+* _The Golden Cockerel_ [[163]]--Soprano and viola (cf. Ex. 226).
+
+It is comparatively rare for percussion instruments to take part in
+accompanying the voice. The triangle is occasionally used, the cymbals
+less frequently. An accompaniment may be formed by a figure or a
+_tremolo_ on the kettle-drums.
+
+_Examples:_
+
+_Snegourotchka_ [[97]], [[224]], [[247]] (Lell's 1st and 3rd
+songs).
+
+_Tsar Saltan_, before [[5]].
+
+* No. 285. _The Golden Cockerel_ [[135]]; cf. also [[161]], [[197]].
+
+The following are examples of powerful and expressive orchestral
+passages, the voice _tacet_:
+
+No. 286. _The Tsar's Bride_ [[81]].
+
+* _Legend of Kitesh_ [[282]], [[298]].
+
+* _Servilia_ [[130]].
+
+
+Recitative and declamation.
+
+The accompaniment of recitative and melodic declamatory phrases should
+be light enough to allow the voice to come through without strain, and
+the words to be heard distinctly. The most convenient method is to
+employ sustained chords and _tremolo_ on the strings or wood-wind,
+giving free latitude to the voice from a rhythmic point of view (_a
+piacere_).
+
+Another excellent plan is to write short chords in the strings
+combined with wood-wind in different ways. Sustained chords and those
+entailing change of position should occur preferably when the voice is
+silent, thus permitting both conductor and orchestra to keep a closer
+watch over the singer's irregularities of rhythm in _a piacere_
+recitatives. If the accompaniment is more complex in character,
+melodic, polyphonic or ornamental in design, the recitative must be
+sung _in tempo_. Any phrase which it is necessary to emphasise in
+accordance with the sense of the words assumes a more _cantabile_
+character, and must be reinforced by the orchestra. Opera, today,
+besides demanding much greater care in the treatment of the text than
+in the past, abounds in constant transition from declamation to
+_cantabile_, or in the fusion of the two. The orchestra offers more
+variety of texture and must be handled with greater regard to its
+relationship to the words, and the action on the stage. This class of
+orchestration can only be studied from lengthy examples. I refer the
+reader to operatic full scores and content myself with giving one or
+[Transcriber's Note: 'two' missing in original] short instances:
+
+_Examples:_
+
+No. 287. _Snegourotchka_ [[16]].
+
+No. 288. _The Tsar's Bride_ [[124-125]].
+
+The following double examples, similar from a musical point of view,
+show different methods of handling an orchestra from the standpoint of
+accompaniment to the voice, and the _tutti_ form.
+
+_Examples:_
+
+No. 289-291. _Sadko_ [[99-101]] and [[305-307]] (compare also Ex. 75).
+
+_Vera Scheloga_ [[3-7]] and [[28]].
+
+Care should be taken not to score too heavily when accompanying
+singers in the wings.
+
+_Examples:_
+
+* No. 292. _Sadko_ [[316]], [[318]], [[320]].
+
+* _Legend of Kitesh_ [[286-289]], [[304-305]].
+
+
+Orchestral accompaniment of the chorus.
+
+The chorus, possessing much greater unity and power than the solo
+voice, does not demand such careful handling in the accompaniment. On
+the contrary, too great a refinement of orchestral treatment will
+prove harmful to the resonance of the chorus. As a general rule
+orchestration of choral works follows the rules laid down for purely
+instrumental scoring. It is obvious that dynamic marks of expression
+must correspond in both bodies, but doubling one orchestral group with
+another and coupling instruments of the same kind in unison (2 Ob., 2
+Cl., 4 Horns, 3 Trombones etc.) are both possible operations, if
+performed according to the requirements of the musical context.
+Doubling choral parts by instruments is generally a good plan. In
+_cantabile_ passages such duplication may be melodic in character,
+and the design more ornamental in the orchestra than in the chorus.
+
+_Examples:_
+
+_Ivan the Terrible_, Act II [[3-6]]; Act III [[66-69]].
+
+_The May Night_, Act I [[X-Y]]; Act III [[L-Ee]], [[Ddd-Fff]].
+
+_Snegourotchka_ [[61-73]], [[147-153]], [[323-328]].
+
+_Mlada_, Act II [[22-31]], [[45-63]]; Act IV [[31-36]].
+
+_The Christmas Night_ [[59-61]], [[115-123]].
+
+_Sadko_ [[37-39]], [[50-53]], [[79-86]], [[173]], [[177]], [[187]],
+[[189]], [[218-221]], [[233]], [[270-273]].
+
+_The Tsar's Bride_ [[29-30]], [[40-42]], [[50-59]], [[141]].
+
+_Tsar Saltan_ [[67-71], [[91-93]], [[133-145]], [[207-208]].
+
+_Legend of Kitesh_ [[167]], [[177-178]].
+
+_The Golden Cockerel_ [[237-238]], [[262-264]].
+
+The reader will find instances of choral accompaniment in many
+examples relating to other sections of the work.
+
+In the case of solitary exclamations or phrases in recitative, melodic
+doubling is not always suitable. It is better to support the voice
+simply by harmonic duplication.
+
+The repetition of notes--required by declamation--forming no
+fundamental part of the rhythmical structure of a phrase or chord
+should not be reproduced in the orchestra; the melodic or harmonic
+basis alone should be doubled. Sometimes the rhythmical structure of a
+choral phrase is simplified in comparison with its orchestral
+duplication.
+
+_Examples:_
+
+No. 293. _The Tsar's Bride_ [[96]].
+
+No. 294. _Ivan the Terrible_, Act I, before [[75]].
+
+Choral passages, the musical context of which is complete in itself,
+forming a chorus _a cappella_ often remain undoubled by the orchestra,
+accompanied solely by sustained notes or an independent polyphonic
+figure.
+
+_Examples:_
+
+No. 295. _Sadko_ [[219]].
+
+* _Tsar Saltan_ [[207]].
+
+* _Legend of Kitesh_ [[167]] (cf. Ex. 116).
+
+* _The Golden Cockerel_ [[236]].
+
+Heavier scoring is required for a mixed chorus; for a male voice
+chorus the orchestration should be lighter; still more so for women's
+voices alone. In scoring a certain passage the composer should not
+lose sight of the number of choristers he is employing, for scenic
+conditions may necessitate a reduction of that figure. The approximate
+number should be marked in the full score as a basis upon which to
+work.
+
+_Examples:_
+
+No. 296. _Ivan the Terrible_, Act II [[37]].
+
+* _Sadko_ [[17]], [[20]].
+
+* _Legend of Kitesh_ [[61]] (cf. Ex. 198).
+
+     _Note._ It must also be remembered that a _ff_ passage on an
+     enlarged orchestra, comprising wood-wind in fours, and
+     numerous brass (sometimes in three's), is capable of
+     overpowering a large mixed chorus.
+
+A chorus in the wings requires as light an accompaniment as that
+employed for a solo singer on the stage.
+
+_Examples:_
+
+* _Ivan the Terrible_, Act I [[25-26]], [[90]]; Act III [[13-14]].
+
+* _The May Night_, Act I, before [[X]]; Act III [[Bbb-Ccc]].
+
+* No. 297. _Sadko_ [[102]].
+
+* _Legend of Kitesh_ [[54-56]] (cf. Ex. 196 and 197).
+
+
+Solo voice with chorus.
+
+When an _aria_ or recitative is coupled with the chorus great care
+must be taken in the choral writing. A woman's solo voice stands out
+well against a male voice chorus, likewise a solo male voice against a
+women's chorus, for in both cases, the timbre of the solo voice
+differs from the rest. But the combination of solo voice and chorus,
+of the same timbre, or mixed chorus, creates a certain amount of
+difficulty. In such cases the soloist should sing in a higher register
+than the chorus, the former _a piena voce_, the latter _piano_. The
+soloist should stand as near to the footlights as possible; the chorus
+up-stage. The orchestration should be adapted to the soloist, not to
+the chorus.
+
+_Examples:_
+
+No. 298. _Snegourotchka_ [[143]].
+
+_Ivan the Terrible._ Act II [[37]] (cf. Ex. 296).
+
+When the chorus sings in the wings the soloist is always heard
+distinctly.
+
+_Examples:_
+
+_Ivan the Terrible_, Act I [[25-26]].
+
+* _The May Night_, Act III [[Ccc]].
+
+* _Sadko_ [[102]], [[111]].
+
+
+Instruments on the stage and in the wings.
+
+The use of instruments on the stage or in the wings dates from distant
+times (Mozart, _Don Giovanni_, string orchestra in Act I, _finale_).
+In the middle of last century orchestras of brass instruments, or
+brass and wood-wind combined, made their appearance on the stage
+(Glinka, Meyerbeer, Gounod and others). More modern composers have
+abandoned this clumsy practice, not only unfortunate from the
+spectators' point of view, but also detrimental to the mediaeval or
+legendary setting of the majority of operas. Only those stage
+instruments are now used which suit the scene and surroundings in
+which the opera is laid. As regards instruments in the wings,
+invisible to the audience, the question is simple. Nevertheless, for
+the musician of today the choice of these instruments must be
+regulated by aesthetic considerations of greater importance than those
+governing the selection of a military band. The instruments are played
+in the wings, those visible on the stage are only for ornament.
+Sometimes stage-instruments may be replicas of those common to the
+period which the opera represents, (the sacred horns in _Mlada_, for
+example). The orchestral accompaniment must vary in power according
+to the characteristics of the instruments played in the wings. It is
+impossible to illustrate the use of all the instruments mentioned
+below, and to outline suitable accompaniments. I can only give a few
+examples and refer the reader once again to the passages in the full
+scores.
+
+a) Trumpets:
+
+_Servilia_ [[12]], [[25]].
+
+* _Legend of Kitesh_ [[53]], [[55]], [[60]].
+
+* _Tsar Saltan_ [[139]] and further on.
+
+
+b) Horns, in the form of hunting horns:
+
+_Pan Voyevoda_ [[38-39]].
+
+
+c) Trombones, leaving the orchestra to go on the stage:
+
+_Pan Voyevoda_ [[191]].
+
+
+d) Cornets:
+
+_Ivan the Terrible_, Act III [[3]], [[7]].
+
+
+e) Sacred horns (natural brass instruments in various keys):
+
+_Mlada_, Act II, pp. 179 onwards.
+
+
+f) Small clarinets and piccolos:
+
+No. 299-300. _Mlada_, Act III [[37]], [[39]].
+
+
+g) Pipes of Pan: instruments, specially made, with many holes which
+are passed over the lips. These particular pipes produce a special
+enharmonic scale (_B_ flat, _C_, _D_ flat, _E_ flat, _E_, _F_ sharp,
+_G_, _A_), which has the effect of a glissando:
+
+_Mlada_, Act III [[39]], [[43]] (cf. Ex. 300).
+
+
+h) Harp, reproducing the effect of an aeolian harp:
+
+_Kashtchei the Immortal_ [[32]] and further on (cf. Ex. 268, 269).
+
+
+i) Lyres. Instruments specially made and tuned so as to be able to
+perform a glissando chord of the diminished seventh:
+
+_Mlada_, Act III [[39]], [[43]] (cf. Ex. 300).
+
+
+k) Pianoforte, grand or upright:
+
+_Mozart and Salieri_ [[22-23]].
+
+
+l) Gong, imitating a church bell:
+
+_Ivan the Terrible_, Act I [[57]] and further on.
+
+
+m) Bass Drum (without cymbals) to imitate the sound of cannon:
+
+_Tsar Saltan_ [[139]] and later.
+
+
+n) Small kettle-drum, in _D_ flat (3rd octave):
+
+_Mlada_, Act III [[41]] and later (cf. Ex. 60).
+
+
+o) Bells in various keys:
+
+_Sadko_ [[128]] and [[139]].
+
+No. 301. _Legend of Kitesh_ [[181]] and further on. See also [[241]],
+[[323]] and later.
+
+* _Tsar Saltan_ [[139]] and further on.
+
+
+p) Organ:
+
+No. 302. _Sadko_ [[299-300]].
+
+Wood-wind and strings are comparatively seldom used on the stage or in
+the wings. In Russian opera the strings are employed in this way by
+Rubinstein (_Gorioucha_), and in a splendidly characteristic manner by
+Serov (_Hostile Power_): in the latter opera the _E_ flat clarinet is
+used to imitate the fife in the Carnival procession.[17]
+
+[Footnote 17: Mention should be made of the happy use of a small
+orchestra in the wings (2 picc., 2 cl., 2 horns, 1 trombone,
+tambourine, 4 Vns, 2 violas, 1 D-bass) in _The May Night_, Act II,
+Sc. I. [[M-P]]. (Editor's note.)]
+
+
+
+
+Chapter VI (Supplementary).
+
+VOICES.
+
+
+Technical Terms.
+
+Among all the confused terms employed in singing to denote the
+compass, register and character of the human voice, there are four
+which may be said to represent elemental types: soprano, alto or
+contralto, tenor and bass. These names are used to denote the
+composition of the chorus with sub-divisions of _firsts_ and
+_seconds_, to determine how the parts must be divided. (Sopr. I, Sopr.
+II etc.) While the range of an instrument is exactly governed by its
+construction, the compass of the voice, on the other hand, depends on
+the individuality of the singer. It is therefore impossible to define
+the exact limits of each of these vocal types. When it is a question
+of dividing choristers into 1st and 2nd parts, those with the
+higher voices are classed among the firsts and _vice versa_.
+
+Besides the principal terms mentioned above, the names mezzo-soprano
+(between sop. and alto), and baritone (between tenor and bass) are
+also employed.
+
+     _Note._ In the chorus mezzo-sopranos are classed with 2nd
+     sopranos or 1st altos, baritones with 2nd tenors or
+     first basses, according to quality and timbre of voice.
+
+Apart from these denominations which represent the six principal solo
+voices, a quantity of others are in use to denote either compass,
+timbre or technique, such as light soprano, _soprano giusto_, lyric
+soprano, dramatic soprano, light tenor, _tenorino-altino_,
+_baryton-martin_, lyric tenor, dramatic tenor, _basso cantante_
+("singing bass"), _basso profondo_ (deep bass) etc. To this lengthy
+list must be added the term _mezzo-carattere_, of intermediate
+character (between lyric and dramatic soprano, for example).
+
+If we try to discover the real meaning of these designations it soon
+becomes apparent that they are derived from widely different
+sources--for instance, "light soprano" implies agility and mobility in
+the voice; "dramatic tenor", the power to express strong dramatic
+feeling; _basso profondo_ signifies great resonance in the deep
+register.
+
+Minute examination of all the methods of attack and emission of sound
+lies within the province of the singing master and to enumerate them
+here would only perplex the student. The same applies to the position
+and exact limits of register (chest voice, middle and head voice in
+women; chest voice, mixed voice and falsetto in men). The work of a
+teacher of singing consists in equalising the voice throughout its
+whole compass, so that the transition from one register to another, on
+all the vowels, may be accomplished imperceptibly. Some voices are
+naturally even and flexible. The professor of singing must correct
+faults in breathing, determine the range of the voice and place it,
+equalise its tone, increase its flexibility, instruct as to the
+pronunciation of vowels, modulation from one grade of expression to
+another, etc. A composer should be able to rely upon flexible and
+equal voices without having to trouble himself as to the abilities or
+defects of individual singers. In these days a part is seldom written
+for a particular artist, and composers and librettists do not find it
+necessary to entrust a certain role to _fioriture_ singers, another to
+heavy dramatic voices. Poetic and artistic considerations demand
+greater variety of resource in the study of opera or vocal music in
+general.
+
+
+Soloists.
+
+Range and register.
+
+I advise the composer to be guided by Table F. which gives the
+approximate range of the six principal solo voices. A bracket under
+the notes defines the normal octave, the register in which the voice
+is generally used. Within these limits the composer may write freely
+without fear of hardening or tiring the voice. The normal octave
+applies also to declamatory singing and recitative; the notes above it
+are exceptional and should be used for the culminating points of a
+passage or for climaxes, the notes below, for the fall or decline of a
+melody. Employing voices in unusual registers for long periods of time
+will weary both singer and listener, but these registers may
+occasionally be used for brief intervals so as not to confine the
+voice too strictly to one octave. A few examples are added to
+illustrate melody in different types of voices.
+
+_Examples:_
+
+_The Tsar's Bride_ [[102-109]] (for extracts cf. Ex. 256, 280,
+                   284)--Marfa's Aria (Soprano).
+
+  "    "      "    [[16-18]]--Griaznov's Aria (Baritone).
+
+_Snegourotchka_--The 3 songs of Lell. (Contralto).
+
+_Sadko_ [[46-49]] (cf. extract, Ex. 120)--Sadko's Aria (Tenor).
+
+   "    [[129-131]]--Lioubava's Aria (Mezzo-sopr.).
+
+   "    [[191-193]] (cf. extract, Ex. 131)--Bass Aria.
+
+
+Vocalisation.
+
+A good vocal melody should contain notes of at least three different
+values, minims, crotchets and quavers (or crotchets, quavers and
+semiquavers etc.). Monotony in rhythmic construction is unsuited to
+vocal melody; it is applicable to instrumental music, but only in
+certain cases. _Cantabile_ melody requires a fair number of long
+notes, and a change of syllable in a word should occur at a moment
+when the voice quits a long sustained note. Short, single notes,
+changing with every syllable produce a harmonious effect. Owing to the
+requirements of diction, extended melodic figures sung _legato_ on one
+syllable must be used with care on the part of the composer; to
+perform these the singer must possess greater command over flexibility
+and technique. The possibility of taking breath in the right place is
+one of the conditions essential to all vocal writing. Breath cannot be
+taken in the middle of a word, sometimes not even during the course of
+a sentence or phrase in the text; hence the voice part must be
+suitably interspersed with rests.
+
+
+Table F. Voices.
+
+Chorus:
+
+[Music: Soprano.
+
+Contralto.
+
+Tenor.
+
+Bass.]
+
+
+Soloists:
+
+[Music:
+
+Soprano.
+Mezzo-soprano.
+Contralto.
+Tenor.
+Baritone.
+Bass.]
+
+     _Note._ It must be remembered that there are some words upon
+     which the voice may not dwell, or sing more than one or two
+     notes. These words may be nouns, pronouns, numerals,
+     prepositions, conjunctions and other parts of speech. It
+     would be impossible and ridiculous, for instance, to write a
+     sustained note on such words as "who", "he" etc. The voice
+     may dwell on certain words which, so to speak, possess some
+     poetical colour.[18]
+
+[Footnote 18: Here the author approaches a question so well known to
+the Russians that it does not require any further elucidation for
+their guidance. But a whole book would have to be written to form a
+compendium of practical rules on this subject, and to point out the
+errors which nearly all French composers openly commit--even those who
+are famous for their sense of diction and literary style. We can only
+conclude that the question has come to be considered of minor
+importance in France, perhaps on account of the lack of definite
+stress on the syllables of words, which is characteristic of the
+French language. It is not within the translator's province to discuss
+the question of French versification or to elaborate the excellent
+maxims laid down by Rimsky-Korsakov, the first, among many, to touch
+upon this delicate and important subject. (Translator's note.)]
+
+_Examples:_
+
+No. 303. _Sadko_ [[236]]--Sadko's Aria (Tenor).
+
+            "    [[309-311]] (see extract, Ex. 81). Volkhova's Cradle
+                 Song (Soprano).
+
+_Snegourotchka_ [[9]]--Fairy Spring's Aria (Mezzo-sopr.).
+
+       "        [[187-188]], [[212-213]] (see extracts, Ex. 102 and
+                225)--the two Cavatinas of Tsar Berendey (Tenor).
+
+       "        [[247]]--Miskir's Aria (Baritone).
+
+
+Vowels.
+
+As regards vocalisation on one syllable, on long sustained notes and
+in the high register, the choice of vowels is a matter of some
+importance. The difference in the position of the mouth and lips in
+forming the open vowel =a= and the closed vowel =ou= is apparent to
+everyone. The series of vowels from the point of view of open sounds
+is: =a=, =i=, =o=, =e=, =u=. In women's voices the easiest vowel on
+high notes is =a=, for men it is =o=. The vowel =i= softens the
+penetrating quality of the top notes of a bass voice, and the vowel
+=a= adds to the extension of range in the very lowest compass. Lengthy
+florid passages are often written on the interjection =ah=, or simply
+on the vowel =a=. Owing to the restrictions imposed by literary and
+dramatic laws, the composer can only follow the above rules to a
+limited extent.
+
+_Examples:_
+
+_Snegourotchka_ [[293]], [[318-319]] (cf. Ex. 119).
+
+No. 304. _Sadko_ [[83]].
+
+
+Flexibility.
+
+Voices possess the greatest amount of flexibility in their normal
+octave. Women's voices are more supple than men's, but in all types,
+the higher voice is the more agile, sopranos in women, the tenor voice
+in men. Although capable of performing florid and complicated figures,
+different varieties of phrasing and the rapid change from staccato to
+legato, the human voice is infinitely less flexible than a musical
+instrument. In passages of any rapidity, diatonic scales and
+_arpeggios_ in thirds come easiest to the voice. Intervals bigger than
+fourths in quick succession and chromatic scales are extremely
+difficult. Skips of an octave or more starting from a short note
+should always be avoided. Preparation should precede any extremely
+high note either by leading up to it gradually, or by the clear leap
+of a fourth, fifth or octave; but sometimes the voice may attack a
+high note without any due preparation.
+
+_Examples:_
+
+_Snegourotchka_ [[46-48]] (cf. extract, Ex. 279)--Snegourotchka's
+                Aria (Soprano).
+
+       "        [[96-97]]--Lell's first song (Contralto).
+
+_Sadko_ [[196-193]] [Transcriber's Note: so in original] (cf. extract,
+        Ex. 122)--Hindoo song (Tenor).
+
+   "    [[203-206]]--Venetian song (Baritone).
+
+_Pan Voyevoda_ [[20-26]]--Maria's cradle song (Sopr).
+
+
+Colour and character of voices.
+
+The colouring of the voice, whether it be brilliant or dull, sombre or
+sonorous depends upon the individual singer, and the composer has no
+need to consider it. The chief question is interpretation and may be
+solved by the judicious choice of artists. From the point of view of
+flexibility and expression voices may be divided into two classes,
+_lyric_ and _dramatic_. The latter is more powerful and of greater
+range, the former possesses more suppleness and elasticity and is more
+readily disposed to different shades of expression. Granted that the
+rare combination of the two classes is the composer's ideal, he should
+nevertheless be content to follow the main artistic purpose which he
+has set out the [Transcriber's Note: to] achieve. In complicated and
+important works the composer should bear in mind the characteristics
+of the various voices he employs; moreover, if he use two voices of
+the same calibre, e.g. 2 Sopranos or 2 Tenors, he should discriminate
+between the range and register of their respective parts, writing for
+one slightly higher than the other. It is no rare occurrence to meet
+with voices of an intermediate character (mezzo-carattere) combining
+the qualities of each type to a modified extent. To such voices the
+composer may assign roles demanding the characteristics of each class,
+especially secondary roles. At the present day, besides the roles
+suitable to the dramatic and lyric type of voice, it is customary to
+give prominence to those demanding some special qualifications, voices
+of a certain tenderness or power, a specified range or degree of
+flexibility--attributes decided by the artistic object in view. In
+casting secondary and minor roles the composer is advised to employ a
+medium range and less exacting demands on technique.
+
+     _Note._ After Meyerbeer, who was the first to write for a
+     special type of heavy mezzo-soprano and baritone, Richard
+     Wagner created a type of powerful dramatic soprano, of
+     extensive range, combining the quality and scope of the
+     soprano and mezzo-soprano voices; likewise a similar type of
+     tenor, possessing the attributes and compass of the tenor
+     and baritone together. To demand that voices shall be
+     equally brilliant and resonant in the high and low register,
+     that singers shall be endowed with a super-powerful
+     breathing apparatus and an extraordinary faculty for
+     resistance to fatigue (Siegfried, Parsifal, Tristan,
+     Bruenhilda, Kundry, Isolda), is to exact something little
+     short of the miraculous. Such voices are to be found, but
+     there are some singers with excellent though not phenomenal
+     vocal powers, who, by the constant pursuit of Wagnerian
+     parts endeavour to increase their range and volume, and only
+     succeed in depriving the voice of correct intonation, beauty
+     of tone, and all subtlety of _nuances_. I believe that less
+     exacting demands and greater perception of what is required,
+     skilful and judicious use of the high and low registers of
+     the voice, a proper understanding of _cantabile_ writing
+     combined with orchestration which never overpowers the vocal
+     part will be of greater service to the composer, from an
+     artistic point of view, than the more elaborate methods of
+     Richard Wagner.
+
+
+Voices in combination.
+
+Treating solo voices in a polyphonico-harmonic manner is the best
+method of preserving their individual character in _ensembles_. A
+distribution which is wholly harmonic or entirely polyphonic is seldom
+found. The first plan, largely used in choral writing, simplifies the
+movement of the voices too greatly, eliminating their melodic
+character; the second method is wearisome and somewhat disturbing to
+the ear.
+
+As a general rule the voices are arranged according to the law of
+normal register. Crossing of parts is rare and should only be done
+with the intention of emphasising the melody in the ascending voices
+above those adjacent in register, e.g. the tenor part above contralto,
+the mezzo-soprano above the soprano, etc.
+
+
+Duet.
+
+The combinations most conducive to the proper movement of parts are
+those of two voices related within an octave 8 [Sopr./Ten.,
+M.-sopr./Bar., C.-alto/Bass. Movement in tenths, sixths, thirds or
+octaves (the last very seldom) will always produce satisfactory
+_ensemble_, and if the parts progress polyphonically, it need not
+happen _frequently_ that they are separated by more than a tenth, or
+that undesirable crossing of parts will result.
+
+_Examples:_
+
+_Sadko_ [[99-101]]--Sopr. and Tenor (cf. Ex. 289, 290).
+
+_Servilia_ [[143]]--Sopr. and Tenor.
+
+_Ivan the Terrible_, Act I [[48-50]]--Sopr. and Tenor.
+
+_Kashtchei the Immortal_ [[62-64]]. Mezzo-sopr. and Baritone.
+
+=Voices related in fifths and fourths, 5 [Sopr./C.-alto, 4
+[C.-alto/Ten., 5 [Ten./Bass.= should progress nearer to one another; it
+is rare for them to move in tenths, common in sixths and thirds; they
+may also proceed in unison. The two voices are seldom separated at a
+greater distance than an octave, and certain cases will require
+crossing of parts, which, however, should only be for periods of short
+duration.
+
+_Examples:_
+
+_Snegourotchka_ [[263-264]]--Soprano and Alto.
+
+* _The Christmas Night_ [[78-80]]--Alto and Tenor.
+
+* _Legend of Kitesh_ [[338]]--Tenor and Bass.
+
+Voices related in thirds;
+
+3 [Sopr.     M.-sopr. Ten.  Bar.
+  [M.-sopr., C.-alto, Bass, Bass,
+
+may move in unison, in thirds and sixths, and admit very largely of
+the crossing of parts. Separation by more than an octave must only be
+momentary, and is generally to be avoided.
+
+_Examples:_
+
+* _The Tsar's Bride_ [[174]]--Sopr. and Mezzo-sopr.
+
+* _Tsar Saltan_ [[5-6]]--Sopr. and Mezzo-sopr.
+
+In the case of voices related in twelfths: 12 [Sopr./Bass, intervals
+approaching one another do not create a good effect, for this
+transplants the deeper voice into the upper register and _vice versa_.
+Singing in unison is no longer possible, and thirds are to be avoided;
+the use of sixths, tenths and thirteenths is recommended. The voices
+will often be separated by more than a twelfth and crossing of parts
+is out of the question.
+
+_Example:_
+
+* _Tsar Saltan_ [[254-255]].
+
+Relationship in tenths 10 [Sopr./Bar. or M.-sopr./Bass is fairly
+common. The explanations given above are also applicable in this case.
+
+_Example:_
+
+_Snegourotchka_ [[291-300]] (cf. extract, Ex. 118) Sopr. and Bar.
+
+The use of similar voices in pairs: Sopr./Sopr., Ten./Ten. entails
+singing in unison and thirds. They should rarely be separated beyond a
+sixth, but crossing of parts is inevitable, as otherwise the resultant
+volume of tone would be too weak.
+
+     _Note._ Other possible combinations: C.-alto/Bar.,
+     M.-sopr./Ten., call for no special remarks.
+
+_Examples:_
+
+* _The May Night_, Act I pp. 59-64--Mezzo-sopr. and Tenor.
+
+* _Sadko_ [[322-324]]--Mezzo-sopr. and Tenor.
+
+As a general rule, writing for two voices is only successful when the
+progression of parts is clear, when discords are prepared by a common
+note, or are the outcome of conveniently separated movement and
+correctly resolved. Empty intervals of fourths and perfect fifths,
+elevenths and twelfths should be avoided on the strong beats of a bar,
+especially on notes of some value. If, however, one of the voices
+assumes a melodic character, the other forming the harmonic
+accompaniment in declamatory style, it is not absolutely necessary to
+avoid the intervals mentioned above.
+
+     _Note._ It is not within the scope of the present work to
+     consider the writing of vocal parts in closer detail. This
+     question must be left to the professor of free counterpoint.
+     It remains to be noted that the human voice accompanied by
+     the orchestra is always heard independently as something
+     apart, something complete in itself. For this reason a
+     composer may never rely on the orchestra to fill up an empty
+     space or correct a fault in the handling of voices. All the
+     rules of harmony and counterpoint, down to the last detail,
+     must be applied to vocal writing, which is never dependent
+     upon orchestral accompaniment.
+
+
+Trios, quartets etc.
+
+All that has been said regarding the relationship of voices in duet
+applies with equal force to the combination of three, four, five or
+more voices. An _ensemble_ of several voices is seldom purely
+polyphonic; as a rule, although some parts move polyphonically,
+progression in thirds, sixths, tenths and thirteenths is used for the
+remainder. Declamation for some voices on notes forming the harmony is
+also possible. This variety of simultaneous movement of vocal parts
+renders the comprehension of the total effect less difficult for the
+ear, and sanctions the distribution of distinctive and suitable
+figures or tone colouring to certain voices with other figures or
+timbres which may be proceeding at the same time. The skilful
+arrangement of pauses and re-entries facilitates the understanding of
+the whole, and gives desirable prominence to detail.
+
+_Examples:_
+
+_Snegourotchka_ [[267]]--Trio, Finale to Act III.
+
+_The Tsar's Bride_ [[116-118]]--Quartet in Act II.
+
+  "    "      "    [[168-171]]--Sextet in Act III (cf. extract, Ex. 283).
+
+_Servilia_ [[149-152]]--Quintet in Act III.
+
+The movement of solo voices is seldom purely harmonic in character
+with predominance given to the upper voices homophonically treated.
+The blending of all the parts into an harmonic whole, without any
+distinctive predominant feature in any one part (as in a chorale) is
+employed for songs or _ensembles_ in traditional style, prayers,
+hymns, etc. If this method is adopted for the quartet of voices,
+Sopr./Alto/Ten./Bass, it will be noted that widely-spaced part writing
+is the most natural and suitable form (especially in _forte_
+passages), as the four voices can sing together in their proper
+registers (low, middle and high), while, in close part writing they
+may find themselves at a given moment in registers, which are entirely
+foreign. But both methods should be employed, as, otherwise, it would
+be impossible to guarantee equality in even the shortest succession of
+chords.
+
+_Examples:_
+
+_Snegourotchka_ [[178]] Hymn of Tsar Berendey's subjects.
+
+No. 305. _Legend of Kitesh_ [[341]].
+
+The second half of the last example is an instance of six-part
+harmonic writing; the upper voice stands out prominently, the rest
+form a kind of accompaniment.
+
+
+Chorus.
+
+Range and register.
+
+The range of choral voices is slightly more limited than that of
+soloists. The exceptional register may be considered as two notes
+above and below the normal octave. The dotted lines extended still
+further indicate the limits upon which a composer may rely in very
+exceptional cases, as every full chorus must contain a few voices of
+more than average compass, in this respect approaching the solo voice
+in character. In many choruses one or two bass singers may be found
+who are able to go still lower than the limit of the exceptional range
+(they are called _octavists_).[19]
+
+[Footnote 19: _Contrebasses_ voices as they are called when mentioned
+in French works are peculiar to Russia, in which country they are
+plentiful. (Translator's note.)]
+
+     _Note._ These uncommonly deep notes must be moderately well
+     sustained and can only be used when the whole chorus is
+     singing quite _piano_; they are hardly applicable except in
+     unaccompanied choruses (_a cappella_).
+
+The difference in range between the "firsts" and "seconds" in each
+type may be fixed as follows: the normal octave and the exceptionally
+low register should be allotted to the "seconds", the same octave and
+the exceptionally high register to the "firsts".
+
+The composition of the chorus is approximately as follows: for a full
+chorus, 32 singers to each of the 4 parts sopr., alt., ten. and bass;
+for a chorus of medium size, from 16 to 20, and for a small chorus
+from 8 to 10 singers. The number of women will often predominate, and
+more voices are given to the "firsts" than to the "seconds".
+
+On account of stage requirements a chorus may have to be divided into
+two or even three separate parts. This is a great disadvantage,
+especially with a small chorus, as each chorister becomes more or less
+a soloist.
+
+The methods of writing for operatic chorus are very numerous. Besides
+the primary harmonico-polyphonic arrangement, containing the whole
+musical idea, the voices may be made to enter separately, singing or
+declaiming phrases of varying length; they may progress in unison or
+in octaves; one vocal part may repeat certain notes or the whole
+chorus reiterate certain chords; one melodic part may predominate (the
+upper part for preference), the others forming an harmonic
+accompaniment; isolated exclamatory phrases may be given to the whole
+chorus or to certain portions of it, and finally, the entire chorus
+may be treated in a purely harmonic manner in chords, with the
+essential melodic design allotted to the orchestra. Having outlined
+the principal methods of handling the chorus, I advise the reader to
+study vocal and orchestral scores where he will find many
+illustrations impossible to deal with here.
+
+There exists another most important operation, the division of the
+chorus into different groups. The most natural method is to divide it
+into men's chorus and women's chorus. Less frequent combinations are
+altos, tenors and basses, or sopranos, altos and tenors. There remains
+yet another point to be considered, the sub-division of each part into
+two's and three's. Men's and women's choruses, considered as distinct
+unities may alternate either one with the other, or with the principal
+chorus. For this reason sub-division increases the possibilities of
+choral writing, and, as I have already remarked, it is only by the
+study of choral works that the student will acquire mastery over this
+branch of composition, the fundamental principles of which can only be
+faintly outlined in the course of the present work.
+
+
+Melody.
+
+Melody is more limited in the chorus than in the solo voice, both as
+regards range as well as mobility. Choristers' voices are less
+"settled" and not so highly trained as those of soloists. Sometimes
+solo and choral melody are similar in point of range and technique,
+but more often the latter is lacking in freedom and variety of rhythm,
+restricted as it is to the repetition of short phrases, while the solo
+voice demands broader melodic outline and greater freedom in
+construction. In this respect choral melody more closely resembles
+instrumental melody. Pauses for taking breath are not so important
+with chorus singers as with soloists; the former do not need to
+breathe all together and each singer may take a slight rest from time
+to time, thus obviating the necessity for sudden complete silences.
+The question of suitable vowels is likewise of secondary importance.
+
+The change from notes of short value to long, vocalisation on
+syllables and other questions mentioned above are equally applicable
+to choral melody, but in a minor degree. Not more than two or three
+notes should be written on one syllable except for fanciful and
+whimsical effects.
+
+_Example:_
+
+No. 306. _The Golden Cockerel_ [[262]]; see also before [[123]].
+
+
+A. Mixed chorus.
+
+Chorus in unison.
+
+The simplest and most natural combination of voices is sopranos and
+altos, or tenors and basses. These combinations produce ample and
+vigourous tone, and the mixed timbres serve to give prominence to a
+melody in the upper or bass parts. In practice the other voices are
+often divided to thicken the harmony. The combination of altos and
+tenors produces a peculiar mixed tone quality, somewhat _bizarre_ and
+seldom used.
+
+_Examples:_
+
+_Snegourotchka_ [[64]].
+
+_Sadko_ [[208]] (cf. Ex. 14).
+
+
+Progression in octaves.
+
+The most beautiful and natural combinations are sopranos and tenors 8
+[Sopr./Ten., altos and basses 8 [Altos/Basses; they produce a tone
+both brilliant and powerful. Progression of sopranos and altos, or
+tenors and basses is seldom practised. Though the latter combinations
+may occur in choruses for women and men alone, they can only be used
+in melodies of restricted length. The difference of register in which
+the voices move does not permit of the same balance of tone obtained
+by voices of a distinctive kind.
+
+_Examples:_
+
+_Snegourotchka_ [[60]], [[61]]--Carnival Procession.
+
+       "        [[113]]--Wedding Ceremony.
+
+_Sadko_ [[37]]--Chorus of Guests, 1st Tableau.
+
+Dividing kindred voices in octaves is seldom done, 8 [Sopr. I/Sopr. II
+etc., except perhaps in the basses 8 [Basses I/Basses II, when the
+progression of parts demand it, or it is required to double the bass
+part in octaves.
+
+_Examples:_
+
+_Ivan the Terrible_, Act III [[68]]--Final chorus (cf. Ex. 312).
+
+_Sadko_ [[341]]--Final chorus.
+
+A beautifully round tone results from doubling men's and women's
+voices in octaves 8 [Sopr. + Altos/Ten. + Basses.
+
+_Example:_
+
+_Snegourotchka_ [[323]]--Final chorus.
+
+Brilliance and vigour is achieved when sopranos and altos progress in
+thirds doubled in octaves by tenors and basses also in thirds: 8
+[Sopr./Altos] 3/[Ten./Basses] 3.
+
+_Examples:_
+
+_Mlada_, Act I [[24]]; Act II, before [[31]].
+
+_The Golden Cockerel_ [[235]].
+
+On the rare occasions when the whole chorus progresses in double
+octaves the usual arrangement is:
+
+Sopr. + Altos]            8 [Sopr.
+     8 [Ten. ] 8, or else   [Altos + Ten.  ]
+       [Basses                       Basses] 8.
+
+_Examples:_
+
+_Snegourotchka_ [[319]].
+
+_Sadko_ [[182]].
+
+
+Voices (_divisi_); harmonic use of the mixed chorus.
+
+The purely harmonic progression of a four-part mixed chorus is more
+natural and resonant when the harmony is of the widely divided order,
+so that the volume of tone is equally distributed throughout.
+
+_Example:_
+
+No. 307. _Sadko_ [[144]]--Beginning of 3rd tableau.
+
+To secure a well-balanced _forte_ chord in close part writing the
+following distribution is recommended:
+
+[Sopr. I
+[Sopr. II
+
+ Altos
+
+[Ten. I
+[Ten. II
+
+[Basses I
+[Basses II.
+
+Three harmonic parts in the high register (2 sopranos and altos) are
+doubled an octave lower by 2 tenors and the 1st basses. The lower
+part is undertaken by the 2nd basses. In this manner the tenors
+sing in the soprano octave, the 1st basses in the alto octave and
+the 2nd basses are independent.
+
+_Examples:_
+
+_Snegourotchka_ [[327]]--End of the work.
+
+_Mlada_, Act II [[20]]--Procession of Princes.
+
+_Ivan the Terrible_, Act II [[19]] (cf. Ex. 212).
+
+Division of parts can be adopted when one of them is entrusted with a
+melody, the remainder forming a sufficiently full accompaniment. The
+choice of parts to be divided depends upon the range of the upper one.
+When a harmonic-melodic phrase is repeated in different keys and
+registers, it may be necessary to distribute the parts and divide them
+in another manner, so as to maintain proper choral balance. As an
+illustration I give two extracts of identical musical context, the
+second (_F_ major) being a third higher than the first (_D_ major). In
+the first example the altos are added to the sopranos to strengthen
+the melody; the tenors and basses _divisi_ form the harmony. In the
+second example the melody being a third higher may be given to the
+sopranos alone; the altos therefore take part in the harmony, and
+consequently the lower parts are divided in a different way.
+
+_Examples:_
+
+_Sadko_ [[173]] and [[177]] (cf. Ex. 205 and 206); compare also the
+same music in _G_ major [[189]].
+
+No. 309-310. _Ivan the Terrible_, Act I [[77]].
+
+Example 307 is an instance of widely-spaced four-part writing forming
+the harmonic basis, with the melodic idea in the orchestra. In Example
+308, the same in musical context, the melodic figure is given to the
+sopranos, and among the other parts which form the harmony the tenors
+are divided.
+
+_Example:_
+
+No. 308. _Sadko_ [[152]].
+
+In polyphonic writing exceeding 4 part harmony the voices should be
+divided so as to obtain the necessary number of actual parts. One part
+may be divided into as many as three different parts, 3 sopranos, 3
+altos etc.
+
+_Examples:_
+
+No. 312. _Ivan the Terrible_, Act III [[69]]--Final chorus.
+
+_Servilia_ [[233]]--Final chorus.
+
+_Mlada_, Act IV [[35-36]]--Final chorus.
+
+In _fugato_ writing and fugal imitation for mixed chorus the
+distribution is generally in four parts, but this number may be
+increased for cumulative effects as in the example quoted. In such
+cases the composer should be careful as to the arrangement of the
+final chord, the summit and climax of the passage. After the entry of
+the last of the voices the progression of such a passage should be
+handled with a view to the tone of the final chord. The treatment
+should be such that concords produced by divided voices or different
+groups of voices retain their full value; and if the final chord be a
+discord its effect may be heightened by means of crossing of parts.
+The reader is advised to examine carefully the progression of parts
+leading up to the final chord in each of the examples given above,
+paying special attention to the distribution of these final chords.
+Crossing of parts must not be effected at random. The arrangement of
+choral parts follows the natural order of register and can only be
+altered for short spaces of time to give momentary prominence to some
+melodic or declamatory phrase.
+
+_Examples:_
+
+_Ivan the Terrible_, Act I [[79]], Act II [[5]], Act III [[67]].
+
+
+B. Men's chorus and women's chorus.
+
+In writing a three-part female chorus the division should be either
+Sopr. I/Sopr. II/Altos or Sopr./Altos I/Altos II; the same for men:
+Ten. I/Ten. II/Bass or Ten./Bass I/Bass II. The choice of distribution
+depends upon which voice is to predominate, or the register in which
+the group is to be placed. The manner of dividing the parts may
+change, one following the other at will. In four-part harmonic writing
+the method of division is self-evident:
+
+Sopr. I
+Sopr. II
+Altos I
+Altos II
+
+Ten. I
+Ten. II
+Bass I
+Bass II
+
+To give prominence to a melody in the middle part in three-part
+harmony, the following method may be adopted:
+
+Sopr. I                Ten. I
+Sopr. II + Altos I, or Ten. II + Bass I.
+Altos II               Bass II
+
+If, in three-part writing, the melody has to stand out in the upper
+part, the harmony may be either widely-divided or close.
+
+_Examples:_
+
+_Ivan the Terrible_, Act I [[25-26]], [[23-31]] (Women's chorus).
+
+_Sadko_, before [[181]]--Men's chorus (cf. Ex. 27).
+
+No. 311. _Sadko_ [[270-272]]--Women's chorus.
+
+In four-part choral writing close harmony is preferable, otherwise the
+upper part will be in too high a register and the range of the bottom
+part too low.
+
+_Examples:_
+
+_Sadko_ [[17]]--Male chorus.
+
+_Ivan the Terrible_, Act II [[36-38]]--Female chorus (cf. Ex. 296).
+
+Distribution in two parts which is generally polyphonic does not call
+for any special remarks; the same may be said of chorus in unison.
+
+_Examples:_
+
+_Sadko_ [[50]]--Male chorus.
+
+_Mlada_, beginning of Act I.            }
+_Ivan the Terrible_, Act III [[13-15]]. } Female chorus.
+_Servilia_ [[26]].                      }
+
+If male and female choruses are handled in a purely harmonic manner
+close part writing should be adopted. This is the only way to secure
+proper balance of tone in chords given to voices of the same kind.
+Successions of chords in three parts are more frequent than those in
+four; sometimes a series of chords is practicable only in two parts.
+
+_Examples:_
+
+_Snegourotchka_ [[19]]--Chorus of Birds.
+
+       "        [[281-285]]--Chorus of Flowers (cf. Ex. 26).
+
+In _fugato_ writing, and fugal imitation in three parts, allotted to a
+chorus composed of voices of one kind, the principal subject is given
+to two parts, the counter subject to one; by this method the doubled
+themes will stand out to better advantage.
+
+_Examples:_
+
+_Sadko_ [[20-21]].
+
+* _The Tsar's Bride_ [[29-30]].
+
+Male and female choruses, apart from the part they play as individual
+unities, may be introduced as separate groups in mixed choruses
+alternating with the whole _ensemble_.
+
+_Example:_
+
+_Snegourotchka_ [[198]]--Hymn of Tsar Berendey's Subjects (cf. Ex.
+166).
+
+As a general rule a female chorus does not contain the real harmonic
+bass part when this part is situated in the low register, so that no
+octaves are formed between the real bass and the lower choral voice.
+Harmony in a chorus for women is generally given to the three upper
+parts, the lower part acting as accompanying bass. It will be noticed
+that this rule may lead to the employment of chords of the sixth and
+empty consecutive fourth's and fifth's which should be avoided. In
+example No. 311 (_Sadko_ [[270]]), this is remedied by the high
+position of the bass part; later an empty interval (4/5) occurs, but
+only for a moment, and still further on another such interval is
+avoided by the union of all the voices in the octave (_B/B_). In Ex.
+No. 304 (_Sadko_ [[83]]) the harmonic bass in the low register is
+carefully omitted, but when transferred to the upper register it is
+doubled.
+
+I conclude the present chapter with the following necessary
+observations:
+
+1. The operation of dividing voices undoubtedly weakens their
+resonance, and as the reader will have observed, one of the principal
+factors in good orchestration is _equal_ balance of tone in the
+distribution of chords. But in choral writing the question is somewhat
+different. The orchestra, even after repeated rehearsal always _plays
+from music_; the operatic chorus, on the other hand, sings by heart.
+The chorus master can carry out the composer's instructions as to the
+division of parts in one way or another, varying and adjusting the
+number of singers to each part. By manipulating some shade of
+expression he can maintain a balance of tone between divided and
+undivided voices. In orchestral material the composer has to handle a
+great number of timbres, widely different in character and volume of
+tone. In the chorus there are but four qualities. A chorus moving
+about the stage cannot convey varying shades of expression so exactly
+as an orchestra seated at the desk. It may therefore be safely assumed
+that a composer is entitled to some licence in the question of
+dividing choral parts; dealing with the orchestra involves greater
+foresight and care.
+
+2. In trying to obtain equal balance in writing three-part choruses
+for male or female chorus I have often resorted to the method of
+doubling the middle part as recommended on p. 149. The chorus master
+is at liberty to equalise the chorus by transferring voices from one
+part to another. In choruses divided into three parts I have noticed
+that chorus masters are in the habit of giving the upper part to Sopr.
+I, or Ten. I, and the two lower parts to Sopr. II and Ten. II divided.
+I consider this arrangement unsound, as the balance of parts can never
+be equal. The attention of chorus masters is called to the necessity
+of strengthening middle parts, for the expedient of giving prominence
+to the upper part concerns melody alone and leaves harmony out of the
+question.
+
+3. Skilful management of choral parts is a fairly safe guarantee of
+clear and satisfactory performance. Miscalculations in writing are a
+great hindrance to study, and the most experienced chorus may come to
+grief through faulty progression of parts. If the progression of parts
+is correct, if discords are properly prepared, sudden and remote
+modulations, even of the harshest and most uncommon kind will be
+comparatively simple and may be approached with some degree of
+confidence. This is a fact which composers do not always bear in mind,
+but singers know it well and appreciate its importance to the full. As
+an instance I quote the very difficult modulation which occurs in Ex.
+No. 169 (_Sadko_ [[302]]). I doubt whether it could be sung if written
+in any other way. Careful endeavour on the part of a composer is
+better than useless struggle inflicted upon the performer.
+
+July 31st (Aug. 13th) 1905.
+
+
+
+
+_Principles
+of Orchestration_
+
+[VOLUME II]
+
+
+The musical examples in this volume are taken from the composer's
+following works:
+
+
+W. BESSEL & CO., publishers, Petrograd.
+
+"IVAN THE TERRIBLE", opera in 3 acts, 1894 edition.
+"SNEGOUROTCHKA", opera in prologue and 4 acts (1880-1881).
+"THE LEGEND OF TSAR SALTAN", opera in prologue and 4 acts (1899-1900).
+"SERVILIA", opera in 5 acts (1900-1901).
+"KASHTCHEI THE IMMORTAL", opera in 1 act of 3 scenes (1902).
+"PAN VOYEVODA", opera in 4 acts (1902-1903).
+"VERA SCHELOGA", prologue to "IVAN THE TERRIBLE", op. 54 (1898).
+"ANTAR", symphonic suite (2nd symphony), _new edition_ of 1897, published
+  in 1913.
+
+
+P. JURGENSON, publisher, Moscow.
+
+"SADKO", symphonic poem, 1891-1892 edition.
+"THE GOLDEN COCKEREL", opera in 3 acts (1906-1907).
+
+
+M.P. BELAIEFF, publisher, Leipzig.
+
+"THE MAY NIGHT", opera in 3 acts (1878-1879).
+"MLADA", opera-ballet in 4 acts (1889-1890).
+"THE CHRISTMAS NIGHT", opera in 4 acts (1894-1895).
+"SADKO", opera-legend in 7 scenes (1895-1896).
+"THE TSAR'S BRIDE", opera in 4 acts (1898).
+"THE LEGEND OF THE INVISIBLE CITY OF KITESH AND THE MAID FEVRONIA",
+  opera in 4 acts (1903-1905).
+"SPANISH CAPRICCIO", op. 34 (1887).
+"SHEHERAZADE", symphonic suite from the "THOUSAND AND ONE NIGHTS",
+  op. 35 (1888).
+"RUSSIAN EASTER FETE", Overture on Russian Church Themes, op. 36 (1888).
+
+
+[Transcriber's Note: See the HTML version for the musical examples in
+Volume II.]
+
+
+
+
+
+End of the Project Gutenberg EBook of Principles of Orchestration, by
+Nikolay Rimsky-Korsakov
+
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+<div class="bbox">
+<h1><span class="sm">NIKOLAY RIMSKY-KORSAKOV</span><br />
+<br />
+<i>Principles<br />
+of Orchestration</i><br />
+</h1>
+
+
+<h2>
+<i>with musical examples<br />
+drawn from his own works</i><br />
+</h2>
+
+
+<h3>
+Edited by<br />
+MAXIMILIAN STEINBERG<br />
+<br />
+English translation by<br />
+EDWARD AGATE<br />
+</h3>
+
+
+<h3>[VOLUME I]</h3>
+
+<p class="centerbp">[<span lang="fr">Édition Russe de Musique</span>, Paris, 1922]</p>
+</div>
+
+
+
+<p class="centertp"><b><a href="rimsky_toc.html">CONTENTS</a></b><br />
+<b><a href="rimsky2.html">VOLUME II</a></b></p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_vii" id="Page_vii">-VII-</a></span></p>
+
+<h2><a name="Editors_Preface" id="Editors_Preface"></a>Editor&#8217;s Preface.</h2>
+
+<hr class="short" />
+
+<p>Rimsky-Korsakov had long been engrossed in his treatise on
+orchestration. We have in our possession a thick note book of some 200
+pages in fine hand writing, dating from the years 1873-1874,
+containing a monograph on the question of acoustics, a classification
+of wind instruments and a detailed description of the construction and
+fingering of the different kinds of flute, the oboe, clarinet and
+horn.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p>
+
+<p>In his "Memoirs of my musical life" (1<span class="super">st</span> edition, p. 120) the
+following passage occurs: "I had planned to devote all my energies to
+the compilation of a full treatise on orchestration. To this end I
+made several rough copies, jotting down explanatory notes detailing
+the technique of different instruments. What I intended to present to
+the world on this subject, was to include <i>everything</i>. The writing of
+this treatise, or, to be more exact, the sketch for it took up most of
+my time in the years 1873 and 1874. After reading the works of Tyndall
+and Helmholtz, I framed an introduction to my work, in which I
+endeavoured to expound the laws of acoustics as applied to the
+principles governing the construction of musical instruments. My
+manual was to begin with a detailed list of instruments, classified in
+groups and tabulated, including a description of the various systems
+in use at the present day. I had not yet thought of the second part of
+the book which was to be devoted to instruments in combination. But I
+soon realised that I had gone too far. With wind instruments in
+particular, the different systems were innumerable, and each
+manufacturer favoured his own pet theory. By the addition of a certain
+key the maker endowed his instrument with the possibility of a new
+trill, and<span class="pagenum"><a name="Page_viii" id="Page_viii">-VIII-</a></span> made some difficult passages more playable than on an
+instrument of another kind.</p>
+
+<p>"There was no end to such complications. In the brass, I found
+instruments with three, four, and five valves, the mechanism varying
+according to the make. Obviously, I could not hope to cover so large a
+field; besides, of what value would such a treatise be to the student?
+Such a mass of detailed description of the various systems, their
+advantages and drawbacks, could not but fail to confuse the reader
+only too eager to learn. Naturally he would wish to know what
+instrument to employ, the extent of its capabilities etc., and getting
+no satisfactory information he would throw my massive work aside. For
+these reasons my interest in the book gradually waned, and finally I
+gave up the task."</p>
+
+<p>In 1891 Rimsky-Korsakov, now an artist of standing, the composer of
+<i>Snegourotchka</i>, <i>Mlada</i>, and <i>Shéhérazade</i>, a master of the
+orchestral technique he had been teaching for twenty years, returned
+to his handbook on instrumentation. He would seem to have made notes
+at different times from 1891 to 1893, during which period, after the
+first performance of <i>Mlada</i>, he gave up composition for a while.
+These notes, occasionally referred to in his <i>Memoirs</i>, are in three
+volumes of manuscript-paper. They contain the unfinished <a href="#Extract_from_the_Authors_Preface_1891">preface of
+1891</a>, a paragraph full of clear, thoughtful writing, and reprinted in
+this book.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p>
+
+<p>As the author tells us in his <i>Memoirs</i> (p. 297), the progress of his
+work was hampered by certain troublesome events which were happening
+at the time. Dissatisfied with his rough draft, he destroyed the
+greater part of it, and once more abandoned his task.</p>
+
+<p>In 1894 he composed <i>The Christmas Night</i>; this was the beginning of
+his most fertile period. He became entirely engrossed in composition,
+making plans for a fresh opera as soon as the one in hand was
+completed. It was not until 1905 that his thoughts returned to the
+treatise on orchestration, his musical output remaining in abeyance
+through no fault of his own. Since 1891 the plan of the work had been
+entirely remodelled, as proved by the rough drafts still extant. The
+author had given up the idea of describing different instruments from
+their technical<span class="pagenum"><a name="Page_ix" id="Page_ix">-IX-</a></span> standpoint, and was more anxious to dwell upon the
+value of tone qualities and their various combinations.</p>
+
+<p>Among the author's papers several forms of the book have been found,
+each widely differing in detail from the other. At last, in the summer
+of 1905 Rimsky-Korsakov brought his plans to a head, and outlined the
+six chapters which form the foundation of the present volume. But the
+work suffered a further interruption, and the sketches were once more
+laid aside. In his <i>Memoirs</i>, Rimsky-Korsakov explains the fact by
+lack of interest in the work and a general feeling of weariness: "The
+treatise remained in abeyance. To start with, the form of the book was
+not a success, and I awaited the production of <i>Kitesh</i>, in order to
+give some examples from that work" (p. 360).</p>
+
+<p>Then came the autumn of 1906. The composer experienced another rush of
+creative energy; his opera, <i>The Golden Cockerel</i> made rapid strides,
+and kept him busy all that winter and the following summer. When it
+was finished, in the autumn of 1907, his thoughts reverted to the
+treatise on orchestration. But the work made little progress. The
+author had his doubts as to the adequacy of the plan he had adopted,
+and, in spite of the entreaties of his pupils and friends, he could
+not bring himself to broach the latter part of the book. Towards the
+end of 1907 Rimsky-Korsakov was constantly ailing in health, and this
+materially affected his energy. He spent the greater part of his time
+reading old notes and classifying examples. About the 20<span class="super">th</span> of May
+he set out for his summer residence in Lioubensk, and having just
+recovered from a third severe attack of inflammation of the lungs,
+began to work on the <a href="#Chapter_I">first chapter</a> of the treatise in its present,
+final form. This chapter was finished on June 7/20, about 4 o'clock in
+the afternoon; the same night, the composer was seized with a fourth
+attack which proved fatal.</p>
+
+<p>The honour fell on me to prepare this last work of Rimsky-Korsakov for
+publication. Now that <i>Principles of Orchestration</i> has appeared in
+print I think it necessary to devote a few words to the essential
+features of the book, and to the labour imposed upon me in my capacity
+as editor.</p>
+
+<p>On the first point I will say but little. The reader will observe from
+the <a href="rimsky_toc.html#CONTENTS">Contents</a> that the work differs from others, not merely by<span class="pagenum"><a name="Page_x" id="Page_x">-X-</a></span> reason
+of its musical examples, but more especially in the systematic
+arrangement of material, not according to orchestral division in
+groups (the method adopted by Gevaert for instance), but according to
+<i>each constituent of the musical whole, considered separately</i>. The
+orchestration of melodic and harmonic elements (Chapters <a href="#Chapter_II">II</a> and <a href="#Chapter_III">III</a>)
+receives special attention, as does the question of orchestration in
+general (<a href="#Chapter_IV">Chapter IV</a>). The last two chapters are devoted to operatic
+music, and the <a href="#Chapter_VI_Supplementary">sixth</a> takes a supplementary form, having no direct
+bearing on the previous matter.</p>
+
+<p>Rimsky-Korsakov altered the title of his book several times, and his
+final choice was never made. The title I have selected seems to me to
+be the one most suitable to the contents of the work, "principles" in
+the truest sense of the word. Some may expect to find the "secrets" of
+the great orchestrator disclosed; but, as he himself reminds us in his
+<a href="#Extract_from_the_Authors_Preface_1891">preface</a>, "to orchestrate is to create, and this is something which
+cannot be taught."</p>
+
+<p>Yet, as invention, in all art, is closely allied to technique, this
+book may reveal much to the student of instrumentation.
+Rimsky-Korsakov has often repeated the axiom that <i>good orchestration
+means proper handling of parts</i>. The simple use of tone-colours and
+their combinations may also be taught, but there the science of
+instruction ends. From these standpoints the present book will furnish
+the pupil with nearly everything he requires. The author's death
+prevented him from discussing a few questions, amongst which I would
+include full polyphonic orchestration and the scoring of melodic and
+harmonic designs. But these questions can be partly solved by the
+principles laid down in Chapters <a href="#Chapter_II">II</a> and <a href="#Chapter_III">III</a>, and I have no wish to
+overcrowd the first edition of this book with extra matter which can
+be added later, if it is found to be necessary. I had first of all to
+prepare and amplify the sketches made by Rimsky-Korsakov in 1905;
+these form a connected summary throughout the whole six chapters.
+<a href="#Chapter_I">Chapter I</a> was completed by the author; it is published as it stands,
+save for a few unimportant alterations in style. As regards the other
+five chapters, I have tried to keep to the original drafts as far as
+possible, and have only made a few changes in the order, and one or
+two indispensable additions. The sketches made between 1891 and 1893
+were too disconnected to be of much use, but, in point<span class="pagenum"><a name="Page_xi" id="Page_xi">-XI-</a></span> of fact, they
+corresponded very closely to the final form of the work.</p>
+
+<p>The musical examples are of greater importance. According to the
+original scheme, as noted on the 1891 MS., they were to be drawn from
+the works of Glinka and Tschaikovsky; those of Borodin and Glazounov
+were to be added later. The idea of choosing examples solely from his
+own works only came to Rimsky-Korsakov by degrees. The reasons for
+this decision are partly explained in the unfinished <a href="#Extract_from_the_Preface_to_the_last_edition">preface of 1905</a>,
+but other motives may be mentioned. If Rimsky-Korsakov had chosen his
+examples from the works of these four composers, he would have had to
+give some account of their individual, and often strongly marked
+peculiarities of style. This would have been a difficult undertaking,
+and then, how to justify the exclusion of West-European composers,
+Richard Wagner, for example, whose orchestration Rimsky-Korsakov so
+greatly admired? Besides, the latter could hardly fail to realise that
+his own compositions afforded sufficient material to illustrate every
+conceivable manner of scoring, examples <i>emanating from one great
+general principle</i>. This is not the place to criticise his method;
+Rimsky-Korsakov's "school" is here displayed, each may examine it for
+himself. The brilliant, highly-coloured orchestration of Russian
+composers, and the scoring of the younger French musicians are largely
+developments of the methods of Rimsky-Korsakov, who, in turn, looked
+upon Glinka as his spiritual father.</p>
+
+<p>The table of examples found among the author's papers was far from
+complete; some portions were badly explained, others, not at all. The
+composer had not mentioned which musical quotations were to be printed
+in the <a href="rimsky2.html">second volume</a>, and which examples were to indicate the study of
+the full score; further, no limit was fixed to the length of
+quotation. All this was therefore left to the editor's discretion. I
+selected the examples only after much doubt and hesitation, finding it
+difficult to keep to those stipulated by the composer, as every page
+of the master's works abounds in appropriate instances of this or that
+method of scoring.</p>
+
+<p>I was guided by the following considerations which agreed with the
+opinions of the author himself: in the first place the examples should
+be as simple as possible, so as not to distract<span class="pagenum"><a name="Page_xii" id="Page_xii">-XII-</a></span> the student's
+attention from the point under discussion; secondly, it was necessary
+that one example should serve to illustrate several sections of the
+book, and lastly, the majority of quotations should be those mentioned
+by the author. These amount to 214, in the <a href="rimsky2.html">second volume</a>; the
+remaining 98 were added by me. They are drawn, as far as possible,
+from Rimsky-Korsakov's dramatic music, since operatic full-scores are
+less accessible than those of symphonic works.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p>
+
+<p>At the end of <a href="rimsky2.html">Vol. II</a> I have added three <a href="rimsky2.html#APPENDIX">tables</a> showing different ways
+of scoring full chords; all my additions to the text are marked with
+asterisks. I consider that the careful study of the examples contained
+in the <a href="rimsky2.html">second volume</a> will be of the greatest use to the student
+<i>without replacing</i> the need for the study of other composers' scores.
+Broadly speaking, the present work should be studied together with the
+reading of full scores in general.</p>
+
+<p>A few words remain to be said regarding Rimsky-Korsakov's intention to
+point out the faulty passages in his orchestral works, an intention
+expressed in his <a href="#Extract_from_the_Preface_to_the_last_edition">preface to the last edition</a>. The composer often
+referred to the instructional value of such examinations. His purpose
+however was never achieved. It is not for me to select these examples,
+and I shall only mention two which were pointed out by the composer
+himself: 1. <i>The Legend of Tsar Saltan</i> <span class="box">220</span>, 7<span class="super">th</span> bar&mdash;the theme
+in the brass is not sufficiently prominent the trombones being <i>tacet</i>
+(a mistake easily rectified); 2. <i>The Golden Cockerel</i> <span class="box">233</span>, bars
+10-14, if the marks of expression are observed in the brass, the
+counter-melody on the violas and violoncellos doubled by the wood-wind
+will hardly be heard. <a href="rimsky2.html#No_075">Example 75</a> may also be mentioned, to which the
+note on <a href="#Page_63">page 63</a>, in the text, refers. I will confine myself to these
+examples.</p>
+
+<p>In conclusion I desire to express my deep gratitude to Madame
+Rimsky-Korsakov for having entrusted me with the task of editing this
+work, thereby providing me with the opportunity of performing a duty
+sacred to the memory of a master, held so deeply in reverence.</p>
+
+<p><i>St. Petersburgh</i>, December 1912.</p>
+
+<p class="right">MAXIMILIAN STEINBERG.</p>
+
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_1" id="Page_1">-1-</a></span></p>
+
+<h2><a name="Extract_from_the_Authors_Preface_1891" id="Extract_from_the_Authors_Preface_1891"></a>Extract from the Author&#8217;s Preface (1891).</h2>
+
+<hr class="short" />
+
+<p>Our epoch, the post-Wagnerian age, is the age of brilliance and
+imaginative quality in orchestral tone colouring. Berlioz, Glinka,
+Liszt, Wagner, modern French composers&mdash;Delibes, Bizet and others;
+those of the new Russian school&mdash;Borodin, Balakirev, Glazounov and
+Tschaikovsky&mdash;have brought this side of musical art to its zenith;
+they have eclipsed, as colourists, their predecessors, Weber,
+Meyerbeer and Mendelssohn, to whose genius, nevertheless, they are
+indebted for their own progress. In writing this book my chief aim has
+been to provide the well-informed reader with the fundamental
+principles of modern orchestration from the standpoint of brilliance
+and imagination, and I have devoted considerable space to the study of
+tonal resonance and orchestral combination.</p>
+
+<p>I have tried to show the student how to obtain a certain quality of
+tone, how to acquire uniformity of structure and requisite power. I
+have specified the character of certain melodic figures and designs
+peculiar to each instrument or orchestral group, and reduced these
+questions briefly and clearly to general principles; in short I have
+endeavoured to furnish the pupil with matter and material as carefully
+and minutely studied as possible. Nevertheless I do not claim to
+instruct him as to how such information should be put to artistic use,
+nor to establish my examples in their rightful place in the poetic
+language of music. For, just as a handbook of harmony, counterpoint,
+or form presents the student with harmonic or polyphonic matter,
+principles of construction, formal arrangement, and sound technical
+methods, but will never endow him with the talent for composition, so
+a treatise on orchestration can demonstrate how to produce a
+well-sounding chord<span class="pagenum"><a name="Page_2" id="Page_2">-2-</a></span> of certain tone-quality, uniformly distributed,
+how to detach a melody from its harmonic setting, correct progression
+of parts, and solve all such problems, but will never be able to teach
+the art of poetic orchestration. To orchestrate is to create, and this
+is something which cannot be taught.</p>
+
+<p>It is a great mistake to say: this composer scores well, or, that
+composition is well orchestrated, for orchestration is <i>part of the
+very soul of the work</i>. A work is thought out in terms of the
+orchestra, certain tone-colours being inseparable from it in the mind
+of its creator and native to it from the hour of its birth. Could the
+essence of Wagner's music be divorced from its orchestration? One
+might as well say that a picture is well <i>drawn</i> in colours.</p>
+
+<p>More than one classical and modern composer has lacked the capacity to
+orchestrate with imagination and power; the secret of colour has
+remained outside the range of his creative faculty. Does it follow
+that these composers do not <i>know how</i> to orchestrate? Many among them
+have had greater knowledge of the subject than the mere colourist. Was
+Brahms ignorant of orchestration? And yet, nowhere in his works do we
+find evidence of brilliant tone or picturesque fancy. The truth is
+that his thoughts did not turn towards colour; his mind did not exact
+it.</p>
+
+<p>The power of subtle orchestration is a secret impossible to transmit,
+and the composer who possesses this secret should value it highly, and
+never debase it to the level of a mere collection of formulæ learned
+by heart.</p>
+
+<p>Here I may mention the case of works scored by others from the
+composer's rough directions. He who undertakes such work should enter
+as deeply as he may into the spirit of the composer, try to realise
+his intentions, and develop them in all their essential features.</p>
+
+<p>Though one's own personality be subordinate to that of another, such
+orchestration is nevertheless creative work. But on the other hand, to
+score a composition never intended for the orchestra, is an
+undesirable practice. Many musicians have made this mistake and
+persist in it.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> In any case this is the lowest form of
+in<span class="pagenum"><a name="Page_3" id="Page_3">-3-</a></span>strumentation, akin to colour photography, though of course the
+process may be well or badly done.</p>
+
+<p>As regards orchestration it has been my good fortune to belong to a
+first-rate school, and I have acquired the most varied experience. In
+the first place I have had the opportunity of hearing all my works
+performed by the excellent orchestra of the St. Petersburgh Opera.
+Secondly, having experienced leanings towards different directions, I
+have scored for orchestras of different sizes, beginning with simple
+combinations (my opera <i>The May Night</i> is written for natural horns
+and trumpets), and ending with the most advanced. In the third place,
+I conducted the choir of the Military Marine for several years and was
+therefore able to study wind-instruments. Finally I formed an
+orchestra of very young pupils, and succeeded in teaching them to
+play, quite competently, the works of Beethoven, Mendelssohn, Glinka,
+etc. All this has enabled me to present this work to the public as the
+result of long experience.</p>
+
+<p>As a starting-point I lay down the following fundamental axioms:</p>
+
+<p>I. <i>In the orchestra there is no such thing as ugly quality of tone.</i></p>
+
+<p>II. <i>Orchestral writing should be easy to play</i>; a composer's work
+stands the best chance when the parts are well written.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p>
+
+<p>III. <i>A work should be written for the size of orchestra that is to
+perform it</i>, not for some imaginary body, as many composers persist in
+doing, introducing brass instruments in unusual keys upon which the
+music is impracticable because it is not played in the key the
+composer intends.</p>
+
+<p>It is difficult to devise any method of learning orchestration without
+a master. As a general rule it is best to advance by degrees from the
+simplest scoring to the most complicated.</p>
+
+<p>The student will probably pass through the following phases: 1. the
+phase during which he puts his entire faith in percussion
+instru<span class="pagenum"><a name="Page_4" id="Page_4">-4-</a></span>ments, believing that beauty of sound emanates entirely from
+this branch of the orchestra&mdash;this is the earliest stage; 2. the
+period when he acquires a passion for the harp, using it in every
+possible chord; 3. the stage during which he adores the wood-wind and
+horns, using stopped notes in conjunction with strings, muted or
+<i>pizzicato</i>; 4. the more advanced period, when he has come to
+recognise that the string group is the richest and most expressive of
+all. When the student works alone he must try to avoid the pitfalls of
+the first three phases. The best plan is to study full-scores, and
+listen to an orchestra, score in hand. But it is difficult to decide
+what music should be studied and heard. Music of all ages, certainly,
+but, principally, that which is fairly modern. Fairly modern music
+will teach the student how to score&mdash;classical music will prove of
+negative value to him. Weber, Mendelssohn, Meyerbeer (<i>The Prophet</i>),
+Berlioz, Glinka, Wagner, Liszt, and modern French and Russian
+composers&mdash;these will prove his best guides. It is useless for a
+Berlioz or a Gevaert to quote examples from the works of Gluck. The
+musical idiom is too old-fashioned and strange to modern ears; such
+examples are of no further use today. The same may be said of Mozart
+and of Haydn (the father of modern orchestration).</p>
+
+<p>The gigantic figure of Beethoven stands apart. His music abounds in
+countless leonine leaps of orchestral imagination, but his technique,
+viewed in detail, remains much inferior to his titanic conception. His
+use of the trumpets, standing out above the rest of the orchestra, the
+difficult and unhappy intervals he gives to the horns, the distinctive
+features of the string parts and his often highly-coloured employment
+of the wood-wind,&mdash;these features will combine causing the student of
+Beethoven to stumble upon a thousand and one points in contradiction.</p>
+
+<p>It is a mistake to think that the beginner will light upon no simple
+and instructive examples in modern music, in that of Wagner and
+others. On the contrary, clearer, and better examples are to be found
+amongst modern composers than in what is called the range of classical
+music.</p>
+
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_5" id="Page_5">-5-</a></span></p>
+
+<h2><a name="Extract_from_the_Preface_to_the_last_edition" id="Extract_from_the_Preface_to_the_last_edition"></a>Extract from the Preface to the last edition.</h2>
+
+<hr class="short" />
+
+<p>My aim in undertaking this work is to reveal the principles of modern
+orchestration in a somewhat different light than that usually brought
+to bear upon the subject. I have followed these principles in
+orchestrating my own works, and, wishing to impart some of my ideas to
+young composers, I have quoted examples from my own compositions, or
+given references to them, endeavouring to show, in all sincerity, what
+is successful and what is not. No one can know except the author
+himself the purpose and motives which governed him during the
+composition of a certain work, and the practice of explaining the
+intentions of a composer, so prevalent amongst annotators, however
+reverent and discreet, appears to me far from satisfactory. They will
+attribute a too closely philosophic, or excessively poetic meaning to
+a plain and simple fact. Sometimes the respect which great composers'
+names command will cause inferior examples to be quoted as good; cases
+of carelessness or ignorance, easily explained by the imperfections of
+current technique, give rise to whole pages of laborious exposition,
+in defence, or even in admiration of a faulty passage.</p>
+
+<p>This book is written for those who have already studied
+instrumentation from Gevaert's excellent treatise, or any other
+well-known manual, and who have some knowledge of a number of
+orchestral scores.</p>
+
+<p>I shall therefore only just touch on such technical questions as
+fingering, range, emission of sound etc.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p>
+
+<p>The present work deals with the combination of instruments in separate
+groups and in the entire orchestral scheme; the different means of
+producing strength of tone and unity of structure; the sub-division of
+parts; variety of colour and expression in scoring,&mdash;the whole,
+principally from the standpoint of dramatic music.</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_6" id="Page_6">-6-</a></span></p>
+
+<h1><a name="Chapter_I" id="Chapter_I"></a>Chapter I.</h1>
+
+<p class="center"><span class="lg">GENERAL REVIEW OF ORCHESTRAL GROUPS.</span></p>
+
+<hr class="short" />
+
+<h2>A. Stringed Instruments.</h2>
+
+<p class="bp">The following is the formation of the string quartet and the number of
+players required in present day orchestras, either in the theatre or
+concert-room.</p>
+
+<table border="1" cellpadding="4" cellspacing="0" summary="strings">
+<tr><td>&nbsp;</td><td class="center">Full orchestra</td><td class="center">Medium orchestra</td><td class="center">Small orchestra</td></tr>
+<tr><td>Violins I</td><td class="center">16</td><td class="center">12</td><td class="center">8</td></tr>
+<tr><td><span style="margin-left: 1em;">"</span> <span style="margin-left: 1em;">II</span></td><td class="center">14</td><td class="center">10</td><td class="center">6</td></tr>
+<tr><td>Violas</td><td class="center">12</td><td class="center">8</td><td class="center">4</td></tr>
+<tr><td>Violoncellos</td><td class="center">10</td><td class="center">6</td><td class="center">3</td></tr>
+<tr><td>Double basses</td><td class="center">8-10</td><td class="center">4-6</td><td class="center">2-3</td></tr>
+</table>
+
+<p class="tp">In larger orchestras, the number of first violins may amount to 20 and
+even 24, the other strings being increased proportionately. But such a
+great quantity of strings overpowers the customary wood-wind section,
+and entails re-inforcing the latter. Sometimes orchestras contain less
+than 8 first violins; this is a mistake, as the balance between
+strings and wind is completely destroyed. In writing for the orchestra
+it is advisable to rely on a medium-sized body of strings. Played by a
+larger orchestra a work will be heard to greater advantage; played by
+a smaller one, the harm done will be minimised.<span class="pagenum"><a name="Page_7" id="Page_7">-7-</a></span></p>
+
+<p>Whenever a group of strings is written for more than five
+parts&mdash;without taking double notes or chords into consideration&mdash;these
+parts may be increased by dividing each one into two, three and four
+sections, or even more (<i>divisi</i>). Generally, one or more of the
+principal parts is split up, the first or second violins, violas or
+violoncellos. The players are then divided by desks, numbers 1, 3, 5
+etc. playing the upper part, and 2, 4, 6 etc., the lower; or else the
+musician on the right-hand of each desk plays the top line, the one on
+the left the bottom line. Dividing by threes is less easy, as the
+number of players in one group is not always divisible by three, and
+hence the difficulty of obtaining proper balance. Nevertheless there
+are cases where the composer should not hesitate to employ this method
+of dividing the strings, leaving it to the conductor to ensure
+equality of tone. It is always as well to mark how the passage is to
+be divided in the score; Vn<span class="super">s</span> I, 1, 2, 3 desks, 6 'Cellos div. à 3,
+and so on. Division into four and more parts is rare, but may be used
+in <i>piano</i> passages, as it greatly reduces volume of tone in the group
+of strings.</p>
+
+<div class="blockquot"><p><i>Note.</i> In small orchestras passages sub-divided into many
+parts are very hard to realise, and the effect obtained is
+never the one required.</p></div>
+
+<p>String parts may be divided thus:</p>
+
+<table style="width: 100%" border="0" cellpadding="2" cellspacing="0" summary="strings">
+<tr>
+<td><i>a</i></td>
+<td><span class="xlg">{</span></td>
+<td>Vn<span class="super">s</span> I div.<br />
+Vn<span class="super">s</span> II div.</td>
+<td><i>b</i></td>
+<td><span class="xlg">{</span></td>
+<td>Vn<span class="super">s</span> II div.<br />
+Violas div.</td>
+<td><i>c</i></td>
+<td><span class="xlg">{</span></td>
+<td>Violas div.<br />
+'Cellos div.</td>
+<td><i>d</i></td>
+<td><span class="xlg">{</span></td>
+<td>'Cellos div.<br />
+D. basses div.</td>
+</tr>
+</table>
+
+<p>Possible combinations less frequently used are:</p>
+
+<table style="width: 90%" border="0" cellpadding="2" cellspacing="0" summary="strings">
+<tr>
+<td><i>e</i></td>
+<td><span class="xlg">{</span></td>
+<td>Vn<span class="super">s</span> I div.<br />
+Violas div.</td>
+<td><i>f</i></td>
+<td><span class="xlg">{</span></td>
+<td>Vn<span class="super">s</span> II div.<br />
+'Cellos div.</td>
+<td><i>g</i></td>
+<td><span class="xlg">{</span></td>
+<td>Violas div.<br />
+D. basses div. etc.</td>
+</tr>
+</table>
+
+<div class="blockquot"><p><i>Note.</i> It is evident that the tone quality in <i>b</i> and <i>e</i>
+will be similar. Still <i>b</i> is preferable since the number of
+Vn<span class="super">s</span> II (14-10-6) and Violas (12-8-4) is practically the
+same, the respective rôles of the two groups are more
+closely allied, and from the fact that second violins
+generally sit nearer to the violas than the first, thereby
+guaranteeing greater unity in power and execution.</p></div>
+
+<p>The reader will find all manner of divisions in the musical examples
+given in <a href="rimsky2.html">Vol. II</a>. Where necessary, some explanation as to the method
+of dividing strings will follow in due course. I dwell on the subject
+here in order to show how the usual composition of the string quartet
+may be altered.<span class="pagenum"><a name="Page_8" id="Page_8">-8-</a></span></p>
+
+<p>Stringed instruments possess more ways of producing sound than any
+other orchestral group. They can pass, better than other instruments
+from one shade of expression to another, the varieties being of an
+infinite number. Species of bowing such as <i>legato</i>, detached,
+<i>staccato</i>, <i>spiccato</i>, <i>portamento</i>, <i>martellato</i>, light <i>staccato</i>,
+<i>saltando</i>, attack at the nut and at the point,
+<img src="images1/downbow.png" width="61" height="17" alt="downbow" title="downbow" />
+and
+<img src="images1/upbow.png" width="45" height="25" alt="upbow" title="upbow" />
+(down bow and up bow), in every degree of tone,
+<i>fortissimo</i>, <i>pianissimo</i>, <i>crescendo</i>, <i>diminuendo</i>, <i>sforzando</i>,
+<i>morendo</i>&mdash;all this belongs to the natural realm of the string
+quartet.</p>
+
+<p>The fact that these instruments are capable of playing double notes
+and full chords across three and four strings&mdash;to say nothing of
+sub-division of parts&mdash;renders them not only melodic but also harmonic
+in character.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p>
+
+<p>From the point of view of activity and flexibility the violin takes
+pride of place among stringed instruments, then, in order, come the
+viola, 'cello and double bass. In practice the notes of extreme limit
+in the string quartet should be fixed as follows:</p>
+
+<p class="center">for violins: <img src="images1/ms001.png" width="92" height="77" alt="Music: A7" title="Music: A7" />,
+for violas: <img src="images1/ms002.png" width="89" height="64" alt="Music: A7" title="Music: A7" />,</p>
+
+<p class="center">for 'cellos: <img src="images1/ms003.png" width="94" height="61" alt="Music: A4" title="Music: A4" />,
+for double basses: <img src="images1/ms004.png" width="86" height="57" alt="Music: G4" title="Music: G4" />.</p>
+
+<p class="tp">Higher notes given in <a href="#Table_A">Table A</a>, should only be used with caution, that
+is to say when they are of long value, in <i>tremolando</i>, slow, flowing
+melodies, in not too rapid sequence of scales, and in passages of
+repeated notes. Skips should always be avoided.</p>
+
+<div class="blockquot"><p><i>Note.</i> In quick passages for stringed instruments long
+chromatic figures are never suitable; they are difficult to
+play and sound indistinct and muddled. Such passages are
+better allotted to the wood-wind.</p></div>
+
+<p>A limit should be set to the use of a high note on any one of the
+three lower strings on violins, violas and 'cellos. This note should
+be the one in the fourth position, either the octave note or the ninth
+of the open string.<span class="pagenum"><a name="Page_9" id="Page_9">-9-</a></span></p>
+
+<p>Nobility, warmth, and equality of tone from one end of the scale to
+the other are qualities common to all stringed instruments, and render
+them essentially superior to instruments of other groups. Further,
+each string has a distinctive character of its own, difficult to
+define in words. The top string on the violin (<i>E</i>) is brilliant in
+character, that of the viola (<i>A</i>) is more biting in quality and
+slightly nasal; the highest string on the 'cello (<i>A</i>) is bright and
+possesses a "chest-voice" timbre. The <i>A</i> and <i>D</i> strings on the
+violin and the <i>D</i> string on the violas and 'cellos are somewhat
+sweeter and weaker in tone than the others. Covered strings (<i>G</i>), on
+the violin (<i>G</i> and <i>C</i>), on the viola and 'cello are rather harsh.
+Speaking generally, the double bass is equally resonant throughout,
+slightly duller on the two lower strings (<i>E</i> and <i>A</i>), and more
+penetrating on the upper ones (<i>D</i> and <i>G</i>).</p>
+
+<div class="blockquot"><p><i>Note.</i> Except in the case of pedal notes, the double bass
+rarely plays an independent part, usually moving in octaves
+or in unison with the 'cellos, or else doubling the
+bassoons. The quality of the double bass tone is therefore
+seldom heard by itself and the character of its different
+strings is not so noticeable.</p></div>
+
+<p>The rare ability to connect sounds, or a series of sounds, the
+vibration of stopped strings combined with their above-named
+qualities&mdash;warmth and nobility of tone&mdash;renders this group of
+instruments far and away the best orchestral medium of melodic
+expression. At the same time, that portion of their range situated
+beyond the limits of the human voice, e.g. notes on the violin higher
+than the extreme top note of the soprano voice, from</p>
+
+<p class="centertp">
+<img src="images1/ms005.png" width="93" height="66" alt="Music: E6" title="Music: E6" />
+</p>
+
+<p class="centerbp"></p>
+
+<p class="noindent">upwards, and notes on the double bass below the range of the bass
+voice, descending from</p>
+
+<p class="centertp">
+<img src="images1/ms006.png" width="92" height="32" alt="Music: D3" title="Music: D3" />
+(written sound)</p>
+
+<p class="noindent">lose in expression and warmth of tone. Open strings are clearer and
+more powerful but less expressive than stopped strings.</p>
+
+<p>Comparing the range of each stringed instrument with that of the human
+voice, we may assign: to the violin, the soprano and<span class="pagenum"><a name="Page_10" id="Page_10">-10-</a></span> contralto voice
+plus a much higher range; to the viola, the contralto and tenor voice
+plus a much higher register; to the 'cello, the tenor and bass voices
+plus a higher register; to the double bass, the bass voice plus a
+lower range.</p>
+
+<p>The use of harmonics, the mute, and some special devices in bowing
+produce great difference in the resonance and tone quality of all
+these instruments.</p>
+
+<p>Harmonics, frequently used today, alter the timbre of a stringed
+instrument to a very appreciable extent. Cold and transparent in soft
+passages, cold and brilliant in loud ones, and offering but little
+chance for expression, they form no fundamental part of orchestral
+writing, and are used simply for ornament. Owing to their lack of
+resonant power they should be used sparingly, and, when employed,
+should never be overpowered by other instruments. As a rule harmonics
+are employed on sustained notes, <i>tremolando</i>, or here and there for
+brilliant effects; they are rarely used in extremely simple melodies.
+Owing to a certain tonal affinity with the flute they may be said to
+form a kind of link between string and wood-wind instruments.</p>
+
+<p>Another radical change is effected by the use of mutes. When muted,
+the clear, singing tone of the strings becomes dull in soft passages,
+turns to a slight hiss or whistle in loud ones, and the volume of tone
+is always greatly reduced.</p>
+
+<p>The position of the bow on the string will affect the resonance of an
+instrument. Playing with the bow close to the bridge (<i>sul
+ponticello</i>), chiefly used <i>tremolando</i>, produces a metallic sound;
+playing on the finger-board (<i>sul tasto</i>, <i>flautando</i>) creates a dull,
+veiled effect.</p>
+
+<div class="blockquot"><p class="bp"><i>Note.</i> Another absolutely different sound results from
+playing with the back or wood of the bow (<i>col legno</i>). This
+produces a sound like a xylophone or a hollow <i>pizzicato</i>.
+It is discussed under the heading of instruments of little
+sustaining power.</p></div>
+
+<div class="bboxf">
+<h3><a name="Table_A" id="Table_A"></a>Table A. String group.</h3>
+
+<p class="center">(These instruments give all chromatic intervals.)</p>
+
+<p class="centertp">
+<img src="images1/table_a.png" width="600" height="263" alt="Table A" title="Table A" />
+</p>
+
+<p class="centerbp">[<a href="images1/table_a_lg.png">Enlarge</a>]</p>
+
+<div class="blockquot"><p class="bp">Black lines on each string denote the general range in orchestral
+writing, the dotted lines give the registers, low, medium, high, very
+high.</p>
+</div>
+</div>
+
+<p class="tp">The five sets of strings with number of players given above produce a
+fairly even balance of tone. If there is any surplus of strength it
+must be on the side of the first violins, as they must be heard
+distinctly on account of the important part they play in the harmonic
+scheme. Besides this, an extra desk of first violins is usual in all
+orchestras, and as a general<span class="pagenum"><a name="Page_12" id="Page_12">-12-</a></span> rule they possess a more powerful tone
+than second violins. The latter, with the violas, play a secondary
+part, and do not stand out so prominently. The 'cellos and double
+basses are heard more distinctly, and in the majority of cases form
+the bass in octaves.</p>
+
+<p>In conclusion it may be said that the group of strings, as a melodic
+element, is able to perform all manner of passages, rapid and
+interrupted phrases of every description, diatonic or chromatic in
+character. Capable of sustaining notes without difficulty, of playing
+chords of three and four notes; adapted to the infinite variety of
+shades of expression, and easily divisible into numerous sundry parts,
+the string group in an orchestra may be considered as an harmonic
+element particularly rich in resource.</p>
+
+
+<h2>B. Wind instruments.</h2>
+
+<h3>Wood-wind.</h3>
+
+<p>Apart from the varying number of players, the formation of the string
+group, with its five constituent parts remains constant, satisfying
+the demands of any orchestral full score. On the other hand the group
+of wood-wind instruments varies both as regards number of parts and
+the volume of tone at its command, and here the composer may choose at
+will. The group may be divided into three general classes: wood-wind
+instruments in pair's, in three's and in four's, (see table on <a href="#Page_13">page
+13</a>).</p>
+
+<p class="bp">Arabic numerals denote the number of players on each instrument; roman
+figures, the parts (1<span class="super">st</span>, 2<span class="super">nd</span> etc.). Instruments which do not
+require additional players, but are taken over by one or the other
+executant in place of his usual instrument, are enclosed in brackets.
+As a rule the first flute, first oboe, first clarinet and first
+bassoon never change instruments; considering the importance of their
+parts it is not advisable for them to turn from one mouth-piece to
+another. The parts written for piccolo, bass flute, English horn,
+small clarinet, bass clarinet and double bassoon are taken by the
+second and third players in each group, who are more accustomed to
+using these instruments of a special nature.<span class="pagenum"><a name="Page_13" id="Page_13">-13-</a></span></p>
+
+<table style="width: 100%" border="0" cellpadding="4" cellspacing="0" summary="woodwinds">
+<tr><td class="center" style="border: 1px solid black"><span class="slg">Wood-wind</span><br />in pair's</td><td class="center" style="border: 1px solid black"><span class="slg">Wood-wind</span><br />in three's</td><td class="center" style="border: 1px solid black"><span class="slg">Wood-wind</span><br />in four's</td></tr>
+<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II&mdash;Piccolo).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(III&mdash;Piccolo).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">1 Piccolo (IV).</td></tr>
+<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Flutes I. II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Flutes I. II. III.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Flutes I. II. III.</td></tr>
+<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">&nbsp;</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II&mdash;Bass flute).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(III&mdash;Bass flute).</td></tr>
+<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Oboes I. II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Oboes I. II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Oboes I. II. III.</td></tr>
+<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II&mdash;Eng. horn).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">1 Eng. horn (III).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">1 Eng. horn (IV).</td></tr>
+<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">&nbsp;</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II&mdash;Small clarinet).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II&mdash;Small clarinet).</td></tr>
+<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Clarinets I. II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Clarinets I. II. III.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Clarinets I. II. III.</td></tr>
+<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II&mdash;Bass clarinet).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(III&mdash;Bass clarinet).</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">1 Bass clarinet (IV).</td></tr>
+<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Bassoons I. II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Bassoons I. II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Bassoons I. II. III.</td></tr>
+<tr><td class="center" style="border-bottom: 1px solid black; border-right: 1px solid black; border-left: 1px solid black">&nbsp;</td><td class="center" style="border-bottom: 1px solid black; border-right: 1px solid black; border-left: 1px solid black">1 Double bassoon (III).</td><td class="center" style="border-bottom: 1px solid black; border-right: 1px solid black; border-left: 1px solid black">1 Double bassoon (IV).</td></tr>
+</table>
+
+<p class="tp">The formation of the first class may be altered by the permanent
+addition of a piccolo part. Sometimes a composer writes for two
+piccolos or two Eng. horns etc. without increasing the original number
+of players required (in three's or four's).</p>
+
+<div class="blockquot"><p><i>Note I.</i> Composers using the first class in the course of a
+big work (oratorio, opera, symphony, etc.) may introduce
+special instruments, called <i>extras</i>, for a long or short
+period of time; each of these instruments involves an extra
+player not required throughout the entire work. Meyerbeer
+was fond of doing this, but other composers, Glinka for
+example, refrain from increasing the number of performers by
+employing <i>extras</i> (Eng. horn part in <i>Rousslân</i>). Wagner
+uses all three classes in the above table (in pair's:
+<i>Tannhäuser</i>&mdash;in three's: <i>Tristan</i>&mdash;in four's: <i>The Ring</i>).</p>
+
+<p><i>Note II.</i> <i>Mlada</i> is the only work of mine involving
+formation by four's. <i>Ivan the Terrible</i>, <i>Sadko</i>, <i>The
+Legend of Tsar Saltan</i>, <i>The Legend of the Invisible City of
+Kitesh</i> and <i>The Golden Cockerel</i> all belong to the second
+class, and in my other works, wood-wind in pair's is used
+with a varying number of extras. <i>The Christmas Night</i>, with
+its two oboes, and two bassoons, three flutes and three
+clarinets, forms an intermediate class.</p></div>
+
+<p>Considering the instruments it comprises, the string group offers a
+fair variety of colour, and contrast in compass, but this diversity of
+range and timbre is subtle and not easily discerned. In the wood-wind
+department, however, the difference in register and quality of flutes,
+oboes, clarinets and bassoons is striking to a degree. As a rule,
+wood-wind instruments are less flexible than<span class="pagenum"><a name="Page_14" id="Page_14">-14-</a></span> strings; they lack the
+vitality and power, and are less capable of different shade of
+expression.</p>
+
+<p>In each wind instrument I have defined the <i>scope of greatest
+expression</i>, that is to say the range in which the instrument is best
+qualified to achieve the various grades of tone, (<i>forte</i>, <i>piano</i>,
+<i>cresc.</i>, <i>dim.</i>, <i>sforzando</i>, <i>morendo</i>, etc.)&mdash;the register which
+admits of the most <i>expressive</i> playing, in the truest sense of the
+word. Outside this range, a wind instrument is more notable for
+richness of colour than for expression. I am probably the originator
+of the term "scope of greatest expression". It does not apply to the
+piccolo and double bassoon which represent the two extremes of the
+orchestral compass. They do not possess such a register and belong to
+the body of highly-coloured but non-expressive instruments.</p>
+
+<p>The four kinds of wind instruments: flutes, oboes, clarinets and
+bassoons may be generally considered to be of equal power. The same
+cannot be said of instruments which fulfil a special purpose: piccolo,
+bass flute, Eng. horn, small clarinet, bass clarinet and double
+bassoon. Each of these instruments has four registers: low, middle,
+high and extremely high, each of which is characterised by certain
+differences of quality and power. It is difficult to define the exact
+limits of each register; adjacent registers almost blend together and
+the passage from one to another is scarcely noticeable. But when the
+instrument jumps from one register to another the difference in power
+and quality of tone is very striking.</p>
+
+<p>The four families of wind instruments may be divided into two classes:
+a) instruments of nasal quality and dark resonance&mdash;oboes and bassoons
+(Eng. horn and double bassoon); and b) instruments of "chest-voice"
+quality and bright tone&mdash;flutes and clarinets (piccolo, bass flute,
+small clarinet, bass clarinet).</p>
+
+<p class="bp">These characteristics of colour and resonance&mdash;expressed in too simple
+and rudimentary a form&mdash;are specially noticeable in the middle and
+upper registers. The lower register of the oboes and bassoons is thick
+and rough, yet still nasal in quality; the very high compass is
+shrill, hard and dry. The clear resonance of the flutes and clarinets
+acquires something nasal and dark in the lower compass; in the very
+high register it becomes somewhat piercing.</p>
+
+<div class="bboxf">
+<h3><a name="Table_B" id="Table_B"></a>Note to Table B.</h3>
+
+<div class="blockquot"><p>In the following Table B the top note in each register
+serves as the bottom note in the next, as the limits to each
+register are not defined absolutely. The note <i>G</i> fixes the
+register of flutes and oboes, <i>C</i> for the clarinets and
+bassoons. In the very high compass those notes are only
+given which can really be used; anything higher and not
+printed as actual notes are either too difficult to produce
+or of no artistic value. The number of sounds obtainable in
+the highest compass is indefinite, and depends, partly on
+the quality of the instrument itself, partly on the position
+and application of the lips. The signs
+<img src="images1/resonance.png" width="101" height="14" alt="resonance" title="resonance" />
+are not to be mistaken for <i>crescendo</i> and <i>diminuendo</i>; they indicate how
+the resonance of an instrument increases or diminishes in
+relation to the characteristic quality of its timbre. The
+scope of greatest expression for each typical instrument is
+marked thus,
+<img src="images1/bracket.png" width="88" height="17" alt="bracket" title="bracket" />
+under the notes; the range is
+the same in each instrument of the same type.</p></div>
+
+<h3>Table B. Wind group.</h3>
+
+<p class="center">These instruments give all chromatic intervals.</p>
+
+<p class="centertp">
+<img src="images1/table_b.png" width="600" height="659" alt="Table B" title="Table B" />
+</p>
+
+<p class="centerbp">[<a href="images1/table_b_lg.png">Enlarge</a>]</p>
+</div>
+
+<p class="tp"><span class="pagenum"><a name="Page_18" id="Page_18">-18-</a></span></p>
+
+<div class="blockquot"><p><i>Note.</i> It is a difficult matter to define tone quality in
+words; we must encroach upon the domain of sight, feeling,
+and even taste. Though borrowed from these senses, I have no
+doubt as to the appropriateness of my comparisons, but, as a
+general rule definitions drawn from other sources are too
+elementary to be applied to music. No condemnatory meaning
+however should be attached to my descriptions, for in using
+the terms thick, piercing, shrill, dry, etc. my object is to
+express <i>artistic</i> fitness in words, rather than material
+exactitude. Instrumental sounds which have no musical
+meaning are classed by me in the category of <i>useless
+sounds</i>, and I refer to them as such, giving my reasons.
+With the exception of these, the reader is advised to
+consider all other orchestral timbres beautiful from an
+artistic point of view, although it is necessary, at times,
+to put them to other uses.</p>
+
+<p><span class="err" title="Transcriber's Note: The table referred
+to precedes this paragraph in the original.">Further on</span>, a <a href="#Table_B">table of wind instruments</a> is appended,
+outlining the approximate limit of range, defining different
+qualities of tone and indicating the scope of greatest
+expression (the piccolo and double bassoon excepted).</p></div>
+
+<p>Flutes and clarinets are the most flexible wood-wind instruments (the
+flutes in particular), but for expressive power and subtlety in
+<i>nuances</i> the clarinet supersedes them; this instrument can reduce
+volume of tone to a mere breath. The nasal instruments, oboe and
+bassoon, are less mobile and supple; this is accounted for by their
+double reed, but, having to effect all sorts of scales and rapid
+passages in common with the flutes and clarinets, oboes and bassoons
+may be considered melodic instruments in the real sense of the word,
+only of a more <i>cantabile</i> and peaceful character. In very quick
+passages they often double the flutes, clarinets or strings.</p>
+
+<p>The four families are equally capable of <i>legato</i> and <i>staccato</i>
+playing and changing from one to the other in different ways, but
+distinct and penetrating <i>staccato</i> passages are better suited to the
+oboes and bassoons, while the flutes and clarinets excel in
+well-sustained <i>legato</i> phrases. Composite <i>legato</i> passages should be
+allotted to the first two instruments, composite <i>staccato</i> passages
+to the latter pair, but these general directions should not deter the
+orchestrator from adopting the opposite plan.</p>
+
+<p>In comparing the technical individualities of the wood-wind the
+following fundamental differences should be noted:</p>
+
+<p>a) The rapid repetition of a single note by single tonguing is common
+to all wind instruments; repetition of a single note by means of
+double tonguing is only possible on the flute, a reedless instrument.</p>
+
+<p>b) On account of its construction the clarinet is not well adapted to
+sudden leaps from one octave to another; these skips are easier on
+flutes, oboes and bassoons.<span class="pagenum"><a name="Page_19" id="Page_19">-19-</a></span></p>
+
+<p>c) <i>Arpeggios</i> and rapid alternation of two intervals <i>legato</i> sound
+well on flutes and clarinets, but not on oboes and bassoons.</p>
+
+<p>Wood-wind players cannot manage extremely long sustained passages, as
+they are compelled to take breath; care must be taken therefore to
+give them a little rest from time to time. This is unnecessary in the
+case of string players.</p>
+
+<p>In the endeavour to characterise the timbre of each instrument typical
+of the four families, from a psychological point of view, I do not
+hesitate to make the following general remarks which apply generally
+to the middle and upper registers of each instrument:</p>
+
+<p>a) Flute.&mdash;Cold in quality, specially suitable, in the major key, to
+melodies of light and graceful character; in the minor key, to slight
+touches of transient sorrow.</p>
+
+<p>b) Oboe.&mdash;Artless and gay in the major, pathetic and sad in the minor.</p>
+
+<p>c) Clarinet.&mdash;Pliable and expressive, suitable, in the major, to
+melodies of a joyful or contemplative character, or to outbursts of
+mirth; in the minor, to sad and reflective melodies or impassioned and
+dramatic passages.</p>
+
+<p>d) Bassoon.&mdash;In the major, an atmosphere of senile mockery; a sad,
+ailing quality in the minor.</p>
+
+<p>In the extreme registers these instruments convey the following
+impressions to my mind:</p>
+
+<table style="width: 80%" border="0" cellpadding="4" cellspacing="0" summary="registers">
+<tr><td>&nbsp;</td><td class="center"><i>Low register</i></td><td class="center"><i>Very high register</i></td></tr>
+<tr><td>a) Flute&mdash;</td><td class="center">Dull, cold</td><td class="center">Brilliant</td></tr>
+<tr><td>b) Oboe&mdash;</td><td class="center">Wild</td><td class="center">Hard, dry</td></tr>
+<tr><td>c) Clarinet&mdash;</td><td class="center">Ringing, threatening</td><td class="center">Piercing</td></tr>
+<tr><td>d) Bassoon&mdash;</td><td class="center">Sinister</td><td class="center">Tense.</td></tr>
+</table>
+
+<div class="blockquot"><p><i>Note.</i> It is true that no mood or frame of mind, whether it
+be joyful or sad, meditative or lively, careless or
+reflective, mocking or distressed can be aroused by one
+single isolated timbre; it depends more upon the general
+melodic line, the harmony, rhythm, and dynamic shades of
+expression, upon the whole formation of a given piece of
+music. The choice of instruments and timbre to be adopted
+depends on the position which melody and harmony occupy in
+the seven-octave scale of the orchestra; for example, a
+melody of light character in the tenor register could not be
+given to the flutes, or a sad, plaintive phrase in the high
+soprano register confided to the bassoons. But the ease with
+which tone colour can be adapted to expression must not be
+forgotten, and in the first of these two cases it may be
+conceded that the mocking character of the bassoon could
+easily and quite naturally assume a light-hearted aspect,
+and<span class="pagenum"><a name="Page_20" id="Page_20">-20-</a></span> in the second case, that the slightly melancholy timbre
+of the flute is somewhat related to the feeling of sorrow
+and distress with which the passage is to be permeated. The
+case of a melody coinciding in character with the instrument
+on which it is played is of special importance, as the
+effect produced cannot fail to be successful. There are also
+moments when a composer's artistic feeling prompts him to
+employ instruments, the character of which is at variance
+with the written melody (for eccentric, grotesque effects,
+etc.).</p></div>
+
+<p>The following remarks illustrate the characteristics, timbre, and
+employment of special instruments:</p>
+
+<p>The duty of the piccolo and small clarinet is, principally, to extend
+the range of the ordinary flute and clarinet in the high register. The
+whistling, piercing quality of the piccolo in its highest compass is
+extraordinarily powerful, but does not lend itself to more moderate
+shades of expression. The small clarinet in its highest register is
+more penetrating than the ordinary clarinet. The low and middle range
+of the piccolo and small clarinet correspond to the same register in
+the normal flute and clarinet, but the tone is so much weaker that it
+is of little service in those regions. The double bassoon extends the
+range of the ordinary bassoon in the low register. The characteristics
+of the bassoon's low compass are still further accentuated in the
+corresponding range of the double bassoon, but the middle and upper
+registers of the latter are by no means so useful. The very deep notes
+of the double bassoon are remarkably thick and dense in quality, very
+powerful in <i>piano</i> passages.</p>
+
+<div class="blockquot"><p><i>Note.</i> Nowadays, when the limits of the orchestral scale
+are considerably extended (up to the high <i>C</i> of the 7<span class="super">th</span>
+octave, and down to the low <i>C</i>, 16 ft. contra octave), the
+piccolo forms an indispensable constituent of the
+wind-group; similarly, it is recognised that the double
+bassoon is capable of supplying valuable assistance. The
+small clarinet is rarely employed and only for colour
+effects.</p></div>
+
+<p>The English horn, or alto oboe (oboe in <i>F</i>) is similar in tone to the
+ordinary oboe, the listless, dreamy quality of its timbre being sweet
+in the extreme. In the low register it is fairly penetrating. The bass
+clarinet, though strongly resembling the ordinary clarinet, is of
+darker colour in the low register and lacks the silvery quality in the
+upper notes; it is incapable of joyful expression. The bass flute is
+an instrument seldom used even today; it possesses the same features
+as the flute, but it is colder in<span class="pagenum"><a name="Page_21" id="Page_21">-21-</a></span> colour, and crystalline in the
+middle and high regions. These three particular instruments, apart
+from extending the low registers of the instruments to which they
+belong, have their own distinctive peculiarities of timbre, and are
+often used in the orchestra, as solo instruments, clearly exposed.</p>
+
+<div class="blockquot"><p><i>Note.</i> Of the six special instruments referred to above,
+the piccolo and double bassoon were the first to be used in
+the orchestra; the latter, however, was neglected after
+Beethoven's death and did not reappear until towards the end
+of the 19<span class="super">th</span> century. The Eng. horn and bass clarinet were
+employed initially during the first half of the same century
+by Berlioz, Meyerbeer, and others, and for some time
+retained their position as <i>extras</i>, to become, later on,
+permanent orchestral factors, first in the theatre, then in
+the concert room. Very few attempts have been made to
+introduce the small clarinet into the orchestra (Berlioz
+etc.); this instrument together with the bass flute is used
+in my opera-ballet <i>Mlada</i> (1892), and also in my most
+recent compositions, <i>The Christmas Night</i>, and <i>Sadko</i>; the
+bass flute will also be found in <i>The Legend of the
+Invisible City of Kitesh</i>, and in the revised version of
+"<i>Ivan the Terrible</i>".</p></div>
+
+<p>Of late years the habit of muting the wood-wind has come into fashion.
+This is done by inserting a soft pad, or a piece of rolled-up cloth
+into the bell of the instrument. Mutes deaden the tone of oboes, Eng.
+horns, and bassoons to such an extent that it is possible for these
+instruments to attain the extreme limit of <i>pianissimo</i> playing. The
+muting of clarinets is unnecessary, as they can play quite softly
+enough without artificial means. It has not yet been discovered how to
+mute the flutes; such a discovery would render great service to the
+piccolo. The lowest notes on the bassoon,</p>
+
+<p class="centertbp"><img src="images1/ms007.png" width="91" height="55" alt="Music: B1" title="Music: B1" />
+and on the oboe and Eng. horn
+<img src="images1/ms008.png" width="89" height="58" alt="Music: B3" title="Music: B3" />
+</p>
+
+<p class="noindent">are impossible when the instruments are muted. Mutes have no effect in
+the highest register of wind instruments.</p>
+
+
+<h3>Brass.</h3>
+
+<p class="bp">The formation of the group of brass instruments, like that of the
+wood-wind is not absolutely uniform, and varies in different scores.
+The brass group may be divided into three general classes
+corresponding to those of the wood-wind (in pair's, in three's, and in
+four's).<span class="pagenum"><a name="Page_22" id="Page_22">-22-</a></span></p>
+
+<table style="width: 100%" border="0" cellpadding="4" cellspacing="0" summary="woodwinds">
+<tr><td class="center" style="border: 1px solid black">Group corresponding<br />
+to the wood-wind<br />
+in pair's</td>
+<td class="center" style="border: 1px solid black">Group corresponding<br />
+to the wood-wind<br />
+in three's</td>
+<td class="center" style="border: 1px solid black">Group corresponding<br />
+to the wood-wind<br />
+in four's</td></tr>
+<tr><td style="border-right: 1px solid black; border-left: 1px solid black">&nbsp;</td><td style="border-right: 1px solid black; border-left: 1px solid black">&nbsp;</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(II&mdash;Small trumpet).</td></tr>
+<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">2 Trumpets I, II.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Trumpets I, II, III.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Trumpets I, II, III.</td></tr>
+<tr><td style="border-right: 1px solid black; border-left: 1px solid black">&nbsp;</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(III&mdash;Alto trumpet</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">(III&mdash;Alto trumpet or</td></tr>
+<tr><td style="border-right: 1px solid black; border-left: 1px solid black">&nbsp;</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">or:</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">Bass trumpet.)</td></tr>
+<tr><td style="border-right: 1px solid black; border-left: 1px solid black">&nbsp;</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">{ 2 Cornets I, II.</td><td style="border-right: 1px solid black; border-left: 1px solid black">&nbsp;</td></tr>
+<tr><td style="border-right: 1px solid black; border-left: 1px solid black">&nbsp;</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black"><span style="margin-left: 1em;">{ 2 Trumpets I, II.)</span></td><td style="border-right: 1px solid black; border-left: 1px solid black">&nbsp;</td></tr>
+<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">4 Horns I, II, III, IV.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">4 Horns I, II, III, IV.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">6 or 8 Horns I, II, III, IV, V, VI, VII, VIII.</td></tr>
+<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Trombones.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Trombones I, II, III.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black">3 Trombones I, II, III.</td></tr>
+<tr><td class="center" style="border-right: 1px solid black; border-left: 1px solid black; border-bottom: 1px solid black">1 Tuba.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black; border-bottom: 1px solid black">1 Tuba<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a>.</td><td class="center" style="border-right: 1px solid black; border-left: 1px solid black; border-bottom: 1px solid black"> 1 Tuba.</td></tr>
+</table>
+
+<p class="tp">The directions are the same as in the preceding table for wood-wind.
+It is evident that in all three classes the formation may vary as the
+composer wishes. In music for the theatre or concert room page after
+page may be written without the use of trumpets, trombones and tuba,
+or some instrument may be introduced, temporarily as an <i>extra</i>. In
+the above table I have given the most typical formations, and those
+which are the most common at the present day.</p>
+
+<div class="blockquot"><p><i>Note I.</i> Besides the instruments given above, Richard
+Wagner used some others in <i>The Ring</i>, notably the quartet
+of tenor and bass tubas, and a contrabass trombone.
+Sometimes these additions weigh too heavily on the other
+groups, and at other times they render the rest of the brass
+ineffective. For this reason composers have doubtless
+refrained from employing such instruments, and Wagner
+himself did not include them in the score of <i>Parsifal</i>.
+Some present-day composers (Richard Strauss, Scriabine)
+write for as many as five trumpets.</p>
+
+<p><i>Note II.</i> From the middle of the 19<span class="super">th</span> century onward the
+natural brass disappeared from the orchestra, giving place
+to valve instruments. In my second opera, <i>The May Night</i> I
+used natural horns and trumpets, changing the keys, and
+writing the best notes "stopped"; this was purposely done
+for practise.</p></div>
+
+<p>Though far less flexible than the wood-wind, brass instruments
+heighten the effect of other orchestral groups by their powerful
+resonance. Trumpets, trombones, and tubas are about equal in<span class="pagenum"><a name="Page_23" id="Page_23">-23-</a></span>
+strength; cornets have not quite the same force; horns, in <i>forte</i>
+passages, are about one half as strong, but <i>piano</i>, they have the
+same weight as other brass instruments played softly. To obtain an
+equal balance, therefore, the marks of expression in the horns should
+be one degree stronger than in the rest of the brass; if the trumpets
+and trombones play <i>pp</i>, the horns should be marked <i>p</i>. On the other
+hand, to obtain a proper balance in <i>forte</i> passages, two horns are
+needed to one trumpet or one trombone.</p>
+
+<p>Brass instruments are so similar in range and timbre that the
+discussion of register is unnecessary. As a general rule quality
+becomes more brilliant as the higher register is approached, and <i>vice
+versa</i>, with a decrease in tone. Played <i>pp</i> the resonance is sweet;
+played <i>ff</i> the tone is hard and "crackling". Brass instruments
+possess a remarkable capacity for swelling from <i>pianissimo</i> to
+<i>fortissimo</i>, and reducing the tone inversely, the <i>sf</i>
+<img src="images1/decrescendo.jpg" width="40" height="12" alt="decrescendo" title="decrescendo" />
+<i>p</i> effect being excellent.</p>
+
+<p>The following remarks as to character and tone quality may be added:</p>
+
+<p>a) 1. <i>Trumpets</i> (<i>B&#9837;-A</i>). Clear and fairly penetrating in tone,
+stirring and rousing in <i>forte</i> passages; in <i>piano</i> phrases the high
+notes are full and silvery, the low notes troubled, as though
+threatening danger.</p>
+
+<p class="bi">2. <i>Alto trumpet</i> (in <i>F</i>). An instrument of my own invention, first
+used by me in the opera-ballet <i>Mlada</i>. In the deep register (notes 2
+to 3 in the trumpet scale) it possesses a fuller, clearer, and finer
+tone. Two ordinary trumpets with an alto trumpet produce greater
+smoothness and equality in resonance than three ordinary trumpets.
+Satisfied with the beauty and usefulness of the alto trumpet, I have
+consistently written for it in my later works, combined with wood-wind
+in three's.</p>
+
+<div class="blockquot"><p><i>Note.</i> To obviate the difficulty of using the alto trumpet
+in ordinary theatres and some concert rooms, I have not
+brought into play the last four notes of its lowest register
+or their neighbouring chromatics; by this means the alto
+trumpet part may be played by an ordinary trumpet in <i>B&#9837;</i>
+or <i>A</i>.</p></div>
+
+<p class="bi">3. <i>Small trumpet</i> (in <i>E&#9837;-D</i>). Invented by me and used for the
+first time in <i>Mlada</i> to realise the very high<span class="pagenum"><a name="Page_24" id="Page_24">-24-</a></span> trumpet notes without
+difficulty. In tonality and range the instrument is similar to the
+soprano cornet in a military band.</p>
+
+<div class="blockquot"><p><i>Note.</i> The small trumpet, (<i>B&#9837;-A</i>) sounding an octave
+higher than the ordinary trumpet has not yet appeared in
+musical literature.</p></div>
+
+<p>b) <i>Cornets</i> (in <i>B&#9837;-A</i>). Possessing a quality of tone similar to
+the trumpet, but softer and weaker. It is a beautiful instrument
+though rarely employed today in theatre or concert room. Expert
+players can imitate the cornet tone on the trumpet, and <i>vice versa</i>.</p>
+
+<p>c) <i>Horn</i> (in <i>F</i>). The tone of this instrument is soft, poetical, and
+full of beauty. In the lower register it is dark and brilliant; round
+and full in the upper. The middle notes resemble those of the bassoon
+and the two instruments blend well together. The horn, therefore,
+serves as a link between the brass and wood-wind. In spite of valves
+the horn has but little mobility and would seem to produce its tone in
+a languid and lazy manner.</p>
+
+<p>d) <i>Trombone.</i> Dark and threatening in the deepest register, brilliant
+and triumphant in the high compass. The <i>piano</i> is full but somewhat
+heavy, the <i>forte</i> powerful and sonorous. Valve trombones are more
+mobile than slide trombones, but the latter are certainly to be
+preferred as regards nobility and equality of sound, the more so from
+the fact that these instruments are rarely required to perform quick
+passages, owing to the special character of their tone.</p>
+
+<p class="bp">e) <i>Tuba.</i> Thick and rough in quality, less characteristic than the
+trombone, but valuable for the strength and beauty of its low notes.
+Like the double bass and double bassoon, the tuba is eminently useful
+for doubling, an octave lower, the bass of the group to which it
+belongs. Thanks to its valves, the tuba is fairly flexible.</p>
+
+
+<div class="bboxf">
+<h3><a name="Table_C" id="Table_C"></a>Table C. Brass group.</h3>
+
+<p class="center">These instruments give all chromatic intervals.<a name="FNanchor_A_9" id="FNanchor_A_9"></a><a href="#Footnote_A_9" class="fnanchor">[A]</a> <a name="FNanchor_B_10" id="FNanchor_B_10"></a><a href="#Footnote_B_10" class="fnanchor">[B]</a></p>
+
+<p class="centertp">
+<img src="images1/table_c.png" width="500" height="233" alt="Table C" title="Table C" />
+</p>
+
+<p class="center">[<a href="images1/table_c_lg.png">Enlarge</a>]</p>
+
+<p class="centerbp">Natural sounds are given in white notes. The upper lines indicate the
+scope of greatest expression.</p>
+</div>
+
+<p class="tp">The <a href="#Table_C">group of brass instruments</a>, though uniform in resonance throughout
+its constituent parts, is not so well adapted to expressive playing
+(in the exact sense of the word) as the wood-wind group. Nevertheless,
+a scope of greatest expression may be distinguished<span class="pagenum"><a name="Page_26" id="Page_26">-26-</a></span><span class="pagenum"><a name="Page_25" id="Page_25">-25-</a></span> in the middle
+registers. In company with the piccolo and double bassoon it is not
+given to the small trumpet (<i>E&#9837;-D</i>) and tuba to play with any great
+amount of expression. The rapid and rhythmical repetition of a note by
+single tonguing is possible to all members of the brass, but double
+tonguing can only be done on instruments with a small mouth-piece,
+trumpets and cornets. These two instruments can execute rapid
+<i>tremolando</i> without difficulty. The remarks on breathing, in the
+section devoted to the wood-wind, apply with equal force to the brass.</p>
+
+<p>The use of stopped notes and mutes alters the character of brass tone.
+Stopped notes can only be employed on trumpets, cornets and horns; the
+shape of trombones and tubas prevents the hand from being inserted
+into the bell. Though mutes are applied indiscriminately to all brass
+instruments in the orchestra, tubas rarely possess them. Stopped and
+muted notes are similar in quality. On the trumpet, muting a note
+produces a better tone than stopping it.</p>
+
+<p>In the horn both methods are employed; single notes are stopped in
+short phrases, muted in longer ones. I do not propose to describe the
+difference between the two operations in detail, and will leave the
+reader to acquire the knowledge for himself, and to form an opinion as
+to its importance from his own personal observation. Sufficient to say
+that the tone is deadened by both methods, assuming a wild "crackling"
+character in <i>forte</i> passages, tender and dull in <i>piano</i>. Resonance
+is greatly reduced, the silvery tone of the instrument so lost and a
+timbre resembling that of the oboe and Eng. horn is approached.
+Stopped notes (<i>con sordino</i>) are marked <span class="xlg">+</span>
+underneath the note, sometimes followed by
+<img src="images1/open.png" width="21" height="21" alt="no mute" title="no mute" />,
+denoting the resumption of open sounds, <i>senza sordini</i>. Brass
+instruments, when muted, produce an effect of distance.</p>
+
+
+<h2>C. Instruments of little sustaining power.</h2>
+
+<h3>Plucked strings.</h3>
+
+<p>When the usual orchestral string quartet (Vn<span class="super">s</span> I, Vn<span class="super">s</span> II, Violas,
+'Cellos, D. basses) does not make use of the bow, but plucks the
+strings with the finger, it becomes to my mind a new and inde<span class="pagenum"><a name="Page_27" id="Page_27">-27-</a></span>pendent
+group with its own particular quality of tone. Associated with the
+harp, which produces sound in a similar manner, I consider it
+separately under the heading of plucked strings.</p>
+
+<div class="blockquot"><p><i>Note.</i> In this group may be classed the guitar, zither,
+balalaïka; instruments plucked with a quill, such as the
+domra,<a name="FNanchor_9_11" id="FNanchor_9_11"></a><a href="#Footnote_9_11" class="fnanchor">[9]</a> the mandoline etc., all of which may be used in an
+orchestra, but have no place in the scope of the present
+book.</p></div>
+
+
+<h3>Pizzicato.</h3>
+
+<p>Although capable of every degree of power from <i>ff</i> to <i>pp</i>,
+<i>pizzicato</i> playing has but small range of expression, and is used
+chiefly as a colour effect. On open strings it is resonant and heavy,
+on stopped strings shorter and duller; in the high positions it is
+rather dry and hard.</p>
+
+<p><a href="#Table_D">Table D</a> on <span class="err" title="Transcriber's Note:
+Table D has been moved to p. 30 to avoid breaking up a paragraph."><a href="#Page_30">page 31</a></span> indicates the range in which <i>pizzicato</i> may be
+used on each stringed instrument.</p>
+
+<p>In the orchestra, <i>pizzicato</i> comes into operation in two distinct
+ways: a) on single notes, b) on double notes and chords. The fingers
+of the right hand playing <i>pizz.</i> are far less agile than the bow;
+<i>pizz.</i> passages therefore can never be performed as quickly as those
+played <i>arco</i>. Moreover, the speed of <i>pizzicato</i> playing depends upon
+the thickness of the strings; on the double basses, for instance, it
+must always be much slower than on the violins.</p>
+
+<p>In <i>pizzicato</i> chords it is better to avoid open strings, which
+produce a more brilliant tone than of covered strings. Chords of four
+notes allow of greater freedom and vigour of attack, as there is no
+danger of accidentally touching a wrong note. Natural harmonics played
+<i>pizz.</i> create a charming effect; the tone is weak however, and they
+are chiefly successful on the violoncello.</p>
+
+
+<h3>Harp.</h3>
+
+<p>In the orchestra, the harp is almost entirely an harmonic or
+accompanying instrument. The majority of scores require only one harp
+part, but in recent times composers have written for two or even three
+harps, which are sometimes compressed into the one part.<span class="pagenum"><a name="Page_28" id="Page_28">-28-</a></span></p>
+
+<div class="blockquot"><p><i>Note.</i> Full orchestras should include three or even four
+harps. My operas <i>Sadko</i>, <i>The Legend of the Invisible City
+of Kitesh</i>, and <i>The Golden Cockerel</i> are designed for two
+harps, <i>Mlada</i> for three.</p></div>
+
+<p>The special function of the harp lies in the execution of chords, and
+the florid figures springing from them. As only four notes at the most
+can be played by each hand, the notes of a chord should be written
+close together, with not too great a space between one hand and the
+other. The chords must always be broken (<i>arpeggiato</i>); should the
+composer wish otherwise he should notify it (<i>non arpeggiato</i>). In the
+middle and lower octaves the resonance of the strings is slightly
+prolonged, and dies away gradually. In changes of harmony the player
+stops the vibration of the strings with his hands, but, in quick
+modulations, this method is not feasible, and the mixture of one chord
+with another produces a discordant effect. It follows that more or
+less rapid figures can only be realised clearly and neatly in the
+upper register of the harp, where the strings are shorter and harder
+in tone.</p>
+
+<p>As a general rule, in the whole range of the harp:</p>
+
+<p class="centertbp">
+<img src="images1/harp.png" width="448" height="107" alt="C1&#9837;-F7&#9839;" title="C1&#9837;-F7&#9839;" />
+</p>
+
+<p class="noindent">only the notes of the first to the fourth octave are used; the extreme
+notes in both compasses may be employed in special circumstances, and
+for doubling in octaves.</p>
+
+<p>The harp is essentially a diatonic instrument, since all chromatic
+passages depend on the manipulation of the pedals. For this reason the
+harp does not lend itself to rapid modulation, and the orchestrator is
+advised to bear this fact in mind. But the difficulty may be obviated
+by using two harps alternately.<a name="FNanchor_10_12" id="FNanchor_10_12"></a><a href="#Footnote_10_12" class="fnanchor">[10]</a></p>
+
+<div class="blockquot"><p><i>Note.</i> I would remind the reader that the harp is not
+capable of double sharps or double flats. For this reason,
+certain modulations from one key to another one, adjacent to
+it can only be accomplished enharmonically. For instance,
+the transition from <i>C</i> flat, <i>G</i> flat or <i>D</i> flat, major to
+their minor subdominant chords or keys is not possible owing
+to double flats. It is therefore<span class="pagenum"><a name="Page_29" id="Page_29">-29-</a></span> necessary to start
+enharmonically from the keys of <i>B</i>, <i>F</i> sharp or <i>C</i> sharp,
+major. Similarly, on account of double sharps, it is
+impossible to change from <i>A</i> sharp, <i>D</i> sharp or <i>G</i> sharp,
+minor to their respective dominant major chords or keys; <i>B</i>
+flat, <i>E</i> flat and <i>A</i> flat, minor must be the
+starting-points.</p></div>
+
+<p>The technical operation known as <i>glissando</i> is peculiar to the harp
+alone. Taking for granted that the reader is conversant with the
+methods of acquiring different scales by means of double-notched
+pedals, it will be sufficient to remark that <i>glissando</i> scales
+produce a discordant medley of sound owing to the length of time the
+strings continue to vibrate, and therefore, as a <i>purely musical</i>
+effect, <i>glissando</i> can only be used in the upper octaves, quite
+<i>piano</i>, where the sound of the strings is sufficiently clear, yet not
+too prolonged. <i>Forte glissando</i> scales, entailing the use of the
+lower and middle strings are only permissible as embellishments.
+Glissando passages in chords of the seventh and ninth, enharmonically
+obtained, are much more common, and as the above reservations do not
+apply, every dynamic shade of tone is possible. Chords in harmonics
+can only consist of three notes written close together, two for the
+left hand and one for the right.</p>
+
+<p>The tender poetic quality of the harp is adapted to every dynamic
+shade, but it is never a very powerful instrument, and the
+orchestrator should treat it with respect.</p>
+
+<p>At least three, if not four harps in unison are necessary, if they are
+to be heard against a full orchestra playing <i>forte</i>. The more rapidly
+a <i>glissando</i> passage is played, the louder it will sound. Harmonic
+notes on the harp have great charm but little resonance, and are only
+possible played quite softly. Speaking generally, the harp, like the
+string quartet, <i>pizzicato</i>, is more an instrument of colour than
+expression.</p>
+
+
+<h2>Percussion instruments producing determinate<br />
+sounds, keyed instruments.</h2>
+
+<h3>Kettle-drums.</h3>
+
+<p>Kettle-drums, indispensable to every theatre and concert orchestra
+occupy the most important place in the group of percussion
+instruments. A pair of kettle-drums (<i>Timpani</i>), in the tonic and
+dominant keys, was the necessary attribute of an orchestra up to, and<span class="pagenum"><a name="Page_30" id="Page_30">-30-</a></span>
+including Beethoven's time, but, from the middle of the 19<span class="super">th</span>
+century onward, in western Europe and in Russia, an ever-increasing
+need was felt for the presence of three or even four kettle-drums,
+during the whole course or part of a work. If the expensive chromatic
+drum, permitting instant tuning is rarely met with, still, in the
+majority of good orchestras, three screw drums are generally to be
+found. The composer can therefore take it for granted that a good
+timpanist, having three kettle-drums at his command, will be able to
+tune at least one of them during a pause of some length.</p>
+
+<p class="bp">The limits of possible change in Beethoven's time was considered to
+be:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="kettledrums">
+<tr>
+<td class="center">Big<br />kettle-drum:</td>
+<td class="center"><img src="images1/bigkettle.png" width="161" height="65" alt="F2-C3 (chromatically)" title="F2-C3 (chromatically)" /></td>
+<td class="center">Small<br />kettle-drum:</td>
+<td class="center"><img src="images1/smkettle.png" width="163" height="68" alt="B&#9837;2-F3 (chromatically)" title="B&#9837;2-F3 (chromatically)" /></td>
+</tr>
+</table>
+
+<p class="tp">In these days it is difficult to define the precise extent of high
+compass in the kettle-drums, as this depends entirely on the size and
+quality of the smallest one, of which there are many kinds, but I
+advise the composer to select:</p>
+
+<p class="centertbp">
+<img src="images1/kettle.png" width="166" height="75" alt="E2-G&#9839;3 (chromatically)" title="E2-G&#9839;3 (chromatically)" />
+</p>
+
+<div class="blockquot"><p><i>Note.</i> A magnificent kettle-drum of very small size was
+made for my opera-ballet <i>Mlada</i>; this instrument gave the
+<i>D&#9837;</i> of the fourth octave.</p></div>
+
+<p>Kettle-drums are capable of every dynamic shade of tone, from
+thundering <i>fortissimo</i> to a barely perceptible <i>pianissimo</i>. In
+<i>tremolando</i> they can execute the most gradual <i>crescendo</i>,
+<i>diminuendo</i>, the <i>sfp</i> and <i>morendo</i>.</p>
+
+<p class="bp">To deaden the sound, a piece of cloth is generally placed on the skin
+of the drum, according to the instruction: <i>timpani coperti</i> (muffled
+drums).</p>
+
+
+<div class="bboxf">
+<h3><a name="Table_D" id="Table_D"></a>Table D.</h3>
+
+<h3>Pizzicato.</h3>
+
+<p class="centertp">
+<img src="images1/table_d.png" width="500" height="235" alt="Table D" title="Table D" />
+</p>
+
+<p class="center">[<a href="images1/table_d_lg.png">Enlarge</a>]</p>
+
+<div class="blockquot">
+<p class="bp">The black notes are dry and hard, without resonance, and should only be
+used when doubled with the wood-wind.</p>
+</div>
+
+
+<h3><a name="Table_E" id="Table_E"></a>* Table E.</h3>
+
+<h3>Glockenspiel, celesta, xylophone.</h3>
+
+<p class="centertp">
+<img src="images1/table_e.png" width="500" height="351" alt="Table E" title="Table E" />
+</p>
+
+<p class="centerbp">[<a href="images1/table_e_lg.png">Enlarge</a>]</p>
+</div>
+
+<h3 class="tp">Piano and Celesta.</h3>
+
+<p>The use of a piano in the orchestra (apart from pianoforte concertos)
+belongs almost entirely to the Russian school.<a name="FNanchor_11_13" id="FNanchor_11_13"></a><a href="#Footnote_11_13" class="fnanchor">[11]</a> The object is
+two-fold: the quality of tone, either alone, or combined with<span class="pagenum"><a name="Page_32" id="Page_32">-32-</a></span> that
+of the harp, is made to imitate a popular instrument, the guzli, (as
+in Glinka), or a soft peal of bells. When the piano forms part of an
+orchestra, not as a solo instrument, an upright is preferable to a
+grand, but today the piano is gradually being superseded by the
+celesta, first used by Tschaikovsky. In the celesta, small steel
+plates take the place of strings, and the hammers falling on them
+produce a delightful sound, very similar to the <i>glockenspiel</i>. The
+celesta is only found in full orchestras; when it is not available it
+should be replaced by an upright piano, and not the <i>glockenspiel</i>.</p>
+
+
+<h3>Glockenspiel, Bells, Xylophone.</h3>
+
+<p>The <i>glockenspiel</i> (<i>campanelli</i>) may be made of steel bars, or played
+with a keyboard. The first type is the more satisfactory and possesses
+greater resonance. The use of the <i>glockenspiel</i> is similar to the
+celesta, but its tone is more brilliant and penetrating. Big bells in
+the shape of hollow discs or metal tubes,<a name="FNanchor_12_14" id="FNanchor_12_14"></a><a href="#Footnote_12_14" class="fnanchor">[12]</a> or real church bells of
+moderate size may be considered more as theatrical properties than
+orchestral instruments.</p>
+
+<p>The xylophone is a species of harmonica composed of strips or
+cylinders of wood, struck with two little hammers. It produces a
+clattering sound, both powerful and piercing.</p>
+
+<p>To complete this catalogue of sounds mention should be made of the
+strings playing <i>col legno</i>, that is with the wood or back of the bow.
+The sound produced is similar to the xylophone, and gains in quality
+as the number of players is increased.</p>
+
+<p>A <a href="#Table_E">table</a> is appended showing the range of the celesta, <i>glockenspiel</i>
+and xylophone.</p>
+
+
+<h2>Percussion instruments producing indefinite sounds.</h2>
+
+<p>Instruments in this group, such as triangle, castanets, little bells,
+tambourine, switch or rod (<i>Rute.</i> Ger.), side or military drum,
+cymbals, bass drum, and Chinese gong do not take any harmonic or
+melodic part in the orchestra, and can only be considered as
+ornamental instruments pure and simple. They have no intrinsic<span class="pagenum"><a name="Page_33" id="Page_33">-33-</a></span>
+musical meaning, and are just mentioned by the way. The first three
+may be considered as <i>high</i>, the four following as <i>medium</i>, and the
+last <i>two</i> as deep instruments. This may serve as a guide to their use
+with percussion instruments of determinate sounds, playing in
+corresponding registers.</p>
+
+
+<h2>Comparison of resonance in orchestral groups and<br />
+combination of different tone qualities.</h2>
+
+<p>In comparing the resonance of the respective groups of
+sound-sustaining instruments we arrive at the following approximate
+conclusions:</p>
+
+<p>In the most resonant group, the brass, the strongest instruments are
+the trumpets, trombones and tuba. In loud passages the horns are only
+one-half as strong, 1 Trumpet = 1 Trombone = 1 Tuba = 2 Horns.
+Wood-wind instruments, in <i>forte</i> passages, are twice as weak as the
+horns, 1 Horn = 2 Clarinets = 2 Oboes = 2 Flutes = 2 Bassoons; but, in
+<i>piano</i> passages, all wind-instruments, wood or brass are of fairly
+equal balance.</p>
+
+<p>It is more difficult to establish a comparison in resonance between
+wood-wind and strings, as everything depends on the number of the
+latter, but, in an orchestra of medium formation, it may be taken for
+granted that in <i>piano</i> passages, the whole of one department (<i>all</i>
+1<span class="super">st</span> Violins or <i>all</i> 2<span class="super">nd</span> Violins etc.) is equivalent in strength
+to one wind instrument, (Violins I = 1 Flute etc.), and, in <i>forte</i>
+passages, to two wind instruments, (Violins I = 2 Flutes = 1 Oboe <span class="lg">+</span> 1
+Clarinet, etc.).</p>
+
+<p>It is still harder to form a comparison with instruments of little
+sustaining power, for too great a diversity in production and emission
+of sound exists. The combined force of groups of sustained resonance
+easily overpowers the strings played <i>pizz.</i> or <i>col legno</i>, the piano
+played softly, or the celesta. As regards the <i>glockenspiel</i>, bells,
+and xylophone, their emphatic tone will easily prevail over other
+groups in combination. The same may be said of the kettle-drums with
+their ringing, resounding quality, and also of other subsidiary
+instruments.</p>
+
+<p>The influence of the timbre of one group on another is noticeable when
+the groups are doubled; for instance, when the wood-wind timbre is
+closely allied to the strings on the one hand, and to the brass on the
+other. Re-inforcing both, the wind <i>thickens</i> the strings<span class="pagenum"><a name="Page_34" id="Page_34">-34-</a></span> and
+<i>softens</i> the brass. The strings do not blend so well with the brass,
+and when the two groups are placed side by side, each is heard too
+distinctly. The combination of the three different timbres in unison
+produces a rich, mellow and coherent tone.</p>
+
+<p>All, or several wind instruments in combination will absorb one
+department of added strings:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="winds and strings">
+<tr><td>&nbsp;</td><td>2 Fl.</td><td><span class="lg">+</span></td><td>2 Ob.</td><td><span class="lg">+</span></td><td>Vn<span class="super">s</span> I,</td></tr>
+<tr><td>or:</td><td>2 Ob.</td><td><span class="lg">+</span></td><td>2 Cl.</td><td><span class="lg">+</span></td><td>Violas,</td></tr>
+<tr><td>or:</td><td>2 Cl.</td><td><span class="lg">+</span></td><td>2 Fag.</td><td><span class="lg">+</span></td><td>'Cellos.</td></tr>
+</table>
+
+<p>One department of strings added to the wood-wind in unison produces a
+sweet coherent quality, the wood-wind timbre still predominating; but
+the addition of one wind instrument to all or part of the strings in
+unison, only thickens the resonance of the latter, the wood-wind
+timbre being lost in the process:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="strings and winds">
+<tr><td>&nbsp;</td><td>Vn<span class="super">s</span> I</td><td><span class="lg">+</span></td><td>Vn<span class="super">s</span> II</td><td><span class="lg">+</span></td><td>1 Ob.,</td></tr>
+<tr><td>or:</td><td>Violas</td><td><span class="lg">+</span></td><td>'Cellos</td><td><span class="lg">+</span></td><td>1 Cl.</td></tr>
+<tr><td>or:</td><td>'Cellos</td><td><span class="lg">+</span></td><td>D. basses</td><td><span class="lg">+</span></td><td>1 Fag.</td></tr>
+</table>
+
+<p>Muted strings do not combine so well with wood-wind, as the two tone
+qualities remain distinct and separate. Uniting plucked strings and
+percussion with instruments of sustained resonance results in the
+following: wind instruments, wood and brass, strengthen and clarify
+<i>pizzicato</i> strings, harp, kettle-drums and percussion generally, the
+latter lending a touch of relief to the tone of the wood-wind. Uniting
+plucked strings and percussion with bowed instruments does not produce
+such a satisfactory blend, both qualities being heard independently.
+The combination of plucked strings with percussion alone, is
+excellent; the two blend perfectly, and the consequent increase in
+resonance yields an admirable effect.</p>
+
+<p>The relationship which exists between string harmonics and the flute
+or piccolo constitutes a link between the two groups in the upper
+range of the orchestra. Moreover, the timbre of the viola may be
+vaguely compared to the middle register of the bassoon and the lowest
+compass of the clarinet; hence, in the medium orchestral range, a
+point of contact is established between the quartet of strings and the
+wood-wind.</p>
+
+<p>The bassoon and horn provide the connection between wood-wind and
+brass, these two instruments being somewhat analogous<span class="pagenum"><a name="Page_35" id="Page_35">-35-</a></span> in character
+when played <i>piano</i> or <i>mezzo-forte</i>; the flute also, in its lowest
+register, recalls the <i>pianissimo</i> trumpet tone. Stopped and muted
+notes in horns and trumpets are similar in quality to the oboe and
+Eng. horn, and blend tolerably well with the latter instrument.</p>
+
+<p>Concluding this survey of orchestral groups I add a few remarks which
+seem to me of special importance.</p>
+
+<p>The principal part in music is undertaken by three instrumental groups
+of sustained resonance, representing the three primary elements,
+melody, harmony and rhythm. Instruments of little sustaining power,
+though sometimes used independently, are chiefly employed for ornament
+and colour; instruments producing indeterminate sounds play no melodic
+or harmonic part, their functions being purely rhythmical.</p>
+
+<p>By glancing at the order in which the six orchestral groups are
+placed, strings, wood-wind, brass, plucked strings, percussion
+producing definite, and those producing indefinite sounds, the reader
+will be able to determine the part played by each in the art of
+orchestration, from the secondary standpoint of colour and expression.
+As regards expression, the strings come first, and the expressive
+capacity of the other groups diminishes in the above order, colour
+being the only attribute of the last group of percussion instruments.</p>
+
+<p>The same order obtains from the standpoint of general effect in
+orchestration. We can listen to strings for an almost indefinite
+period of time without getting tired, so varied are their
+characteristics (<i>vide</i> the number of string quartets, suites,
+serenades etc. written for strings alone). The addition of a single
+group of strings will add lustre to a passage for wind instruments. On
+the other hand, the quality of wind instruments soon becomes
+wearisome; the same may be said of plucked strings, and also
+percussion of every kind which should only be employed at reasonable
+intervals in orchestral composition.</p>
+
+<p>It cannot be denied that the constant use of compound timbres, in
+pair's, in three's etc. eliminates characteristics of tone, and
+produces a dull, neutral texture, whereas the employment of simple,
+elementary combinations gives infinitely greater scope for variety in
+colour.</p>
+
+<p class="right">7 (20) June 1908.</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_36" id="Page_36">-36-</a></span></p>
+
+<h1><a name="Chapter_II" id="Chapter_II"></a>Chapter II.</h1>
+
+<p class="center"><span class="lg">MELODY.</span></p>
+
+<hr class="short" />
+
+<p>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.).</p>
+
+<p>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.</p>
+
+
+<h2>Melody in stringed instruments.</h2>
+
+<p>Instances of the melodic use of stringed instruments are innumerable.
+The reader will find many examples in the present treatise. With the
+exception of the double basses,&mdash;dull in tone and of little
+flexibility, chiefly employed in unison or in octaves with the
+violoncellos,&mdash;each of the other stringed instruments, taken
+independently, is qualified to assume full responsibility for the
+melodic line.</p>
+
+
+<h3>a) Violins.</h3>
+
+<p>Melody in the soprano-alto register and an extra-high compass usually
+falls to the lot of the 1<span class="super">st</span> Violins, sometimes to the 2<span class="super">nd</span>
+Violins or to both in unison, a process which produces fuller
+resonance without impairing quality of tone.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>The Tsar's Bride</i> <span class="box">84</span>.<a name="FNanchor_C_15" id="FNanchor_C_15"></a><a href="#Footnote_C_15" class="fnanchor">[C]</a>&mdash;<i>Pianissimo</i> melody (Vn<span class="super">s</span> I) of a
+<span class="pagenum"><a name="Page_37" id="Page_37">-37-</a></span>troubled dramatic character. Harmonic accompaniment (Vn<span class="super">s</span> II and
+Violas <i>tremolando</i>&mdash;middle parts; the Violoncellos forming the bass).</p>
+
+<p><i>Antar</i>, before <span class="box">70</span>.&mdash;Descending melodic phrase, Vn<span class="super">s</span> I <i>con
+sordini piano</i>.</p>
+
+<p><a href="rimsky2.html#No_001">No. 1.</a> <i>Shéhérazade</i> 2<span class="super">nd</span> movement <span class="box">B</span>. A <i>piano</i> melody (Vn<span class="super">s</span>
+I) graceful in character.</p>
+
+<p><i>Antar</i> <span class="box">12</span>. Light graceful melody, oriental in style; a dance
+measure (Vn<span class="super">s</span> I <i>con sord.</i>), the mutes producing a dull ethereal
+quality of tone.</p>
+
+<p><a href="rimsky2.html#No_002">No. 2.</a> <i>The Legend of the Invisible City of Kitesh</i> <span class="box">283</span>.</p>
+
+<p class="bp"><a href="rimsky2.html#No_003">No. 3.</a> <i>Spanish Capriccio</i> <span class="box">J</span>. Vn<span class="super">s</span> I in the upper register
+doubling the high register of the wood-wind. Choice resonance.</p>
+
+
+<h3>b) Violas.</h3>
+
+<p>Melody in the alto-tenor register and a still higher compass is
+assigned to the violas. <i>Cantabile</i> melodies however are not so
+frequently written for violas as for violins and 'cellos, partly
+because the viola tone is slightly nasal in quality and better fitted
+for short characteristic phrases, partly because the number of viola
+players in an orchestra is smaller. Melodies confided to the violas
+are generally doubled by other strings or by the wood-wind.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_004">No. 4.</a> <i>Pan Voyevoda</i>, duet in Act II <span class="box">145</span>. A long <i>cantabile</i>
+melody in the violas, <i>dolce</i>, in unison with the <i>mezzo soprano</i>
+voice.</p>
+
+<p><a href="rimsky2.html#No_005">No. 5.</a> <i>The Golden Cockerel</i> <span class="box">193</span>.&mdash;Flowing <i>cantabile</i>.</p>
+
+<p class="bp"><a href="rimsky2.html#No_006">No. 6.</a> <i>Sadko.</i> Symphonic tableau <span class="box">12</span>.&mdash;Muted violas. A short dance
+theme, <i>piano</i> in <i>D&#9837;</i> major. (The same theme in Eng. horn<span class="pagenum"><a name="Page_38" id="Page_38">-38-</a></span> in the
+6<span class="super">th</span> scene of the opera <i>Sadko</i> is slightly more penetrating in
+tone).</p>
+
+
+<h3>c) Violoncellos.</h3>
+
+<p>Violoncellos, representing the tenor-bass range <span class="lg">+</span> an extra-high
+compass are more often entrusted with tense passionate <i>cantabile</i>
+melody than with distinctive figures or rapid phrases. Such melodies
+are usually laid out for the top string (<i>A</i>) which possesses a
+wonderfully rich "chest" quality.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Antar</i> <span class="box">56</span>. <i>Cantabile</i> on the <i>A</i> string.</p>
+
+<p><i>Antar</i> <span class="box">63</span>. The same melody in <i>D&#9837;</i> maj. on the <i>D</i> string
+(doubled by the bassoons).</p>
+
+<p><a href="rimsky2.html#No_007">No. 7.</a> <i>Pan Voyevoda</i> <span class="box">134</span>, nocturne, "Moonlight". A broad melody
+<i>dolce ed espressivo</i>, afterwards doubled by the first violins an
+octave higher.</p>
+
+<p><a href="rimsky2.html#No_008">No. 8.</a> <i>Snegourotchka</i> <span class="box">231</span>. At the fifth bar, a melody on the <i>A</i>
+string <i>cantabile ed espressivo</i>, imitating the first clarinet.</p>
+
+<p class="bp"><a href="rimsky2.html#No_009">No. 9.</a> <i>Snegourotchka</i> <span class="box">274</span>. Melodic phrase with embellishments.</p>
+
+
+<h3>d) Double basses.</h3>
+
+<p>Owing to its register&mdash;<i>basso profondo</i> <span class="lg">+</span> a still lower compass,&mdash;and
+its muffled resonance, the double bass is little capable of broad
+<i>cantabile</i> phrases and only in unison or in octaves with the 'cellos.
+In my own compositions there is no phrase of any importance given to
+the double bass without the support of 'cellos or bassoons.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <a href="rimsky2.html#No_010">No. 10.</a> <i>Legend of Kitesh</i> <span class="box">306</span>. Double bass solo, doubled first
+by the double bassoon, later by the bassoon. This example affords an
+instance of the rare use of the alto clef (in the last few notes).</p>
+
+<p class="bp">* <a href="rimsky2.html#No_011">No. 11.</a> <i>The Golden Cockerel</i> <span class="box">120</span>.&mdash;D. basses <span class="lg">+</span> D. bassoons.<span class="pagenum"><a name="Page_39" id="Page_39">-39-</a></span></p>
+
+
+<h2>Grouping in unison.</h2>
+
+<p>a) Vn<span class="super">s</span> I <span class="lg">+</span> Vn<span class="super">s</span> II.&mdash;It goes without saying that this combination
+entails no alteration in colour; it gains in power and richness of
+tone by reason of the increased number of players, and is usually
+attended by doubling of the melody in some departments of the
+wood-wind. The large number of violins prevents the wood-wind
+predominating, and the tone quality remains that of the string
+quartet, enriched and amplified.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_012">No. 12.</a> <i>Shéhérazade</i>, beginning of the third movement. <i>Cantabile</i>
+for Vn<span class="super">s</span> I and II on the <i>D</i> string, then on the <i>A</i>.</p>
+
+<p><i>The May Night</i>, overture <span class="box">D</span>. Quick <i>piano</i> melody, beginning
+<i>cantabile</i> and divided later in octaves</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="instruments">
+<tr>
+<td rowspan="2"><span class="xxlg">(</span></td>
+<td>Vn<span class="super">s</span> I</td>
+<td rowspan="2"><span class="xxlg">]</span></td>
+<td rowspan="2">8</td>
+<td rowspan="2"><span class="xxlg">)</span></td>
+</tr>
+<tr>
+<td>Vn<span class="super">s</span> II</td>
+</tr>
+</table>
+
+<p class="noindent">with florid embellishment.</p>
+
+<p class="bp"><a href="rimsky2.html#No_013">No. 13.</a> <i>The Golden Cockerel</i> <span class="box">170</span>.&mdash;Vn<span class="super">s</span> I <span class="lg">+</span> II muted.</p>
+
+
+<p>b) Violins <span class="lg">+</span> Violas.&mdash;The combination of violins and violas presents
+no special characteristics, as in the preceding case. The violins
+remain predominant, and the resonance is rich and full.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_014">No. 14.</a> <i>Sadko</i> <span class="box">208</span>.&mdash;Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Violas (<i>G</i> string). Quiet
+<i>cantabile</i> melody <i>pp</i>, in unison with the altos and tenors of the
+chorus.</p>
+
+<p class="bp">The <i>Golden Cockerel</i> <span class="box">142</span>.&mdash;Same combination.</p>
+
+
+<p>c) Violas <span class="lg">+</span> 'Cellos.&mdash;Produces a rich full resonance, the 'cello
+quality predominating.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_015">No. 15.</a> <i>Snegourotchka</i> <span class="box">5</span>.&mdash;Apparition of Spring. Violas <span class="lg">+</span> 'Cellos
+<span class="lg">+</span> Eng. horn. The same melody, <i>mezzo-forte cantabile</i> as in <a href="rimsky2.html#No_009">Ex. 9</a>; but
+in a brighter key, a third higher, its resonance is more brilliant and
+tense. The addition of the Eng. horn makes no essential difference to
+the compound tone; the 'cellos stand out above the rest.</p>
+
+<p class="bp"><a href="rimsky2.html#No_016">No. 16.</a> <i>The Golden Cockerel</i> <span class="box">71</span>. Violas <span class="lg">+</span> 'Cellos muted.<span class="pagenum"><a name="Page_40" id="Page_40">-40-</a></span></p>
+
+
+<p>d) Violins <span class="lg">+</span> 'Cellos.&mdash;A combination similar to the preceding one. The
+'cello tone prevails and the resonance is fuller.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_017">No. 17.</a> <i>Snegourotchka</i> <span class="box">288</span>. "Spring descends upon the lake".
+Vn<span class="super">s</span> I <span class="lg">+</span> Vn<span class="super">s</span> II <span class="lg">+</span> 'Cellos <span class="lg">+</span> Eng. horn.
+The same <i>cantabile</i> as in
+<a href="rimsky2.html#No_009">Ex. 9</a>, and <a href="rimsky2.html#No_015">15</a>. The Eng. horn is absorbed in the musical texture, the
+principal colour being that of the 'cellos. Still more powerful in
+resonance.</p>
+
+<p class="bp"><a href="rimsky2.html#No_018">No. 18.</a> <i>The May Night.</i> Act III <span class="box">L</span>. Chorus of <i>Roussâlki</i>. The
+combination of the solo 'cello with the violins gives the latter a
+touch of the 'cello timbre.</p>
+
+
+<p>e) Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Violas <span class="lg">+</span> 'Cellos.&mdash;Combining violins, violas and
+'cellos in unison is not possible except in the alto-tenor register;
+this process unites the full resonance of the instruments into an
+<i>ensemble</i> of complex quality, very tense and powerful in <i>forte</i>
+passages, extremely full and rich in <i>piano</i>.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_019">No. 19.</a> <i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">P</span>.&mdash;Energetic phrase <i>ff</i>.</p>
+
+<p><i>Mlada</i>, Lithuanian dance, before <span class="box">36</span>.</p>
+
+<p class="bp"><i>Mlada</i>, Act III. <span class="box">40</span>.&mdash;Cleopatra's dance. <i>Cantabile</i> embellished
+in oriental fashion.</p>
+
+
+<p>f) Violoncellos <span class="lg">+</span> D. basses.&mdash;A combination of rich full resonance,
+used occasionally for phrases in the very low register.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_020">No. 20.</a> <i>Sadko</i> <span class="box">260</span>.&mdash;A persistent <i>forte</i> figure, severe in
+character.</p>
+
+<p class="bp"><a href="rimsky2.html#No_021">No. 21.</a> <i>Legend of Kitesh</i> <span class="box">240</span>.&mdash;A <i>pianissimo</i> phrase, sinister
+and horrible in character.</p>
+
+
+<h2>Stringed instruments doubling in octaves.</h2>
+
+<p>a) Vn<span class="super">s</span> I and Vn<span class="super">s</span> II in octaves.</p>
+
+<p>This is a very common process used for all kinds of melodic figures,
+in particular those in the very high register. It has already been
+stated that the <i>E</i> string diminishes in fulness of tone<span class="pagenum"><a name="Page_41" id="Page_41">-41-</a></span> the higher
+it ascends from the limits of the soprano voice. Moreover, melodic
+figures in the very high register of the violins become too isolated
+from the rest of the <i>ensemble</i> unless doubled in octaves. Such
+doubling secures expression, fulness of tone and firmness of timbre.
+The reader will find numerous examples of violins in octaves; a few
+are added below, chiefly broad and expressive phrases.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_022">No. 22.</a> <i>The Tsar's Bride</i> <span class="box">166</span>. <i>Cantabile, piano.</i></p>
+
+<p><i>The Tsar's Bride</i> <span class="box">206</span>. <i>Cantabile, mezzo-piano</i>; the lower part
+is in unison with the soprano voice.</p>
+
+<p><i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">J</span>. <i>Cantabile</i> in <i>G</i> major;
+<i>dolce</i> and <i>cantabile</i> (the same as <a href="rimsky2.html#No_012">Ex. 12</a>).</p>
+
+<p><a href="rimsky2.html#No_023">No. 23.</a> <i>The Legend of Tsar Saltan</i> <span class="box">227</span>. Melody with reiterated
+notes, <i>dolce, espress. e cantabile</i>.</p>
+
+<p><i>Sadko</i>, Symphonic tableau <span class="box">12</span>.</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I<br />
+Vn<span class="super">s</span> II</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8</td>
+</tr>
+</table>
+
+<p class="noindent">muted. A short dance phrase <i>pianissimo</i>, given first to the
+violas, then to the violins (cf. <a href="rimsky2.html#No_006">Ex. 6</a>).</p>
+
+<p><a href="rimsky2.html#No_024">No. 24.</a> <i>Sadko</i>, opera <span class="box">207</span>. Perhaps an unique example of its kind;
+violins playing in the very extremity of the high register.</p>
+
+<div class="blockquot"><p><i>Note.</i> This passage is difficult but nevertheless quite
+playable. One or two desks of the 1<span class="super">st</span> Violins are
+sufficient to double the melody in the upper octave, all the
+other 1<span class="super">st</span> Violins can play the octave below. In this way
+the piercing quality of the highest notes will be
+diminished, the melody will acquire a clearer and more
+pleasant sound, and the expressive tone quality of the lower
+octave will be strengthened.</p></div>
+
+<p>*<i>The Golden Cockerel</i> <span class="box">156</span>.</p>
+
+<p>* <span style="margin-left: 1em;">"</span> <span style="margin-left: 2em;">"</span> <span style="margin-left: 2em;">"</span> <span style="margin-left: 1.8em;"><span class="box">165</span>.</span></p>
+
+<p>* <i>Antar</i>, 1<span class="super">st</span> movement <span class="box">11</span>.</p>
+
+<p class="bp">* <a href="rimsky2.html#No_025">No. 25.</a> <i>Ivan the Terrible</i>, Act III <span class="box">63</span>.</p>
+
+
+<p>b) Violins <i>divisi</i> in octaves.</p>
+
+<p>First and second violins divided in two parts and progressing in
+octaves will deprive the melody of resonance, since the number of
+players is diminished by half, the consequences being specially
+noticeable in small orchestras. Nevertheless the method can be used
+occasionally when the strings are doubled by the wood-wind, and when
+the melody falls in a sufficiently high register.<span class="pagenum"><a name="Page_42" id="Page_42">-42-</a></span></p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">166</span>.&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I<br />
+Vn<span class="super">s</span> II</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8</td>
+</tr>
+</table>
+
+<p class="noindent"><i>mezzo-forte espressivo</i>. Partial doubling of Coupava's song
+(Sopr.). One flute and one oboe double the melody.</p>
+
+<p><a href="rimsky2.html#No_026">No. 26.</a> <i>Snegourotchka</i> <span class="box">283</span>.&mdash;Chorus of Flowers&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">2 Vn<span class="super">s</span> soli<br />
+Vn<span class="super">s</span> I <span class="lg">+</span> Fl. I</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="bp" style="text-indent: 0em"><i>Pianissimo cantabile</i> in two octaves,
+progressing with the women's chorus (Sopr. I), and given out earlier
+by the Eng. horn. The flute and all the 1<span class="super">st</span> Violins except two play
+in the lower octave, the two solo violins, only, in the upper. The
+solo desk will be sufficiently prominent owing to the general
+<i>pianissimo</i>.</p>
+
+
+<p>c) Violins and Violas in octaves.</p>
+
+<p>First and second Violins progressing with the Violas in octaves is a
+common method, especially when the lower octave in the melody happens
+to go below the open <i>G</i> string on the violins.</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>1.&nbsp;</td>
+<td style="padding-top: .3em">Vn<span class="super">s</span> (I or II)<br />
+Violas</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">137</span>, finale of Act I. Quick melody, <i>piano</i>.</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>2.&nbsp;</td>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> II<br />
+Violas</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8 and 3.&nbsp;</td>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I<br />
+Vn<span class="super">s</span> II <span class="lg">+</span> Violas</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p>These two distributions are not exactly the same. The first should be
+used to obtain greater brilliance in the upper part, the second to
+give the lower part a fuller and more <i>cantabile</i> quality.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_027">No. 27.</a> <i>Sadko</i>, before <span class="box">181</span>.&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> II<br />
+Violas</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="noindent">Quick animated passage, <i>forte</i>, introducing reiterated notes.</p>
+
+<p class="bp"><a href="rimsky2.html#No_028">No. 28.</a> <i>Snegourotchka</i> <span class="box">137</span>, finale to Act I&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I<br />
+Vn<span class="super">s</span> II <span class="lg">+</span>
+Violas</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="noindent"><i>Cantabile</i> phrase, transmitted to the flute and clarinet
+(cf. <a href="rimsky2.html#No_008">Ex. 8</a>).</p>
+
+
+<p>d) Violas and Violoncellos in octaves.</p>
+
+<p>Of special use when the Violins are otherwise employed.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">59</span>,</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Violas<br />
+Cellos</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8,</td>
+</tr>
+</table>
+
+<p class="bp" style="text-indent: 0em">doubled by bassoons.</p>
+
+<p>e) Violins and Violoncellos in octaves.</p>
+
+<p>Used in very expressive passages where the 'cellos have to play on the
+<i>A</i> or <i>D</i> strings. This method produces a more resonant tone than the
+preceding one; instances of it are frequent.<span class="pagenum"><a name="Page_43" id="Page_43">-43-</a></span></p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_029">No. 29.</a> <i>Antar</i> <span class="box">43</span>.&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> Vn<span class="super">s</span> II<br />
+'Cellos</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="noindent"><i>Cantabile</i> of Eastern origin.</p>
+
+<p><i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">H</span>.&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I<br />
+'Cellos</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="noindent"><i>Cantabile mezzo-forte appassionato</i> (cf. <a href="rimsky2.html#No_001">Ex. 1</a>).</p>
+
+<p>* <a href="rimsky2.html#No_030">No. 30.</a> <i>Shéhérazade</i>, 3<span class="super">rd</span> movement, before <span class="box">P</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I<br />
+Vn<span class="super">s</span> II <span class="lg">+</span> 'Cellos</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8 and&nbsp;</td>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> II<br />
+'Cellos</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="noindent">The first arrangement is rarely found.</p>
+
+<p><i>Pan Voyevoda</i> <span class="box">134</span>, nocturne "Moonlight"&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I<br />
+'Cellos</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="noindent"><i>Cantabile</i> melody given first to 'cellos alone (cf. <a href="rimsky2.html#No_007">Ex. 7</a>).</p>
+
+<p><i>The May Night</i>, Act III <span class="box">B, C, D</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> Vn<span class="super">s</span> II<br />
+'Cellos</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="bp" style="text-indent: 0em">A <i>forte</i> melodic phrase.</p>
+
+
+<p>f) Violoncellos and Double basses in octaves.</p>
+
+<p>The bass is usually constructed in this manner. Examples of it are to
+be found everywhere. Sometimes the double bass part is simplified in
+comparison with the 'cello part.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p class="bp"><i>Snegourotchka</i> <span class="box">9</span>, Fairy Spring's <i>Aria</i>.</p>
+
+<p>g) Violas and Double basses in octaves.</p>
+
+<p>This combination seldom arises and is only used when the 'cellos are
+otherwise employed.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p class="bp"><a href="rimsky2.html#No_031">No. 31.</a> <i>Legend of Kitesh</i> <span class="box">223</span>.</p>
+
+<p>h) Parts progressing in octaves, each part doubled in unison. Melodies
+situated in the middle orchestral range may be allotted to 1<span class="super">st</span> and
+2<span class="super">nd</span> Vn<span class="super">s</span>, in octaves with Violas and 'Cellos. This arrangement is
+constantly found, and produces a beautiful quality of tone, somewhat
+severe in character.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">58</span>, <span class="box">60</span>, <span class="box">65</span> and <span class="box">68</span>. The same melody,
+played twice <i>pianissimo</i>, not doubled, then twice (<i>mezzo-forte</i> and
+<i>forte</i>), doubled in the wood-wind.<span class="pagenum"><a name="Page_44" id="Page_44">-44-</a></span></p>
+
+<p><i>Mlada</i>, Act II, the beginning of the Lithuanian dance. A lively
+<i>piano</i> theme.</p>
+
+<p class="bp"><i>Ivan the Terrible</i>, Act II <span class="box">28</span>.</p>
+
+<div class="blockquot"><p><i>Note I.</i> It may be of use to point out that melodies lying
+in the extreme upper register, e.g. those exceeding the
+middle of the 5<span class="super">th</span> octave, are generally doubled an octave
+below, whilst those situated in the extreme low register
+(below the middle of the 1<span class="super">st</span> octave) are doubled an
+octave higher.</p></div>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p class="bp"><i>Sadko</i> <span class="box">207</span> (cf. <a href="rimsky2.html#No_024">Ex. 24</a>).</p>
+
+<div class="blockquot"><p><i>Note II.</i> Progression in octaves of divided strings <i>of the
+same kind</i> is generally to be avoided:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Violas I<br />
+Violas II,</td>
+<td style="padding-top: .3em">'Cellos I<br />
+'Cellos II,</td>
+<td style="padding-top: .3em">D. basses I<br />
+D. basses II</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8,</td>
+</tr>
+</table>
+
+<p class="noindent">for, in such cases the parts are played on strings which do
+not correspond, and unity of tone is impaired. This,
+however, does not apply to violins.</p></div>
+
+<div class="blockquot"><p><i>Note III.</i> The following distribution is occasionally
+found:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Violas <span class="lg">+</span> 'Cellos I<br />
+D. basses <span class="lg">+</span> 'Cellos II</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+</div>
+
+
+<h3>Melody in double octaves.</h3>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td rowspan="2" class="vat">a)&nbsp;</td>
+<td>Vn<span class="super">s</span> I</td>
+<td><span style="margin-left: .5em;"><b>]</b></span></td>
+<td>8</td>
+<td rowspan="2">&nbsp;or&nbsp;</td>
+<td>Vn<span class="super">s</span> I</td>
+<td><span style="margin-left: .5em;"><b>]</b></span></td>
+<td>8</td>
+</tr>
+<tr>
+<td>Vn<span class="super">s</span> II<br />
+Violas</td>
+<td><span class="xxlg">]</span></td>
+<td>8</td>
+<td>Vn<span class="super">s</span> II<br />
+'Cellos</td>
+<td><span class="xxlg">]</span></td>
+<td>8</td>
+</tr>
+</table>
+
+<p class="noindent">may be used for full <i>cantabile</i> melodies extremely tense in
+character, and in <i>forte</i> passages for choice.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><a href="rimsky2.html#No_032">No. 32.</a> <i>Antar</i> <span class="box">65</span>.&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>Vn<span class="super">s</span> I</td>
+<td><span style="margin-left: .5em;"><b>]</b></span></td>
+<td>8.</td>
+</tr>
+<tr>
+<td>Vn<span class="super">s</span> II<br />
+Violas <span class="lg">+</span> 'Cellos</td>
+<td><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><br /></p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td rowspan="2" style="vertical-align: top; padding-top: .3em;">b)&nbsp;</td>
+<td>Violas</td>
+<td><span style="margin-left: .5em;"><b>]</b></span></td>
+<td>8</td>
+<td rowspan="2">&nbsp;or&nbsp;</td>
+<td>Vn<span class="super">s</span> I <span class="lg">+</span> II</td>
+<td><span style="margin-left: .5em;"><b>]</b></span></td>
+<td>8</td>
+<td rowspan="2">&nbsp;or&nbsp;</td>
+<td>Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Violas</td>
+<td><span style="margin-left: .5em;"><b>]</b></span></td>
+<td>8</td>
+</tr>
+<tr>
+<td>'Cellos<br />
+D. basses</td>
+<td><span class="xxlg">]</span></td>
+<td>8</td>
+<td>Violas <span class="lg">+</span>'Cellos<br />
+D. basses</td>
+<td><span class="xxlg">]</span></td>
+<td>8</td>
+<td>'Cellos<br />
+D. basses</td>
+<td><span class="xxlg">]</span></td>
+<td>8</td>
+</tr>
+</table>
+
+<p class="noindent">are employed when the low register of each instrument is brought into
+play, and also to suit phrases of a rough and severe character.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Legend of Kitesh</i> <span class="box">66</span>, opening of the 2<span class="super">nd</span> Act.</p>
+
+<p><a href="rimsky2.html#No_033">No. 33.</a> <i>Snegourotchka</i> <span class="box">215</span>. Tumblers' dance.<span class="pagenum"><a name="Page_45" id="Page_45">-45-</a></span></p>
+
+<div class="blockquot">
+<p class="tp"><i>Note.</i> The lack of balance in the distribution:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span>Violas</td>
+<td><span style="margin-left: .5em;"><b>]</b></span></td>
+<td>8</td>
+</tr>
+<tr>
+<td>'Cellos<br />
+D. basses</td>
+<td><span class="xxlg">]</span></td>
+<td>8</td>
+</tr>
+</table>
+
+<p class="noindent">is not of any great importance, for, in such cases, the
+partial harmonics of one octave support the tone of the
+other, and <i>vice versa</i>.</p></div>
+
+
+<h3>Doubling in three and four octaves.</h3>
+
+<p>The distribution</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="line-height: 1.4em">Vn<span class="super">s</span> I<br />
+Vn<span class="super">s</span> II<br />
+Violas<br />
+'Cellos<br />
+D. basses</td>
+<td><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8</td>
+</tr>
+</table>
+
+<p class="noindent">is very seldom found, and as a rule, only when supported by wind
+instruments.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>The Legend of Kitesh</i> <span class="box">150</span> (<i>allargando</i>).</p>
+
+<p>* <i>Shéhérazade</i>, 4<span class="super">th</span> movement, commencing at the 10<span class="super">th</span> bar.</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I<br />
+Vn<span class="super">s</span> II<br />
+Violas <span class="lg">+</span> 'Cellos<br />
+D. basses</td>
+<td><span class="mlg">]</span><br />
+<span class="mlg">]</span><br />
+<span class="mlg">]</span><br />
+</td>
+<td>8.</td>
+</tr>
+</table>
+
+
+<h3>Melody in thirds and sixths.</h3>
+
+<p>In confiding a melody in thirds to the strings it is frequently
+necessary to use the same quality of tone in both parts, but in the
+case of a melody in sixths different timbres may be employed. In
+writing thirds doubled in octaves, the first and second violins should
+be used. In spite of the difference in the quantity of players, the
+thirds will not sound unequal. The same arrangement may obtain in the
+viola and 'cello groups, but it is useless in the case of melody in
+sixths.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <a href="rimsky2.html#No_034">No. 34.</a> <i>Legend of Kitesh</i> <span class="box">34</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> &nbsp;I <i>div.</i>) 3<br />
+Vn<span class="super">s</span> II <i>div.</i>) 3</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">39</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I<br />
+Violas</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>6.</td>
+</tr>
+</table>
+
+<p>Cf. also <i>Legend of Kitesh</i> <span class="box">223</span>:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>Vn<span class="super">s</span> I<br />
+Vn<span class="super">s</span> II</td>
+<td><span class="mlg">}</span></td>
+<td>3</td>
+<td rowspan="2"><span class="xxlg">]</span></td>
+<td rowspan="2">8 (<a href="rimsky2.html#No_031">Ex. 31</a>).</td>
+</tr>
+<tr>
+<td>Vn<span class="super">s</span> I<br />
+Vn<span class="super">s</span> II</td>
+<td><span class="mlg">}</span></td>
+<td>3</td>
+</tr>
+</table>
+
+<p class="tp">Distribution in octaves, thirds, and sixths is usually regulated by
+the normal register of the respective instruments, so as to avoid<span class="pagenum"><a name="Page_46" id="Page_46">-46-</a></span> any
+suggestion of mannerism resulting from the disturbance of balance. But
+such a departure from the recognised order may be permitted in special
+cases. For instance, in the following example of writing in sixths the
+upper part is allotted to the 'cellos, the lower part to the violins
+on the <i>G</i> string; this arrangement produces a quality of tone
+distinctly original in character.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><a href="rimsky2.html#No_035">No. 35.</a> <i>Spanish Capriccio</i> <span class="box">D</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">'Cellos<br />
+Vn<span class="super">s</span> I <span class="lg">+</span> II</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>6.</td>
+</tr>
+</table>
+
+
+<h2>Melody in the wood-wind.</h2>
+
+<p>* The choice of instruments for characteristic and expressive melody
+is based on their distinctive qualities, discussed minutely in the
+<a href="#Chapter_I">foregoing chapter</a>. To a large extent the question is left to the
+orchestrator's own personal taste. Only the best methods of using the
+wood-wind in unison or octaves, and distributing a melody in thirds,
+sixths and mixed intervals, from the standpoint of resonance and tone
+quality will be indicated in this section of the work. Examples of the
+use of solo wood-wind are to be found in any score; the following are
+typical instances:</p>
+
+<p class="centertp"><i>Examples of solo wood-wind:</i></p>
+
+<p>1. <i>Piccolo: Serbian Fantasia</i> <span class="box">C</span>; <a href="rimsky2.html#No_036">No. 36.</a> <i>Tsar Saltan</i> <span class="box">216</span>;
+<i>Snegourotchka</i> <span class="box">54</span>.</p>
+
+<p>2. <i>Flute: Antar</i> <span class="box">4</span>; <i>Servilia</i> <span class="box">80</span>; <i>Snegourotchka</i> <span class="box">79</span>,
+<span class="box">183</span>; <i>A Fairy Tale</i> <span class="box">L</span>; <i>The Christmas Night</i> <span class="box">163</span>; <a href="rimsky2.html#No_037">No. 37.</a>
+<i>Shéhérazade</i>, 4<span class="super">th</span> movement, before <span class="box">A</span> (<i>Fl. à 2</i> in the low
+register).</p>
+
+<p><i>Flute</i> (double tonguing): <i>Pan Voyevoda</i> <span class="box">72</span>; <i>Shéhérazade</i>,
+4<span class="super">th</span> movement, after <span class="box">V</span>; <a href="rimsky2.html#No_038">No. 38.</a> <i>Ivan the Terrible</i>, Act III,
+after <span class="box">10</span>.</p>
+
+<p>3. <i>Bass flute</i>: <a href="rimsky2.html#No_039">No. 39.</a> <i>Legend of Kitesh</i> <span class="box">44</span>.</p>
+
+<p>4. <i>Oboe</i>: <a href="rimsky2.html#No_040">No. 40.</a> <i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">A</span>; <i>The May
+Night</i>, Act III <span class="box">Kk</span>; <a href="rimsky2.html#No_041">No. 41.</a> <i>Snegourotchka</i> <span class="box">50</span>;
+<i>Snegourotchka</i> <span class="box">112</span>, <span class="box">239</span>; <i>The Tsar's Bride</i> <span class="box">108</span>
+(cf. <a href="rimsky2.html#No_284">Ex. 284</a>), <a href="rimsky2.html#No_042">No. 42</a> and <a href="rimsky2.html#No_043">43</a>. <i>The Golden Cockerel</i> <span class="box">57</span> and <span class="box">97</span>.</p>
+
+<p>5. <i>Eng. horn: Snegourotchka</i> <span class="box">97</span>, <span class="box">283</span> (cf. <a href="rimsky2.html#No_026">Ex. 26</a>); <a href="rimsky2.html#No_044">No. 44.</a>
+<i>Spanish Capriccio</i> <span class="box">E</span>; <a href="rimsky2.html#No_045">No. 45.</a> <i>The Golden Cockerel</i> <span class="box">61</span>.<span class="pagenum"><a name="Page_47" id="Page_47">-47-</a></span></p>
+
+<p>6. <i>Small Clarinet</i>: <a href="rimsky2.html#No_046">No. 46.</a> <i>Mlada</i>, Act II <span class="box">33</span>; <i>Mlada</i>, Act III
+<span class="box">37</span>.</p>
+
+<p>7. <i>Clarinet: Serbian Fantasia</i> <span class="box">G</span>; <i>Spanish Capriccio</i> <span class="box">A</span>;
+<i>Snegourotchka</i> <span class="box">90</span>, <span class="box">99</span>, <span class="box">224</span>, <span class="box">227</span>, <span class="box">231</span>
+(cf. <a href="rimsky2.html#No_008">Ex. 8</a>); <i>The May Night</i>, Act I, before <span class="box">X</span>; <i>Shéhérazade</i>, 3<span class="super">rd</span> movement
+<span class="box">D</span>; <i>A Fairy Tale</i> <span class="box">M</span>; <i>The Tsar's Bride</i> <span class="box">50</span>, <span class="box">203</span>; <i>The
+Golden Cockerel</i> <span class="box">97</span> (lowest register, cf. <a href="rimsky2.html#No_043">Ex. 43</a>).</p>
+
+<p>8. <i>Bass clarinet</i>: <a href="rimsky2.html#No_047">No. 47</a> and <a href="rimsky2.html#No_048">48</a>. <i>Snegourotchka</i> <span class="box">243</span> and
+<span class="box">246-247</span>.</p>
+
+<p>9. <i>Bassoon: Antar</i> <span class="box">59</span>; <a href="rimsky2.html#No_049">No. 49.</a> <i>Vera Scheloga</i> <span class="box">36</span>;
+<i>Shéhérazade</i>, 2<span class="super">nd</span> movement, beginning (cf. <a href="rimsky2.html#No_040">Ex. 40</a>); <a href="rimsky2.html#No_050">No. 50.</a> <i>The
+Golden Cockerel</i> <span class="box">249</span>; <a href="rimsky2.html#No_051">No. 51.</a> <i>Mlada</i>, Act III, after <span class="box">29</span>; cf.
+also <a href="rimsky2.html#No_078">Ex. 78</a>.</p>
+
+<p class="bp">10. <i>Double bassoon: Legend of Kitesh</i>, before <span class="box">84</span>, <span class="box">289</span>; cf.
+also <a href="rimsky2.html#No_010">Ex. 10</a> (D. bassoon <span class="lg">+</span> D. bass solo).</p>
+
+<p>The normal order of wood-wind instruments and that which produces the
+most natural resonance is the following: <i>Flutes</i>, <i>Oboes</i>,
+<i>Clarinets</i>, <i>Bassoons</i> (the order used in orchestral full scores).
+Departure from this natural order, e.g. placing bassoons above
+clarinets and oboes, or flutes below oboes and clarinets, and
+especially below the bassoons, creates a far-fetched, unnatural tone,
+useful, however, in certain cases to attain certain special effects. I
+do not advise the student to make too free a use of this proceeding.</p>
+
+
+<h3>Combination in unison.</h3>
+
+<p>The combination of two different wood-wind instruments in unison
+yields the following tone qualities:</p>
+
+<p>a) <i>Flute <span class="lg">+</span> Oboe.</i> A quality fuller than that of the flute, sweeter
+than that of the oboe. Played softly, the flute will predominate in
+the low, the oboe in the upper register. Example: <a href="rimsky2.html#No_052">No. 52.</a>
+<i>Snegourotchka</i> <span class="box">113</span>.</p>
+
+<p>b) <i>Flute <span class="lg">+</span> Clarinet.</i> A quality fuller than that of the flute, duller
+than that of the clarinet. The flute will predominate in the lower,
+the clarinet in the higher register. Examples: <a href="rimsky2.html#No_053">No. 53.</a> <i>Legend of
+Kitesh</i> <span class="box">330</span>; also <span class="box">339</span> and <span class="box">342</span>.</p>
+
+<p>c) <i>Oboe <span class="lg">+</span> Clarinet.</i> A fuller quality than that of either instrument
+heard separately. The dark, nasal tone of the oboe will prevail in the
+low register, the bright, "chest" quality of the clarinet in the high
+compass. Examples: <i>Snegourotchka</i> <span class="box">19</span>; <a href="rimsky2.html#No_054">No. 54.</a> <i>Snegourotchka</i><span class="pagenum"><a name="Page_48" id="Page_48">-48-</a></span>
+<span class="box">115</span>. Cf. also <i>Legend of Kitesh</i> <span class="box">68</span>, <span class="box">70</span>, <span class="box">84</span>&mdash;2 Ob. <span class="lg">+</span> 3
+Cl. (<a href="rimsky2.html#No_199">Ex. 199</a>-<a href="rimsky2.html#No_201">201</a>).</p>
+
+<p>d) <i>Flute <span class="lg">+</span> Oboe <span class="lg">+</span> Clarinet.</i> Very full in quality. The flute
+predominates in the low register, the oboe in the middle, and the
+clarinet in the high compass. Examples: <i>Mlada</i>, Act I <span class="box">1</span>; *
+<i>Sadko</i> <span class="box">58</span> (2 Fl. <span class="lg">+</span> 2 Ob. <span class="lg">+</span> Small Cl.).</p>
+
+<p>e) <i>Bassoon <span class="lg">+</span> Clarinet.</i> Very full quality. The gloomy character of
+the clarinet prevails in the lower register, the sickly quality of the
+bassoon in the higher. Example: <i>Mlada</i>, Act II, after <span class="box">49</span>.</p>
+
+<p>f) <i>Bassoon <span class="lg">+</span> Oboe</i>, and</p>
+
+<p>g) <i>Bassoon <span class="lg">+</span> Flute.</i></p>
+
+<p>The combinations <i>f</i> and <i>g</i>, as well as <i>Bassoon <span class="lg">+</span> Clarinet <span class="lg">+</span> Oboe</i>,
+and <i>Bassoon <span class="lg">+</span> Clarinet <span class="lg">+</span> Flute</i> are very seldom found except in
+certain orchestral <i>tutti</i>, where they produce increased resonance
+without creating a fresh atmosphere. But in such combinations, the
+range of which is practically restricted to the limits of the third
+octave, the low notes of the flute will predominate in the lower third
+of this register, and the high notes of the bassoon in the middle
+third. The clarinet, weak in the middle compass will not stand out
+prominently in this particular combination.</p>
+
+<p>h) <i>Bassoon <span class="lg">+</span> Clarinet <span class="lg">+</span> Oboe <span class="lg">+</span> Flute.</i> This combination is equally
+rare. The colour is rich, and difficult to define in words. The tone
+of each instrument will be separated from the others more or less in
+the manner detailed above. Examples: <i>Russian Easter Fête</i>, the
+beginning; <a href="rimsky2.html#No_055">No. 55.</a> <i>Snegourotchka</i> <span class="box">301</span>; <i>The May Night</i>, Act III
+<span class="box">Qqq</span>.</p>
+
+<p>The process of combining two or more qualities of tone in unison,
+while endowing the music with greater resonance, sweetness and power,
+possesses the disadvantage of restricting the variety of colour and
+expression. Individual timbres lose their characteristics when
+associated with others. Hence such combinations should be handled with
+extreme care. Phrases or melodies demanding diversity of expression
+alone should be entrusted to solo instruments of simple timbres. The
+same applies to the coupling of two instruments of the same kind, such
+as 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. The quality of tone
+will lose nothing of its individuality, and will gain in power, but
+its capacity for expression will be diminished accordingly. An<span class="pagenum"><a name="Page_49" id="Page_49">-49-</a></span>
+instrument enjoys greater independence and freedom when used as a solo
+than when it is doubled. The use of doubling and mixed timbres is
+naturally more frequent in loud passages than in soft ones, also where
+expression and colour is broad rather than individual or intimate in
+character.</p>
+
+<div class="blockquot">
+<p>I cannot refrain from mentioning how greatly I dislike the
+method of duplicating all the wood-wind, in order to balance
+a group of strings, reinforced out of all reason, to suit
+the ever-growing dimensions of concert halls. I am convinced
+that, artistically speaking, a limit should be set to the
+size of both concert room and orchestra. The music performed
+at these super-concerts must be specially composed on a plan
+of its own&mdash;a subject which cannot be considered here.</p>
+</div>
+
+
+<h3>Combination in octaves.</h3>
+
+<p>When the melody is entrusted to two wood-wind instruments in octaves,
+the usual arrangement producing natural resonance is:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td>8</td>
+<td class="vat"><span class="xxlg">[</span></td>
+<td style="padding-top: .3em">Fl.<br />
+Ob.</td>
+<td style="padding-top: .3em">Fl.<br />
+Cl.</td>
+<td style="padding-top: .3em">Fl.<br />
+Fag.</td>
+<td style="padding-top: .3em">Ob.<br />
+Cl.</td>
+<td style="padding-top: .3em">Ob.<br />
+Fag.</td>
+<td style="padding-top: .3em">Cl.<br />
+Fag.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8</td>
+</tr>
+</table>
+
+<p>The combination of flute and bassoon in octaves is rare on account of
+the widely separated registers of the two instruments. Deviation from
+the natural order, such as placing the bassoon above the clarinet or
+oboe, the clarinet above the oboe or flute etc., creates an unnatural
+resonance occasioned by the confusion of registers, the instrument of
+lower compass playing in its high register and <i>vice versa</i>. The lack
+of proper relationship between the different tone qualities then
+becomes apparent.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_056">No. 56.</a> <i>Spanish Capriccio</i> <span class="box">O</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fl.<br />
+Ob.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><a href="rimsky2.html#No_057">No. 57.</a> <i>Snegourotchka</i> <span class="box">254</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fl.<br />
+Eng. horn</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p>* <a href="rimsky2.html#No_058">No. 58.</a> <i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">E</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fl.<br />
+Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><i>Sadko</i> <span class="box">195</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fl.<br />
+Eng. horn</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><i>Pan Voyevoda</i> <span class="box">132</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fl.<br />
+Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><i>Tsar Saltan</i> <span class="box">39</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Cl.<br />
+Fag.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><a href="rimsky2.html#No_059">No. 59.</a> <i>Vera Scheloga</i> <span class="box">30</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Cl.<br />
+Fag.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8,</td>
+</tr>
+</table>
+
+<p class="noindent">likewise any number of examples in the scores of
+various composers.</p>
+
+<p class="tp">The use of two instruments of the same colour in octaves, e.g. 2
+flutes, 2 clarinets or 2 bassoons etc., if not exactly to be avoided<span class="pagenum"><a name="Page_50" id="Page_50">-50-</a></span>
+is certainly not to be recommended, as the instruments, playing in
+different registers will not correspond one with the other.
+Nevertheless this method may be safely employed when stringed
+instruments, <i>arco</i> or <i>pizzicato</i> double the two members of the
+wood-wind, and especially in the middle compass. The process is most
+satisfactory for repeated notes or sustained passages.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>The May Night</i>, Act I <span class="box">T</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Cl. I<br />
+Cl. II</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p>* <i>Sadko</i>, after <span class="box">159</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Ob. I<br />
+Ob. II</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3, doubled by <i>pizz.</i> strings.</td>
+</tr>
+</table>
+
+<p>* <i>Servilia</i>, after <span class="box">21</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fag. I<br />
+Fag. II</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8 <span class="lg">+</span> <i>pizz.</i> strings.</td>
+</tr>
+</table>
+
+<p class="tp">Instruments of the same branch playing in octaves, e.g.</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="instruments">
+<tr>
+<td>8</td>
+<td class="vat"><span class="xxlg">[</span></td>
+<td style="padding-top: .3em">Fag.<br />
+C-Fag.</td>
+<td style="padding-top: .3em">Cl.<br />
+Cl. basso</td>
+<td style="padding-top: .3em">Ob.<br />
+Eng. horn</td>
+<td style="padding-top: .3em">Small cl.<br />
+Clar.</td>
+<td style="padding-top: .3em">Flute<br />
+Alto Fl.</td>
+<td style="padding-top: .3em">Picc.<br />
+Fl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8</td>
+</tr>
+</table>
+
+<p class="noindent">always produce a good effect.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">5</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Picc.<br />
+Fl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8 (cf. <a href="rimsky2.html#No_015">Ex. 15</a>).</td>
+</tr>
+</table>
+
+<p><i>The Tsar's Bride</i> <span class="box">133</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Picc.<br />
+Fl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><i>Tsar Saltan</i> <span class="box">216</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Picc.<br />
+Fl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8 (cf. <a href="rimsky2.html#No_036">Ex. 36</a>).</td>
+</tr>
+</table>
+
+<p><i>Sadko</i>, after <span class="box">59</span></p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Small cl.<br />
+Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><i>Legend of Kitesh</i> <span class="box">240</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fag.<br />
+C-Fag.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8 (cf. <a href="rimsky2.html#No_021">Ex. 21</a>).</td>
+</tr>
+</table>
+
+<p><a href="rimsky2.html#No_060">No 60.</a> <i>Mlada</i>, Act III, before <span class="box">44</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Ob.<br />
+Eng. horn</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="tp">As in the strings, so in the wood-wind it is advisable to double in
+octaves any melody situated in the extremely high or low compass; an
+octave lower in the first case, an octave higher in the second. Thus
+the piccolo will be doubled by the flute, oboe or clarinet an octave
+lower; the double bassoon will be doubled by bassoon, clarinet or bass
+clarinet an octave higher.</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="instruments">
+<tr>
+<td>8</td>
+<td class="vat"><span class="xxlg">[</span></td>
+<td style="padding-top: .3em">Picc.<br />
+Fl.</td>
+<td style="padding-top: .3em">Picc.<br />
+Ob.</td>
+<td style="padding-top: .3em">Picc.<br />
+Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8</td>
+</tr>
+</table>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="instruments">
+<tr>
+<td>8</td>
+<td class="vat"><span class="xxlg">[</span></td>
+<td style="padding-top: .3em">Fag.<br />
+C-Fag.</td>
+<td style="padding-top: .3em">Bass cl.<br />
+Fag.</td>
+<td style="padding-top: .3em">Cl.<br />
+Fag.</td>
+<td style="padding-top: .3em">Cl.<br />
+Bass cl.</td>
+<td style="padding-top: .3em">Fag.<br />
+Fag.</td>
+<td style="padding-top: .3em">Fag.<br />
+Bass cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8</td>
+</tr>
+</table>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <i>Tsar Saltan</i> <span class="box">39</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Picc.<br />
+Ob.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p>* <a href="rimsky2.html#No_061">No. 61.</a> <i>Mlada</i>, Act II, Lithuanian dance <span class="box">32</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Picc.<br />
+Small cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_51" id="Page_51">-51-</a></span></p>
+
+<p><i>Sadko</i> <span class="box">150</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Picc.<br />
+Small cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="tp">* Mixed qualities of tone may be employed in doubling in octaves, the
+above remarks still holding good.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Pan Voyevoda</i> <span class="box">134</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Cl. <span class="lg">+</span> Ob.<br />
+Cl. <span class="lg">+</span> Eng. horn</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8 (cf. <a href="rimsky2.html#No_007">Ex. 7</a>).</td>
+</tr>
+</table>
+
+<p><a href="rimsky2.html#No_062">No. 62.</a> <i>Servilia</i> <span class="box">168</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">2 Fl. <span class="lg">+</span> Ob.<br />
+2 Cl. <span class="lg">+</span> Eng. horn</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><a href="rimsky2.html#No_063">No. 63.</a> <i>The Tsar's Bride</i> <span class="box">120</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">3 Fl. <span class="lg">+</span> Ob.<br />
+2 Cl. <span class="lg">+</span> Fag. <span class="lg">+</span> Eng.
+horn</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><i>Mlada</i>, Act III <span class="box">41</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fl. <span class="lg">+</span> Bass fl.<br />
+Cl. <span class="lg">+</span> Bass cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+
+<h3>Doubling in two, three and four octaves.</h3>
+
+<p>In such cases the student should follow the above-mentioned rules, and
+should take care not to infringe the natural order:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>In 3 octaves:&nbsp;</td>
+<td style="padding-top: .3em">Fl.<br />
+Ob.<br />
+Cl.</td>
+<td style="padding-top: .3em">Ob.<br />
+Cl.<br />
+Fag.</td>
+<td style="padding-top: .3em">Fl.<br />
+Cl.<br />
+Fag.</td>
+<td style="padding-top: .3em">Fl.<br />
+Ob.<br />
+Fag.</td>
+<td class="vat"><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8.</td>
+</tr>
+</table>
+
+<p><br /></p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>In 4 octaves:&nbsp;</td>
+<td style="padding-top: .3em">Fl.<br />
+Ob.<br />
+Cl.<br />
+Fag.</td>
+<td class="vat"><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8.</td>
+</tr>
+</table>
+
+<p class="tp">Mixed timbres may also be employed.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_064">No. 64.</a> <i>Spanish Capriccio</i> <span class="box">P</span>&mdash;melody in 4 octaves:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Picc.<br />
+2 Fl.<br />
+2 Ob. <span class="lg">+</span> Cl.<br />
+Fag.</td>
+<td class="vat"><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8.</td>
+</tr>
+</table>
+
+<p><i>The Tsar's Bride</i> <span class="box">141</span>&mdash;melody in 3 octaves.</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">212</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>2 Cl.<br />
+Bass cl.<br />
+D. bassoon</td>
+<td class="vat"><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8.</td>
+</tr>
+</table>
+
+<p>* <a href="rimsky2.html#No_065">No. 65.</a> <i>Antar</i>, (1<span class="super">st</span> version) 3<span class="super">rd</span> movement, the
+beginning&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>Picc. <span class="lg">+</span> 2 Fl.<br />
+2 Ob. <span class="lg">+</span> 2 Cl.<br />
+2 Fag.</td>
+<td class="vat"><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8;</td>
+</tr>
+</table>
+
+<p class="noindent">also <span class="box">C</span>, melody
+in 4 octaves (piccolo in the upper octaves).</p>
+
+<p>* <i>Mlada</i>, Act III, after <span class="box">42</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>Fl.<br />
+Ob.<br />
+Eng. horn</td>
+<td class="vat"><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8.</td>
+</tr>
+</table>
+
+<p><a href="rimsky2.html#No_066">No. 66.</a> <i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">G</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>Picc.<br />
+Cl. I<br />
+Cl. II</td>
+<td class="vat"><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8.</td>
+</tr>
+</table>
+
+<p class="tp">Examples of melody doubled in five octaves are extremely rare; in such
+cases the strings participate in the process.<span class="pagenum"><a name="Page_52" id="Page_52">-52-</a></span></p>
+
+
+<h3>Melody in thirds and sixths.</h3>
+
+<p>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:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fl.<br />
+Ob.</td>
+<td style="padding-top: .3em">Fl.<br />
+Cl.</td>
+<td style="padding-top: .3em">Ob.<br />
+Cl.</td>
+<td style="padding-top: .3em">Cl.<br />
+Fag.</td>
+<td style="padding-top: .3em">Ob.<br />
+Fag.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3 (6).</td>
+</tr>
+</table>
+
+<p class="noindent">If this order is inverted, e.g.</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Ob.<br />
+Fl.</td>
+<td style="padding-top: .3em">Cl.<br />
+Fl.</td>
+<td style="padding-top: .3em">Fag.<br />
+Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3 (6),</td>
+</tr>
+</table>
+
+<p class="noindent">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:</p>
+
+<p class="centertp">
+<img src="images1/progression.png" width="248" height="56" alt="Music" title="Music" />
+</p>
+
+<p class="centerbp">[<a href="music1/progression.mp3">Listen</a>]</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Legend of Kitesh</i> <span class="box">24</span>&mdash;different wind instruments in turn.</p>
+
+<p><i>The May Night</i>, Act III <span class="box">G</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Cl.<br />
+Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3.</td>
+</tr>
+</table>
+
+<p><i>Sadko</i> <span class="box">279-280</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fl.<br />
+Fl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3 (6).</td>
+</tr>
+</table>
+
+<p><a href="rimsky2.html#No_067">No. 67.</a> <i>Spanish Capriccio</i>, before <span class="box">V</span>&mdash;various wood-wind in thirds
+and sixths.</p>
+
+<p><i>Servilia</i> <span class="box">228</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fl.<br />
+Fl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3</td>
+<td class="center">and</td>
+<td style="padding-top: .3em">Cl.<br />
+Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3.</td>
+</tr>
+</table>
+
+<p><i>The Golden Cockerel</i> <span class="box">232</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">2 Fl.<br />
+2 Ob.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>6.</td>
+</tr>
+</table>
+
+<p>* <i>Sadko</i> <span class="box">43</span>&mdash;All wood-wind in turn, simple timbres.</p>
+
+<p class="tp">When the doubled parts progress in thirds or sixths, the following
+method is advisable:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fl. <span class="lg">+</span> Ob.<br />
+Fl. <span class="lg">+</span> Ob.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3 (6)</td>
+<td class="center">or</td>
+<td style="padding-top: .3em">Fl. <span class="lg">+</span> Cl.<br />
+Fl. <span class="lg">+</span> Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3 (6) etc., as well as:</td>
+</tr>
+<tr>
+<td style="padding-top: .3em">Fl. <span class="lg">+</span> Ob.<br />
+Fl. <span class="lg">+</span> Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3 (6)</td>
+<td class="center">or</td>
+<td style="padding-top: .3em">Ob. <span class="lg">+</span> Fl.<br />
+Fl. <span class="lg">+</span> Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3 (6) etc.</td>
+</tr>
+</table>
+
+<p>In the case of tripling the following arrangement may be adopted:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fl. <span class="lg">+</span> Ob. <span class="lg">+</span> Cl.<br />
+Fl. <span class="lg">+</span> Ob. <span class="lg">+</span> Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3 (6)</td>
+<td class="center">or</td>
+<td style="padding-top: .3em">Ob. <span class="lg">+</span> 2 Fl.<br />
+Ob. <span class="lg">+</span> 2 Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3 (6) etc.</td>
+</tr>
+</table>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <a href="rimsky2.html#No_068">No. 68.</a> <i>The Christmas Night</i> <span class="box">187</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Ob. <span class="lg">+</span> Cl.<br />
+Ob. <span class="lg">+</span> Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3.</td>
+</tr>
+</table>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">202-203</span> different mixed timbres.<span class="pagenum"><a name="Page_53" id="Page_53">-53-</a></span></p>
+
+
+<h3>Thirds and sixths together.</h3>
+
+<p class="centertp">
+<img src="images1/thirds-sixths.png" width="325" height="63" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/thirds-sixths.mp3">Listen</a>]</p>
+
+<p>Apart from the obvious distribution:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td>Fl.<br />
+Ob.<br />
+Cl.</td>
+<td class="center">or</td>
+<td>Ob.<br />
+Cl.<br />
+Fag.,</td>
+</tr>
+</table>
+
+<p class="noindent">there are certain complicated methods which involve doubling:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr><td>Upper</td><td class="center">part.</td><td>Ob. <span class="lg">+</span> Fl.</td></tr>
+<tr><td>Middle</td><td class="center">"</td><td>Fl. <span class="lg">+</span> Cl.</td></tr>
+<tr><td>Lower</td><td class="center">"</td><td>Ob. <span class="lg">+</span> Cl.</td></tr>
+</table>
+
+<p>The following is a complex instance somewhat vague in character:</p>
+
+<p><a href="rimsky2.html#No_069">No. 69.</a> Legend of Kitesh <span class="box">35</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td>Ob.<br />
+Ob. <span class="lg">+</span> Cl.<br />
+Cl.</td>
+<td class="center">and</td>
+<td>Fl.<br />
+Fl. <span class="lg">+</span> Ob.<br />
+Ob.</td>
+</tr>
+</table>
+
+
+<h2>Melody in the brass.</h2>
+
+<p>The natural scale, the only one which brass instruments had at their
+disposal prior to the invention of valves was:</p>
+
+<p class="centertp">
+<img src="images1/brass_scale.png" width="317" height="98" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/brass_scale.mp3">Listen</a>]</p>
+
+<p class="noindent">giving, in two part harmony:</p>
+
+<p class="centertp">
+<img src="images1/brass_harmony.png" width="267" height="53" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/brass_harmony.mp3">Listen</a>]</p>
+
+<p class="noindent">With the help of rhythm, these component parts have given rise to a
+whole series of themes and phrases named fanfares, trumpet calls or
+flourishes, best adapted to the character of brass instruments.</p>
+
+<p>In modern music, thanks to the introduction of valves, this scale is
+now possible in all keys for every chromatic brass instrument, without
+it being necessary to change the key, and the addition of a few notes
+foreign to the natural scale has enriched the possibilities of these
+flourishes and fanfares, and endowed them with greater variety of
+expression.</p>
+
+<p>These phrases, either as solos, or in two or three parts, fall
+specially to the lot of the trumpets and horns, but they may also be
+given to the trombones. The full, clear, ringing notes of the middle
+and upper register of horns and trumpets are best suited to figures of
+this description.<span class="pagenum"><a name="Page_54" id="Page_54">-54-</a></span></p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Servilia</i> <span class="box">20</span>&mdash;Trumpets.</p>
+
+<p><i>The Christmas Night</i> <span class="box">182</span>&mdash;Horn, Trumpets.</p>
+
+<p><i>Vera Scheloga</i>, beginning of Overture, and after <span class="box">45</span>&mdash;Horn,
+Trumpets.</p>
+
+<p><i>Ivan the Terrible</i>, Act III <span class="box">3</span>&mdash;Cornet.</p>
+
+<p><i>Snegourotchka</i> <span class="box">155</span>&mdash;Trumpets.</p>
+
+<p><a href="rimsky2.html#No_070">No. 70.</a> <i>Legend of Kitesh</i> <span class="box">65</span> and elsewhere.&mdash;3 Trumpets, 4 Horns.</p>
+
+<p><i>Pan Voyevoda</i> <span class="box">191</span>&mdash;2 Trombones, Trumpet.</p>
+
+<p>* <i>The Golden Cockerel</i> <span class="box">20</span>&mdash;2 Horns and</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Trumpets<br />
+Horns</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8 (cf. further on).</td>
+</tr>
+</table>
+
+<p class="tp">After fanfare figures, those melodies best suited to the brass quality
+are those of an unmodulated diatonic character, rousing and triumphant
+in the major key, dark and gloomy in the minor.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_071">No. 71.</a> <i>Sadko</i> <span class="box">342</span>&mdash;Trumpet.</p>
+
+<p><i>Sadko</i>, before <span class="box">181</span>&mdash;Trombones (cf. <a href="rimsky2.html#No_027">Ex. 27</a>).</p>
+
+<p><a href="rimsky2.html#No_072">No. 72.</a> <i>Snegourotchka</i> <span class="box">71</span>&mdash;Trumpet.</p>
+
+<p><i>Russian Easter Fête</i> <span class="box">M</span>&mdash;Trombone.</p>
+
+<p><i>Spanish Capriccio</i> <span class="box">E</span>&mdash;Alternative use in the horn of open and
+stopped notes (cf. <a href="rimsky2.html#No_044">Ex. 44</a>).</p>
+
+<p><i>Ivan the Terrible</i>, Act II, before <span class="box">17</span>&mdash;Bass trumpet, and 3 Horns
+a little further on.</p>
+
+<p><i>Mlada</i>, Act II <span class="box">33</span>&mdash;Bass trumpet (cf. <a href="rimsky2.html#No_046">Ex. 46</a>).</p>
+
+<p class="tp">The genial and poetic tone of the horn in <i>piano</i> passages affords
+greater scope in the choice of melodies and phrases that may be
+entrusted to this instrument.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>The May Night</i>, Overture <span class="box">13</span>.</p>
+
+<p><i>The Christmas Night</i> <span class="box">1</span>.</p>
+
+<p><i>Snegourotchka</i> <span class="box">86</span>.</p>
+
+<p><i>Pan Voyevoda</i> <span class="box">37</span>.</p>
+
+<p><a href="rimsky2.html#No_073">No. 73.</a> <i>Antar</i> <span class="box">40</span>.<span class="pagenum"><a name="Page_55" id="Page_55">-55-</a></span></p>
+
+<p class="tp">Melodies involving chromatic or enharmonic writing are much less
+suitable to the character of brass instruments. Nevertheless such
+melodies may sometimes be allotted to the brass, as in the music of
+Wagner, and the modern Italian realists, who, however, carry the
+proceeding to extremes. Vigourous phrases in the form of a fanfare,
+although introducing chromatic notes sound singularly beautiful on the
+brass.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><a href="rimsky2.html#No_074">No. 74.</a> <i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">D</span>.</p>
+
+<p class="tp">As a general rule, brass instruments lack the capacity to express
+passion or geniality. Phrases charged with these sentiments become
+sickly and insipid when confided to the brass. Energetic power, free
+or restrained, simplicity and eloquence constitute the valuable
+qualities of this group.</p>
+
+
+<h3>Brass in unison, in octaves, thirds and sixths.</h3>
+
+<p>As, from its very nature, the brass is not called upon to realise a
+wide range of expression, kindred instruments of one group may be
+employed <i>solo</i>, as well as in unison. The combination of 3 trombones
+or 4 horns in unison is frequently met with, and produces extreme
+power and resonance of tone.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">5</span>&mdash;4 Horns (cf. <a href="rimsky2.html#No_015">Ex. 15</a>).</p>
+
+<p><i>Snegourotchka</i> <span class="box">199</span>&mdash;4 Horns and 2 Trumpets.</p>
+
+<p><i>Sadko</i> <span class="box">175</span>&mdash;1, 2, 3 Trumpets.</p>
+
+<p><a href="rimsky2.html#No_075">No. 75.</a> <i>Sadko</i> <span class="box">305</span><a name="FNanchor_13_16" id="FNanchor_13_16"></a><a href="#Footnote_13_16" class="fnanchor">[13]</a>&mdash;3 Trombones.</p>
+
+<p><a href="rimsky2.html#No_076">No. 76.</a> <i>The May Night</i>, beginning of Act III&mdash;1, 2, 3, 4 Horns.</p>
+
+<p><i>Legend of Kitesh</i>, end of Act I&mdash;4 Horns (cf. <a href="rimsky2.html#No_070">Ex. 70</a>).</p>
+
+<p><a href="rimsky2.html#No_077">No. 77.</a> <i>Shéhérazade</i>, 4<span class="super">th</span> movement p. 204&mdash;3 Trombones.</p>
+
+<p><i>Mlada</i>; Lithuanian dance&mdash;6 Horns (cf. <a href="rimsky2.html#No_061">Ex. 61</a>).<span class="pagenum"><a name="Page_56" id="Page_56">-56-</a></span></p>
+
+<p class="tp">Owing to the resonant power of the entire group, the equality and even
+gradation of tone between the dark colour of the deep compass and the
+bright quality of the upper register, the use of brass instruments of
+the same kind in octaves, thirds or sixths invariably leads to
+satisfactory results. For the same reason the employment of brass
+instruments of different kinds, arranged according to normal order of
+register:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="instruments">
+<tr>
+<td>Trumpet<br />
+2 Horns</td>
+<td>Trumpet<br />
+Trombone</td>
+<td>Trombone<br />
+Tuba</td>
+<td>2 Trombones<br />
+Trombone <span class="lg">+</span> Tuba</td>
+<td>2 Trumpets<br />
+2 Trombones</td>
+<td>2 Horns<br />
+Tuba</td>
+</tr>
+</table>
+
+<p class="noindent">is likewise successful whether the instruments are doubled or not.
+Another possible method, though not so reliable, is to combine horns
+(above) with trombones, exclusively in octaves:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">2 Horns<br />
+1 Trombone</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8</td>
+<td class="center">or</td>
+<td style="padding-top: .3em">4 Horns<br />
+2 Trombones</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Sadko</i>, before <span class="box">120</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Trumpet<br />
+Trumpet</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><i>Sadko</i> <span class="box">5</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">2 Trumpets<br />
+4 Horns</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><i>Snegourotchka</i> <span class="box">222</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">2 Trombones<br />
+Trombone <span class="lg">+</span> Tuba</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><i>Ivan the Terrible</i>, Act III <span class="box">10</span></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">1 Trombone <span class="lg">+</span> Trumpet<br />
+2 Trombones</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8 (cf. <a href="rimsky2.html#No_038">Ex. 38</a>).</td>
+</tr>
+</table>
+
+<p><i>The Golden Cockerel</i> <span class="box">125</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Trumpet<br />
+Trombone</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p>Cf. also <i>Snegourotchka</i> <span class="box">325-326</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Trombone<br />
+Trombone</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8 (<a href="rimsky2.html#No_095">Ex. 95</a>).</td>
+</tr>
+</table>
+
+
+<h2>Melody in different groups of instruments combined together.</h2>
+
+<h3>A. Combination of wind and brass in unison.</h3>
+
+<p>The combination of a wood-wind and brass instrument produces a complex
+resonance in which the tone of the brass predominates. This resonance
+is naturally more powerful than that of each instrument taken
+separately, but slightly sweeter than the brass instrument alone. The
+tone of the wood-wind blends with that of the brass, softens and
+rarefies it, as in the process of combining two wood-wind instruments
+of different colour. Instances of such doubling are fairly numerous,
+especially in <i>forte</i> passages. The trumpet is the instrument most
+frequently doubled: Trumpet <span class="lg">+</span> Cl., Trumpet <span class="lg">+</span> Ob., Trumpet <span class="lg">+</span> Fl., as
+well as Trumpet <span class="lg">+</span> Cl. <span class="lg">+</span> Ob. <span class="lg">+</span> Fl.;<span class="pagenum"><a name="Page_57" id="Page_57">-57-</a></span> the horn, less often: Horn <span class="lg">+</span> Cl.,
+Horn <span class="lg">+</span> Fag. Trombones and Tuba may also be doubled: Trombone <span class="lg">+</span> Fag.,
+Tuba <span class="lg">+</span> Fag. Combining the Eng. horn, bass clarinet and double bassoon
+with the brass, in corresponding registers, presents the same
+characteristics.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Legend of Kitesh</i> <span class="box">56</span>&mdash;Trombone <span class="lg">+</span> Eng. horn.</p>
+
+<p>* <i>Mlada</i>, Act III, before <span class="box">34</span>&mdash;3 Trombones <span class="lg">+</span> Bass cl.</p>
+
+<p class="tp">As a rule, the addition of a wind to a brass instrument yields a finer
+legato effect than when the latter instrument plays alone.</p>
+
+
+<h3>B. Combination of wind and brass in octaves.</h3>
+
+<p>Doubling the horns in octaves by clarinets, oboes or flutes often
+replaces the combination</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">1 Trumpet<br />
+1 Horn (or 2 Horns)</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="noindent">This is done when it is a question of introducing a rich tone into the
+upper octave which the trumpet is not capable of imparting. If a
+single horn is used, the upper part is allotted to 2 clarinets, 2
+oboes, or 2 flutes. But if there are two horns playing the lower
+octave in unison, three or four wind instruments will be necessary
+above, especially in <i>forte</i> passages:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="instruments">
+<tr>
+<td>8</td>
+<td class="vat"><span class="xxlg">[</span></td>
+<td style="padding-top: .3em">2 Ob. or 2 Cl. or 2 Fl.<br />
+1 Horn</td>
+<td class="center">as well as</td>
+<td style="padding-top: .3em">2 Ob. <span class="lg">+</span> 1 Cl.<br />
+1 Horn</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8;</td>
+<td style="padding-top: .3em">2 Fl. <span class="lg">+</span> 2 Cl.<br />
+2 Horns</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="noindent">To double a trumpet in the upper octave three or four wind instruments
+are required, but in the top register two flutes will suffice.</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="double trumpet">
+<tr>
+<td class="center"><img src="images1/trumpet01.png" width="133" height="110" alt="music" title="music" />
+<br />
+[<a href="music1/trumpet01.mp3">Listen</a>]</td>
+<td class="center"><img src="images1/trumpet02.png" width="99" height="110" alt="music" title="music" />
+<br />
+[<a href="music1/trumpet02.mp3">Listen</a>]</td>
+</tr>
+</table>
+
+<p>Wood-wind instruments should not be used to double a trombone in the
+octave above; trumpets are more suitable.</p>
+
+
+<h3>Examples of doubling in octaves:</h3>
+
+<p>* <i>Snegourotchka</i> <span class="box">71</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Ob. <span class="lg">+</span> Cl.<br />
+Horn</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p>* <i>Legend of Tsar Saltan</i>, before <span class="box">180</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Ob. <span class="lg">+</span> Cl.<br />
+Ob. <span class="lg">+</span> Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>6</td>
+<td rowspan="2"><span class="xxlg">]</span></td>
+<td rowspan="2">8.</td>
+</tr>
+<tr>
+<td style="padding-top: .3em">Horn<br />
+Horn</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>6</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_58" id="Page_58">-58-</a></span></p>
+
+<p class="tp">* Mention should also be made of mixed timbres (wood and brass) in
+progression in octaves.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Mlada</i>, Act III, beginning of Scene III&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Trombone <span class="lg">+</span> Bass cl.<br />
+Tuba <span class="lg">+</span> C-fag.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><a href="rimsky2.html#No_078">No. 78.</a> <i>Mlada</i>, Act III after <span class="box">25</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">2 Cl. <span class="lg">+</span> 2 Horns <span class="lg">+</span> Trombone<br />
+Bass cl. <span class="lg">+</span> 2 Horns <span class="lg">+</span> Trombone</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8 (low register).</td>
+</tr>
+</table>
+
+<p><a href="rimsky2.html#No_079">No. 79.</a> <i>Mlada</i>, Act III, before <span class="box">35</span>&mdash;general unison.</p>
+
+<p class="tp">When it is desired to distribute the melody over three or four
+octaves, it is difficult to achieve perfect balance of tone.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <i>Shéhérazade</i>, 4<span class="super">th</span> movement, 15<span class="super">th</span> bar after <span class="box">W</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>Picc.<br />
+2 Fl. <span class="lg">+</span> 2 Ob.<br />
+2 Trumpets</td>
+<td class="vat"><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8.</td>
+</tr>
+</table>
+
+<p>* <i>Legend of Tsar Saltan</i> <span class="box">228</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>Picc.<br />
+2 Fl. <span class="lg">+</span> 2 Ob.<br />
+Trumpet <span class="lg">+</span> Eng. horn</td>
+<td class="vat"><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8.</td>
+</tr>
+</table>
+
+
+<h3>C. Combination of strings and wind.</h3>
+
+<p>In commencing this section of the work I consider it necessary to lay
+down the following fundamental rules which apply equally to melody,
+harmony, counterpoint and polyphonic writing.</p>
+
+<p>All combinations of strings and wood-wind are good; a wind instrument
+progressing in unison with a stringed instrument increases the
+resonance of the latter and amplifies its tone, while the quality of
+the strings softens that of the wood-wind. In such combinations the
+strings will predominate provided that the two instruments are of
+equal power, e.g. when violins are coupled with an oboe, a bassoon
+with the 'cellos. If several wind instruments play in unison with one
+group of strings, the latter will be overpowered. As a rule all
+combinations refine the characteristics of each instrument taken
+separately, the wood-wind losing more than the strings.</p>
+
+
+<p class="centertp"><i>Doubling in unison.</i></p>
+
+<p>The best and most natural combinations are between instruments whose
+registers correspond the nearest:</p>
+
+<p>Vn<span class="super">s</span> <span class="lg">+</span> Fl. (Bass fl., picc.), Vn<span class="super">s</span> <span class="lg">+</span> Ob., Vn<span class="super">s</span> <span class="lg">+</span> Cl. (small
+Cl.);</p>
+
+<p>Violas <span class="lg">+</span> Ob. (Eng. horn), Violas <span class="lg">+</span> Cl., Violas <span class="lg">+</span> Fag.</p>
+
+<p>'Cellos <span class="lg">+</span> Cl. (Bass cl.), 'Cellos <span class="lg">+</span> Fag.;<span class="pagenum"><a name="Page_59" id="Page_59">-59-</a></span></p>
+
+<p>D. basses <span class="lg">+</span> Bass cl., D. basses <span class="lg">+</span> Fag.; D. basses <span class="lg">+</span> C-fag.</p>
+
+<p>The object of these combinations is: a) to obtain a new timbre of
+definite colour; b) to strengthen the resonance of the strings; c) to
+soften the quality of the wood-wind.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">5</span>&mdash;'Cellos <span class="lg">+</span> Violas <span class="lg">+</span> Eng. horn (cf. <a href="rimsky2.html#No_015">Ex. 15</a>).</p>
+
+<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.5em;"><span class="box">28</span>&mdash;Violas <span class="lg">+</span> Ob. <span class="lg">+</span> Eng. horn.</span></p>
+
+<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2em;"><span class="box">116</span>&mdash;Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Ob. <span class="lg">+</span> Cl.</span></p>
+
+<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2em;"><span class="box">288</span>&mdash;Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> 'Cellos <span class="lg">+</span> Eng. horn (cf. <a href="rimsky2.html#No_017">Ex. 17</a>).</span></p>
+
+<p><a href="rimsky2.html#No_080">No. 80.</a> <i>The May Night</i>, Act III <span class="box">Bb</span>&mdash;Violas <span class="lg">+</span> Cl.</p>
+
+<p><a href="rimsky2.html#No_081">No. 81.</a> <i>Sadko</i> <span class="box">311</span>&mdash;Vn<span class="super">s</span> <span class="lg">+</span> Ob.</p>
+
+<p><a href="rimsky2.html#No_082">No. 82.</a> <span style="margin-left: 1em;">"</span> <span style="margin-left: 1.5em;"><span class="box">77</span>&mdash;Violas <span class="lg">+</span> Eng. horn.</span></p>
+
+<p><a href="rimsky2.html#No_083">No. 83.</a> <span style="margin-left: 1em;">"</span> <span style="margin-left: 1em;"><span class="box">123</span>&mdash;Violas <span class="lg">+</span> Eng. horn.</span></p>
+
+<p><i>Servilia</i> <span class="box">59</span>&mdash;Vn<span class="super">s</span> <i>G</i> string <span class="lg">+</span> Fl.</p>
+
+<p><i>Tsar Saltan</i> <span class="box">30</span>&mdash;Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> 2 Cl.</p>
+
+<p><a href="rimsky2.html#No_084">No. 84.</a> <i>Tsar Saltan</i> <span class="box">30</span>, 10<span class="super">th</span> bar.&mdash;'Cellos <span class="lg">+</span> Violas <span class="lg">+</span> 3 Cl. <span class="lg">+</span>
+Fag.</p>
+
+<p><i>Tsar Saltan</i> <span class="box">156-159</span>&mdash;Vn<span class="super">s</span> detached <span class="lg">+</span> Fl. <i>legato</i>.</p>
+
+<p><i>The Tsar's Bride</i> <span class="box">10</span> Violas <span class="lg">+</span> 'Cellos <span class="lg">+</span> Fag.</p>
+
+<p><i>Antar</i>, 4<span class="super">th</span> movement <span class="box">63</span>&mdash;'Cellos <span class="lg">+</span> 2 Fag.</p>
+
+<p><i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">H</span>&mdash;Violas <span class="lg">+</span> Ob. <span class="lg">+</span> Eng. horn.</p>
+
+
+<p class="centertp"><i>Parts doubled in octaves.</i></p>
+
+<p>Examples of strings in octaves doubled by wood-wind also in octaves
+are numerous, and do not require special description; they are used
+according to the rules already laid down. The following are examples
+of melody distributed over 1, 2, 3 and 4 octaves:</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_085">No. 85.</a> <i>Ivan the Terrible</i>, beginning of Overture&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> 2 Cl.<br />
+Violas <span class="lg">+</span> 'Cellos <span class="lg">+</span> 2 Fag.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><a href="rimsky2.html#No_086">No. 86.</a> <i>Sadko</i> <span class="box">3</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">'Cellos <span class="lg">+</span> Bass cl.<br />
+D. basses <span class="lg">+</span> C-fag.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><i>Sadko</i> <span class="box">166</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">'Cellos <span class="lg">+</span> Fag.<br />
+D. basses <span class="lg">+</span> C-fag.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1em;"><span class="box">235</span>&mdash;</span></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Violas <span class="lg">+</span> 2 Cl.<br />
+'Cellos <span class="lg">+</span> D. basses <span class="lg">+</span> 2 Fag.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><i>The Tsar's Bride</i> <span class="box">14</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">'Cellos <span class="lg">+</span> Fag.<br />
+D. basses <span class="lg">+</span> Fag.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_60" id="Page_60">-60-</a></span></p>
+
+<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1em;"><span class="box">81</span>&mdash;</span></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I<br />
+Vn<span class="super">s</span> II</td>
+<td class="center">div.</td>
+<td><span class="lg">+</span> Fl.<br />
+<span class="lg">+</span> Ob.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: .5em;"><span class="box">166</span>&mdash;</span></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Vn<span class="super">s</span> I <span class="lg">+</span> Fl.<br />
+Vn<span class="super">s</span> II <span class="lg">+</span> Ob.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8 (cf. <a href="rimsky2.html#No_022">Ex. 22</a>).</td>
+</tr>
+</table>
+
+<p>In three and four octaves:</p>
+
+<p><i>Servilia</i> <span class="box">93</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>Vn<span class="super">s</span> <span class="lg">+</span> 3 Fl.<br />
+Violas <span class="lg">+</span> 2 Ob.<br />
+'Cellos <span class="lg">+</span> 2 Fag.</td>
+<td><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8.</td>
+</tr>
+</table>
+
+<p><a href="rimsky2.html#No_087">No. 87.</a> <i>Kashtcheï</i> <span class="box">105</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>Vn<span class="super">s</span> I <span class="lg">+</span> Picc.<br />
+Vn<span class="super">s</span> II <span class="lg">+</span> Fl. <span class="lg">+</span> Ob.<br />
+Violas <span class="lg">+</span> 'Cellos <span class="lg">+</span> 2 Cl. <span class="lg">+</span> Eng. horn <span class="lg">+</span> Fag.</td>
+<td><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8.</td>
+</tr>
+</table>
+
+<p><i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">M</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>Vn<span class="super">s</span> I <span class="lg">+</span> Fl.<br />
+Vn<span class="super">s</span> II <span class="lg">+</span> Ob.<br />
+'Cellos <span class="lg">+</span> Engl. horn</td>
+<td><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8.</td>
+</tr>
+</table>
+
+
+<p class="centertp"><i>Examples of melody in thirds and sixths:</i></p>
+
+<p><i>Servilia</i> <span class="box">44</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fl. <span class="lg">+</span> Ob. <span class="lg">+</span> Cl. <span class="lg">+</span> Vn<span class="super">s</span><br />
+Fl. <span class="lg">+</span> Ob. <span class="lg">+</span> Cl. <span class="lg">+</span> Vn<span class="super">s</span></td>
+<td class="center">div.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>3.</td>
+</tr>
+</table>
+
+<p><a href="rimsky2.html#No_088">No. 88.</a> <i>Servilia</i> <span class="box">111</span>&mdash;Strings and wood-wind in thirds.</p>
+
+<p><a href="rimsky2.html#No_089">No. 89.</a> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.3em;"><span class="box">125</span>&mdash;same combination, in thirds and sixths.</span></p>
+
+<p><i>Kashtcheï</i> <span class="box">90</span>&mdash;The same.</p>
+
+<p class="tp">It is necessary to pay more attention to cases where, of the two parts
+in octaves, only one is doubled. When this method is applied to a
+melody in the soprano register it is better to allow the wood-wind to
+progress in octaves, the lower part only being doubled by one of the
+string groups;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Picc.<br />
+Fl. <span class="lg">+</span> Vn<span class="super">s</span></td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+<td style="padding-top: .3em">Fl.<br />
+Ob. (Cl.) <span class="lg">+</span> Vn<span class="super">s</span></td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Tsar Saltan</i> <span class="box">102</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">2 Fl. <span class="lg">+</span> Picc.<br />
+Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Ob.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8 (cf. <a href="rimsky2.html#No_133">Ex. 133</a>).</td>
+</tr>
+</table>
+
+<p>* <a href="rimsky2.html#No_090">No. 90.</a> <i>Shéhérazade</i>, 4<span class="super">th</span> movement <span class="box">U</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">2 Cl.<br />
+'Cellos <span class="lg">+</span> 2 Horns</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="tp">In the case of a melody in the low register demanding a sweet soft
+tone, the violoncellos and double basses should be made to progress in
+octaves, the former doubled by a bassoon, the latter not doubled at
+all:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">'Cellos <span class="lg">+</span> Fag.<br />
+D. basses</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="noindent">Sometimes a composer is obliged to
+use this method on account of the very low register of the double
+bass, especially if a double bassoon is not included in his orchestral
+scheme.<a name="FNanchor_14_17" id="FNanchor_14_17"></a><a href="#Footnote_14_17" class="fnanchor">[14]</a></p>
+
+<p><span class="pagenum"><a name="Page_61" id="Page_61">-61-</a></span></p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><a href="rimsky2.html#No_091">No. 91.</a> <i>Tsar Saltan</i> <span class="box">92</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>Violas <span class="lg">+</span> Fag.<br />
+'Cellos <span class="lg">+</span> Fag.<br />
+D. basses</td>
+<td><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8.</td>
+</tr>
+</table>
+
+
+<h3>D. Combination of strings and brass.</h3>
+
+<p>Owing to the dissimilarity between the quality of string and brass
+tone, the combination of these two groups in unison can never yield
+such a perfect blend as that produced by the union of strings and
+wood-wind. When a brass and a stringed instrument progress in unison,
+each can be heard separately, but the instruments in each group which
+can be combined with the greatest amount of success are those whose
+respective registers correspond the most nearly; Violin <span class="lg">+</span> Trumpet;
+Viola <span class="lg">+</span> Horn;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">'Cellos<br />
+D. basses</td>
+<td class="center"><span class="lg">+</span></td>
+<td style="padding-top: .3em">Trombones<br />
+Tuba</td>
+</tr>
+</table>
+
+<p class="noindent">(for heavy massive effects).</p>
+
+<p>The combination of horns and 'cellos, frequently employed, produces a
+beautifully blended, soft quality of tone.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Tsar Saltan</i> <span class="box">29</span>&mdash;Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Horn.</p>
+
+<p>* <a href="rimsky2.html#No_092">No. 92.</a> <i>The Golden Cockerel</i> <span class="box">98</span>&mdash;Violas <i>con sord.</i> <span class="lg">+</span> Horn.</p>
+
+
+<h3>E. Combination of the three groups.</h3>
+
+<p>The combination of members of the three groups in unison is more
+common, the presence of the wood-wind imparting a fuller and more
+evenly blended tone. The question as to which group will predominate
+in timbre depends upon the number of instruments employed. The most
+natural combinations, and those most generally in use are:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td colspan="2">Vn<span class="super">s</span> <span class="lg">+</span> Ob. (Fr., Cl.) <span class="lg">+</span> Trumpet;</td>
+</tr>
+<tr>
+<td colspan="2">Violas (or 'Cellos) <span class="lg">+</span> Cl. (Eng. horn) <span class="lg">+</span> Horn;</td>
+</tr>
+<tr>
+<td>'Cellos<br />
+D. basses</td>
+<td><span class="lg">+</span> 2 Fag. <span class="lg">+</span> 3 Trombones <span class="lg">+</span> Tuba.</td>
+</tr>
+</table>
+
+<p>Such groupings are used for preference in loud passages or for a heavy
+<i>piano</i> effect.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>No. <a href="rimsky2.html#No_093">93</a>-<a href="rimsky2.html#No_094">94</a>. <i>Snegourotchka</i> <span class="box">218</span> and <span class="box">219</span>&mdash;Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Cl. <span class="lg">+</span>
+<span class="pagenum"><a name="Page_62" id="Page_62">-62-</a></span>Horn and Vn<span class="super">s</span> I <span class="lg">+</span> II <span class="lg">+</span> Cl. <span class="lg">+</span> Trumpet.</p>
+
+<p><i>Servilia</i> <span class="box">168</span>&mdash;</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>Violas <span class="lg">+</span> Trombones<br />
+'Cellos <span class="lg">+</span> Trombone <span class="lg">+</span> Bass Cl.<br />
+D. basses <span class="lg">+</span> Tuba <span class="lg">+</span> Fag.</td>
+<td><span class="mlg">]</span> 8<br />
+<span class="mlg">]</span> 8</td>
+<td>(cf. <a href="rimsky2.html#No_062">Ex. 62</a>).</td>
+</tr>
+</table>
+
+<p><a href="rimsky2.html#No_095">No. 95.</a> <i>Snegourotchka</i> <span class="box">325</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">'Cellos <span class="lg">+</span> Violas <span class="lg">+</span> Fag. <span class="lg">+</span> Trombone<br />
+D. basses <span class="lg">+</span> Fag. <span class="lg">+</span> Tuba</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p><i>Pan Voyevoda</i> <span class="box">224</span>&mdash;Vn<span class="super">s</span> <span class="lg">+</span> Fag. <span class="lg">+</span> Horn <span class="lg">+</span> Vn. <span class="lg">+</span> Cl. <span class="lg">+</span> Trumpet.
+(Stopped notes in the brass.)</p>
+
+<p>* <i>Mlada</i>, Act III, after <span class="box">23</span>&mdash;Violas <span class="lg">+</span> 2 Cl. <span class="lg">+</span> Bass trumpet.</p>
+
+<p>* <a href="rimsky2.html#No_096">No. 96.</a> <i>Ivan the Terrible</i>, Act III, before <span class="box">66</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Bass Cl. <span class="lg">+</span> Horn<br />
+D. basses <span class="lg">+</span> C-fag. <span class="lg">+</span> Tuba</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p>* <i>Ivan the Terrible</i>, Overture, 4<span class="super">th</span> bar after <span class="box">9</span>&mdash;Violas <span class="lg">+</span>
+'Cellos <span class="lg">+</span> Eng. horn <span class="lg">+</span> 2 Cl. <span class="lg">+</span> Bass Cl. <span class="lg">+</span> 2 Fag. <span class="lg">+</span> 4 Horns. (The melody
+simplified in the horns.)</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_63" id="Page_63">-63-</a></span></p>
+
+<h1><a name="Chapter_III" id="Chapter_III"></a>Chapter III.</h1>
+
+<p class="center"><span class="lg">HARMONY.</span></p>
+
+<hr class="short" />
+
+<h2>General observations.</h2>
+
+<p>The art of orchestration demands a beautiful and well-balanced
+distribution of chords forming the harmonic texture. Moreover,
+transparence, accuracy and purity in the movement of each part are
+essential conditions if satisfactory resonance is to be obtained. No
+perfection in resonance can accrue from faulty progression of parts.</p>
+
+<div class="blockquot">
+<p><i>Note.</i> There are people who consider orchestration simply
+as the art of selecting instruments and tone qualities,
+believing that if an orchestral score does not sound well,
+it is entirely due to the choice of instruments and timbres.
+But unsatisfactory resonance is often solely the outcome of
+faulty handling of parts, and such a composition will
+continue to sound badly whatever choice of instruments is
+made. So, on the other hand, it often happens that a passage
+in which the chords are properly distributed, and the
+progression of parts correctly handled, will sound equally
+well if played by strings, wood-wind or brass.</p>
+</div>
+
+<p>The composer should picture to himself the exact harmonic formation of
+the piece he intends to orchestrate. If, in his rough sketch, there
+exist any uncertainly as to the number or movement of harmonic parts,
+he is advised to settle this at once. It is likewise essential for him
+to form a clear idea as to the construction and musical elements of
+the piece, and to realise the exact nature and limitations of the
+themes, phrases and ideas he is going to employ. Every transition from
+one order of harmonic writing to another, from four-part harmony to
+three, or from five-part harmony to unison etc., must coincide with
+the introduction of a new idea, a fresh theme or phrase; otherwise the
+orchestrator will encounter many unforeseen and insurmountable
+difficul<span class="pagenum"><a name="Page_64" id="Page_64">-64-</a></span>ties. For example, if, during a passage written in four parts
+a chord in five-part harmony is introduced, a fresh instrument must
+needs be added to play this particular fifth part, and this addition
+may easily damage the resonance of the chord in question, and render
+the resolution of a discord or the correct progression of parts
+impossible.</p>
+
+
+<h3>Number of harmonic parts&mdash;Duplication.</h3>
+
+<p>In the very large majority of cases harmony is written in four parts;
+this applies not only to single chords or a succession of them, but
+also to the formation of the harmonic basis. Harmony which at first
+sight appears to comprise 5, 6, 7 and 8 parts, is usually only four
+part harmony with extra parts added. These additions are nothing more
+than the duplication in the adjacent upper octave of one or more of
+the three upper parts forming the original harmony, the bass being
+doubled in the lower octave only. The following diagrams will explain
+my meaning:</p>
+
+<p><span class="slg"><i>A. Close part-writing.</i></span></p>
+
+<p class="center">
+<img src="images1/close_part_writing.png" width="634" height="215" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/close_part_writing.mid">Listen</a>]</p>
+
+<p><span class="slg"><i>B. Widely-divided part-writing.</i></span></p>
+
+<p class="center">
+<img src="images1/wide_part_writing.png" width="631" height="136" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/wide_part_writing.mid">Listen</a>]</p>
+
+<div class="blockquot">
+<p><i>Note.</i> In widely-spaced harmony only the soprano and alto
+parts may be doubled in octaves. Duplicating the tenor part
+is to be avoided, as close writing is thereby produced, and
+doubling the bass part creates an effect of heaviness. The
+bass part should never mix with the others:<span class="pagenum"><a name="Page_65" id="Page_65">-65-</a></span></p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>Bad:</td>
+<td class="center"><img src="images1/wide_part_writing_bad.png" width="248" height="122" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/wide_part_writing_bad.mid">Listen</a>]</td>
+</tr>
+</table>
+</div>
+
+<p>On account of the distance between the bass and the three other parts,
+only partial duplication is possible.</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>Good:</td>
+<td class="center"><img src="images1/partial_duplication.png" width="292" height="110" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/partial_duplication.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<div class="blockquot">
+<p><i>Note.</i> Notes in unison resulting from correct duplication
+need not be avoided, for although the tone in such cases is
+not absolutely uniform, the ear will be satisfied with the
+correct progression of parts.</p>
+</div>
+
+<p>Consecutive octaves between the upper parts are not permissible:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>Bad:</td>
+<td class="center"><img src="images1/consecutive_octaves.png" width="313" height="107" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/consecutive_octaves.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p>Consecutive fifths resulting from the duplication of the three upper
+parts moving in chords of sixths are of no importance:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>Good:</td>
+<td class="center"><img src="images1/consecutive_fifths.png" width="249" height="65" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/consecutive_fifths.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p>The bass of an inversion of the dominant chord should never be doubled
+in any of the upper parts:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>Good:</td>
+<td class="center"><img src="images1/bass_inversion_good.png" width="292" height="145" alt="music" title="music" /></td>
+<td>Bad:</td>
+<td class="center"><img src="images1/bass_inversion_bad.png" width="271" height="142" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/bass_inversion_good.mid">Listen</a>]</td>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/bass_inversion_bad.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p>This applies also to other chords of the seventh and diminished
+seventh:<span class="pagenum"><a name="Page_66" id="Page_66">-66-</a></span></p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>Bad:</td>
+<td class="center"><img src="images1/seventh_bad.png" width="229" height="126" alt="music" title="music" /></td>
+<td>Good:</td>
+<td class="center"><img src="images1/seventh_good.png" width="233" height="126" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/seventh_bad.mid">Listen</a>]</td>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/seventh_good.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p>The rules of harmony concerning sustained and pedal passages apply
+with equal force to orchestral writing. As regards passing and
+auxiliary notes, <i>échappées</i>, considerable licence is permitted in
+rapid passages of different texture:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>One texture:<br />
+<br />
+<br />
+A different one:</td>
+<td class="center"><img src="images1/textures01.png" width="352" height="154" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/textures01.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>One texture:<br />
+<br />
+A different one:</td>
+<td class="center"><img src="images1/textures02.png" width="636" height="164" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/textures02.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p>A certain figure and its essentials, in simplified form, may proceed
+concurrently, as in the following example:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>One texture:<br />
+<br /><br />
+A different one:
+<br /><br /><br />
+A third:
+</td>
+<td class="center"><img src="images1/textures03.png" width="363" height="164" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/textures03.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p>Upper and inner pedal notes are more effective on the orchestra than
+in pianoforte or chamber music, owing to the greater variety of tone
+colour:</p>
+
+<p class="center">
+<img src="images1/upper_pedal.png" width="295" height="68" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/upper_pedal.mid">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_67" id="Page_67">-67-</a></span></p>
+
+<p>In <a href="rimsky2.html">Vol. II</a> of the present work many examples of the above methods will
+be found.</p>
+
+
+<h3>Distribution of notes in chords.</h3>
+
+<p>The normal order of sounds or the natural harmonic scale:</p>
+
+<p class="center">
+<img src="images1/harmonic_scale.png" width="630" height="83" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/harmonic-scale.mid">Listen</a>]</p>
+
+<p class="noindent">may serve as a guide to the orchestral arrangement of chords. It will
+be seen that the widely-spaced intervals lie in the lower part of the
+scale, gradually becoming closer as the upper register is approached:</p>
+
+<p class="center">
+<img src="images1/chords01.png" width="110" height="133" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/chords01.mid">Listen</a>]</p>
+
+<p>The bass should rarely lie at a greater distance than an octave from
+the part directly above it (tenor harmony). It is necessary to make
+sure that the harmonic notes are not lacking in the upper parts:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>To be avoided:</td>
+<td class="center"><img src="images1/chords02.png" width="279" height="116" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/chords02.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p>The use of sixths in the upper parts, and the practice of doubling the
+upper note in octaves are sometimes effective methods:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="center"><img src="images1/chords03.png" width="113" height="118" alt="music" title="music" /></td>
+<td class="center"><img src="images1/chords04.png" width="112" height="120" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td class="center">[<a href="music1/chords03.mid">Listen</a>]</td>
+<td class="center">[<a href="music1/chords04.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_68" id="Page_68">-68-</a></span></p>
+
+<p>When correct progression increases the distance between the top and
+bottom notes of the upper parts, this does not matter:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>Good:</td>
+<td class="center"><img src="images1/chords05.png" width="192" height="126" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/chords05.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p>But it would be distinctly bad to fill in the second chord thus:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>Not good:</td>
+<td class="center"><img src="images1/chords06.png" width="193" height="127" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/chords06.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p>Hence it follows that the distribution of intermediate parts is a
+question of the greatest importance. Nothing is worse than writing
+chords, the upper and lower parts of which are separated by wide,
+empty intervals, especially in <i>forte</i> passages; in <i>piano</i> passages
+such distribution may be possible. Progression in contrary motion, the
+upper and lower parts diverging by degrees gives rise to the gradual
+addition of extra parts occupying the middle register:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>Schematic<br />
+Example:</td>
+<td class="center"><img src="images1/chords07.png" width="499" height="171" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/chords07.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p>When the voices converge, the middle parts are eliminated one by one:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>Schematic<br />
+Example:</td>
+<td class="center"><img src="images1/chords08.png" width="499" height="169" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/chords08.mid">Listen</a>]</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_69" id="Page_69">-69-</a></span></p>
+
+
+<h2>String harmony.</h2>
+
+<p>It is an incontrovertible rule that the resonance of different
+harmonic parts must be equally balanced, but this balance will be less
+noticeable in short sharp chords than in those which are connected and
+sustained. Both these cases will be studied separately. In the first
+case, in order to increase the number of harmonic parts, each
+instrument in the string group may be provided with double notes or
+chords of three and four notes. In the second case, the resources are
+limited to double notes <i>unis</i>, or division of parts.</p>
+
+<p>A. <i>Short chords.</i> Chords of three or four notes can only be executed
+rapidly on the strings.</p>
+
+<div class="blockquot">
+<p><i>Note.</i> It is true that the two upper notes of a chord can
+be sustained and held a long time; this, however, involves
+complications and will be considered later.</p>
+</div>
+
+<p>Short chords, <i>arco</i>, only sound well when played <i>forte</i> (<i>sf</i>), and
+when they can be supported by wind instruments. In the execution of
+double notes and chords of three and four notes on the strings,
+balance, perfect distribution of tone, and correct progression of
+parts are of minor importance. What must be considered before
+everything is the resonance of the chords themselves, and the degree
+of ease with which they can be played. Those comprising notes on the
+gut strings are the most powerful. Chords played on several strings
+are usually assigned to 1<span class="super">st</span> and 2<span class="super">nd</span> violins and violas, the
+different notes being divided between them according to ease in
+execution and the demands of resonance. On account of its low register
+the 'cello is rarely called upon to play chords on three or four
+strings, and is usually allotted the lowest note of the chord in
+company with the double bass. Chords on the latter instrument are even
+more uncommon, but it may supply the octave on an uncovered string.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_097">No. 97.</a> <i>Snegourotchka</i> <span class="box">171</span>; cf. also before <span class="box">140</span> and before
+<span class="box">200</span>.</p>
+
+<p>* <i>Spanish Capriccio</i>, before <span class="box">V</span> (cf. <a href="rimsky2.html#No_067">Ex. 67</a>).</p>
+
+<p><i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">P</span> (cf. <a href="rimsky2.html#No_019">Ex. 19</a>.)</p>
+
+<p>* <a href="rimsky2.html#No_098">No. 98.</a> <i>Tsar Saltan</i> <span class="box">135</span>; cf. also <span class="box">141</span> and before <span class="box">182</span>.<span class="pagenum"><a name="Page_70" id="Page_70">-70-</a></span></p>
+
+<p class="tp">Isolated chords may be added to a melodic figure in the upper part,
+accentuating, <i>sforzando</i>, certain rhythmical moments.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><a href="rimsky2.html#No_099">No. 99.</a> <i>Snegourotchka</i>, before <span class="box">126</span>; cf. also <span class="box">326</span>.</p>
+
+<p class="tp">B. <i>Sustained and tremolando chords.</i> Chords sustained for a shorter
+or longer period of time, or tremolando passages, often used as a
+substitute, demand perfect balance of tone. Taking for granted that
+the different members of the string group are equal in power, the
+parts being written according to the usual order of register, (cf.
+<a href="#Chapter_I">Chap. I</a>), it is patent that a passage in close four-part harmony, with
+the bass in octaves will also be uniformly resonant. When it is
+necessary to introduce notes to fill up the empty middle register, the
+upper parts being farther distant from the bass, doubled notes on the
+violins or violas should be used, or on both instruments together. The
+method of dividing strings, which is sometimes adopted, should be
+avoided in such cases, as certain parts of the chord will be divided
+and others will not; but, on the other hand, if a passage in six and
+seven-part harmony be written entirely for strings divided in the same
+manner, the balance of tone will be completely satisfactory, e.g.,</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="instruments">
+<tr>
+<td>div.</td>
+<td><span class="xxlg">{</span></td>
+<td>Vn<span class="super">s</span> I<br />
+Vn<span class="super">s</span> I</td>
+</tr>
+<tr><td>div.</td>
+<td><span class="xxlg">{</span></td>
+<td>Vn<span class="super">s</span> II<br />
+Vn<span class="super">s</span> II</td>
+</tr>
+<tr>
+<td>div.</td>
+<td><span class="xxlg">{</span></td>
+<td>Violas I<br />
+Violas II</td>
+</tr>
+</table>
+
+<p>If the harmony in the three upper parts, thus strengthened, is written
+for divided strings, the 'cellos and basses, playing <i>non divisi</i> will
+prove a trifle heavy; their tone must therefore be eased, either by
+marking the parts down or reducing the number of players.</p>
+
+<p>In the case of sustained chords or <i>forte tremolando</i> on two strings,
+the progression of parts is not always according to rule, the
+intervals chosen being those which are the easiest to play.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_100">No. 100.</a> <i>The Christmas Night</i> <span class="box">161</span>&mdash;Full <i>divisi</i>.</p>
+
+<p><a href="rimsky2.html#No_101">No. 101.</a> <span style="margin-left: .5em;">"</span> <span style="margin-left: 2em;">"</span> <span style="margin-left: 3.5em;">"</span> <span style="margin-left: 1em;"><span class="box">210</span>.</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td>Violas div.<br />
+'Cellos div.</td>
+<td><span class="xxlg">}</span></td>
+<td>4 part harmony.</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_71" id="Page_71">-71-</a></span></p>
+
+<p><a href="rimsky2.html#No_102">No. 102.</a> <i>Snegourotchka</i> <span class="box">187-188</span>&mdash;Four-part harmony, Vn<span class="super">s</span> I,
+Vn<span class="super">s</span> II, Violas and Violoncellos.</p>
+
+<p><span style="margin-left: 6.5em;">"</span> <span style="margin-left: 3em;"><span class="box">243</span></span>&mdash;4 Solo 'cellos <i>divisi</i>.</p>
+
+<p><i>Shéhérazade</i>, 2<span class="super">nd</span> movement, beginning.&mdash;4 D. bass soli div.
+(cf. <a href="rimsky2.html#No_040">Ex. 40</a>).</p>
+
+<p><i>The Tsar's Bride</i> <span class="box">179</span>&mdash;Chords on all strings (cf. <a href="rimsky2.html#No_243">Ex. 243</a>).</p>
+
+<p><a href="rimsky2.html#No_103">No. 103.</a> <i>Legend of Kitesh</i> <span class="box">8</span>&mdash;Harmonic basis in the strings.</p>
+
+<p><span style="margin-left: 5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1em;"><span class="box">240</span></span>&mdash;(Cf. <a href="rimsky2.html#No_021">Ex. 21</a>).</p>
+
+<p><span style="margin-left: 5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1em;"><span class="box">283</span></span>&mdash;Harmonic basis in the strings (cf. <a href="rimsky2.html#No_002">Ex. 2</a>).</p>
+
+<p><a href="rimsky2.html#No_104">No. 104.</a> <i>The Golden Cockerel</i> <span class="box">4</span>&mdash;Basis in the strings.</p>
+
+<p><span style="margin-left: 4.5em;">"</span> <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 3em;">"</span> <span style="margin-left: 1.5em;"><span class="box">125</span></span>&mdash;Undulating rhythm in the
+strings as harmonic basis (cf. <a href="rimsky2.html#No_271">Ex. 271</a>).</p>
+
+<p class="tp">In a <i>forte</i> or <i>sfp</i> chord, where one or two of the upper notes is
+held, either sustained or <i>tremolando</i>, the balance of tone must still
+be maintained, as in the following example:</p>
+
+<p class="center">
+<img src="images1/forte_chord.png" width="364" height="326" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/forte_chord.mp3">Listen</a>]</p>
+
+
+<h2>Wood-wind harmony.</h2>
+
+<p>Before entering upon this section of the work I would remind the
+reader of the general principles laid down in the beginning of the
+chapter.</p>
+
+<p>Harmonic texture, composed of plain chords or ornamental designs,
+simple or contrapuntal in character, must possess a resonance equally
+distributed throughout. This may be obtained by the following means:<span class="pagenum"><a name="Page_72" id="Page_72">-72-</a></span></p>
+
+<p>1. Instruments forming chords must be used continuously in the same
+way during a given passage, that is to say they must be doubled or not
+throughout, except when one of the harmonic parts is to be made
+prominent:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>To be avoided:</td>
+<td class="center"><img src="images1/chords09.png" width="409" height="105" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/chords09.mp3">Listen</a>]</td>
+</tr>
+</table>
+
+<p>2. The normal order of register must be followed, except in the case
+of crossing or enclosure of parts, which will be discussed later on:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>To be avoided:</td>
+<td class="center"><img src="images1/chords10.png" width="251" height="56" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/chords10.mp3">Listen</a>]</td>
+</tr>
+</table>
+
+<p>3. Corresponding or adjacent registers should be made to coincide
+except for certain colour effects:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>To be avoided:</td>
+<td class="center"><img src="images1/chords11.png" width="103" height="61" alt="music" title="music" /></td>
+<td class="center">The second flute will sound too weak and<br />
+the oboes too piercing.</td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/chords11.mp3">Listen</a>]</td>
+<td>&nbsp;</td>
+</tr>
+</table>
+
+<p>4. Concords (octaves, thirds and sixths) and not discords (fifths,
+fourths, seconds and sevenths), should be given to instruments of the
+same kind or colour, except when discords are to be emphasised. This
+rule should be specially observed in writing for the oboe with its
+penetrating quality of tone:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>To be avoided:</td>
+<td class="center"><img src="images1/chords12.png" width="128" height="59" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/chords12.mp3">Listen</a>]</td>
+</tr>
+</table>
+
+
+<h3>Four-part and three-part harmony.</h3>
+
+<p>Harmonic writing for the wood-wind may be considered from two points
+of view: a) instruments in pairs, 2 Fl., 2 Ob., 2 Cl., 2 Fag.; and b)
+instruments in three's, 3 Fl., 2 Ob., Eng. horn, 3 Cl., 2 Fag., C-fag.</p>
+
+<p>A. <i>In pairs.</i> There are three ways of distribution: 1.
+<i>Superposition</i> or <i>overlaying</i> (strictly following the normal order
+of register),<span class="pagenum"><a name="Page_73" id="Page_73">-73-</a></span> 2. <i>Crossing</i>, and 3. <i>Enclosure</i> of parts. The last
+two methods involve a certain disturbance of the natural order of
+register:</p>
+
+<p class="center">Overlaying. <span style="margin-left: 2em;">Crossing.</span> <span style="margin-left: 2em;">Enclosure.</span></p>
+
+<p class="center">
+<img src="images1/overlaying01.png" width="351" height="71" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/overlaying01.mp3">Listen</a>]</p>
+
+<p>In choosing one of these three methods the following points must not
+be forgotten: a) the register of a particular isolated chord; the soft
+and weak register of an instrument should not be coupled with the
+powerful and piercing range of another:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td class="center">Overlaying.</td>
+<td class="center">Crossing.</td>
+<td class="center">Enclosure.</td>
+</tr>
+<tr>
+<td colspan="3" class="center"><img src="images1/overlaying02.png" width="359" height="71" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td class="center">Oboe too<br />
+piercing.</td>
+<td class="center">Low notes<br />
+of the flute<br />
+too weak.</td>
+<td class="center">Bassoon too<br />
+prominent.</td>
+</tr>
+</table>
+
+<p class="centerbp">[<a href="music1/overlaying02.mp3">Listen</a>]</p>
+
+<p>b) In a succession of chords the general progression of parts must be
+considered; one tone quality should be devoted to the stationary and
+another to the moving parts:</p>
+
+<p class="center">
+<img src="images1/chord_progression.png" width="511" height="65" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/chord_progression.mp3">Listen</a>]</p>
+
+<p>When chords are in widely-divided four-part harmony notes may be
+allotted in pairs to two different tone qualities, adhering to the
+normal order of register:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>Good:</td>
+<td class="center"><img src="images1/chords13.png" width="390" height="82" alt="music" title="music" /></td>
+<td>etc.</td>
+</tr>
+</table>
+
+<p class="centerbp">[<a href="music1/chords13.mp3">Listen</a>]</p>
+
+<p>Any other distribution will result unquestionably in a grievous lack
+of relationship between registers:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>To be avoided:</td>
+<td class="center"><img src="images1/chords14.png" width="387" height="74" alt="music" title="music" /></td>
+<td>etc.</td>
+</tr>
+</table>
+
+<p class="centerbp">[<a href="music1/chords14.mp3">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_74" id="Page_74">-74-</a></span></p>
+
+<p>If one tone quality is to be enclosed, it must be between two
+different timbres:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>Good:</td>
+<td class="center"><img src="images1/chords15.png" width="388" height="75" alt="music" title="music" /></td>
+<td>etc.</td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/chords15.mp3">Listen</a>]</td>
+<td>&nbsp;</td>
+</tr>
+</table>
+
+<p>It is possible to lend four distinct timbres to a chord in
+widely-divided four-part harmony, though such a chord will possess no
+uniformity in colour; but the higher the registers of the different
+instruments are placed, the less perceptible becomes the space which
+separates them:</p>
+
+<p class="center">
+<img src="images1/chords16.png" width="317" height="91" alt="music" title="music" />
+</p>
+
+<p class="center">Fairly good <span style="margin-left: 2em;">Better</span> <span style="margin-left: 2.5em;">Still better</span></p>
+
+<p class="centerbp">[<a href="music1/chords16.mp3">Listen</a>]</p>
+
+<p>The use of four different timbres in close four-part harmony is to be
+avoided, as the respective registers will not correspond:</p>
+
+<p class="center">
+<img src="images1/chords17.png" width="251" height="76" alt="music" title="music" />
+</p>
+
+<p class="center"><span style="margin-left: 7em;">Bad</span> <span style="margin-left: 2.5em;">Better</span> <span style="margin-left: 1.5em;">Still slightly better</span></p>
+
+<p class="centerbp">[<a href="music1/chords17.mp3">Listen</a>]</p>
+
+<div class="blockquot">
+<p><i>Note.</i> In <i>Mozart and Salieri</i>, which is only scored for 1
+Fl., 1 Ob., 1 Cl. and 1 Fag., wood-wind chords in four-part
+harmony are of necessity devoted to these four different
+timbres.</p>
+</div>
+
+<p>The same rules apply to writing in three-part harmony, which is the
+most customary form when it is a question of establishing a harmonic
+basis, the lowest register of which is entrusted to another group of
+instruments (strings <i>arco</i> or <i>pizz.</i>, for example). Chords in
+three-part harmony are generally given to two instruments of one
+timbre and a third instrument of another, but never to three different
+timbres. Overlaying of parts is the best course to adopt:</p>
+
+<p class="center">
+<img src="images1/chords18.png" width="600" height="90" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/chords18.mp3">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_75" id="Page_75">-75-</a></span></p>
+
+<p>The use of crossing and enclosure of parts (which in a way amount to
+the same thing) must depend on the manner of their progression:</p>
+
+<p class="right"><span style="margin-right: 5em;">Enclosure:</span></p>
+
+<p class="center">
+<img src="images1/enclosure.png" width="602" height="62" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/enclosure.mp3">Listen</a>]</p>
+
+<p>B. <i>Wood-wind in three's.</i> Here the distribution of chords in close
+three-part harmony is self-evident; any grouping of three instruments
+of the same timbre is sure to sound well:</p>
+
+<p class="center">
+<img src="images1/woodwind01.png" width="398" height="68" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/woodwind01.mp3">Listen</a>]</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>also:</td>
+<td class="center"><img src="images1/woodwind02.png" width="385" height="93" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/woodwind02.mp3">Listen</a>]</td>
+</tr>
+</table>
+
+<p class="center">
+<img src="images1/woodwind03.png" width="201" height="52" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/woodwind03.mp3">Listen</a>]</p>
+
+<p>Overlaying of parts is the best method to follow in writing close
+four-part harmony; three instruments of the same timbre with a fourth
+instrument of another. Crossing and enclosure of parts may also be
+employed. Correspondence of timbres and the progression of remote
+parts must be kept in mind:</p>
+
+<p class="center">
+<img src="images1/overlaying03.png" width="643" height="65" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/overlaying03.mp3">Listen</a>]</p>
+
+<p>The method of using three instruments of the same timbre in
+widely-divided three-part harmony is inferior:</p>
+
+<p class="center">
+<img src="images1/woodwind04.png" width="641" height="78" alt="music" title="music" />
+</p>
+
+<p class="center">Not good <span style="margin-left: 3em;">Better</span> <span style="margin-left: 3em;">Better</span> <span style="margin-left: 3em;">Not good</span> <span style="margin-left: 3em;">Better</span> <span style="margin-left: 3em;">Better</span></p>
+
+<p class="centerbp">[<a href="music1/woodwind04.mp3">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_76" id="Page_76">-76-</a></span></p>
+
+<p>But if the third instrument is of low register (Bass Fl., Eng. horn,
+Bass cl., or C-fag.), the resonance will be satisfactory:</p>
+
+<p class="center">
+<img src="images1/woodwind05.png" width="491" height="68" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/woodwind05.mp3">Listen</a>]</p>
+
+<p>In chords of four-part harmony, three instruments of the same timbre
+should be combined with a fourth instrument of another:</p>
+
+<p class="center">
+<img src="images1/woodwind06.png" width="481" height="90" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/woodwind06.mp3">Listen</a>]</p>
+
+
+<h3>Harmony in several parts.</h3>
+
+<p>In writing chords of 5, 6, 7 and 8 part-harmony, whether they are
+independent, or constitute the harmonic basis, the student should
+follow the principles outlined in the <a href="#Chapter_II">previous chapter</a>, dealing with
+the progression of wood-wind instruments in octaves. As the 5<span class="super">th</span>,
+6<span class="super">th</span>, 7<span class="super">th</span> and 8<span class="super">th</span> notes are only duplications in octaves of
+lower notes of the real harmony (in 4 parts), instruments should be
+chosen which combine amongst themselves to give the best octaves. The
+process of crossing and enclosure of parts may also be used.</p>
+
+<p>A. Wood-wind in pairs (close distribution):</p>
+
+<p class="center">
+<img src="images1/woodwind_pairs01.png" width="638" height="82" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/woodwind_pairs01.mp3">Listen</a>]</p>
+
+<p>In widely-divided harmony chords in several parts are to be avoided as
+they will entail both close and extended writing:</p>
+
+<p class="center">
+<img src="images1/woodwind_pairs02.png" width="171" height="104" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/woodwind_pairs02.mp3">Listen</a>]</p>
+
+<div class="blockquot">
+<p><i>Note.</i> In the majority of cases this distribution is
+employed when the two upper harmonic parts have a special
+melodic duty to perform&mdash;this question is discussed above.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_77" id="Page_77">-77-</a></span></p>
+
+<p>B. Wood-wind in three's:</p>
+
+<p class="center">
+<img src="images1/woodwind_threes01.png" width="303" height="87" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/woodwind_threes01.mp3">Listen</a>]</p>
+
+<p class="center">
+<img src="images1/woodwind_threes02.png" width="582" height="150" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/woodwind_threes02.mp3">Listen</a>]</p>
+
+<p>Overlaying of parts is the most satisfactory method in dealing with
+close three-part harmony. Crossing of parts is not so favourable, as
+octaves will be produced contrary to the natural order of register:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td class="center"><img src="images1/woodwind_threes03.png" width="141" height="74" alt="music" title="music" /></td>
+<td>Here the arrangement</td>
+<td class="center"><img src="images1/woodwind_threes04.png" width="93" height="63" alt="music" title="music" /></td>
+<td>is bad.</td>
+</tr>
+<tr>
+<td class="center">[<a href="music1/woodwind_threes03.mp3">Listen</a>]</td>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/woodwind_threes04.mp3">Listen</a>]</td>
+<td>&nbsp;</td>
+</tr>
+</table>
+
+
+<h3>Duplication of timbres.</h3>
+
+<p>A. If the wood-wind is in pairs it is a good plan to mix the doubled
+timbres as much as possible:</p>
+
+<p class="center">
+<img src="images1/woodwind_pairs03.png" width="377" height="71" alt="music" title="music" />
+</p>
+
+<p class="right"><span style="margin-right: 12em;">Excellent</span></p>
+
+<p class="centerbp">[<a href="music1/woodwind_pairs03.mp3">Listen</a>]</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td>also:</td>
+<td class="center"><img src="images1/woodwind_pairs04.png" width="377" height="74" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/woodwind_pairs04.mp3">Listen</a>]</td>
+</tr>
+</table>
+
+<p>In chords of four-part harmony the classical method may be adopted:</p>
+
+<p class="center">
+<img src="images1/classical.png" width="197" height="68" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/classical.mp3">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_78" id="Page_78">-78-</a></span></p>
+
+<p>In this case, though the high <i>C</i> in the flute is fairly powerful, the
+resonance of the <i>G</i> and <i>E</i> in the oboes is softened by the
+duplication of the 2<span class="super">nd</span> flute and 1<span class="super">st</span> clarinet, while the <i>C</i> in
+the 2<span class="super">nd</span> clarinets (not doubled) is feeble in comparison with the
+other notes. In any case the two extreme parts are the thinnest and
+weakest in tone, the intermediate parts the fullest and strongest.</p>
+
+<p>B. <i>Wood-wind in three's</i> admit of perfectly balanced mixed timbres in
+chords of three-part harmony:</p>
+
+<p class="center">
+<img src="images1/woodwind_threes05.png" width="583" height="82" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/woodwind_threes05.mp3">Listen</a>]</p>
+
+<p>These timbres may even originate from three-fold duplication:</p>
+
+<p class="center">
+<img src="images1/woodwind_threes06.png" width="267" height="73" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/woodwind_threes06.mp3">Listen</a>]</p>
+
+
+<h3>Remarks.</h3>
+
+<p>1. Modern orchestrators do not allow any void in the intermediate
+parts in writing close harmony; it was permitted to some extent by the
+classics:</p>
+
+<p class="center">
+<img src="images1/close_harmony.png" width="327" height="71" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/close_harmony.mid">Listen</a>]</p>
+
+<p>These empty spaces create a bad effect especially in <i>forte</i> passages.
+For this reason widely-divided harmony, which is fundamentally based
+on the extension of intervals, can be used but seldom and only in
+<i>piano</i> passages. Close writing is the more frequent form in all
+harmony devoted to the wood-wind, <i>forte</i> or <i>piano</i>.</p>
+
+<p>2. As a general rule a chord of greatly extended range and in several
+parts is distributed according to the order of the natural scale, with
+wide intervals (octaves and sixths), in the bass part, lesser
+intervals (fifths and fourths) in the middle, and close intervals
+(3<span class="super">rds</span> or 2<span class="super">nds</span>) in the upper register:<span class="pagenum"><a name="Page_79" id="Page_79">-79-</a></span></p>
+
+<p class="center">
+<img src="images1/chords19.png" width="499" height="157" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/chords19.mp3">Listen</a>]</p>
+
+<p>3. In many cases correct progression of parts demands that one of them
+should be temporarily doubled. In such cases the ear is reconciled to
+the brief overthrow of balance for the sake of a single part, and is
+thankful for the logical accuracy of the progression. The following
+example will illustrate my meaning:</p>
+
+<p class="center">
+<img src="images1/progression02.png" width="499" height="126" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/progression02.mid">Listen</a>]</p>
+
+<p>In the second bar of this example the <i>D</i> is doubled in unison on
+account of the proximity of the three upper parts to their
+corresponding parts an octave lower. In the fourth bar the <i>F</i> is
+doubled in unison in both groups.</p>
+
+<p>4. The formation of the harmonic basis, which is essentially in four
+parts, does not by any means devolve upon the wood-wind alone. One of
+the parts is often devoted to the strings, <i>arco</i> or <i>pizz.</i> More
+frequently the bass part is treated separately, the chords of greater
+value in the three upper parts being allotted to the wood-wind. Then,
+if the upper part is assigned to a group of strings, there remains
+nothing for the wind except the sustained harmony in the two middle
+parts. In the first case the three-part harmony in the wood-wind
+should form an independent whole, receiving no assistance from the
+bass; in this manner intervals of open fourths and fifths will be
+obviated. In the second case it is desirable to provide the
+intermediate parts with a moderately full tone, choosing no other
+intervals except seconds, sevenths, thirds or sixths.</p>
+
+<p>All that has been said with regard to the use of wood-wind in the
+formation of harmony, and the division of simple and mixed<span class="pagenum"><a name="Page_80" id="Page_80">-80-</a></span> timbres
+applies with equal force to sustained chords, or harmonic progressions
+interchanging rapidly with <i>staccato</i> chords. In short chords,
+separated by rests of some importance, the arrangement and division of
+timbres is not so perceptible to the ear, and progression of parts
+attracts less attention. It would be useless, nay, impossible to
+examine the countless combinations of tone colour, all the varieties
+of duplication and distribution of chords. It has been my aim to
+denote the fundamental principles upon which to work, and to indicate
+the general rules to be followed. Once having mastered these, if the
+student devote a little time to the study of full scores, and listen
+to them on the orchestra, he will soon learn when certain methods
+should be used and when to adopt others. The pupil is advised,
+generally, to write for wood-wind in its normal order of distribution,
+to take heed that each particular chord is composed entirely either of
+duplicated or non-duplicated parts, (except in certain cases resulting
+from progression), to use the methods of crossing and enclosure of
+timbres with full knowledge of what he is doing, and finally to
+concentrate his attention on close part-writing.</p>
+
+<p class="centertp"><i>Examples of wood-wind harmony:</i></p>
+
+<p>a) Independent chords.</p>
+
+<p><a href="rimsky2.html#No_105">No. 105.</a> <i>The Christmas Night</i> <span class="box">148</span>&mdash;Cl., 2 Fag.</p>
+
+<p><a href="rimsky2.html#No_106">No. 106.</a><span style="margin-left: 1em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 2.5em;">"</span><span style="margin-left: 1.5em;">beginning&mdash;Ob., Cl., Fag. (crossing of parts).</span></p>
+
+<p><i>Snegourotchka</i> <span class="box">16</span>&mdash;2 Cl., Fag.</p>
+
+<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">79</span>, 5<span class="super">th</span> bar.&mdash;2 Ob., 2 Fag. (cf. <a href="rimsky2.html#No_136">Ex. 136</a>).</span></p>
+
+<p>* <a href="rimsky2.html#No_107">No. 107.</a> <i>Snegourotchka</i> <span class="box">197</span>&mdash;Picc., 2 Fl. (<i>tremolando</i>).</p>
+
+<p><a href="rimsky2.html#No_108">No. 108.</a> <span style="margin-left: 3.7em;">"</span><span style="margin-left: 3em;"><span class="box">204</span>&mdash;2 Fl., 2 Ob. (high register).</span></p>
+
+<p><a href="rimsky2.html#No_109">No. 109.</a> <i>Shéhérazade</i>, beginning&mdash;Total wood-wind in different
+distribution.</p>
+
+<p>* <i>Russian Easter Fête</i> <span class="box">A</span>&mdash;3 Fl. <i>tremolando</i> (cf. <a href="rimsky2.html#No_176">Ex. 176</a>).</p>
+
+<p>* <i>Tsar Saltan</i> <span class="box">45</span> Ob., 2 Fag.</p>
+
+<p><a href="rimsky2.html#No_110">No. 110.</a> <i>Tsar Saltan</i>, before <span class="box">115</span>&mdash;mixed timbres.</p>
+
+<p><a href="rimsky2.html#No_111">No. 111.</a><span style="margin-left: 1em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;"><span class="box">115</span>, and other similar passages&mdash;very sweet effect of wood-wind in three's.</span></p>
+
+<p><span style="margin-left: 4.5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;"><span class="box">177</span>&mdash;2 Ob., 2 Fag.</span></p>
+
+<p><span class="pagenum"><a name="Page_81" id="Page_81">-81-</a></span></p>
+
+<p><i>Sadko</i>, Symphonic Tableau <span class="box">9</span>&mdash;Ob., 2 Cl., Fag.</p>
+
+<p>* <i>Sadko</i>, Opera <span class="box">4</span>&mdash;Eng. horn, 2 Cl.</p>
+
+<p><span style="margin-left: 2em;">"</span><span style="margin-left: 2.5em;">"</span><span style="margin-left: 1.5em;">before <span class="box">5</span>&mdash;Total wood-wind.</span></p>
+
+<p><a href="rimsky2.html#No_112">No. 112.</a> <i>Sadko</i> <span class="box">72</span>&mdash;Chords in three-part harmony; simple and
+mixed timbres.</p>
+
+<p>* <a href="rimsky2.html#No_113">No. 113.</a> <i>The Tsar's Bride</i> <span class="box">126</span> Full wind.</p>
+
+<p>* <a href="rimsky2.html#No_114">No. 114.</a> <i>Legend of Kitesh</i>, before <span class="box">90</span>&mdash;Enclosure of parts
+(Ob. I in the high register).</p>
+
+<p><a href="rimsky2.html#No_115">No. 115.</a><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">before <span class="box">161</span>&mdash;Wind and brass alternately.</span></p>
+
+<p><a href="rimsky2.html#No_116">No. 116.</a><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;"><span class="box">167</span>&mdash;Full wind except oboe, with chorus.</span></p>
+
+<p><i>Legend of Kitesh</i> <span class="box">269</span>&mdash;Fl., Cl., Fag.</p>
+
+<p>* <i>The Golden Cockerel</i> <span class="box">125</span>&mdash;Various wind instruments, 4 part
+harmony (cf. <a href="rimsky2.html#No_271">Ex. 271</a>).</p>
+
+<p><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 2em;"><span class="box">218</span>&mdash;Ob., Eng. horn, Fag., C-fag.; cf.
+also <span class="box">254</span>.</span></p>
+
+<p><a href="rimsky2.html#No_117">No. 117.</a> <i>The Golden Cockerel</i>, before <span class="box">236</span>&mdash;Mixed timbre; 2 Fag.
+form the bass.</p>
+
+<p class="tp">b) Harmonic basis (sometimes joined by the horns).</p>
+
+<p><i>The May Night</i>, Act III <span class="box">L</span>&mdash;2 Fag., Eng. horn (cf. <a href="rimsky2.html#No_018">Ex. 18</a>).</p>
+
+<p><i>Antar</i> <span class="box">68</span>&mdash;3 Flutes.</p>
+
+<p><i>Snegourotchka</i> <span class="box">20</span>&mdash;2 Cl., high register.</p>
+
+<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;">before <span class="box">50</span>&mdash;2 Fl., Fag.</span></p>
+
+<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">187</span>&mdash;2 Ob., 2 Fag.</span></p>
+
+<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">274</span>&mdash;2 Cl., low register (cf. <a href="rimsky2.html#No_009">Ex. 9</a>).</span></p>
+
+<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">283</span>&mdash;Fl., Eng. horn, Cl., Fag. (cf. <a href="rimsky2.html#No_026">Ex. 26</a>).</span></p>
+
+<p><a href="rimsky2.html#No_118">No. 118.</a> <i>Snegourotchka</i> <span class="box">292</span>&mdash;Widely-divided harmony and
+doubling of parts in the wind.</p>
+
+<p><a href="rimsky2.html#No_119">No. 119.</a><span style="margin-left: 3em;">"</span><span style="margin-left: 3.2em;"><span class="box">318-319</span>&mdash;2 Flutes.</span></p>
+
+<p><i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">B</span>&mdash;2 Cl., Fag. (sustained note in
+the horn) (cf. <a href="rimsky2.html#No_001">Ex. 1</a>).</p>
+
+<p><i>The Christmas Night</i> <span class="box">1</span>&mdash;3 Cl.</p>
+
+<p><i>Sadko</i> <span class="box">1</span>&mdash;Cl., Bass Cl., Fag., C-fag.</p>
+
+<p><a href="rimsky2.html#No_120">No. 120.</a> <i>Sadko</i> <span class="box">49</span>&mdash;Ob., Cl., Horn, Fag.</p>
+
+<p><span style="margin-left: 4.8em;">"</span><span style="margin-left: 1.5em;"><span class="box">99</span>&mdash;2 Cl. (cf. <a href="rimsky2.html#No_289">Ex. 289</a>, <a href="rimsky2.html#No_290">290</a>).</span></p>
+
+<p><span class="pagenum"><a name="Page_82" id="Page_82">-82-</a></span></p>
+
+<p><a href="rimsky2.html#No_121">No. 121.</a> <i>Sadko</i> <span class="box">144</span>&mdash;Cl., Fag.</p>
+
+<p><a href="rimsky2.html#No_122">No. 122.</a><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;"><span class="box">195-196</span>&mdash;2 Cl., Bass Cl.</span></p>
+
+<p><i>The Tsar's Bride</i> <span class="box">80</span>&mdash;Cl., Fag.</p>
+
+<p><span style="margin-left: .8em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.2em;">"</span><span style="margin-left: 1.2em;"><span class="box">166</span>&mdash;harmonic parts in motion, Fl. and Cl. (cf. <a href="rimsky2.html#No_022">Ex. 22</a>).</span></p>
+
+<p><i>Servilia</i> <span class="box">59</span>&mdash;Cl. (low. register), Fag.</p>
+
+<p>* <a href="rimsky2.html#No_123">No. 123.</a> <i>Kashtcheï the Immortal</i> <span class="box">80</span>&mdash;Ob., Fag. muted.</p>
+
+<p>* <a href="rimsky2.html#No_124">No. 124.</a> <i>Legend of Kitesh.</i> <span class="box">52</span>&mdash;Fl., Fag.</p>
+
+<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">55</span>&mdash;Fl., Ob. (cf. <a href="rimsky2.html#No_197">Ex. 197</a>).</span></p>
+
+<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">68</span>&mdash;Eng. horn, Fag., C-fag. (cf. <a href="rimsky2.html#No_199">Ex. 199</a>).</span></p>
+
+<p><a href="rimsky2.html#No_124">No. 124.</a><span style="margin-left: 2.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">118</span>&mdash;mixed timbre: 2 Ob., Eng. horn and 3 Cl.</span></p>
+
+<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">136</span>&mdash;harmonic parts in motion:</span></p>
+
+<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">before <span class="box">185</span>&mdash;3 Fl. (low register) and 2 Cl.</span></p>
+
+<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">223</span>&mdash;Fl., Ob., Cl. (cf. <a href="rimsky2.html#No_031">Ex. 31</a>).</span></p>
+
+<p>* <a href="rimsky2.html#No_125">No. 125.</a><span style="margin-left: 1.8em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">247</span>&mdash;2 Cl., Bass Cl.</span></p>
+
+<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">273</span>&mdash;Eng. horn, 2 Cl. and Bass Cl., Fag.</span></p>
+
+<p>* <a href="rimsky2.html#No_126">No. 126.</a><span style="margin-left: 1.8em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;"><span class="box">355</span>&mdash;Eng. horn muted, Cl., 2 Fag.</span></p>
+
+<p>* <a href="rimsky2.html#No_127">No. 127.</a> <i>The Golden Cockerel</i> <span class="box">3</span>&mdash;Cl., Bass Cl., Fag., C-fag.</p>
+
+<p><span style="margin-left: 5.2em;">"</span><span style="margin-left: 2.5em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 1.8em;"><span class="box">40-41</span> Bass Cl., Fag.; Fl., Cl.; Cl., Bass Cl.</span></p>
+
+<p>* <a href="rimsky2.html#No_128">No. 128.</a><span style="margin-left: 1em;">"</span><span style="margin-left: 2.5em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 1.8em;"><span class="box">156</span>&mdash;harmonic parts in motion:
+Fl. and Cl.</span></p>
+
+
+<h2>Harmony in the brass.</h2>
+
+<p>Here, as in the wood-wind, part writing should be of the close order
+with no empty spaces in the intervals.</p>
+
+<h3>Four-part writing.</h3>
+
+<p>It is evident that the quartet of horns presents every facility for
+four-part harmony, perfectly balanced in tone, without doubling the
+bass in octaves:<span class="pagenum"><a name="Page_83" id="Page_83">-83-</a></span></p>
+
+<p class="center">
+<img src="images1/4-part_brass01.png" width="379" height="58" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/4-part_brass01.mp3">Listen</a>]</p>
+
+<div class="blockquot">
+<p><i>Note.</i> In the diagrams of the present section the actual
+sounds of horns and trumpets are given, as in a piano score,
+for the sake of simplicity.</p>
+</div>
+
+<p>When it is found necessary to double the bass in octaves, the too
+resonant trombone and tuba are seldom used, the duplication being
+effected by the bassoon, as explained further on. The quartet of
+trombones and tuba is not often employed in close four-part harmony;
+the third trombone and the tuba usually form the bass in octaves, and
+the three upper parts are generally allotted to the two remaining
+trombones reinforced by a trumpet or two horns in unison, so as to
+obtain a perfect balance of tone:</p>
+
+<p class="center">
+<img src="images1/4-part_brass02.png" width="633" height="75" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/4-part_brass02.mp3">Listen</a>]</p>
+
+<p>I have often adopted the following combination of brass instruments,
+and consider it eminently satisfactory: 2 horns and tuba to form the
+bass in octaves, the three other parts given to the trombones:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td class="center"><img src="images1/4-part_brass03.png" width="176" height="74" alt="music" title="music" /></td>
+<td>(beautiful full resonance).</td>
+</tr>
+<tr>
+<td class="center">[<a href="music1/4-part_brass03.mp3">Listen</a>]</td>
+<td>&nbsp;</td>
+</tr>
+</table>
+
+<p>In the higher registers, four-part harmony, of which the two upper
+parts are given to the trumpets, may be completed by two trombones or
+four horns in pairs:</p>
+
+<p class="center">
+<img src="images1/4-part_brass04.png" width="384" height="60" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/4-part_brass04.mp3">Listen</a>]</p>
+
+<p>When 3 trumpets are available the fourth part should be allotted to
+one trombone, or two horns in unison:</p>
+
+<p class="center">
+<img src="images1/4-part_brass05.png" width="273" height="73" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/4-part_brass05.mp3">Listen</a>]</p>
+
+<p>Enclosure of parts may be used in single chords:</p>
+
+<p class="center">
+<img src="images1/4-part_brass06.png" width="333" height="56" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/4-part_brass06.mp3">Listen</a>]</p>
+
+<p><span class="pagenum"><a name="Page_84" id="Page_84">-84-</a></span></p>
+
+<p class="noindent">or in progression:</p>
+
+<p class="center">
+<img src="images1/4-part_brass07.png" width="637" height="86" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/4-part_brass07.mp3">Listen</a>]</p>
+
+
+<h3>Three-part writing.</h3>
+
+<p>The best combination is trombones, horns, or trumpets in three's. If
+the instruments are mixed the number of horns should be doubled:</p>
+
+<p class="center">
+<img src="images1/3-part_brass.png" width="614" height="70" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/3-part_brass.mp3">Listen</a>]</p>
+
+
+<h3>Writing in several parts.</h3>
+
+<p>When the whole group is used the number of horns should be doubled:</p>
+
+<p class="center">
+<img src="images1/sev-part_brass01.png" width="610" height="146" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/sev-part_brass01.mp3">Listen</a>]</p>
+
+<p>In seven, six, or five-part harmony certain instruments must be
+omitted:</p>
+
+<p class="center">
+<img src="images1/sev-part_brass02.png" width="550" height="284" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/sev-part_brass02.mp3">Listen</a>]</p>
+
+<p>Discords of the seventh or second are preferably entrusted to
+instruments of different tone colour:<span class="pagenum"><a name="Page_85" id="Page_85">-85-</a></span></p>
+
+<p class="center">
+<img src="images1/sev-part_brass03.png" width="374" height="142" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/sev-part_brass03.mp3">Listen</a>]</p>
+
+<p>When such chords are written for an orchestra which only includes two
+trumpets, it is impossible for the horns to proceed in pairs. In such
+cases the following arrangement may obtain, the horns being marked one
+degree louder than the other instruments, to secure balance of tone:</p>
+
+<p class="center">
+<img src="images1/sev-part_brass04.png" width="220" height="146" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/sev-part_brass04.mp3">Listen</a>]</p>
+
+<p>The same method should be followed whenever the use of horns in pairs
+fails to produce satisfactory tone.</p>
+
+<p>When chords of widely-divided harmony are distributed throughout
+several harmonic registers, the register occupied by the horns need
+not be doubled; the arrangement of the chord will resemble that of a
+chorale written for double or triple choir. For example:</p>
+
+<p class="center">
+<img src="images1/sev-part_brass05.png" width="593" height="148" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/sev-part_brass05.mp3">Listen</a>]</p>
+
+
+<h3>Duplication in the brass.</h3>
+
+<p>Duplication in the brass group is most frequently effected by placing
+a chord for horns side by side with the same chord written for
+trumpets or trombones. The soft round quality of the horns intensifies
+the tone, and moderates the penetrating timbre of the trumpets and
+trombones:<span class="pagenum"><a name="Page_86" id="Page_86">-86-</a></span></p>
+
+<p class="center">
+<img src="images1/dup_brass01.png" width="631" height="76" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/dup_brass01.mp3">Listen</a>]</p>
+
+<p>Similar juxtaposition of trumpets and trombones:</p>
+
+<p class="center">
+<img src="images1/dup_brass02.png" width="228" height="58" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/dup_brass02.mp3">Listen</a>]</p>
+
+<p class="noindent">is not so common, as this unites the two most powerful agents in the
+group.</p>
+
+<p>In handling an orchestra the brass is frequently employed to sustain
+notes in two or three octaves; this sphere of activity must not be
+ignored. The <i>tenuto</i> is generally given to two trumpets, or to two or
+four horns in the octave, (in double octaves). The octave is sometimes
+formed by trumpets and horns acting together:</p>
+
+<p class="center">
+<img src="images1/dup_brass03.png" width="500" height="88" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/dup_brass03.mp3">Listen</a>]</p>
+
+<p>The trombone with its ponderous tone rarely takes part in such
+combinations. Sustained notes in double octaves are usually
+apportioned thus:</p>
+
+<p class="center">
+<img src="images1/dup_brass04.png" width="145" height="105" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/dup_brass04.mp3">Listen</a>]</p>
+
+<p>The imperfect balance arising from the duplication of the middle note
+is compensated for by the mixture of timbres, which lends some unity
+to the chord.</p>
+
+<p class="centertp"><i>Examples of harmony in the brass:</i></p>
+
+<p>a) Independent chords:</p>
+
+<p><i>Snegourotchka</i> <span class="box">74</span>&mdash;3 Trombones, 2 Horns.</p>
+
+<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">140</span>&mdash;3 Trombones, 2 Horns. Chords in different groups alternately (cf. <a href="rimsky2.html#No_244">Ex. 244</a>).</span></p>
+
+<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">171</span>&mdash;Full brass; further on 3 Trombones (cf. <a href="rimsky2.html#No_097">Ex. 97</a>).</span></p>
+
+<p><span style="margin-left: 3em;">"</span><span style="margin-left: 3em;"><span class="box">255</span>&mdash;4 Horns (stopped).</span>
+<span class="pagenum"><a name="Page_87" id="Page_87">-87-</a></span></p>
+
+<p><a href="rimsky2.html#No_129">No. 129.</a> <i>Snegourotchka</i>, before <span class="box">289</span>&mdash;4 Horns.</p>
+
+<p><span style="margin-left: 6.5em;">"</span><span style="margin-left: 3.5em;"><span class="box">289</span>&mdash;Full brass.</span></p>
+
+<p>* <i>Sadko</i>, before <span class="box">9</span>&mdash;Full brass (enclosure of parts).</p>
+
+<p><a href="rimsky2.html#No_130">No. 130.</a> <i>Sadko</i> <span class="box">175</span>&mdash;Mixed timbres (juxtaposition) 3 Horns
+<span class="lg">+</span> 3 Trumpets.</p>
+
+<p><span style="margin-left: 5em;">"</span><span style="margin-left: 1.3em;">before <span class="box">338</span>&mdash;Full brass except Tuba.</span></p>
+
+<p><a href="rimsky2.html#No_131">No. 131.</a><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;"><span class="box">191-193</span> (Full brass).</span></p>
+
+<p><a href="rimsky2.html#No_132">No. 132.</a> <i>The Christmas Night</i>, before <span class="box">180</span>&mdash;Full muted brass.</p>
+
+<p><span style="margin-left: 4.5em;">"</span><span style="margin-left: 2.8em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 1.5em;"><span class="box">181</span>&mdash;4 Horns <span class="lg">+</span> 3 Trombones <span class="lg">+</span> Tuba (cf. <a href="rimsky2.html#No_237">Ex. 237</a>).</span></p>
+
+<p>* <i>The Tsar's Bride</i> <span class="box">178</span>&mdash;Strings and brass alternately
+(cf. <a href="rimsky2.html#No_242">Ex. 242</a>).</p>
+
+<p>* <a href="rimsky2.html#No_133">No. 133.</a> <i>Tsar Saltan</i> <span class="box">102</span>, 7<span class="super">th</span> bar.&mdash;2 Trumpets, 2 Trombones <span class="lg">+</span> 4 Horns (juxtaposition).</p>
+
+<p><span style="margin-left: 5.5em;">"</span><span style="margin-left: 1.8em;">"</span><span style="margin-left: 1.5em;"><span class="box">230</span>&mdash;Full brass, thickly scored (cf. <a href="rimsky2.html#APPENDIX">Table of chords</a> No. II at the end of <a href="rimsky2.html">Vol. II</a>, Ex. 12).</span></p>
+
+<p>* <i>Servilia</i> <span class="box">154</span>&mdash;Various brass instruments.</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">130</span>&mdash;3 Trumpets, Trombone and Tuba.</p>
+
+<p><a href="rimsky2.html#No_134">No. 134.</a> <i>Legend of Kitesh</i> <span class="box">199</span>&mdash;Short chords (juxtaposition).</p>
+
+<p>* <a href="rimsky2.html#No_135">No. 135.</a> <i>The Golden Cockerel</i> <span class="box">115</span>&mdash;Horns, Trombones
+(enclosure).</p>
+
+<p class="tp">b) Harmonic basis:</p>
+
+<p><a href="rimsky2.html#No_136">No. 136.</a> <i>Snegourotchka</i> <span class="box">79</span>, 6<span class="super">th</span> bar.&mdash;4 Horns.</p>
+
+<p><span style="margin-left: 6.5em;">"</span><span style="margin-left: 3.3em;"><span class="box">231</span>&mdash;3 Trombones, soft and sweet (cf. <a href="rimsky2.html#No_008">Ex. 8</a>).</span></p>
+
+<p><i>Antar</i> <span class="box">64-65</span>&mdash;4 Horns; later 3 Trombones (cf. <a href="rimsky2.html#No_032">Ex. 32</a>).</p>
+
+<p>* <i>Shéhérazade</i>, 1<span class="super">st</span> movement, <span class="box">A</span>, <span class="box">E</span>, <span class="box">H</span>, <span class="box">K</span>,
+<span class="box">M</span>&mdash;Harmonic bases of different power and timbre (cf. <a href="rimsky2.html#No_192">Ex. 192</a>-<a href="rimsky2.html#No_195">195</a>).</p>
+
+<p><a href="rimsky2.html#No_137">No. 137.</a> <i>Servilia</i> <span class="box">93</span>&mdash;Full brass.</p>
+
+<p>* <a href="rimsky2.html#No_138">No. 138.</a> <i>Tsar Saltan</i> <span class="box">127</span>&mdash;4 muted Horns <span class="lg">+</span> 3 Trombones
+and Tuba <i>con sord. pp.</i></p>
+
+<p><span style="margin-left: 5.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">before <span class="box">147</span>&mdash;Full brass <i>ff</i> (the 2 Oboes and Eng. horn are of no particular importance).</span></p>
+
+<p>* <i>Pan Voyevoda</i> <span class="box">136</span>, 9<span class="super">th</span> bar.&mdash;4 Horns, then Trombones, 2
+Horns.</p>
+
+<p>* <a href="rimsky2.html#No_139">No. 139.</a> <i>Legend of Kitesh</i> <span class="box">158</span>&mdash;Trumpets, Trombones.</p>
+
+<p><a href="rimsky2.html#No_140">No. 140.</a><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.8em;"><span class="box">248</span>&mdash;3 Trombones.</span></p>
+
+<p><span style="margin-left: 5.5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">before <span class="box">362</span>&mdash;Full brass.</span></p>
+
+<p><span class="pagenum"><a name="Page_88" id="Page_88">-88-</a></span></p>
+
+
+<h2>Harmony in combined groups.</h2>
+
+<h3>A. Combination of wind and brass.</h3>
+
+<p>Wind and brass instruments may be combined by the method of placing a
+chord in one timbre side by side with the same chord in another
+timbre, or by any of the three methods already described: overlaying,
+crossing and enclosure of parts.</p>
+
+<h4>1. <i>In unison (juxtaposition or contrast of tone qualities).</i></h4>
+
+<p>This class of combination possesses the same features as combinations
+in the melodic line (cf. <a href="#Chapter_II">Chap. II</a>). Wood-wind reinforces the brass,
+softens it and reduces its characteristic qualities. Arrangements such
+as the following are possible:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="instruments">
+<tr>
+<td>2 Trumpets <span class="lg">+</span> 2 Fl.;<br />
+3 Trumpets <span class="lg">+</span> 3 Fl.;</td>
+<td>2 Trumpets <span class="lg">+</span> 2 Ob.;<br />
+3 Trumpets <span class="lg">+</span> 3 Ob.;</td>
+<td>2 Trumpets <span class="lg">+</span> 2 Cl.<br />
+3 Trumpets <span class="lg">+</span> 3 Cl.</td>
+</tr>
+</table>
+
+<p>Also</p>
+
+<p class="center">
+<img src="images1/harmony_unison01.png" width="241" height="125" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/harmony_unison01.mp3">Listen</a>]</p>
+
+<p class="noindent">as well as:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="instruments">
+<tr>
+<td>2 Horns <span class="lg">+</span> 2 Fag.;<br />
+3 Horns <span class="lg">+</span> 3 Fag.;
+</td>
+<td>2 Horns <span class="lg">+</span> 2 Cl.;<br />
+3 Horns <span class="lg">+</span> 3 Cl.; and:</td>
+</tr>
+</table>
+
+<p class="noindent">2 Horns <span class="lg">+</span> 2 Fag. <span class="lg">+</span> 2 Cl. etc.</p>
+
+<p>The combinations 3 Trombones <span class="lg">+</span> 3 Fag., or 3 Trombones <span class="lg">+</span> 3 Cl. are very
+rare.</p>
+
+<p>A chord scored for full brass doubled by the same chords scored for
+full wood-wind (in pairs) produces a magnificent and uniform tone.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">315</span>&mdash;2 Horns <span class="lg">+</span> 2 Cl. and 2 Horns <span class="lg">+</span> 2 Ob.
+(cf. <a href="rimsky2.html#No_236">Ex. 236</a>).</p>
+
+<p><a href="rimsky2.html#No_141">No. 141.</a> <i>The Tsar's Bride</i> <span class="box">50</span>&mdash;4 Horns <span class="lg">+</span> 2 Cl., 2 Fag.</p>
+
+<p><a href="rimsky2.html#No_142">No. 142.</a><span style="margin-left: 1em;">"</span><span style="margin-left: 1.8em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.3em;"><span class="box">142</span>&mdash;Juxtaposition of full wind and brass.</span></p>
+
+<p><i>Ivan the Terrible</i>, Act II <span class="box">30</span>&mdash;Juxtaposition and enclosure (cf.
+<a href="rimsky2.html#APPENDIX">Table of chords</a> II, Ex. 8).</p>
+
+<p><a href="rimsky2.html#No_143">No. 143.</a> <i>The Christmas Night</i> <span class="box">165</span>&mdash;4 Horns <span class="lg">+</span> Fl., Cl., Fag.<span class="pagenum"><a name="Page_89" id="Page_89">-89-</a></span></p>
+
+<p>* <a href="rimsky2.html#No_144">No. 144.</a> <i>Sadko</i>, before <span class="box">79</span>&mdash;Horn, Trumpet <span class="lg">+</span> doubled wood-wind.<a name="FNanchor_15_18" id="FNanchor_15_18"></a><a href="#Footnote_15_18" class="fnanchor">[15]</a></p>
+
+<p><a href="rimsky2.html#No_145">No. 145.</a><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;"><span class="box">242</span>&mdash;Full brass <span class="lg">+</span> Fl., Cl.</span></p>
+
+<p><i>Legend of Kitesh</i>, beginning&mdash;Horn, Trombones <span class="lg">+</span> Cl., Fag. (cf. also
+<span class="box">5</span>&mdash;<a href="rimsky2.html#No_249">Ex. 249</a>).</p>
+
+<p>* <a href="rimsky2.html#No_146">No. 146.</a> <i>Legend of Kitesh</i> <span class="box">10</span>&mdash;Eng. horn, 2 Cl., Fag. <i>legato</i> <span class="lg">+</span> 4 Horns non legato.</p>
+
+<p><span style="margin-left: 6em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.6em;">"</span><span style="margin-left: 1.7em;"><span class="box">324</span>&mdash;Full brass <span class="lg">+</span> wind.</span></p>
+
+<p>* <a href="rimsky2.html#No_146">No. 147.</a> <i>The Golden Cockerel</i> <span class="box">233</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Trumpets <span class="lg">+</span> Ob.<br />
+Horn <span class="lg">+</span> Cl.</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p class="tp">Stopped or muted notes in trumpets and horns resemble the oboe and
+Eng. horn in quality; the combination of these instruments produces a
+magnificent tone.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_148">No. 148.</a> <i>Russian Easter Fête</i>, p. 11.&mdash;Horn (<span class="lg">+</span>), Trumpets (low
+register) <span class="lg">+</span> Ob., Cl.</p>
+
+<p>* <i>The Christmas Night</i>, before <span class="box">154</span>&mdash;Full muted brass <span class="lg">+</span> wind.</p>
+
+<p>* <a href="rimsky2.html#No_149">No. 149.</a> <i>Tsar Saltan</i> <span class="box">129</span>&mdash;2 Ob., Eng. horn, <span class="lg">+</span> 3 Trumpets muted (3 Cl. at the bottom).</p>
+
+<p>* <a href="rimsky2.html#No_150">No. 150.</a><span style="margin-left: 1em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.6em;"><span class="box">131</span> 17<span class="super">th</span> bar.&mdash;Same combination with added horns.</span></p>
+
+<p>* <a href="rimsky2.html#No_151">No. 151.</a> <i>Antar</i> <span class="box">7</span>&mdash;Ob., Eng. horn, 2 Fag. <span class="lg">+</span> 4 Horns (<span class="lg">+</span>).</p>
+
+<p class="tp">A beautiful dark tone is derived from the combination of middle notes
+in stopped horns and deep notes in the clarinet:</p>
+
+<p class="center">
+<img src="images1/harmony_unison02.png" width="189" height="59" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/harmony_unison02.mp3">Listen</a>]</p>
+
+<p>If bassoons are substituted for clarinets the effect loses part of its
+character.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <i>Kashtcheï the Immortal</i> <span class="box">29</span>, 11<span class="super">th</span> bar,&mdash;2 Ob., 2 Cl. <span class="lg">+</span> 4 Horns (<span class="lg">+</span>).</p>
+
+<p><span style="margin-left: 2.8em;">"</span><span style="margin-left: 2.3em;">"</span><span style="margin-left: 2.3em;">"</span><span style="margin-left: 2.2em;"><span class="box">107</span>, 6<span class="super">th</span> bar.&mdash;2 Cl., Fag. <span class="lg">+</span> 3 Horns (<span class="lg">+</span>).</span></p>
+
+<p>* <i>The Christmas Night</i>, p. 249&mdash;Cl., Fag. <span class="lg">+</span> 3 Horns (<span class="lg">+</span>).</p>
+
+<p>* <i>Mlada</i>, Act III <span class="box">19</span>&mdash;3 Horns (<span class="lg">+</span>) <span class="lg">+</span> 3 Fag. and 3 Horns (<span class="lg">+</span>) <span class="lg">+</span> 3
+Ob. (cf. <a href="rimsky2.html#No_259">Ex. 259</a>).</p>
+
+<p><span class="pagenum"><a name="Page_90" id="Page_90">-90-</a></span></p>
+
+<h4>2. <i>Overlaying (superposition), crossing, enclosure of parts.</i></h4>
+
+<p>It has already been stated that the bassoon and horn are the two
+instruments best capable of reconciling the groups of wood-wind and
+brass. Four-part harmony given to two bassoons and two horns,
+especially in soft passages, yields a finely-balanced tone recalling
+the effect of a quartet of horns, but possessing slightly greater
+transparence. In <i>forte</i> passages the horns overwhelm the bassoons,
+and it is wiser to employ four horns alone. In the former case
+crossing of parts is to be recommended for the purposes of blend, the
+concords being given to the horns, the discords to the bassoons:</p>
+
+<table style="padding-bottom: 1em" border="0" cellpadding="4" cellspacing="0" summary="music">
+<tr>
+<td class="center"><img src="images1/overlaying04.png" width="177" height="50" alt="music" title="music" /></td>
+<td>and not:</td>
+<td class="center"><img src="images1/overlaying05.png" width="175" height="49" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td class="center">[<a href="music1/overlaying04.mp3">Listen</a>]</td>
+<td>&nbsp;</td>
+<td class="center">[<a href="music1/overlaying05.mp3">Listen</a>]</td>
+</tr>
+</table>
+
+<p>Bassoons may also be written inside the horns, but the inverse process
+is not to be recommended:</p>
+
+<p class="center">
+<img src="images1/overlaying06.png" width="180" height="59" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/overlaying06.mp3">Listen</a>]</p>
+
+<p>The same insetting of parts may be used for sustained trumpet notes in
+octaves. In soft passages, thirds played in the low register of the
+flutes, sometimes combined with clarinets, produce a beautiful
+mysterious effect between trumpets in octaves. In a chain of
+consecutive chords it is advisable to entrust the stationary parts to
+the brass, the moving parts to the wood-wind.</p>
+
+<p>Clarinets, on account of their tone quality should rarely be set
+inside the horns, but, in the upper register, and in the higher
+harmonic parts, a chord of four horns, (<i>piano</i>), may be completed by
+clarinets as effectively as by oboes or flutes; the bassoon may then
+double the base an octave below:</p>
+
+<p class="center">
+<img src="images1/overlaying07.png" width="286" height="134" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/overlaying07.mp3">Listen</a>]</p>
+
+<p>Played <i>forte</i>, the horns are more powerful than the wood-wind;
+balance may be established by doubling the upper harmonic parts:<span class="pagenum"><a name="Page_91" id="Page_91">-91-</a></span></p>
+
+<p class="center">
+<img src="images1/overlaying08.png" width="302" height="142" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/overlaying08.mp3">Listen</a>]</p>
+
+<p class="center"><i>Examples:</i></p>
+
+<p>a) Superposition.</p>
+
+<p>* <i>Sadko</i>, Symphonic Tableau <span class="box">1</span>, <span class="box">9</span>&mdash;Fl., Ob., Cl., Horn (basis).</p>
+
+<p><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">before <span class="box">14</span>&mdash;2 Fl., Cl., Horns.</span></p>
+
+<p><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">final chord&mdash;Fl., Cl., Horn.</span></p>
+
+<p>* <i>Antar</i> <span class="box">22</span>&mdash;Fl., Cl., Horns (basis).</p>
+
+<p><a href="rimsky2.html#No_152">No. 152.</a> <i>Antar</i> <span class="box">56</span>&mdash;3 Fl., 4 Horns (basis).</p>
+
+<p>* <i>Snegourotchka</i> <span class="box">300</span>&mdash;Full wind and horns.</p>
+
+<p>* <i>Shéhérazade</i>&mdash;Final chords of 1<span class="super">st</span> and 4<span class="super">th</span> movements.</p>
+
+<p>* <i>Russian Easter Fête</i> <span class="box">D</span>&mdash;Fl., Cl., Horn; later trumpets and
+trombones in juxtaposition (cf. <a href="rimsky2.html#No_248">Ex. 248</a>).</p>
+
+<p>* <a href="rimsky2.html#No_153">No. 153.</a> <i>The Christmas Night</i> <span class="box">212</span>, 10<span class="super">th</span> bar.&mdash;Wind and Horns; trumpets and trombones added later.</p>
+
+<p><span style="margin-left: 6em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.3em;"><span class="box">215</span></span></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">3 Fl. <span class="lg">+</span> 3 Cl.<br />
+3 Horns</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p>* <i>Sadko</i>, Opera <span class="box">165</span>&mdash;Juxtaposition and Superposition.</p>
+
+<p><a href="rimsky2.html#No_154">No. 154.</a> <i>Sadko</i> <span class="box">338</span>&mdash;Same distribution.</p>
+
+<p><a href="rimsky2.html#No_155">No. 155.</a> <i>Servilia</i> <span class="box">73</span></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td class="center">3 Fl <span class="lg">+</span> 2 Ob., Cl.<br />
+4 Horns.</td>
+</tr>
+</table>
+
+<p>* <a href="rimsky2.html#No_156">No. 156.</a> <i>Legend of Kitesh</i>, before <span class="box">157</span>&mdash;3 Flutes, 3 Trombones.</p>
+
+<p><span style="margin-left: 5.8em;">"</span><span style="margin-left: 1.8em;">"</span><span style="margin-left: 1.8em;">"</span><span style="margin-left: 1.5em;">final chord (cf. <a href="rimsky2.html#APPENDIX">Table III of chords</a>, Ex. 15).</span></p>
+
+<p>* <i>The Golden Cockerel</i>, before <span class="box">219</span>&mdash;Mixed timbre of wood-wind, 4
+Horns.</p>
+
+<p class="tp">b) Crossing.</p>
+
+<p>* <i>The Christmas Night</i>, before <span class="box">53</span>&mdash;Horn, Fag.</p>
+
+<p><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.5em;">"</span><span style="margin-left: 3.3em;">"</span><span style="margin-left: 1.7em;"><span class="box">107</span>&mdash;Clar., Horn, Fag.</span></p>
+
+<p>* <i>Legend of Tsar Saltan</i>, before <span class="box">62</span>&mdash;Horn, Fag.</p>
+
+<p>* <i>The Golden Cockerel</i> <span class="box">220</span>&mdash;3 Trombones, 2 Fag., C-fag.
+(cf. <a href="rimsky2.html#No_232">Ex. 232</a>).</p>
+
+<p>* <a href="rimsky2.html#No_157">No. 157.</a> <i>Antar</i>, before <span class="box">30</span>&mdash;Wood-wind, Horns, then Trumpets.<span class="pagenum"><a name="Page_92" id="Page_92">-92-</a></span></p>
+
+<p class="tp">c) Enclosure:</p>
+
+<p><a href="rimsky2.html#No_158">No. 158.</a> <i>Ivan the Terrible</i>, Act I <span class="box">33</span>&mdash;Flutes within horns; later
+horns within bassoons.</p>
+
+<p><a href="rimsky2.html#No_159">No. 159.</a> <i>Snegourotchka</i> <span class="box">183</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td>Trumpet<br />
+Fl., 2 Cl.<br />
+Trumpet</td>
+</tr>
+</table>
+
+<p>* <i>Sadko</i>, symphonic tableau <span class="box">3</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td>Cl. <span class="lg">+</span> Fag.<br />
+4 Horns<br />
+Cl. <span class="lg">+</span> Fag.</td>
+</tr>
+</table>
+
+<p>* <i>Antar</i> before <span class="box">37</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td>Fag.<br />
+2 Horns (<span class="lg">+</span>)<br />
+Cl.</td>
+</tr>
+</table>
+
+<p>* <i>Sadko</i>, Opera <span class="box">105</span>&mdash;Harmonic basis; oboes within trumpets
+(cf. <a href="rimsky2.html#No_260">Ex. 260</a>).</p>
+
+<p>* <a href="rimsky2.html#No_160">No. 160.</a> <i>Sadko</i>, Opera, before <span class="box">155</span>&mdash;Flutes within trumpets.</p>
+
+<p>* <i>The Tsar's Bride</i>, end of Overture&mdash;Bassoons within horns (cf.
+<a href="rimsky2.html#APPENDIX">Table III of chords</a>, Ex. 14).</p>
+
+<p>* <a href="rimsky2.html#No_161">No. 161.</a> <i>Tsar Saltan</i> <span class="box">50</span>&mdash;Trumpets within wood-wind doubled.</p>
+
+<p><a href="rimsky2.html#No_162">No. 162.</a><span style="margin-left: 1.8em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;"><span class="box">59</span>&mdash;Flutes within trumpets; clarinets within horns.</span></p>
+
+<p>* <a href="rimsky2.html#No_163">No. 163.</a> <i>Legend of Kitesh</i> <span class="box">82</span>&mdash;Oboes and clarinets within
+trumpets.</p>
+
+<p class="tp">The relationship which has been shown to exist between stopped horns
+and oboe or Eng. horn authorizes the simultaneous use of these
+instruments in one and the same chord, played <i>p</i> or <i>sfp</i>:</p>
+
+<p class="center">
+<img src="images1/enclosure02.png" width="193" height="69" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/enclosure02.mp3">Listen</a>]</p>
+
+<p class="center"><i>Examples:</i></p>
+
+<p>* <i>The Christmas Night</i> <span class="box">75</span>&mdash;3 Horns (<span class="lg">+</span>) <span class="lg">+</span> Oboe.</p>
+
+<p><i>The Tsar's Bride</i> <span class="box">123</span>&mdash;Ob., Eng. horn, Horn (<span class="lg">+</span>) (cf. <a href="rimsky2.html#No_240">Ex. 240</a>).</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">244</span>&mdash;Cl., 2 Fl., <span class="lg">+</span> 2 Ob., Eng. horn, 3 Horn
+(<span class="lg">+</span>).</p>
+
+<p>* <a href="rimsky2.html#No_164">No. 164.</a> <i>Legend of Kitesh</i>, before <span class="box">256</span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">2 Ob., Eng. horn<br />
+3 Horns (<span class="lg">+</span>)</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8.</td>
+</tr>
+</table>
+
+<p>* Cf. also <i>Tsar Saltan</i>, before <span class="box">115</span>&mdash;</p>
+
+<table border="0" cellpadding="5" cellspacing="0" summary="instruments">
+<tr>
+<td>Horn (<span class="lg">+</span>)<br />
+2 Fl. <span class="lg">+</span> 2 Fag.</td>
+<td>(<a href="rimsky2.html#No_110">Ex. 110</a>).</td>
+</tr>
+</table>
+
+<p class="tp">If trumpets and trombones take part in a chord, flutes, oboes and
+clarinets are better used to form the harmonic part above the
+trumpets. The following should be the arrangement:<span class="pagenum"><a name="Page_93" id="Page_93">-93-</a></span></p>
+
+<p class="center">
+<img src="images1/trumpchord01.png" width="637" height="189" alt="music" title="music" />
+</p>
+
+<p class="center">
+<img src="images1/trumpchord02.png" width="468" height="175" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/trumpchord01-02.mp3">Listen</a>]</p>
+
+<p class="center">
+<img src="images1/trumpchord03.png" width="638" height="177" alt="music" title="music" />
+</p>
+
+<p class="centerbp">[<a href="music1/trumpchord03.mp3">Listen</a>]</p>
+
+<p class="center"><i>Examples:</i></p>
+
+<p>* <i>Sadko</i>, symphonic tableau <span class="box">20</span>.</p>
+
+<p>* <a href="rimsky2.html#No_165">No. 165.</a> <i>The May Night</i>, Act I <span class="box">Ee</span>&mdash;3 Trombones, 2 Ob. <span class="lg">+</span> 2 Cl. <span class="lg">+</span> 2 Fag.</p>
+
+<p><span style="margin-left: 5.2em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">p. 325.&mdash;Final chord, <i>C</i> maj. (cf. <a href="rimsky2.html#APPENDIX">Table I of chords</a>, Ex. 1).</span></p>
+
+<p>* <a href="rimsky2.html#No_166">No. 166.</a> <i>Snegourotchka</i> <span class="box">198</span>; cf. also <span class="box">200</span> and before
+<span class="box">210</span>.</p>
+
+<p>* <i>Shéhérazade</i>, 1<span class="super">st</span> movement <span class="box">E</span>, 2<span class="super">nd</span> movement <span class="box">P</span>, 3<span class="super">rd</span>
+movement <span class="box">M</span>, 4<span class="super">th</span> movement p. 203 (cf. <a href="rimsky2.html#No_195">Ex. 195</a>, <a href="rimsky2.html#No_019">19</a>, <a href="rimsky2.html#No_210">210</a>, <a href="rimsky2.html#No_077">77</a>).</p>
+
+<p><a href="rimsky2.html#No_167">No. 167.</a> <i>The Christmas Night</i> <span class="box">205</span>; cf. also <span class="box">161</span>, <span class="box">212</span>,
+14<span class="super">th</span> bar. (<a href="rimsky2.html#No_100">Ex. 100</a>, <a href="rimsky2.html#No_153">153</a>).</p>
+
+<p>* <i>Mlada</i>, end of Act I (cf. <a href="rimsky2.html#APPENDIX">Chord Table II</a>, Ex. 13). Act II <span class="box">20</span>.</p>
+
+<p>No. <a href="rimsky2.html#No_168">168</a>-<a href="rimsky2.html#No_169">169</a>. <i>Sadko</i>, Opera, before <span class="box">249</span>, <span class="box">302</span>;
+cf. also <a href="rimsky2.html#No_120">Ex. 120</a>.
+<span class="pagenum"><a name="Page_94" id="Page_94">-94-</a></span></p>
+
+<p><a href="rimsky2.html#No_170">No. 170.</a> <i>Sadko</i>, Opera <span class="box">244</span>&mdash;Chord of widely extended range; bassoons at the limit of low compass.</p>
+
+<p><span style="margin-left: 4.8em;">"</span><span style="margin-left: 3em;">"</span><span style="margin-left: 1em;"><span class="box">142</span>, <span class="box">239</span>; cf. also <span class="box">3</span> (<a href="rimsky2.html#No_086">Ex. 86</a>).</span></p>
+
+<p>* <i>The Tsar's Bride</i> <span class="box">179</span> (cf. <a href="rimsky2.html#No_243">Ex. 243</a>).</p>
+
+<p><i>Antar</i> <span class="box">65</span>&mdash;Alternation of notes in horns and wood-wind on
+trombone chords (cf. <a href="rimsky2.html#No_032">Ex. 32</a>).</p>
+
+<p class="tp"><i>General observations.</i> It is not always possible to secure proper
+balance in scoring for full wood-wind. For instance, in a succession
+of chords where the melodic position is constantly changing,
+distribution is subordinate to correct progression of parts. In
+practice, however, any inequality of tone may be counterbalanced by
+the following acoustic phenomenon: in every chord the parts in octaves
+strengthen one another, the harmonic sounds in the lowest register
+coinciding with and supporting those in the highest. In spite of this
+fact it rests entirely with the orchestrator to obtain the best
+possible balance of tone; in difficult cases this may be secured by
+judicious dynamic grading, marking the wood-wind one degree louder
+than the brass.</p>
+
+
+<h3>B. Combination of strings and wind.</h3>
+
+<p>1. We frequently meet with the combination of strings and wood-wind in
+the light of comparison of one timbre with another, either in long
+sustained notes, or <i>tremolando</i> in the strings. Apart from the
+complete or partial doubling of the string quartet (two methods
+frequently used), the general and most natural arrangement is:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td>Fl.<br />
+Ob. (Cl.)</td>
+<td><span class="lg">+</span> Vn<span class="super">s</span> div.;</td>
+<td>Clar.<br />
+Fag.</td>
+<td><span class="lg">+</span> 'Cellos <span class="lg">+</span> Violas div., etc.</td>
+</tr>
+</table>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <i>Sadko</i>, Symphonic Tableau before <span class="box">4</span>, and <span class="box">4</span>, 9<span class="super">th</span> bar.</p>
+
+<p>* <i>Shéhérazade</i>, 1<span class="super">st</span> movement <span class="box">M</span> 6 Vn<span class="super">s</span> soli <span class="lg">+</span> 2 Ob. (2 Fl.),
+Cl.</p>
+
+<p>* <i>Antar</i> <span class="box">7</span>&mdash;String quartet <i>divisi</i> <span class="lg">+</span> wood-wind (cf. <a href="rimsky2.html#No_151">Ex. 151</a>).</p>
+
+<p>* <a href="rimsky2.html#No_171">No. 171.</a> <i>Antar</i> <span class="box">57</span>&mdash;Vn<span class="super">s</span> II, Violas div. <span class="lg">+</span> Fl., Horn (florid
+accompaniment in the Clar.).</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">295</span>&mdash;the same; rhythmic motion in the wind,
+sustained harmony in the strings (cf. <a href="rimsky2.html#No_213">Ex. 213</a>).<span class="pagenum"><a name="Page_95" id="Page_95">-95-</a></span></p>
+
+<p class="tp">2. Owing to the complete absence of any affinity in tone quality, the
+combination of strings with brass is seldom employed in juxtaposition,
+crossing, or enclosure of parts.</p>
+
+<p>The first method may be used however when the harmony is formed by the
+strings <i>tremolando</i>, and the brass is employed in sustaining chords,
+also when the strings play short disconnected chords, <i>sforzando</i>.
+Another possible exception may be mentioned; the splendid effect of
+horns doubled by divided violas or 'cellos.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">242</span>&mdash;Full brass <span class="lg">+</span> strings <i>tremolando</i> (cf. 1<span class="super">st</span>
+<a href="rimsky2.html#APPENDIX">Table of chords</a>, Ex. 6).</p>
+
+<p>* <i>Legend of Kitesh</i>, before <span class="box">240</span>&mdash;the same (Horn, Trumpet <span class="lg">+</span>).</p>
+
+<p>* <i>Sadko</i>, Opera, before <span class="box">34</span>&mdash;Horn <span class="lg">+</span> Violas <i>div.</i>, Trombones <span class="lg">+</span>
+'Cellos <i>div.</i><a name="FNanchor_16_19" id="FNanchor_16_19"></a><a href="#Footnote_16_19" class="fnanchor">[16]</a></p>
+
+
+<h3>C. Combination of the three groups.</h3>
+
+<p>The combination of strings, wood-wind and brass instruments, set side
+by side, produces a full, round and firm tone.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_172">No. 172.</a> <i>The Tsar's Bride</i>, before <span class="box">145</span>&mdash;Ob., Fag. <span class="lg">+</span> Horns <span class="lg">+</span> Strings.</p>
+
+<p><span style="margin-left: 4.5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.5em;">"</span><span style="margin-left: 1.5em;">final chord (cf. <a href="rimsky2.html#APPENDIX">Table I of chords</a>, Ex. 5).</span></p>
+
+<p>* <a href="rimsky2.html#No_173">No. 173.</a> <i>Sadko</i>, end of 1<span class="super">st</span> tableau&mdash;short chords. Last chords
+of the 1<span class="super">st</span>, 3<span class="super">rd</span> and 7<span class="super">th</span> tableaux (cf. <a href="rimsky2.html#APPENDIX">Table I and III</a>,
+<a href="rimsky2.html">Vol. II</a>, Ex. 9, 10, 18).</p>
+
+<p>* <a href="rimsky2.html#No_174">No. 174.</a> <i>The Christmas Night</i> <span class="box">22</span>&mdash;Wind <span class="lg">+</span> Brass <i>c. sord.</i> <span class="lg">+</span>
+<i>tremolo</i> strings.</p>
+
+<p><i>Legend of Kitesh</i> <span class="box">162</span> (cf. <a href="rimsky2.html#No_250">Ex. 250</a>).</p>
+
+<p><i>Snegourotchka</i>&mdash;end of opera, (cf. <a href="rimsky2.html#APPENDIX">Table III</a> in <a href="rimsky2.html">Vol. II</a>, Ex. 17) and
+a host of other examples.<span class="pagenum"><a name="Page_96" id="Page_96">-96-</a></span></p>
+
+<p class="tp"><i>General Observations.</i> Balance and correct distribution of tone is
+much more important in dealing with long sustained chords or those of
+rhythmic design; in the case of short, disconnected chords resonance
+is a minor consideration, but one which should not be entirely
+neglected.</p>
+
+<p>I have endeavoured to outline the general principles to be followed,
+but I do not profess to deal with all the countless cases which may
+arise in the course of orchestration. I have given a few examples of
+well-sounding chords; for further information I advise the reader to
+study full scores with care, as this is the only method to acquire
+perfect knowledge of the distribution and doubling of various
+instruments.</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_97" id="Page_97">-97-</a></span></p>
+<h1><a name="Chapter_IV" id="Chapter_IV"></a>Chapter IV.</h1>
+
+<p class="center"><span class="lg">COMPOSITION OF THE ORCHESTRA.</span></p>
+
+<hr class="short" />
+
+<h2>Different ways of orchestrating the same music.</h2>
+
+<p>There are times when the general tone, character and atmosphere of a
+passage, or a given moment in an orchestral work point to one, and
+only one particular manner of scoring. The following simple example
+will serve for explanation. Take a short phrase where a flourish or
+fanfare call is given out above a <i>tremolando</i> accompaniment, with or
+without change in harmony. There is no doubt that any orchestrator
+would assign the <i>tremolo</i> to the strings and the fanfare to a
+trumpet, never <i>vice versa</i>. But taking this for granted, the composer
+or orchestrator may still be left in doubt. Is the fanfare flourish
+suitable to the range of a trumpet? Should it be written for two or
+three trumpets in unison, or doubled by other instruments? Can any of
+these methods be employed without damaging the musical meaning? These
+are questions which I shall endeavour to answer.</p>
+
+<p>If the phrase is too low in register for the trumpets it should be
+given to the horns (instruments allied to the trumpet); if the phrase
+is too high it may be entrusted to the oboes and clarinets in unison,
+this combination possessing the closest resemblance to the trumpet
+tone both in character and power. The question whether one trumpet or
+two should be employed must be decided by the degree of power to be
+vested in the given passage. If a big sonorous effect is required the
+instruments may be doubled, tripled, or even multiplied by four; in
+the opposite case one solo brass instrument, or two of the wood-wind
+will suffice (1 Ob. <span class="lg">+</span> 1 Cl.). The question whether the <i>tremolo</i> in
+the strings should be supported<span class="pagenum"><a name="Page_98" id="Page_98">-98-</a></span> by sustained harmony in the wood-wind
+depends upon the purpose in view. A composer realises his intentions
+beforehand, others who orchestrate his music can only proceed by
+conjecture. Should the composer desire to establish a strongly-marked
+difference between the harmonic basis and the melodic outline it is
+better not to employ wood-wind harmony, but to obtain proper balance
+of tone by carefully distributing his dynamic marks of expression,
+<i>pp</i>, <i>p</i>, <i>f</i> and <i>ff</i>. If, on the contrary, the composer desires a
+full round tone as harmonic basis and less show of brilliance in the
+harmonic parts, the use of harmony in the wood-wind is to be
+recommended. The following may serve as a guide to the scoring of
+wood-wind chords: the harmonic basis should differ from the melody not
+only in fullness and intensity of tone, but also in colour. If the
+fanfare figure is allotted to the brass (trumpets or horns) the
+harmony should be given to the wood-wind; if the phrase is given to
+the wood-wind (oboes and clarinets) the harmony should be entrusted to
+the horns. To solve all these questions successfully a composer must
+have full knowledge of the purpose he has in view, and those who
+orchestrate his work should be permeated with his intentions. Here the
+question arises, what should those intentions be? This is a more
+difficult subject.</p>
+
+<p>The aim of a composer is closely allied to the form of his work, to
+the aesthetic meaning of its every moment and phrase considered apart,
+and in relation to the composition as a whole. The choice of an
+orchestral scheme depends on the musical matter, the colouring of
+preceding and subsequent passages. It is important to determine
+whether a given passage is a complement to or a contrast with what
+goes before and comes after, whether it forms a climax or merely a
+step in the general march of musical thought. It would be impossible
+to examine all such possible types of relationship, or to consider the
+<i>rôle</i> played by each passage quoted in the present work. The reader
+is therefore advised not to pay too much attention to the examples
+given, but to study them and their bearing on the context in their
+proper place in the full scores. Nevertheless I shall touch upon a few
+of these points in the course of the following outline. To begin with,
+young and inexperienced composers do not always possess a clear idea
+of what they wish to do. They can improve in this direction by
+reading<span class="pagenum"><a name="Page_99" id="Page_99">-99-</a></span> good scores and by repeatedly listening to an orchestra,
+provided they concentrate the mind to the fullest possible extent. The
+search after extravagant and daring effects in orchestration is quite
+a different thing from mere caprice; <i>the will to achieve is not
+sufficient; there are certain things which should not be achieved</i>.</p>
+
+<hr class="med" />
+
+<p>The simplest musical ideas, melodic phrases in unison and octaves, or
+repeated throughout several octaves, chords, of which no single part
+has any melodic meaning are scored in various ways according to
+register, dynamic effect and the quality of expression or tone colour
+that may be desired. In many cases, one idea will be orchestrated in a
+different way every time it recurs. Later on I shall frequently touch
+upon this more complicated question.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <i>Snegourotchka</i> <span class="box">58</span>; <span class="box">65</span> and before <span class="box">68</span>&mdash;sustained note in
+unison.</p>
+
+<p class="tp">There are fewer possible ways of scoring more complex musical ideas,
+harmonico-melodic phrases, polyphonic designs etc.; sometimes there
+are but two methods to be followed, for each of the primary elements
+in music, melody, harmony, and counterpoint possesses its own special
+requirements, regulating the choice of instruments and tone colour.
+The most complicated musical ideas sometimes admit of only one manner
+of scoring, with a few hardly noticeable variations in detail. To the
+following example, very simple in structure I add an alternative
+method of scoring:</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><a href="rimsky2.html#No_175_A">No. 175.</a> <i>Vera Scheloga</i>, before <span class="box">35</span>&mdash;<a href="rimsky2.html#No_175_A">a)</a> actual orchestration,
+*<a href="rimsky2.html#No_175_B">b)</a>&mdash;another method.</p>
+
+<p class="tp">It is obvious that the method <a href="rimsky2.html#No_175_B">b)</a> will produce satisfactory tone. But a
+3<span class="super">rd</span> and 4<span class="super">th</span> way of scoring would be less successful, and a
+continuation of this process would soon lead to the ridiculous. For
+instance if the chords were given to the brass the whole passage would
+sound heavy, and the soprano recitative in the low and middle register
+would be overpowered. If the <i>F</i> sharp in the<span class="pagenum"><a name="Page_100" id="Page_100">-100-</a></span> double basses were
+played <i>arco</i> by 'cellos and basses together it would sound clumsy, if
+it were given to the bassoons a comic effect would be produced, and if
+played by the brass it would sound rough and coarse, etc.</p>
+
+<p>The object of scoring the same musical phrase in different ways is to
+obtain variety either in tone colour or resonance. In each case the
+composer may resort to the inversion of the normal order of
+instruments, duplication of parts, or the two processes in
+combination. The first of these is not always feasible. In the
+preceding sections of the book I have tried to explain the
+characteristics of each instrument and the part which each group of
+instruments plays in the orchestra. Moreover many methods of doubling
+are to be avoided; these I have mentioned, while there are also some
+instruments which cannot be combined owing to the great difference in
+their peculiarities. Therefore, as regards the general composition of
+the orchestra, the student should be guided by the general principles
+laid down in the earlier stages of the present work.</p>
+
+<p>The best means of orchestrating the same musical idea in various ways
+is by the adaptation of the musical matter. This can be done by the
+following operations: a) complete or partial transference into other
+octaves; b) repetition in a different key; c) extension of the whole
+range by the addition of octaves to the upper and lower parts; d)
+alteration of details (the most frequent method); e) variation of the
+general dynamic scheme, e.g. repeating a phrase <i>piano</i>, which has
+already been played <i>forte</i>.</p>
+
+<p>These operations are always successful in producing variety of
+orchestral colour.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_176">No. 176</a>, <a href="rimsky2.html#No_177">177</a>. <i>Russian Easter Fête</i> <span class="box">A</span> and <span class="box">C</span>.</p>
+
+<p><i>The Christmas Night</i> <span class="box">158</span> and <span class="box">179</span>.</p>
+
+<p><a href="rimsky2.html#No_178">No. 178</a>-<a href="rimsky2.html#No_181">181</a>. <i>The Tsar's Bride</i>, Overture: beginning, <span class="box">1</span>, <span class="box">2</span>,
+<span class="box">7</span>.</p>
+
+<p><i>Sadko</i> <span class="box">99-101</span> and <span class="box">305-307</span> (cf. <a href="rimsky2.html#No_289">Ex. 289</a>, <a href="rimsky2.html#No_290">290</a>, and <a href="rimsky2.html#No_075">75</a>).</p>
+
+<p><a href="rimsky2.html#No_182">No. 182</a>-<a href="rimsky2.html#No_186">186</a>. <i>Tsar Saltan</i> <span class="box">14</span>, <span class="box">17</span>, <span class="box">26</span>, <span class="box">28</span>, <span class="box">34</span>.</p>
+
+<p><a href="rimsky2.html#No_187">No. 187</a>-<a href="rimsky2.html#No_189">189</a>.<span style="margin-left: 1em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.6em;"><span class="box">181</span>, <span class="box">246</span>, <span class="box">220</span>.</span></p>
+
+<p>* <a href="rimsky2.html#No_190">No. 190</a>-<a href="rimsky2.html#No_191">191</a>. <i>Ivan the Terrible</i>, Overture <span class="box">5</span> and <span class="box">12</span>.</p>
+
+<p><span class="pagenum"><a name="Page_101" id="Page_101">-101-</a></span></p><p><i>Spanish Capriccio</i>&mdash;compare 1<span class="super">st</span> and 3<span class="super">rd</span> movement.</p>
+
+<p>
+* <a href="rimsky2.html#No_192">No. 192</a>-<a href="rimsky2.html#No_195">195</a>. <i>Shéhérazade</i>, 1<span class="super">st</span> movement&mdash;beginning of the
+<i>allegro</i> <span class="box">A</span>, <span class="box">E</span>, <span class="box">M</span>.</p>
+
+<p><span style="margin-left: 8.5em;">"</span> <span style="margin-left: 3em;">3<span class="super">rd</span> movement&mdash;beginning <span class="box">A</span>, <span class="box">I</span>.</span></p>
+
+<p><span style="margin-left: 8.5em;">"</span> <span style="margin-left: 3em;">3<span class="super">rd</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 2.8em;"><span class="box">E</span>, <span class="box">G</span>, <span class="box">O</span>.</span></span></p>
+
+<p>* <a href="rimsky2.html#No_196">No. 196</a>-<a href="rimsky2.html#No_198">198</a>. <i>Legend of Kitesh</i> <span class="box">55</span>, <span class="box">56</span>, <span class="box">62</span>.</p>
+
+<p>* <a href="rimsky2.html#No_199">No. 199</a>-<a href="rimsky2.html#No_201">201</a>.<span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.2em;"><span class="box">68</span>, <span class="box">70</span>, <span class="box">84</span>.</span></p>
+
+<p>(Cf. also <a href="rimsky2.html#No_213">Ex. 213</a>, <a href="rimsky2.html#No_214">214</a>. <i>Legend of Kitesh</i> <span class="box">294</span> and <span class="box">312</span>.)</p>
+
+<p>* <a href="rimsky2.html#No_202">No. 202</a>-<a href="rimsky2.html#No_203">203</a>. <i>The Golden Cockerel</i> <span class="box">229</span>, <span class="box">233</span>.</p>
+
+<p class="tp">The process of scoring the same or similar ideas in different ways is
+the source of numerous musical operations, <i>crescendo</i>, <i>diminuendo</i>,
+interchange of tone qualities, variation of tone colour etc., and
+incidentally throws new light upon the fundamental composition of the
+orchestra.</p>
+
+
+<h2>Full <i>Tutti</i>.</h2>
+
+<p>The word <i>tutti</i> generally means the simultaneous use of all
+instruments, but the word "all" is used relatively, and it must not be
+inferred that every single instrument must necessarily be employed to
+form a <i>tutti</i>. In order to simplify the following illustrations I
+will divide the word into two classes, <i>full tutti</i> and <i>partial
+tutti</i>,&mdash;independently of whether the orchestra is constructed in
+pairs, in three's, or a larger number of instruments. I call <i>full
+tutti</i> the combination of all melodic groups, strings, wind, and
+brass. By <i>partial tutti</i> I mean passages in which the brass group
+only takes part, whether two horns or two trumpets participate alone,
+or whether two horns are combined with one or three trombones, without
+tuba, trumpets, or the two remaining horns, etc.:</p>
+
+<table style="width: 50%" border="0" cellpadding="1" cellspacing="0" summary="horns">
+<tr>
+<td rowspan="3" class="vat"><span class="xxxlg">[</span></td>
+<td class="center">4 Horns,</td>
+<td class="center">2 Horns</td>
+<td class="center">2 Horns</td>
+<td>&nbsp;</td>
+<td rowspan="3" style="vertical-align: top" class="right"><span class="xxxlg">]</span>.</td>
+</tr>
+<tr>
+<td class="center">. . . .</td>
+<td class="center">or 2 Trumpets, or</td>
+<td class="center">. . . . . .</td>
+<td class="center">etc.</td>
+</tr>
+<tr>
+<td class="center">. . . .</td>
+<td class="center">. . . . . .</td>
+<td class="center">3 Trombones</td>
+<td>&nbsp;</td>
+</tr>
+</table>
+
+<p>In both species of <i>tutti</i> full wood-wind may be employed or not,
+according to the register and musical context of the passage. For
+instance, in the extreme high register it may be essential to include
+the piccolo; in the low register flutes will be unnecessary, and yet
+the passage can still be called <i>tutti</i>. The inclusion of
+kettle-drums, harp, and other instruments of little sustaining power,
+as of the percussion in general, does not come under discussion.<span class="pagenum"><a name="Page_102" id="Page_102">-102-</a></span></p>
+
+<p>The variety of orchestral operations increases with the number of
+instruments forming a <i>tutti</i>, in fact, so great does it become that
+it is impossible to consider all combinations. I can only give a few
+examples of full and partial <i>tutti</i>, and leave the reader to draw his
+own conclusions. Some of these examples fall under the double heading
+of full and partial <i>tutti</i>, and the student is reminded that the
+<i>tutti</i> is used essentially in <i>forte</i> and <i>fortissimo</i>, rarely in
+<i>pianissimo</i> and <i>piano</i> passages.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">61</span> and <span class="box">62</span>&mdash;Partial and full <i>Tutti</i>.</p>
+
+<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.8em;"><span class="box">231</span> Partial <i>Tutti</i>, without the trumpets (cf. <a href="rimsky2.html#No_008">Ex. 8</a>).</span></p>
+
+<p><a href="rimsky2.html#No_204">No. 204.</a> <i>Snegourotchka</i> <span class="box">216</span>&mdash;Full <i>Tutti</i>.</p>
+
+<p><span style="margin-left: 6.5em;">"</span> <span style="margin-left: 3em;"><span class="box">325-326</span>&mdash;Full <i>Tutti</i> and chorus (cf. <a href="rimsky2.html#No_008">Ex. 8</a>).</span></p>
+
+<p><i>Sadko</i> <span class="box">3</span>, <span class="box">223</span>, <span class="box">239</span>&mdash;Full <i>Tutti</i> (cf. <a href="rimsky2.html#No_086">Ex. 86</a>).</p>
+
+<p><a href="rimsky2.html#No_205">No. 205</a>-<a href="rimsky2.html#No_206">206</a>. <i>Sadko</i> <span class="box">173</span>, <span class="box">177</span>&mdash;Full <i>Tutti</i> with chorus,
+differently scored.</p>
+
+<p><a href="rimsky2.html#No_207">No. 207</a>-<a href="rimsky2.html#No_208">208</a>. <i>The Christmas Night</i> <span class="box">184</span> and <span class="box">186</span>&mdash;Full <i>Tutti</i>,
+orchestrated in different ways, with and without chorus.</p>
+
+<p>* <i>The Tsar's Bride</i>, Overture <span class="box">1</span>, <span class="box">2</span>, <span class="box">7</span>&mdash;Full and partial <i>Tutti</i>
+(cf. <a href="rimsky2.html#No_179">Ex. 179</a>-<a href="rimsky2.html#No_181">181</a>).</p>
+
+<p>* <span style="margin-left: .5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 1.5em;"><span class="box">141</span>&mdash;Full <i>Tutti</i>.</span></p>
+
+<p>* <span style="margin-left: .5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 1.5em;"><span class="box">177</span>&mdash;</span> <span style="margin-left: .5em;">"</span><span style="margin-left: 2em;">"</span></p>
+
+<p><i>Pan Voyevoda</i> <span class="box">186</span> and <span class="box">188</span> Full <i>Tutti</i>.</p>
+
+<p>* <i>Antar</i> <span class="box">65</span>&mdash;(cf. <a href="rimsky2.html#No_032">Ex. 32</a>).</p>
+
+<p>* <a href="rimsky2.html#No_209">No. 209.</a> <i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">M</span>; cf. also 1<span class="super">st</span>
+movement <span class="box">A</span>, <span class="box">E</span>, <span class="box">H</span>; 2<span class="super">nd</span> movement <span class="box">K</span>, <span class="box">P</span>, <span class="box">R</span>;
+3<span class="super">rd</span> movement <span class="box">G</span>, <span class="box">O</span>; 4<span class="super">th</span> movement <span class="box">G</span>, <span class="box">P</span>, <span class="box">W</span> and
+further on to <span class="box">Y</span> (<a href="rimsky2.html#No_193">No. 193</a>, <a href="rimsky2.html#No_194">194</a>, <a href="rimsky2.html#No_019">19</a>, <a href="rimsky2.html#No_066">66</a>, <a href="rimsky2.html#No_077">77</a>).</p>
+
+<p>* <i>Spanish Capriccio</i> <span class="box">B</span>, <span class="box">F</span>, <span class="box">J</span>, <span class="box">P</span>, <span class="box">V</span>, <span class="box">X-Z</span>
+(cf. <a href="rimsky2.html#No_003">Ex. 3</a>).</p>
+
+<p>* <i>Russian Easter Fête</i> <span class="box">F</span>, <span class="box">J</span>, before <span class="box">L</span>, <span class="box">Y</span>, up to the
+end.</p>
+
+<p>* <i>3<span class="super">rd</span> Symphony</i>, 1<span class="super">st</span> movement <span class="box">D</span>, <span class="box">R-T</span>, <span class="box">X</span>; 2<span class="super">nd</span>
+movement <span class="box">A</span>, <span class="box">E</span>; 4<span class="super">th</span> movement <span class="box">A</span>, <span class="box">H</span>, <span class="box">S</span>.</p>
+
+<p>* <i>Sadko</i>, Symphonic tableau <span class="box">20-24</span>.</p>
+
+<p>* <i>Mlada</i>, Act III <span class="box">12</span> (cf. <a href="rimsky2.html#No_258">Ex. 258</a>).</p>
+
+<p>* For examples of <i>Tutti</i> chords, see special <a href="rimsky2.html#APPENDIX">Tables</a> at the end of
+<a href="rimsky2.html">Vol. II</a>.<span class="pagenum"><a name="Page_103" id="Page_103">-103-</a></span></p>
+
+
+<h2><i>Tutti</i> in the wind.</h2>
+
+<p>In many cases the wood-wind and brass groups can form a <i>tutti</i> by
+themselves for periods of varying length. Sometimes this is effected
+by the wood-wind alone, but more frequently with the support of horns.
+At other times the horns are found alone without the wood-wind, and,
+lastly, a <i>tutti</i> may be comprised of instruments of each group in
+varying numbers. The addition of kettle-drums and the rest of the
+percussion is quite common and constitutes what the Germans call
+"Janitscharenmusik", or Turkish infantry music. Violoncellos and
+double basses playing more or less important <i>pizz.</i> notes are often
+added to wood-wind instruments (<i>tutti</i>), likewise the remainder of
+the strings and the harps; this process renders the sustained notes in
+the wood-wind more distinct. <i>Tutti</i> passages in wood-wind and horns
+do not produce any great amount of power in <i>forte</i> passages, but, on
+the other hand <i>tutti</i> in the brass groups alone may attain an
+extraordinary volume of tone. In the following examples the formation
+of pedal notes by strings or wood-wind in no way alters the general
+character of the <i>Tutti</i>:</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_210">No. 210</a>-<a href="rimsky2.html#No_211">211</a>. <i>Snegourotchka</i> <span class="box">149</span>, <span class="box">151</span> (compare).</p>
+
+<p><i>Tsar Saltan</i> <span class="box">14</span>, <span class="box">17</span>, <span class="box">26</span> (cf. <a href="rimsky2.html#No_182">Ex. 182</a>-<a href="rimsky2.html#No_184">184</a>).</p>
+
+<p><i>Pan Voyevoda</i> <span class="box">57</span>, <span class="box">186</span>, <span class="box">262</span>.</p>
+
+<p><a href="rimsky2.html#No_212">No. 212.</a> <i>Ivan the Terrible</i>, Act II <span class="box">19</span>; cf. also Act. III <span class="box">5</span>.</p>
+
+<p>* <a href="rimsky2.html#No_213">No. 213</a>-<a href="rimsky2.html#No_214">214</a>. <i>Legend of Kitesh</i> <span class="box">294</span>, <span class="box">312</span> (compare).</p>
+
+<p>* <a href="rimsky2.html#No_215">No. 215.</a> <i>The Golden Cockerel</i> <span class="box">116</span>; cf. also <span class="box">82</span> and <span class="box">84</span>.</p>
+
+<p>* <i>Antar</i> <span class="box">37</span> (cf. <a href="rimsky2.html#No_065">Ex. 65</a>).</p>
+
+
+<h2><i>Tutti pizzicato.</i></h2>
+
+<p>The quartet of strings (<i>pizzicato</i>), reinforced occasionally by the
+harp and piano, may, in certain cases constitute a particular kind of
+<i>tutti</i>, which can only attain any great degree of strength by support
+from the wood-wind. Without this support it is of medium power, though
+still fairly brilliant in quality.<span class="pagenum"><a name="Page_104" id="Page_104">-104-</a></span></p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_216">No. 216.</a> <i>Snegourotchka</i>, before <span class="box">128</span>; cf. also <span class="box">153</span> and before
+<span class="box">305</span>.</p>
+
+<p>* <a href="rimsky2.html#No_217">No. 217.</a> <i>Russian Easter Fête</i> <span class="box">K</span>; cf. also <span class="box">U</span> and <span class="box">V</span>.</p>
+
+<p>* <i>Spanish Capriccio</i> <span class="box">A</span>, <span class="box">C</span>, before <span class="box">S</span>, before <span class="box">P</span>; cf.
+also <span class="box">O</span> (<a href="rimsky2.html#No_056">Ex. 56</a>).</p>
+
+<p><i>Mlada</i>, Act II <span class="box">15</span>.</p>
+
+<p>* <i>Sadko</i>: <span class="box">220</span> (cf. <a href="rimsky2.html#No_295">Ex. 295</a>).</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">101</span>.</p>
+
+<p>* <a href="rimsky2.html#No_218">No. 218.</a> <i>The May Night</i>, Act I, The Mayor's Song&mdash;combination of
+strings, <i>arco</i> and <i>pizz.</i></p>
+
+
+<h2><i>Tutti</i> in one, two and three parts.</h2>
+
+<p>It often happens that a moderately full orchestral <i>ensemble</i> executes
+a passage composed of one or two harmonic parts, in unison or in
+octaves. Such melodic phrases call for more or less simple
+orchestration with the usual doubling of parts, or, in ornamental
+writing, admit of contrast in tone colouring, occasionally with the
+addition of sustained notes.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i>, before <span class="box">152</span>, <span class="box">174</span>, <span class="box">176</span>.</p>
+
+<p><i>The Tsar's Bride</i> <span class="box">120-121</span> (cf. <a href="rimsky2.html#No_063">Ex. 63</a>).</p>
+
+<p><i>The Golden Cockerel</i> <span class="box">215</span>.</p>
+
+<p>* <a href="rimsky2.html#No_219">No. 219</a>-<a href="rimsky2.html#No_221">221</a>. <i>Legend of Kitesh</i> <span class="box">142</span>, <span class="box">144</span>, <span class="box">147</span>&mdash;3 part
+<i>Tutti</i>, with different scoring.</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">138</span>, <span class="box">139</span>&mdash;<i>Tutti</i> in one part.</p>
+
+
+<h2><i>Soli</i> in the strings.</h2>
+
+<p>Although, in any orchestral piece, numerous instances are to be found
+of melodies and phrases entrusted to a solo wind instrument (generally
+the first of each group, wood-wind or brass), solos for stringed
+instruments, on the other hand, are extremely rare. Whilst the 1<span class="super">st</span>
+violin and 1<span class="super">st</span> 'cello are fairly frequently used in this manner,
+the solo viola is seldom found, and a solo on the double bass is
+practically unknown. Phrases demanding particular individuality<span class="pagenum"><a name="Page_105" id="Page_105">-105-</a></span> of
+expression are entrusted to solo instruments; likewise passages that
+require extraordinary technique, beyond the scope of the orchestral
+rank and file. The comparatively weak tone of the solo instrument
+necessitates light, transparent accompaniment. Difficult virtuoso
+solos should not be written, as they attract too much attention to a
+particular instrument. Solo stringed instruments are also used when
+vigourous expression and technical facility are not required, but
+simply in order to obtain that singular difference in colour which
+exists between a solo stringed instrument and strings in unison. Two
+solo instruments can be coupled together, e.g. 2 <i>Violins soli</i>, etc.
+and in very rare cases a quartet of solo strings may be employed.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i><span class="u">Violin solo:</span></i></p>
+
+<p><a href="rimsky2.html#No_222">No. 222</a>-<a href="rimsky2.html#No_223">223</a>. <i>Snegourotchka</i> <span class="box">54</span>, <span class="box">275</span>.</p>
+
+<p><i>The May Night</i>, pp. 64-78.</p>
+
+<p><i>Mlada</i>, Act I <span class="box">52</span>; Act III, before <span class="box">19</span>.</p>
+
+<p>* <i>A Fairy Tale</i> <span class="box">W</span>.</p>
+
+<p>* <i>Shéhérazade</i>, 1<span class="super">st</span> movement <span class="box">C</span>, <span class="box">G</span>; also the passages at
+the start of each movement.</p>
+
+<p>* <i>Spanish Capriccio</i> <span class="box">H</span>, <span class="box">K</span>, <span class="box">R</span>, and the cadence on p. 38.</p>
+
+<p>* <a href="rimsky2.html#No_224">No. 224.</a> <i>Legend of Kitesh</i> <span class="box">310</span>&mdash;Vn. solo, on harmonic basis of
+strings <i>sul ponticello</i> and wood-wind.</p>
+
+<p><i>Snegourotchka</i> <span class="box">274</span>, <span class="box">279</span>&mdash;2 Vn<span class="super">s</span> soli (cf. <a href="rimsky2.html#No_009">Ex. 9</a>).</p>
+
+<p class="tp"><i><span class="u">Viola solo:</span></i></p>
+
+<p><a href="rimsky2.html#No_225">No. 225.</a> <i>Snegourotchka</i> <span class="box">212</span>.</p>
+
+<p><i>Sadko</i> <span class="box">137</span>.</p>
+
+<p>* <a href="rimsky2.html#No_226">No. 226.</a> <i>The Golden Cockerel</i> <span class="box">163</span>; cf. also <span class="box">174</span>, <span class="box">177</span>.</p>
+
+<p class="tp"><i><span class="u">Violoncello solo:</span></i></p>
+
+<p><i>Snegourotchka</i> <span class="box">187</span> (cf. <a href="rimsky2.html#No_102">Ex. 102</a>).</p>
+
+<p><i>The Christmas Night</i>, before <span class="box">29</span>, <span class="box">130</span>.</p>
+
+<p><i>Mlada</i>, Act III <span class="box">36</span>.</p>
+
+<p>* <i>The Golden Cockerel</i> <span class="box">177</span>, <span class="box">180</span> (cf. <a href="rimsky2.html#No_229">Ex. 229</a>).<span class="pagenum"><a name="Page_106" id="Page_106">-106-</a></span></p>
+
+<p class="tp"><i><span class="u">Double bass solo:</span></i></p>
+
+<p>* <a href="rimsky2.html#No_227">No. 227.</a> <i>Mlada</i>, Act II <span class="box">10-12</span>&mdash;a special instance where the
+first string is tuned down.</p>
+
+<p class="tp"><i><span class="u">Solo quartet:</span></i></p>
+
+<p><i>The Christmas Night</i> <span class="box">222</span>&mdash;Vn., Viola, 'Cello, D. bass.</p>
+
+<p>* <a href="rimsky2.html#No_228">No. 228.</a> <i>Tsar Saltan</i> <span class="box">248</span>&mdash;Vn. I, Vn. II, Viola, 'Cello.</p>
+
+<p>* The case of a solo stringed instrument doubled by the wood-wind in
+unison must not be forgotten. The object is to attain great purity and
+abundance of tone, without impairing the timbre of the solo instrument
+(especially in the high and low registers), or to produce a certain
+highly-coloured effect.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <i>Mlada</i>, Act II <span class="box">52</span>&mdash;Vn. <span class="lg">+</span> Fl.; Act IV <span class="box">31</span>&mdash;Viol. <span class="lg">+</span> Fl. <span class="lg">+</span>
+Harp.</p>
+
+<p>* <i>The Christmas Night</i> <span class="box">212</span>&mdash;2 Vn<span class="super">s</span> <span class="lg">+</span> Fl. <span class="lg">+</span> Small Cl.
+(cf. <a href="rimsky2.html#No_153">Ex. 153</a>).</p>
+
+<p>* <i>Pan Voyevoda</i> <span class="box">67</span>&mdash;2 Vn<span class="super">s</span> <span class="lg">+</span> 2 Ob.; 2 Violas <span class="lg">+</span> 2 Cl.</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">306</span>&mdash;Bass cl. <span class="lg">+</span> C-fag. (cf. <a href="rimsky2.html#No_010">Ex. 10</a>).</p>
+
+<p><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.2em;"><span class="box">309</span>&mdash;Vn. <span class="lg">+</span> Fl.</span></p>
+
+<p>* <a href="rimsky2.html#No_229">No. 229.</a> <i>The Golden Cockerel</i> <span class="box">179</span>&mdash;Vn. <span class="lg">+</span> Picc.; 'Cello <span class="lg">+</span> Bass
+cl.</p>
+
+<p>* As shown in <a href="#Chapter_II">Chap. II</a>, 2 Vn<span class="super">s</span> soli or Violin solo <span class="lg">+</span> Fl. (Picc.) are
+often sufficient to double a melody in the upper register.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Sadko</i> <span class="box">207</span>&mdash;cf. <a href="#Chapter_II">Chap. II</a>, <a href="#Page_42">p. 42</a> and <a href="rimsky2.html#No_024">Ex. 24</a>.</p>
+
+<p>* <a href="rimsky2.html#No_230">No. 230.</a> <i>Russian Easter Fête</i>, p. 32&mdash;2 Solo violins (in
+harmonics).</p>
+
+<p>* <a href="rimsky2.html#No_231">No. 231.</a> <i>Legend of Kitesh</i> <span class="box">297</span>&mdash;2 Solo violins <span class="lg">+</span> Picc.</p>
+
+
+<h2>Limits of orchestral range.</h2>
+
+<p>It is seldom that the entire orchestral conception is centred in the
+upper register of the orchestra (the 5<span class="super">th</span> and 6<span class="super">th</span> octaves), still
+more rarely is it focussed wholly in the lowest range (octaves 1 and
+-1) where the proximity of harmonic intervals creates a bad effect. In
+the first case the flutes and piccolo should be used along with the
+upper notes of the violins, <i>soli</i> or <i>divisi</i>; in the second<span class="pagenum"><a name="Page_107" id="Page_107">-107-</a></span> case
+the double bassoon and the low notes of the bassoons, bass clarinet,
+horns, trombones and tuba are brought into play. The first method
+gives brilliant colour, the second combination is dark and gloomy. The
+contrary would be fundamentally impossible.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<table style="width: 90%" border="0" cellpadding="3" cellspacing="0" summary="examples">
+<tr>
+<td><i>Pan Voyevoda</i> <span class="box">122</span>, <span class="box">137</span></td>
+<td rowspan="3" class="right"><span class="xxxlg">}</span></td>
+<td rowspan="3" class="center">low<br />register.</td>
+</tr>
+<tr>
+<td><i>Servilia</i> <span class="box">168</span>, 8<span class="super">th</span> bar. (cf. <a href="rimsky2.html#No_062">Ex. 62</a>)</td>
+</tr>
+<tr>
+<td><a href="rimsky2.html#No_232">No. 232.</a> <i>The Golden Cockerel</i> <span class="box">220</span>; cf. also <span class="box">218</span>, <span class="box">219</span></td>
+</tr>
+</table>
+
+<table style="width: 90%; padding-top: 1em" border="0" cellpadding="3" cellspacing="0" summary="examples">
+<tr>
+<td>* <i>Snegourotchka</i>, before <span class="box">25</span></td>
+<td rowspan="4" class="right"><span class="xxxlg">}</span></td>
+<td rowspan="4" class="center">high<br />register.</td>
+</tr>
+<tr>
+<td>* <i>Legend of Kitesh</i>, before <span class="box">34</span></td>
+</tr>
+<tr>
+<td>* <a href="rimsky2.html#No_233">No. 233.</a> <i>The Golden Cockerel</i> <span class="box">113</span>, <span class="box">117</span></td>
+</tr>
+<tr>
+<td>* <a href="rimsky2.html#No_234">No. 234.</a> <i>Shéhérazade</i>, 2<span class="super">nd</span> movement pp. 59-62</td>
+</tr>
+</table>
+
+<p class="tp">The upper and lower parts of a passage can seldom be widely separated
+without the intermediate octaves being filled in, for this is contrary
+to the first principles of proper distribution of chords. Nevertheless
+the unusual resonance thus produced serves for strange and grotesque
+effects. In the first of the following examples the piccolo figure
+doubled by the harp and the sparkling notes of the <i>glockenspiel</i> is
+set about four octaves apart from the bass, which is assigned to a
+single Double bass and Tuba. But in the 3<span class="super">rd</span> octave, the augmented
+fourths and diminished fifths in the two flutes help to fill up the
+intermediate space and lessen the distance between the two extreme
+parts, thus forming some sort of link between them. The general effect
+is fanciful.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_235">No. 235.</a> <i>Snegourotchka</i> <span class="box">255</span>.</p>
+
+<p>* <a href="rimsky2.html#No_236">No. 236.</a> <span style="margin-left: 2em;">"</span> <span style="margin-left: 3em;"><span class="box">315</span>, 5<span class="super">th</span> and 6<span class="super">th</span> bars.</span></p>
+
+<p><span style="margin-left: 6.5em;">"</span> <span style="margin-left: 3em;"><span class="box">274</span> (cf. <a href="rimsky2.html#No_009">Ex. 9</a>).</span></p>
+
+<p><i>A Fairy Tale</i> <span class="box">A</span>.</p>
+
+<p><i>The Golden Cockerel</i> <span class="box">179</span>, 9<span class="super">th</span> bar. (cf. <a href="rimsky2.html#No_229">Ex. 229</a>).</p>
+
+
+<h2>Transference of passages and phrases.</h2>
+
+<p>A phrase or a figure is often transferred from one instrument to
+another. In order to connect the phrases on each instrument in<span class="pagenum"><a name="Page_108" id="Page_108">-108-</a></span> the
+best possible way, the last note of each part is made to coincide with
+the first note of the following one. This method is used for passages
+the range of which is too wide to be performed on any one instrument,
+or when it is desired to divide a phrase into two different timbres.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <i>Snegourotchka</i> <span class="box">137</span>&mdash;The melody is transferred from the violins
+to the flute and clarinet (cf. <a href="rimsky2.html#No_028">Ex. 28</a>).</p>
+
+<p>* <span style="margin-left: 3em;">"</span> <span style="margin-left: 3em;">before <span class="box">191</span>&mdash;Solo violin&mdash;Solo 'cello.</span></p>
+
+<p><i>Pan Voyevoda</i> <span class="box">57</span>&mdash;Trombones&mdash;Trumpets; Horn&mdash;Ob. <span class="lg">+</span> Cl.</p>
+
+<p class="tp">A similar operation is used in scoring passages covering the entire
+orchestral scale, or a great portion of it. When one instrument is on
+the point of completing its allotted part, another instrument takes up
+the passage, starting on one or two notes common to both parts, and so
+on. This division must be carried out to ensure the balance of the
+whole passage.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">36</span>, <span class="box">38</span>, <span class="box">131</span>&mdash;Strings.</p>
+
+<p><i>The Tsar's Bride</i> <span class="box">190</span>&mdash;Wood-wind.</p>
+
+<p><i>Sadko</i> <span class="box">72</span>&mdash;Strings (cf. <a href="rimsky2.html#No_112">Ex. 112</a>).</p>
+
+<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.2em;"><span class="box">223</span>&mdash;Strings.</span></p>
+
+<p><i>The Christmas Night</i>, before <span class="box">180</span>&mdash;Strings, wind and chorus
+(cf. <a href="rimsky2.html#No_132">Ex. 132</a>).</p>
+
+<p>* <a href="rimsky2.html#No_237">No. 237.</a> <i>The Christmas Night</i>, before <span class="box">181</span>&mdash;String figure.</p>
+
+<p>* <i>Servilia</i> <span class="box">111</span>&mdash;Strings (cf. <a href="rimsky2.html#No_088">Ex. 88</a>).</p>
+
+<p><span style="margin-left: 2em;">"</span> <span style="margin-left: 1.5em;"><span class="box">29</span>, 5<span class="super">th</span> bar.&mdash;Ob.&mdash;Fl.; Cl.&mdash;Bass cl., Fag.</span></p>
+
+<p><a href="rimsky2.html#No_238">No. 238.</a> <i>The Golden Cockerel</i>, before <span class="box">9</span>&mdash;Wood-wind.</p>
+
+<p>* <span style="margin-left: 3.5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 3.5em;">"</span> <span style="margin-left: 2em;"><span class="box">5</span>&mdash;Fag.&mdash;Eng. horn (<span class="lg">+</span> 'Cellos <i>pizz.</i>).</span></p>
+
+
+<h2>Chords of different tone quality used alternately.</h2>
+
+<p>1. The most usual practice is to employ chords on different groups of
+instruments alternately. In dealing with chords in different registers
+care should be taken that the progression of parts, though broken in
+passing from one group to another, remains as regular<span class="pagenum"><a name="Page_109" id="Page_109">-109-</a></span> as if there
+were no leap from octave to octave; this applies specially to
+chromatic passages in order to avoid false relation.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_239">No. 239.</a> <i>Ivan the Terrible</i>, Act II <span class="box">29</span>.</p>
+
+<p><a href="rimsky2.html#No_240">No. 240</a>-<a href="rimsky2.html#No_241">241</a>. <i>The Tsar's Bride</i> <span class="box">123</span>, before <span class="box">124</span>.</p>
+
+<p>* <a href="rimsky2.html#No_242">No. 242</a>-<a href="rimsky2.html#No_243">243</a>. "<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.5em;">"</span> <span style="margin-left: 1em;"><span class="box">178</span>, <span class="box">179</span>.</span></p>
+
+<div class="blockquot">
+<p class="tp">* <i>Note.</i> The rules regulating progression of parts may
+sometimes be ignored, when extreme contrast of timbre
+between two adjacent chords is intended.</p>
+
+<p class="center"><i>Examples:</i></p>
+
+<p>* <i>Shéhérazade</i>, 8<span class="super">th</span> bar from the beginning, (the
+chromatic progression at the 12<span class="super">th</span> bar is undertaken by
+the same instruments, the 2<span class="super">nd</span> cl. is therefore placed
+above the first in the opening)&mdash;cf. <a href="rimsky2.html#No_109">Ex. 109</a>.</p>
+
+<p>* <i>The Christmas Night</i>, opening (cf. <a href="rimsky2.html#No_106">Ex. 106</a>).</p>
+</div>
+
+<p class="tp">2. Another excellent method consists in transferring <i>the same chord
+or its inversion</i> from one orchestral group to another. This operation
+demands perfect balance in progression of parts as well as register.
+The first group strikes a chord of short value, the other group takes
+possession of it simultaneously in the same position and distribution,
+either in the same octave or in another. The dynamic gradations of
+tone need not necessarily be the same in both groups.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Ivan the Terrible</i>, commencement of the overture (cf. <a href="rimsky2.html#No_085">Ex. 85</a>).</p>
+
+<p><a href="rimsky2.html#No_244">No. 244.</a> <i>Snegourotchka</i> <span class="box">140</span>.</p>
+
+
+<h2>Amplification and elimination of tone qualities.</h2>
+
+<p>The operation which consists in contrasting the resonance of two
+different groups (* or the different timbres of one and the same
+group), either in sustained notes or chords, transforms a simple into
+a complex timbre, suddenly, or by degrees. It is used in establishing
+a <i>crescendo</i>. While the first group effects the <i>crescendo</i>
+gradually, the second group enters <i>piano</i> or <i>pianissimo</i>, and
+attains its <i>crescendo</i> more rapidly. The whole process is thereby
+rendered more tense as the timbre changes. The converse operation&mdash;the
+transition from a complex to a simple timbre, by the suppression of
+one of the groups, belongs essentially to the <i>diminuendo</i>.<span class="pagenum"><a name="Page_110" id="Page_110">-110-</a></span></p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_245">No. 245.</a> <i>Snegourotchka</i> <span class="box">313</span>.</p>
+
+<p><span style="margin-left: 6.5em;">"</span> <span style="margin-left: 3em;"><span class="box">140</span> (cf. <a href="rimsky2.html#No_244">Ex. 244</a>).</span></p>
+
+<p><i>A Fairy Tale</i> <span class="box">V</span>.</p>
+
+<p><i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">D</span> (cf. <a href="rimsky2.html#No_074">Ex. 74</a>).</p>
+
+<p>* <span style="margin-left: 1.5em;">"</span> <span style="margin-left: 2.7em;">4<span class="super">th</span> movement p. 221.</span></p>
+
+<p><a href="rimsky2.html#No_246">No. 246.</a> <i>Servilia</i> <span class="box">228</span>; cf. also <span class="box">44</span>.</p>
+
+<p><i>The Christmas Night</i> <span class="box">165</span> (cf. <a href="rimsky2.html#No_143">Ex. 143</a>).</p>
+
+<p><a href="rimsky2.html#No_247">No. 247.</a> <i>The Tsar's Bride</i>, before <span class="box">205</span>.</p>
+
+<p>* <a href="rimsky2.html#No_248">No. 248.</a> <i>Russian Easter Fête</i> <span class="box">D</span>.</p>
+
+<p>* <a href="rimsky2.html#No_249">No. 249</a>-<a href="rimsky2.html#No_250">250</a>. <i>Legend of Kitesh</i> <span class="box">5</span>, <span class="box">162</span>.</p>
+
+
+<h2>Repetition of phrases, imitation, echo.</h2>
+
+<p>As regards choice of timbre, phrases in imitation are subject to the
+law of register. When a phrase is imitated in the upper register it
+should be given to an instrument of higher range and <i>vice versa</i>. If
+this rule is ignored an unnatural effect will be produced, as when the
+clarinet in its upper range replies to the oboe in the lower compass
+etc. The same rule must be followed in dealing with phrases, actually
+different, but similar in character; repeated phrases of different
+character should be scored in a manner most suitable to each.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>The Tsar's Bride</i> <span class="box">157</span>, <span class="box">161</span>.</p>
+
+<p><i>Legend of Kitesh</i> <span class="box">40-41</span>.</p>
+
+<p>* <a href="rimsky2.html#No_251">No. 251.</a> <i>Spanish Capriccio</i> <span class="box">S</span>.</p>
+
+<p class="tp">In echo phrases, that is to say imitation entailing not only decrease
+in volume of tone but also an effect of distance, the second
+instrument should be weaker than the first, but the two should possess
+some sort of affinity. An echo given to muted brass following the same
+phrase not muted produces this distant effect. Muted trumpets are
+eminently suited to echo a theme in the oboes; flutes also may imitate
+clarinets and oboes successfully. A wood-wind instrument cannot be
+used to echo the strings, or<span class="pagenum"><a name="Page_111" id="Page_111">-111-</a></span> <i>vice versa</i>, on account of the
+dissimilarity in timbre. Imitation in octaves (with a decrease in
+resonance) creates an effect resembling an echo.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Ivan the Terrible</i>, Act III <span class="box">3</span>.</p>
+
+<p><a href="rimsky2.html#No_252">No. 252.</a> <i>Sadko</i> <span class="box">264</span>.</p>
+
+<p>* <i>Spanish Capriccio</i> <span class="box">E</span>.&mdash;This example is not precisely an echo
+but resembles one in character (cf. <a href="rimsky2.html#No_044">Ex. 44</a>).</p>
+
+<p>* <i>Shéhérazade</i>, 4<span class="super">th</span> movement before <span class="box">O</span>.</p>
+
+
+<h2><i>Sforzando-piano</i> and <i>piano-sforzando</i> chords.</h2>
+
+<p>Besides the natural dynamic process of obtaining these marks of
+expression, a process which depends upon the player, they may also be
+produced by artificial means of orchestration.</p>
+
+<p>a) At the moment when the wood-wind begins a <i>piano</i> chord, the
+strings attack it <i>sforzando</i>, a compound chord for preference, either
+<i>arco</i> or <i>pizz.</i> In the opposite case the <i>sf</i> in the strings must
+occur at the end of the wood-wind chord. The first method is also
+employed for a <i>sf-dim.</i>, and the second for a <i>cresc.-sf</i> effect.</p>
+
+<p>b) It is not so effective, and therefore less frequent to give the
+notes of sustained value to the strings, and the short chords to the
+wood-wind. In such cases the <i>tenuto</i> chord is played <i>tremolando</i> on
+the strings.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Vera Scheloga</i>, before <span class="box">35</span>, <span class="box">38</span>, 10<span class="super">th</span> bar.</p>
+
+<p>* <a href="rimsky2.html#No_253">No. 253.</a> <i>Legend of Kitesh</i>, before <span class="box">15-16</span>.</p>
+
+<p>* <i>Shéhérazade</i>, 2<span class="super">nd</span> movement, <span class="box">P</span>, 14<span class="super">th</span> bar.</p>
+
+
+<h2>Method of emphasising certain notes and chords.</h2>
+
+<p>In order to stress or emphasise a certain note or chord, besides the
+marks of expression <img src="images1/decrescendo.jpg" width="40" height="12" alt="decrescendo" title="decrescendo" /> and <i>sf</i>, chords of 2,
+3, and 4 notes can be inserted into the melodic progression by the
+instruments of the string quartet, each playing a single note; short
+notes in the wood-wind may also be used as well as a chain of three
+or<span class="pagenum"><a name="Page_112" id="Page_112">-112-</a></span> four grace notes, in the form of a scale, either in strings or
+wood-wind. These unstressed notes (anacrusis), generally written very
+small, form a kind of upward glide, the downward direction being less
+common. As a rule they are connected to the main note by a slur. In
+the strings they should not lead up to chords of three or four notes,
+as this would be awkward for the bow.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_254">No. 254.</a> <i>The Tsar's Bride</i> <span class="box">142</span>&mdash;Anacrusis in the strings.</p>
+
+<p>* <a href="rimsky2.html#No_255">No. 255.</a> <i>Shéhérazade</i>, 2<span class="super">nd</span> movement <span class="box">C</span>&mdash;Short <i>pizz.</i> chords.</p>
+
+<p>* <span style="margin-left: 6em;">"</span><span style="margin-left: 3.5em;">"</span><span style="margin-left: 2.5em;">"</span> <span style="margin-left: 2em;"><span class="box">P</span>&mdash;Short wind chords (cf. <a href="rimsky2.html#No_019">Ex. 19</a>).</span></p>
+
+
+<h2><i>Crescendo</i> and <i>diminuendo</i>.</h2>
+
+<p>Short <i>crescendi</i> and <i>diminuendi</i> are generally produced by natural
+dynamic means; when prolonged, they are obtained by this method
+combined with other orchestral devices. After the strings, the brass
+is the group most facile in producing dynamic shades of expression,
+glorifying <i>crescendo</i> chords into the most brilliant <i>sforzando</i>
+climaxes. Clarinets specialise in <i>diminuendo</i> effects and are capable
+of decreasing their tone to a breath (<i>morendo</i>). Prolonged orchestral
+<i>crescendi</i> are obtained by the gradual addition of other instruments
+in the following order: strings, wood-wind, brass. <i>Diminuendo</i>
+effects are accomplished by the elimination of the instruments in the
+reverse order (brass, wood-wind, strings). The scope of this work does
+not lend itself to the quotation of prolonged <i>crescendo</i> and
+<i>diminuendo</i> passages. The reader is referred, therefore, to the full
+scores:</p>
+
+<p>* <i>Shéhérazade</i>, pp. 5-7, 92-96, 192-200.</p>
+
+<p>* <i>Antar</i> <span class="box">6</span>, <span class="box">51</span>.</p>
+
+<p>* <i>The Christmas Night</i> <span class="box">183</span>.</p>
+
+<p>* <i>Sadko</i> <span class="box">165-166</span>.</p>
+
+<p>* <i>The Tsar's Bride</i> <span class="box">80-81</span>.</p>
+
+<p>Many examples of shorter <i>crescendi</i> and <i>diminuendi</i> will be found in
+<a href="rimsky2.html">Vol. II</a>.<span class="pagenum"><a name="Page_113" id="Page_113">-113-</a></span></p>
+
+
+<h2>Diverging and converging progressions.</h2>
+
+<p>In the majority of cases, diverging and converging progressions simply
+consist in the gradual ascent of the three upper parts, with the bass
+descending. The distance separating the bass from the other parts is
+trifling at first, and grows by degrees. On the other hand, in
+converging progressions, the three upper parts, at first so far
+distant from the bass, gradually approach it. Sometimes these
+progressions involve an increase or a decrease in tone. The
+intermediate intervals are filled up by the introduction of fresh
+parts as the distance widens, so that the upper parts become doubled
+or trebled. In converging progressions the tripled and doubled parts
+are simplified, as the duplicating instruments cease to play.
+Moreover, if the harmony allows it, the group in the middle region
+which remains stationary is the group to be retained, or else the
+sustained note which guarantees unity in the operation. Below, the
+reader will find double examples of both descriptions. The first pair
+represents a diverging progression, 1. <i>piano</i>, in which the human
+voice takes part; 2. a purely orchestral <i>crescendo</i>. The second
+depicts two similar diverging progressions, firstly a gradual
+<i>crescendo</i>, secondly <i>dim.</i>, during which the strings become more and
+more divided as the wind instruments cease to play. <a href="rimsky2.html#No_258">Ex. 258</a>
+accompanies the apparition of Mlada, <a href="rimsky2.html#No_259">Ex. 259</a>, its disappearance. The
+atmosphere and colouring are weird and fanciful. The third pair of
+examples forms instances of converging progressions. In the first
+(<a href="rimsky2.html#No_260">Ex. 260</a>) Princess Volkhova relates the wonders of the sea. Then in the
+middle of a powerful orchestral <i>crescendo</i> the Sea-King appears
+(<a href="rimsky2.html#No_261">Ex. 261</a>). Both examples include a sustained stationary chord of the
+diminished seventh. The handling of such progressions requires the
+greatest care.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_256">No. 256</a>-<a href="rimsky2.html#No_257">257</a>. <i>The Tsar's Bride</i> <span class="box">102</span> and <span class="box">107</span>.</p>
+
+<p><a href="rimsky2.html#No_258">No. 258</a>-<a href="rimsky2.html#No_259">259</a>. <i>Mlada</i>, Act III <span class="box">12</span> and <span class="box">19</span>.</p>
+
+<p><a href="rimsky2.html#No_260">No. 260</a>-<a href="rimsky2.html#No_261">261</a>. <i>Sadko</i> <span class="box">105</span> and <span class="box">119</span>.</p>
+
+<p><i>Sadko</i> <span class="box">72</span> (cf. <a href="rimsky2.html#No_112">Ex. 112</a>).</p>
+
+<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.2em;">before <span class="box">315</span>.</span></p>
+
+<p><span class="pagenum"><a name="Page_114" id="Page_114">-114-</a></span></p>
+
+<p>* <i>The Christmas Night</i>, beginning (cf. <a href="rimsky2.html#No_106">Ex. 106</a>).</p>
+
+<p>* <a href="rimsky2.html#No_262">No. 262.</a> <i>Antar</i>, end of 3<span class="super">rd</span> movement.</p>
+
+<div class="blockquot">
+<p><i>Note.</i> A sustained note between the diverging parts does not always
+allow the empty space to be more completely filled up.</p>
+
+<p class="center"><i>Example:</i></p>
+
+<p><a href="rimsky2.html#No_263">No. 263.</a> <i>The Golden Cockerel</i>, before <span class="box">106</span>.</p>
+</div>
+
+
+<h2>Tone quality as a harmonic force.</h2>
+
+<h3>Harmonic basis.</h3>
+
+<p>Melodic design comprising notes foreign to the harmony, passing or
+grace notes, embellishments etc., does not permit that a florid
+outline should proceed at the same time with another one, reduced to
+essential and fundamental notes:</p>
+
+<p class="centertp"><img src="images1/melodic_design.png" width="471" height="128" alt="Melodic design. Fundamental notes." title="Melodic design. Fundamental notes." /></p>
+
+<p class="centerbp">[<a href="music1/melodicdesign.mid">Listen</a>]</p>
+
+<p>If, in the above example, the upper part is transposed an octave
+lower, the discordant effect produced by the contact of appoggiaturas
+and fundamental notes will be diminished; the quicker the passage is
+played the less harsh the effect will be, and <i>vice versa</i>. But it
+would be ill-advised to lay down any hard and fast rule as to the
+permissible length of these notes. There is no doubt that the harmonic
+notes, the thirds of the fundamental one (<i>E</i>) are more prominent from
+their proximity with the notes extraneous to the harmony. If the
+number of parts is increased (for instance, if the melodic figure is
+in thirds, sixths etc.), the question becomes still more complicated,
+since, to the original harmonic scheme, chords with different root
+bases are added, producing false relation.</p>
+
+<p>Nevertheless, for the solution of such problems, orchestration
+provides an element of the greatest importance: difference of timbres.
+The greater the dissimilarity in timbre between the harmonic basis on
+the one hand and the melodic design on the other, the less discordant
+the notes extraneous to the harmony<span class="pagenum"><a name="Page_115" id="Page_115">-115-</a></span> will sound. The best example of
+this is to be found between the human voice and the orchestra, next
+comes the difference of timbres between the groups of strings,
+wood-wind, plucked strings and percussion instruments. Less important
+differences occur between wood-wind and brass; in these two groups,
+therefore, the harmonic basis generally remains an octave removed from
+the melodic design, and should be of inferior dynamic power.</p>
+
+<p class="centertp"><i>Examples of harmonic basis in chords:</i></p>
+
+<p><a href="rimsky2.html#No_264">No. 264.</a> <i>Pan Voyevoda</i>, Introduction.</p>
+
+<p><i>Legend of Kitesh</i>, Introduction (cf. also <a href="rimsky2.html#No_125">Ex. 125</a> and <a href="rimsky2.html#No_140">140</a>).</p>
+
+<p>* <i>Mlada</i>, Act III <span class="box">10</span>.</p>
+
+<p class="tp">The harmonic basis may be ornamental in character, in which case it
+should move independently of the concurrent melodic design.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <a href="rimsky2.html#No_265">No. 265</a>-<a href="rimsky2.html#No_266">266</a>. <i>Tsar Saltan</i> <span class="box">103-104</span>, <span class="box">128</span>, <span class="box">149</span>,
+<span class="box">162-165</span> (cf. below).</p>
+
+<p class="tp">Chords the most widely opposed in character may be used on a simple,
+stationary harmonic basis, a basis, founded, for example, on the chord
+of the tonic or diminished seventh.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_267">No. 267.</a> <i>Legend of Kitesh</i> <span class="box">326-328</span>&mdash;Wood-wind and harps on a
+string basis.</p>
+
+<p><a href="rimsky2.html#No_268">No. 268</a>-<a href="rimsky2.html#No_269">269</a>. <i>Kashtcheï the Immortal</i> <span class="box">33</span>, <span class="box">43</span>.</p>
+
+<p><a href="rimsky2.html#No_270">No. 270.</a> <i>Mlada</i>, Act II, before <span class="box">17</span>, <span class="box">18</span>], <span class="box">20</span>.</p>
+
+<p><a href="rimsky2.html#No_271">No. 271.</a> <i>The Golden Cockerel</i> <span class="box">125</span>&mdash;Chords of the diminished
+seventh, on arpeggio basis (augmented fifth).</p>
+
+<p class="tp">The effect of alternating harmony produced between two melodic
+figures, e.g. one transmitting a note, held in abeyance, to the other,
+or the simultaneous progression of a figure in augmentation and
+diminution etc. becomes comprehensible and pleasant to the ear when
+the fundamental sustained harmony is different.<span class="pagenum"><a name="Page_116" id="Page_116">-116-</a></span></p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Legend of Kitesh</i> <span class="box">34</span>, <span class="box">36</span>, <span class="box">297</span> (cf. <a href="rimsky2.html#No_034">Ex. 34</a> and <a href="rimsky2.html#No_231">231</a>).</p>
+
+<p><a href="rimsky2.html#No_272">No. 272</a>-<a href="rimsky2.html#No_274">274</a>. <i>Tsar Saltan</i> <span class="box">104</span>, <span class="box">162-165</span> (cf. also
+<span class="box">147-148</span>).</p>
+
+<p>* <i>Russian Easter Fête</i>, before <span class="box">V</span>.</p>
+
+<p class="tp">The whole question as to what is allowed and what forbidden in the
+employment of notes extraneous to the harmony is one of the most
+difficult in the whole range of composition; the permissible length of
+such notes is in no way established. In absence of artistic feeling,
+the composer who relies entirely on the difference between two timbres
+will often find himself using the most painful discords. Innovations
+in this direction in the latest post-Wagnerian music are often very
+questionable; they depress the ear and deaden the musical senses,
+leading to the unnatural conclusion that what is good, taken
+separately, must necessarily be good in combination.</p>
+
+
+<h2>Artificial effects.</h2>
+
+<p>I apply this name to some orchestral operations which are based on
+certain defects of hearing and faculty of perception. Having no wish
+to specify those that already exist or to foretell those which may yet
+be invented, I will mention, in passing, a few which have been used by
+me in my own works. To this class belong <i>glissando</i> scales or
+arpeggios in the harp, the notes of which do not correspond with those
+played simultaneously by other instruments, but which are used from
+the fact that long <i>glissandi</i> are more resonant and brilliant than
+short ones.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">325</span> (cf. <a href="rimsky2.html#No_095">Ex. 95</a>).</p>
+
+<p><a href="rimsky2.html#No_275">No. 275.</a> <i>Pan Voyevoda</i> <span class="box">128</span>.</p>
+
+<p>* <i>Shéhérazade</i>, 3<span class="super">rd</span> movement <span class="box">M</span>, 5<span class="super">th</span> bar (cf. <a href="rimsky2.html#No_248">Ex. 248</a>).</p>
+
+<p>* <i>Russian Easter Fête</i> <span class="box">D</span> (cf. <a href="rimsky2.html#No_248">Ex. 248</a>).</p>
+
+<p>* Enharmonic <i>glissando</i> in the strings should also be mentioned.</p>
+
+<p><a href="rimsky2.html#No_276">No. 276.</a> <i>The Christmas Night</i> <span class="box">180</span>, 13<span class="super">th</span> bar&mdash;'Cellos
+<i>glissando</i>.<span class="pagenum"><a name="Page_117" id="Page_117">-117-</a></span></p>
+
+
+<h2>Use of percussion instruments for rhythm and colour.</h2>
+
+<p>Whenever some portion of the orchestra executes a rhythmic figure,
+percussion instruments should always be employed concurrently. An
+insignificant and playful rhythm is suitable to the triangle,
+tambourine, castanets and side drum, a vigourous and straightforward
+rhythm may be given to the bass drum, cymbals and gong. The strokes on
+these instruments should almost invariably correspond to the strong
+beats of the bar, highly-accented syncopated notes or disconnected
+<i>sforzandi</i>. The triangle, side drum and tambourine are capable of
+various rhythmic figures. Sometimes the percussion is used separately,
+independently of any other group of instruments.</p>
+
+<p>The brass and wood-wind are the two groups which combine the most
+satisfactorily with percussion from the standpoint of colour. The
+triangle, side drum, and tambourine go best with harmony in the upper
+register; cymbals, bass drum and gong with harmony in the lower. The
+following are the combinations most generally employed: <i>tremolo</i> on
+the triangle and tambourine with trills in wood-wind and violins;
+<i>tremolo</i> on the side drum, or cymbals struck with drum sticks, and
+sustained chords on trumpets and horns; <i>tremolo</i> on the bass drum or
+the gong with chords on trombones or low sustained notes on 'cellos
+and double basses. It must not be forgotten that the bass drum,
+cymbals, gong and a <i>tremolo</i> on the side drum, played <i>fortissimo</i>,
+is sufficient to overpower any orchestral <i>tutti</i>.</p>
+
+<p>* The reader will find instances of the use of percussion instruments
+in any full score, and in several examples of the present work.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <i>Shéhérazade</i> pp. 107-119, also many passages in 4<span class="super">th</span> movement.</p>
+
+<p>* <i>Antar</i> <span class="box">40</span>, <span class="box">43</span> (cf. <a href="rimsky2.html#No_073">Ex. 73</a>, <a href="rimsky2.html#No_029">29</a>).</p>
+
+<p>* <i>Spanish capriccio</i> <span class="box">P</span> (cf. <a href="rimsky2.html#No_064">Ex. 64</a>); the cadences to be studied
+in the 4<span class="super">th</span> movement, where they are accompanied by various
+percussion instruments.</p>
+
+<p>* <i>Russian Easter Fête</i> <span class="box">K</span> (cf. <a href="rimsky2.html#No_217">Ex. 217</a>).</p>
+
+<p>* <i>The Tsar's Bride</i> <span class="box">140</span>.</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">196-197</span>&mdash;"The Battle of Kerjémetz".</p>
+
+<p>* <i>Pan Voyevoda</i> <span class="box">71-72</span>.<span class="pagenum"><a name="Page_118" id="Page_118">-118-</a></span></p>
+
+
+<h2>Economy in orchestral colour.</h2>
+
+<p>Neither musical feeling nor the ear itself can stand, for long, the
+full resources of the orchestra combined together. The favourite group
+of instruments is the strings, then follow in order the wood-wind,
+brass, kettle-drums, harps, <i>pizzicato</i> effects, and lastly the
+percussion, also, in point of order, triangle, cymbals, big drum, side
+drum, tambourine, gong. Further removed stand the celesta,
+<i>glockenspiel</i> and xylophone, which instruments, though melodic, are
+too characteristic in timbre to be employed over frequently. The same
+may be said of the piano and castanets. A quantity of national
+instruments not included in the present work may be incorporated into
+the orchestra; such are the guitar, the domra, zither, mandoline, the
+oriental tambourine, small tambourine etc. These instruments are
+employed from time to time for descriptive-aesthetic purposes.</p>
+
+<p>These instruments are most frequently used in the above-named order. A
+group of instruments which has been silent for some time gains fresh
+interest upon its reappearance. The trombones, trumpets and tuba are
+occasionally <i>tacet</i> for long periods, the percussion is seldom
+employed, and practically never all together, but in single
+instruments or in two's and three's. In national dances or music in
+ballad style, percussion instruments may be used more freely.</p>
+
+<p>After a long rest the re-entry of the horns, trombones and tuba should
+coincide with some characteristic intensity of tone, either <i>pp</i> or
+<i>ff</i>; <i>piano</i> and <i>forte</i> re-entries are less successful, while
+re-introducing these instruments <i>mezzo-forte</i> or <i>mezzo-piano</i>
+produces a colourless and common-place effect. This remark is capable
+of wider application. For the same reasons it is not good to commence
+or finish any piece of music either <i>mf</i> or <i>mp</i>. The scope of the
+musical examples in this work does not permit of illustrating by
+quotation the use of economy in orchestral colour, nor the re-entry of
+instruments thrown into prominence by prolonged rests. The reader must
+examine these questions in full scores.</p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_119" id="Page_119">-119-</a></span></p>
+
+<h1><a name="Chapter_V" id="Chapter_V"></a>Chapter V.</h1>
+
+<p class="center"><span class="lg">COMBINATION OF THE HUMAN VOICE WITH ORCHESTRA.<br />
+THE STAGE BAND.</span></p>
+
+<hr class="short" />
+
+<h2>Orchestral accompaniment of solo voices.</h2>
+
+<h3>General remarks.</h3>
+
+<p>In accompanying the voice orchestral scoring should be light enough
+for the singer to make free use of all the dynamic shades of
+expression without hardness of tone. In overflowing lyrical moments,
+where full voice is required, the singer should be well supported by
+the orchestra.</p>
+
+<p>Opera singing may be divided into two general classes, lyric singing
+and declamation or recitative. The full, round, <i>legato</i> aria affords
+greater facility for tone production than florid music or recitative,
+and the more movement and rhythmic detail contained in the vocal part,
+the greater freedom and liberty must there be given to the voice. In
+such a case the latter should not be doubled by the orchestra, neither
+should rhythmical figures be written for any instrument corresponding
+with those in the vocal part. In accompanying the voice the composer
+should bear these points in mind before turning his attention to the
+choice of orchestral colour. A confused, heavy accompaniment will
+overpower the singer; an accompaniment which is too simple in
+character will lack interest, and one which is too weak will not
+sustain the voice sufficiently.</p>
+
+<p>In modern opera it is rare that orchestral writing is confined to
+accompaniment pure and simple. It frequently happens that the
+principal musical idea, often complex in character, is contained in
+the orchestra. The voice may then be said to form the accompaniment,
+exchanging musical for literary interest. It becomes<span class="pagenum"><a name="Page_120" id="Page_120">-120-</a></span> subordinate to
+the orchestra, as though it were an extra part, subsequently added as
+an after-thought. But it is evident that great care must be taken with
+orchestral writing in such cases. The scoring must not be so heavy or
+complicated as to drown the voice and prevent the words from being
+heard, thereby breaking the thread of the text, and leaving the
+musical imagery unexplained. Certain moments may require great volume
+of orchestral tone, so great that a voice of even phenomenal power is
+incapable of being heard. Even if the singer is audible, such unequal
+struggles between voice and orchestra are most inartistic, and the
+composer should reserve his orchestral outbursts for the intervals
+during which the voice is silent, distributing the singer's phrases
+and pauses in a free and natural manner, according to the sense of the
+words. If a prolonged <i>forte</i> passage occurs in the orchestra it may
+be used concurrently with action on the stage. All artificial
+reduction of tone contrary to the true feeling of a passage, the sole
+object being to allow the voice to come through, should be strictly
+avoided, as it deprives orchestral writing of its distinctive
+brilliance. It must also be remembered that too great a disparity in
+volume of tone between purely orchestral passages and those which
+accompany the voice create an inartistic comparison. Therefore, when
+the orchestra is strengthened by the use of wood-wind in three's or
+four's, and brass in large numbers, the division of tone and colour
+must be manipulated skillfully and with the greatest care.</p>
+
+<p>In previous sections I have frequently stated that the structure of
+the orchestra is closely related to the music itself. The scoring of a
+vocal work proves this relationship in a striking manner, and, indeed,
+it may be stipulated that <i>only that which is well written can be well
+orchestrated</i>.</p>
+
+
+<h3>Transparence of accompaniment. Harmony.</h3>
+
+<p>The group of strings is the most transparent medium and the one least
+likely to overpower the voice. Then come the wood-wind and the brass,
+the latter in the following order: horns, trombones, trumpets. A
+combination of strings, <i>pizz.</i>, and the harp forms a setting
+eminently favourable for the voice. As a general rule a singer is more
+easily overpowered by long sustained notes than by short detached
+ones. Strings doubled in the wood-wind<span class="pagenum"><a name="Page_121" id="Page_121">-121-</a></span> and brass, and brass doubled
+by wood-wind are combinations liable to drown the singer. This may be
+done even more easily by <i>tremolando</i> in the kettle-drums and other
+percussion instruments, which, even by themselves are capable of
+overpowering any other orchestral group of instruments. Doubling of
+wood-wind and horns, and the use of two clarinets, two oboes or two
+horns in unison to form one harmonic part is likewise to be avoided,
+as such combinations will have a similar effect on the voice. The
+frequent use of long sustained notes in the double basses is another
+course unfavourable to the singer; these notes in combination with the
+human voice produce a peculiar throbbing effect.</p>
+
+<p>Juxtaposition of strings and wood-wind which overweights <i>legato</i> or
+declamatory singing may nevertheless be employed if one of the groups
+forms the harmony in sustained notes and the other executes a melodic
+design, when, for instance the sustaining instruments are clarinet,
+and bassoon, or bassoon and horn, and the melodic design is entrusted
+to violins or violas&mdash;or in the opposite case, when the harmony is
+given to violas and 'cellos <i>divisi</i>, and the
+<span class="err" title="Transcriber's Note: melodic">harmonic</span> figure to the clarinets.</p>
+
+<p>Sustained harmony in the register of the second octave to the middle
+of the third does not overpower women's voices, as these develop
+<i>outside</i> this range; neither is it too heavy for men's voices, which
+although opening out <i>within</i> the range itself sound an octave higher,
+as in the case of the tenor voice. As a rule women's voices suffer
+more than men's when they come in contact with harmony in a register
+similar to their own. Taken separately, and used in moderation, each
+group of orchestral instruments may be considered favourable to each
+type of voice. But the combination of two or three groups cannot be so
+considered unless they each play an independent part and are not
+united together at full strength. Incessant four-part harmony is to be
+deprecated. Satisfactory results will be obtained when the number of
+harmonic parts is gradually decreased, with some of them sustaining
+pedal notes, and when the harmony, interspersed with necessary pauses
+is confined to the limits of one octave, distributed over several
+octaves, or duplicated in the higher register.</p>
+
+<p>These manipulations allow the composer to come to the singer's aid; in
+voice-modulations, when the singer passes from the <i>can<span class="pagenum"><a name="Page_122" id="Page_122">-122-</a></span>tabile</i> to the
+declamatory style, the composer may reduce or eliminate some harmony
+which is found to be too heavy as the vocal tone diminishes, and
+conversely, support the voice by a fuller orchestral tone in broad
+phrases and climaxes.</p>
+
+<p>Ornamental writing and polyphonic accompaniment should never be too
+intricate in character, entailing the use of an unnecessary number of
+instruments. Some complicated figures are better partially entrusted
+to <i>pizz.</i> strings and harp, as this combination has little chance of
+overpowering the voice. Some examples of accompanying an <i>aria</i> are
+given below.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>The Tsar's Bride</i>, Lykow's supplementary <i>Aria</i> (Act III).</p>
+
+<p><span style="margin-left: .5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 1.5em;"><span class="box">16-19</span>&mdash;Griasnov's <i>Aria</i>.</span></p>
+
+<p><a href="rimsky2.html#No_277">No. 277.</a> <i>Snegourotchka</i> <span class="box">45</span>.</p>
+
+<p>* <i>Snegourotchka</i> <span class="box">187-188</span>, <span class="box">212-213</span> the two Cavatinas of Tsar
+Berendey (cf. extracts, <a href="rimsky2.html#No_102">Ex. 102</a>, <a href="rimsky2.html#No_225">225</a>).</p>
+
+<p><a href="rimsky2.html#No_278">No. 278.</a> <i>Sadko</i> <span class="box">143</span>.</p>
+
+<p><span style="margin-left: 5em;">"</span> <span style="margin-left: 1em;"><span class="box">204-206</span>&mdash;The Venetian's Song.</span></p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">39-41</span>, <span class="box">222-223</span> (cf. <a href="rimsky2.html#No_031">Ex. 31</a>).</p>
+
+<p>* <i>The Golden Cockerel</i> <span class="box">153-157</span>, <span class="box">163</span>.</p>
+
+<p class="tp">Florid singing which limits volume of tone requires a light
+accompaniment, simple in outline and colour, involving no duplication
+of instruments.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_279">No. 279.</a> <i>Snegourotchka</i> <span class="box">42-48</span>&mdash;<i>Snegourotchka's Aria</i> (Prologue),
+Fragment.</p>
+
+<p>* <i>Sadko</i> <span class="box">195-197</span>&mdash;Hindoo Song (cf. <a href="rimsky2.html#No_122">Ex. 122</a>).</p>
+
+<p>* <i>The Christmas Night</i> <span class="box">45-50</span>&mdash;Oxana's <i>Aria</i>.</p>
+
+<p>* <i>The Golden Cockerel</i> <span class="box">131-136</span>&mdash;<i>Aria</i> of Queen Shémakhâ.</p>
+
+
+<h3>Doubling voices in the orchestra.</h3>
+
+<p>Melodic doubling of voices by orchestral instruments (in unison or
+octaves) is of frequent occurrence, but incessant duplication for an
+extended period of time should be avoided; it is only permissible in
+isolated phrases. The most natural duplication in<span class="pagenum"><a name="Page_123" id="Page_123">-123-</a></span> unison of womens'
+voices is performed by violins, violas, clarinets and oboes; that of
+mens' voices by violas, 'cellos, bassoons and horns. Doubling in
+octaves is usually done in the upper register. Trombones and trumpets
+overpower the voice and cannot be used for this purpose. Uninterrupted
+or too frequent duplication should be avoided, not only because the
+operation deprives the singer of full freedom of expression, but also
+because it replaces by a mixed timbre the rare characteristic
+qualities of the human voice. Doubling, when limited to a few special
+phrases supports the voice and endows it with beauty and colour. It is
+only suitable <i>in tempo</i>; to apply it, in unison or octaves to a
+passage <i>ad. lib.</i> is both ineffective and dangerous.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">50-52</span>&mdash;Snegourotchka's Arietta (cf. <a href="rimsky2.html#No_041">Ex. 41</a>).</p>
+
+<p><i>Sadko</i> <span class="box">309-311</span>&mdash;Volkhova's Cradle-song (cf. <a href="rimsky2.html#No_081">Ex. 81</a>).</p>
+
+<p class="tp">Besides the question of doubling the voice for the object of colour
+there are instances when the singer executes only part of a phrase,
+allotted in its entirely to an orchestral instrument.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><i>Vera Scheloga</i> <span class="box">30</span>, <span class="box">36</span> (cf. <a href="rimsky2.html#No_049">Ex. 49</a>).</p>
+
+<p class="tp">Lyrical climaxes, <i>a piena voce</i>, or dramatic passages for the voice
+situated outside its normal range should be supported melodically and
+harmonically by the orchestra, in the register in which the voice is
+placed. The culminating point in such passages often coincides with
+the entry or sudden attack of the trombones or other brass
+instruments, or by a rush of strings. Strengthening the accompaniment
+in this manner will soften the tone of the voice.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_280">No. 280.</a> <i>The Tsar's Bride</i> <span class="box">206</span>.</p>
+
+<p><i>Servilia</i> <span class="box">126-127</span>.</p>
+
+<p><span style="margin-left: 1.5em;">"</span> <span style="margin-left: 1.5em;"><span class="box">232</span>.</span></p>
+
+<p><a href="rimsky2.html#No_281">No. 281.</a> <i>Sadko</i> <span class="box">314</span>.</p>
+
+<p><i>Vera Scheloga</i> <span class="box">41</span>.<span class="pagenum"><a name="Page_124" id="Page_124">-124-</a></span></p>
+
+<p class="tp">If the culminating point is soft in colour and outline it is better
+left unsupported in the orchestra, but sometimes the wood-wind,
+sustaining such passages with light transparent melody or harmony may
+produce an entrancing effect.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">188</span>.</p>
+
+<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.8em;"><span class="box">318</span> (cf. <a href="rimsky2.html#No_119">Ex. 119</a>).</span></p>
+
+<p><a href="rimsky2.html#No_282">No. 282.</a> <i>The Tsar's Bride</i> <span class="box">214</span>.</p>
+
+<p class="tp">It is a common practice to support voices in concerted numbers by
+harmony and duplication; this operation makes for accuracy and
+brilliance when applied to duets, trios, quartets etc.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">292-293</span>&mdash;Duet (cf. <a href="rimsky2.html#No_118">Ex. 118</a>).</p>
+
+<p><i>Sadko</i> <span class="box">99-101</span>&mdash;Duet (cf. <a href="rimsky2.html#No_289">Ex. 289</a> and <a href="rimsky2.html#No_290">290</a>).</p>
+
+<p><a href="rimsky2.html#No_283">No. 283.</a> <i>The Tsar's Bride</i> <span class="box">169</span>&mdash;sextet.</p>
+
+<p><span style="margin-left: 4.5em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 1em;"><span class="box">117</span> quartet.</span></p>
+
+<p><i>Legend of Kitesh</i> <span class="box">341</span>&mdash;quartet and sextet (cf. <a href="rimsky2.html#No_305">Ex. 305</a>).</p>
+
+<p class="tp">The beautiful effect produced by a solo instrument accompanying a
+<i>cantabile aria</i> cannot be denied. In such cases the instruments used
+are generally the violin, viola, and 'cello, or the flute, oboe, Eng.
+horn, clar., bass clar., bassoon, horn and harp. The accompaniment is
+often contrapuntal or composed of polyphonic designs. The solo
+instrument either plays alone or as the leading melodic voice in the
+<i>ensemble</i>. In combination with the voice, or associated with some
+action on the stage, a solo instrument is a powerful expedient for
+musical characterisation. Instances of this description are numerous.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">50</span>&mdash;Soprano and oboe (cf. <a href="rimsky2.html#No_041">Ex. 41</a>).</p>
+
+<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.8em;"><span class="box">97</span>&mdash;Contralto and Eng. horn.</span></p>
+
+<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.8em;"><span class="box">243</span>, <span class="box">246</span>&mdash;Baritone and bass clar. (cf. <a href="rimsky2.html#No_047">Ex. 47</a>-<a href="rimsky2.html#No_048">48</a>).</span></p>
+
+<p><a href="rimsky2.html#No_284">No. 284.</a> <i>The Tsar's Bride</i> <span class="box">108</span>&mdash;Soprano, 'cello and oboe.</p>
+
+<p>* <i>The Golden Cockerel</i> <span class="box">163</span>&mdash;Soprano and viola (cf. <a href="rimsky2.html#No_226">Ex. 226</a>).<span class="pagenum"><a name="Page_125" id="Page_125">-125-</a></span></p>
+
+<p class="tp">It is comparatively rare for percussion instruments to take part in
+accompanying the voice. The triangle is occasionally used, the cymbals
+less frequently. An accompaniment may be formed by a figure or a
+<i>tremolo</i> on the kettle-drums.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">97</span>, <span class="box">224</span>, <span class="box">247</span> (Lell's 1<span class="super">st</span> and 3<span class="super">rd</span>
+songs).</p>
+
+<p><i>Tsar Saltan</i>, before <span class="box">5</span>.</p>
+
+<p>* <a href="rimsky2.html#No_285">No. 285.</a> <i>The Golden Cockerel</i> <span class="box">135</span>; cf. also <span class="box">161</span>, <span class="box">197</span>.</p>
+
+<p class="tp">The following are examples of powerful and expressive orchestral
+passages, the voice <i>tacet</i>:</p>
+
+<p><a href="rimsky2.html#No_286">No. 286.</a> <i>The Tsar's Bride</i> <span class="box">81</span>.</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">282</span>, <span class="box">298</span>.</p>
+
+<p>* <i>Servilia</i> <span class="box">130</span>.</p>
+
+
+<h3>Recitative and declamation.</h3>
+
+<p>The accompaniment of recitative and melodic declamatory phrases should
+be light enough to allow the voice to come through without strain, and
+the words to be heard distinctly. The most convenient method is to
+employ sustained chords and <i>tremolo</i> on the strings or wood-wind,
+giving free latitude to the voice from a rhythmic point of view (<i>a
+piacere</i>).</p>
+
+<p>Another excellent plan is to write short chords in the strings
+combined with wood-wind in different ways. Sustained chords and those
+entailing change of position should occur preferably when the voice is
+silent, thus permitting both conductor and orchestra to keep a closer
+watch over the singer's irregularities of rhythm in <i>a piacere</i>
+recitatives. If the accompaniment is more complex in character,
+melodic, polyphonic or ornamental in design, the recitative must be
+sung <i>in tempo</i>. Any phrase which it is necessary to emphasise in
+accordance with the sense of the words assumes a more <i>cantabile</i>
+character, and must be reinforced by the orchestra. Opera, today,
+besides demanding much greater care in the treatment of the text than
+in the past, abounds in constant transition from declamation to
+<i>cantabile</i>, or in the fusion of the two. The orchestra offers more
+variety of texture and must be<span class="pagenum"><a name="Page_126" id="Page_126">-126-</a></span> handled with greater regard to its
+relationship to the words, and the action on the stage. This class of
+orchestration can only be studied from lengthy examples. I refer the
+reader to operatic full scores and content myself with giving one or
+<span class="err" title="Transcriber's Note: 'two' missing in original">short</span> instances:</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_287">No. 287.</a> <i>Snegourotchka</i> <span class="box">16</span>.</p>
+
+<p><a href="rimsky2.html#No_288">No. 288.</a> <i>The Tsar's Bride</i> <span class="box">124-125</span>.</p>
+
+<p class="tp">The following double examples, similar from a musical point of view,
+show different methods of handling an orchestra from the standpoint of
+accompaniment to the voice, and the <i>tutti</i> form.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_289">No. 289</a>-<a href="rimsky2.html#No_291">291</a>. <i>Sadko</i> <span class="box">99-101</span> and <span class="box">305-307</span> (compare also <a href="rimsky2.html#No_075">Ex. 75</a>).</p>
+
+<p><i>Vera Scheloga</i> <span class="box">3-7</span> and <span class="box">28</span>.</p>
+
+<p class="tp">Care should be taken not to score too heavily when accompanying
+singers in the wings.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <a href="rimsky2.html#No_292_A">No. 292.</a> <i>Sadko</i> <span class="box">316</span>, <span class="box">318</span>, <span class="box">320</span>.</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">286-289</span>, <span class="box">304-305</span>.</p>
+
+
+<h2>Orchestral accompaniment of the chorus.</h2>
+
+<p>The chorus, possessing much greater unity and power than the solo
+voice, does not demand such careful handling in the accompaniment. On
+the contrary, too great a refinement of orchestral treatment will
+prove harmful to the resonance of the chorus. As a general rule
+orchestration of choral works follows the rules laid down for purely
+instrumental scoring. It is obvious that dynamic marks of expression
+must correspond in both bodies, but doubling one orchestral group with
+another and coupling instruments of the same kind in unison (2 Ob., 2
+Cl., 4 Horns, 3 Trombones etc.) are both possible operations, if
+performed according to the requirements of the musical context.
+Doubling choral parts by instruments is generally a good plan. In
+<i>cantabile</i> passages such<span class="pagenum"><a name="Page_127" id="Page_127">-127-</a></span> duplication may be melodic in character,
+and the design more ornamental in the orchestra than in the chorus.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Ivan the Terrible</i>, Act II <span class="box">3-6</span>; Act III <span class="box">66-69</span>.</p>
+
+<p><i>The May Night</i>, Act I <span class="box">X-Y</span>; Act III <span class="box">L-Ee</span>, <span class="box">Ddd-Fff</span>.</p>
+
+<p><i>Snegourotchka</i> <span class="box">61-73</span>, <span class="box">147-153</span>, <span class="box">323-328</span>.</p>
+
+<p><i>Mlada</i>, Act II <span class="box">22-31</span>, <span class="box">45-63</span>; Act IV <span class="box">31-36</span>.</p>
+
+<p><i>The Christmas Night</i> <span class="box">59-61</span>, <span class="box">115-123</span>.</p>
+
+<p><i>Sadko</i> <span class="box">37-39</span>, <span class="box">50-53</span>, <span class="box">79-86</span>, <span class="box">173</span>, <span class="box">177</span>, <span class="box">187</span>,
+<span class="box">189</span>, <span class="box">218-221</span>, <span class="box">233</span>, <span class="box">270-273</span>.</p>
+
+<p><i>The Tsar's Bride</i> <span class="box">29-30</span>, <span class="box">40-42</span>, <span class="box">50-59</span>, <span class="box">141</span>.</p>
+
+<p><i>Tsar Saltan</i> <span class="box">67-71</span>, <span class="box">91-93</span>, <span class="box">133-145</span>, <span class="box">207-208</span>.</p>
+
+<p><i>Legend of Kitesh</i> <span class="box">167</span>, <span class="box">177-178</span>.</p>
+
+<p><i>The Golden Cockerel</i> <span class="box">237-238</span>, <span class="box">262-264</span>.</p>
+
+<p class="tp">The reader will find instances of choral accompaniment in many
+examples relating to other sections of the work.</p>
+
+<p>In the case of solitary exclamations or phrases in recitative, melodic
+doubling is not always suitable. It is better to support the voice
+simply by harmonic duplication.</p>
+
+<p>The repetition of notes&mdash;required by declamation&mdash;forming no
+fundamental part of the rhythmical structure of a phrase or chord
+should not be reproduced in the orchestra; the melodic or harmonic
+basis alone should be doubled. Sometimes the rhythmical structure of a
+choral phrase is simplified in comparison with its orchestral
+duplication.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_293">No. 293.</a> <i>The Tsar's Bride</i> <span class="box">96</span>.</p>
+
+<p><a href="rimsky2.html#No_294">No. 294.</a> <i>Ivan the Terrible</i>, Act I, before <span class="box">75</span>.</p>
+
+<p class="tp">Choral passages, the musical context of which is complete in itself,
+forming a chorus <i>a cappella</i> often remain undoubled by the orchestra,
+accompanied solely by sustained notes or an independent polyphonic
+figure.<span class="pagenum"><a name="Page_128" id="Page_128">-128-</a></span></p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_295">No. 295.</a> <i>Sadko</i> <span class="box">219</span>.</p>
+
+<p>* <i>Tsar Saltan</i> <span class="box">207</span>.</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">167</span> (cf. <a href="rimsky2.html#No_116">Ex. 116</a>).</p>
+
+<p>* <i>The Golden Cockerel</i> <span class="box">236</span>.</p>
+
+<p class="tp">Heavier scoring is required for a mixed chorus; for a male voice
+chorus the orchestration should be lighter; still more so for women's
+voices alone. In scoring a certain passage the composer should not
+lose sight of the number of choristers he is employing, for scenic
+conditions may necessitate a reduction of that figure. The approximate
+number should be marked in the full score as a basis upon which to
+work.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_296">No. 296.</a> <i>Ivan the Terrible</i>, Act II <span class="box">37</span>.</p>
+
+<p>* <i>Sadko</i> <span class="box">17</span>, <span class="box">20</span>.</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">61</span> (cf. <a href="rimsky2.html#No_198">Ex. 198</a>).</p>
+
+<div class="blockquot">
+<p><i>Note.</i> It must also be remembered that a <i>ff</i> passage on an
+enlarged orchestra, comprising wood-wind in fours, and
+numerous brass (sometimes in three's), is capable of
+overpowering a large mixed chorus.</p>
+</div>
+
+<p class="tp">A chorus in the wings requires as light an accompaniment as that
+employed for a solo singer on the stage.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <i>Ivan the Terrible</i>, Act I <span class="box">25-26</span>, <span class="box">90</span>; Act III <span class="box">13-14</span>.</p>
+
+<p>* <i>The May Night</i>, Act I, before <span class="box">X</span>; Act III <span class="box">Bbb-Ccc</span>.</p>
+
+<p>* <a href="rimsky2.html#No_297">No. 297.</a> <i>Sadko</i> <span class="box">102</span>.</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">54-56</span> (cf. <a href="rimsky2.html#No_196">Ex. 196</a> and <a href="rimsky2.html#No_197">197</a>).</p>
+
+
+<h3>Solo voice with chorus.</h3>
+
+<p>When an <i>aria</i> or recitative is coupled with the chorus great care
+must be taken in the choral writing. A woman's solo voice stands out
+well against a male voice chorus, likewise a solo male voice against a
+women's chorus, for in both cases, the timbre of the solo voice
+differs from the rest. But the combination of solo<span class="pagenum"><a name="Page_129" id="Page_129">-129-</a></span> voice and chorus,
+of the same timbre, or mixed chorus, creates a certain amount of
+difficulty. In such cases the soloist should sing in a higher register
+than the chorus, the former <i>a piena voce</i>, the latter <i>piano</i>. The
+soloist should stand as near to the footlights as possible; the chorus
+up-stage. The orchestration should be adapted to the soloist, not to
+the chorus.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_298">No. 298.</a> <i>Snegourotchka</i> <span class="box">143</span>.</p>
+
+<p><i>Ivan the Terrible.</i> Act II <span class="box">37</span> (cf. <a href="rimsky2.html#No_296">Ex. 296</a>).</p>
+
+<p class="tp">When the chorus sings in the wings the soloist is always heard
+distinctly.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Ivan the Terrible</i>, Act I <span class="box">25-26</span>.</p>
+
+<p>* <i>The May Night</i>, Act III <span class="box">Ccc</span>.</p>
+
+<p>* <i>Sadko</i> <span class="box">102</span>, <span class="box">111</span>.</p>
+
+
+<h2>Instruments on the stage and in the wings.</h2>
+
+<p>The use of instruments on the stage or in the wings dates from distant
+times (Mozart, <i>Don Giovanni</i>, string orchestra in Act I, <i>finale</i>).
+In the middle of last century orchestras of brass instruments, or
+brass and wood-wind combined, made their appearance on the stage
+(Glinka, Meyerbeer, Gounod and others). More modern composers have
+abandoned this clumsy practice, not only unfortunate from the
+spectators' point of view, but also detrimental to the mediaeval or
+legendary setting of the majority of operas. Only those stage
+instruments are now used which suit the scene and surroundings in
+which the opera is laid. As regards instruments in the wings,
+invisible to the audience, the question is simple. Nevertheless, for
+the musician of today the choice of these instruments must be
+regulated by aesthetic considerations of greater importance than those
+governing the selection of a military band. The instruments are played
+in the wings, those visible on the stage are only for ornament.
+Sometimes stage-instruments may be replicas of those common to the
+period which the opera represents, (the sacred horns in <i>Mlada</i>, for
+example). The orchestral accompaniment<span class="pagenum"><a name="Page_130" id="Page_130">-130-</a></span> must vary in power according
+to the characteristics of the instruments played in the wings. It is
+impossible to illustrate the use of all the instruments mentioned
+below, and to outline suitable accompaniments. I can only give a few
+examples and refer the reader once again to the passages in the full
+scores.</p>
+
+<p class="tp">a) Trumpets:</p>
+
+<p><i>Servilia</i> <span class="box">12</span>, <span class="box">25</span>.</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">53</span>, <span class="box">55</span>, <span class="box">60</span>.</p>
+
+<p>* <i>Tsar Saltan</i> <span class="box">139</span> and further on.</p>
+
+<p class="tp">b) Horns, in the form of hunting horns:</p>
+
+<p><i>Pan Voyevoda</i> <span class="box">38-39</span>.</p>
+
+<p class="tp">c) Trombones, leaving the orchestra to go on the stage:</p>
+
+<p><i>Pan Voyevoda</i> <span class="box">191</span>.</p>
+
+<p class="tp">d) Cornets:</p>
+
+<p><i>Ivan the Terrible</i>, Act III <span class="box">3</span>, <span class="box">7</span>.</p>
+
+<p class="tp">e) Sacred horns (natural brass instruments in various keys):</p>
+
+<p><i>Mlada</i>, Act II, pp. 179 onwards.</p>
+
+<p class="tp">f) Small clarinets and piccolos:</p>
+
+<p><a href="rimsky2.html#No_299">No. 299</a>-<a href="rimsky2.html#No_300">300</a>. <i>Mlada</i>, Act III <span class="box">37</span>, <span class="box">39</span>.</p>
+
+<p class="tp">g) Pipes of Pan: instruments, specially made, with many holes which
+are passed over the lips. These particular pipes produce a special
+enharmonic scale (<i>B</i> flat, <i>C</i>, <i>D</i> flat, <i>E</i> flat, <i>E</i>, <i>F</i> sharp,
+<i>G</i>, <i>A</i>), which has the effect of a glissando:</p>
+
+<p><i>Mlada</i>, Act III <span class="box">39</span>, <span class="box">43</span> (cf. <a href="rimsky2.html#No_300">Ex. 300</a>).</p>
+
+<p class="tp">h) Harp, reproducing the effect of an aeolian harp:</p>
+
+<p><i>Kashtcheï the Immortal</i> <span class="box">32</span> and further on (cf. <a href="rimsky2.html#No_268">Ex. 268</a>, <a href="rimsky2.html#No_269">269</a>).</p>
+
+<p class="tp">i) Lyres. Instruments specially made and tuned so as to be able to
+perform a glissando chord of the diminished seventh:</p>
+
+<p><i>Mlada</i>, Act III <span class="box">39</span>, <span class="box">43</span> (cf. <a href="rimsky2.html#No_300">Ex. 300</a>).</p>
+
+<p class="tp">k) Pianoforte, grand or upright:</p>
+
+<p><i>Mozart and Salieri</i> <span class="box">22-23</span>.</p>
+
+<p class="tp">l) Gong, imitating a church bell:</p>
+
+<p><i>Ivan the Terrible</i>, Act I <span class="box">57</span> and further on.<span class="pagenum"><a name="Page_131" id="Page_131">-131-</a></span></p>
+
+<p class="tp">m) Bass Drum (without cymbals) to imitate the sound of cannon:</p>
+
+<p><i>Tsar Saltan</i> <span class="box">139</span> and later.</p>
+
+<p class="tp">n) Small kettle-drum, in <i>D</i> flat (3<span class="super">rd</span> octave):</p>
+
+<p><i>Mlada</i>, Act III <span class="box">41</span> and later (cf. <a href="rimsky2.html#No_060">Ex. 60</a>).</p>
+
+<p class="tp">o) Bells in various keys:</p>
+
+<p><i>Sadko</i> <span class="box">128</span> and <span class="box">139</span>.</p>
+
+<p><a href="rimsky2.html#No_301">No. 301.</a> <i>Legend of Kitesh</i> <span class="box">181</span> and further on. See also <span class="box">241</span>,
+<span class="box">323</span> and later.</p>
+
+<p>* <i>Tsar Saltan</i> <span class="box">139</span> and further on.</p>
+
+<p class="tp">p) Organ:</p>
+
+<p><a href="rimsky2.html#No_302">No. 302.</a> <i>Sadko</i> <span class="box">299-300</span>.</p>
+
+<p class="tp">Wood-wind and strings are comparatively seldom used on the stage or in
+the wings. In Russian opera the strings are employed in this way by
+Rubinstein (<i>Gorioucha</i>), and in a splendidly characteristic manner by
+Serov (<i>Hostile Power</i>): in the latter opera the <i>E</i> flat clarinet is
+used to imitate the fife in the Carnival procession.<a name="FNanchor_17_20" id="FNanchor_17_20"></a><a href="#Footnote_17_20" class="fnanchor">[17]</a></p>
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_132" id="Page_132">-132-</a></span></p>
+
+<h1><a name="Chapter_VI_Supplementary" id="Chapter_VI_Supplementary"></a>Chapter VI (Supplementary).</h1>
+
+<p class="center"><span class="lg">VOICES.</span></p>
+
+<hr class="short" />
+
+<h2>Technical Terms.</h2>
+
+<p>Among all the confused terms employed in singing to denote the
+compass, register and character of the human voice, there are four
+which may be said to represent elemental types: soprano, alto or
+contralto, tenor and bass. These names are used to denote the
+composition of the chorus with sub-divisions of <i>firsts</i> and
+<i>seconds</i>, to determine how the parts must be divided. (Sopr. I, Sopr.
+II etc.) While the range of an instrument is exactly governed by its
+construction, the compass of the voice, on the other hand, depends on
+the individuality of the singer. It is therefore impossible to define
+the exact limits of each of these vocal types. When it is a question
+of dividing choristers into 1<span class="super">st</span> and 2<span class="super">nd</span> parts, those with the
+higher voices are classed among the firsts and <i>vice versa</i>.</p>
+
+<p>Besides the principal terms mentioned above, the names mezzo-soprano
+(between sop. and alto), and baritone (between tenor and bass) are
+also employed.</p>
+
+<div class="blockquot">
+<p><i>Note.</i> In the chorus mezzo-sopranos are classed with 2<span class="super">nd</span>
+sopranos or 1<span class="super">st</span> altos, baritones with 2<span class="super">nd</span> tenors or
+first basses, according to quality and timbre of voice.</p>
+</div>
+
+<p>Apart from these denominations which represent the six principal solo
+voices, a quantity of others are in use to denote either compass,
+timbre or technique, such as light soprano, <i>soprano giusto</i>, lyric
+soprano, dramatic soprano, light tenor, <i>tenorino-altino</i>,
+<i>baryton-martin</i>, lyric tenor, dramatic tenor, <i>basso cantante</i>
+("singing bass"), <i>basso profondo</i> (deep bass) etc. To this lengthy
+list must<span class="pagenum"><a name="Page_133" id="Page_133">-133-</a></span> be added the term <i>mezzo-carattere</i>, of intermediate
+character (between lyric and dramatic soprano, for example).</p>
+
+<p>If we try to discover the real meaning of these designations it soon
+becomes apparent that they are derived from widely different
+sources&mdash;for instance, "light soprano" implies agility and mobility in
+the voice; "dramatic tenor", the power to express strong dramatic
+feeling; <i>basso profondo</i> signifies great resonance in the deep
+register.</p>
+
+<p>Minute examination of all the methods of attack and emission of sound
+lies within the province of the singing master and to enumerate them
+here would only perplex the student. The same applies to the position
+and exact limits of register (chest voice, middle and head voice in
+women; chest voice, mixed voice and falsetto in men). The work of a
+teacher of singing consists in equalising the voice throughout its
+whole compass, so that the transition from one register to another, on
+all the vowels, may be accomplished imperceptibly. Some voices are
+naturally even and flexible. The professor of singing must correct
+faults in breathing, determine the range of the voice and place it,
+equalise its tone, increase its flexibility, instruct as to the
+pronunciation of vowels, modulation from one grade of expression to
+another, etc. A composer should be able to rely upon flexible and
+equal voices without having to trouble himself as to the abilities or
+defects of individual singers. In these days a part is seldom written
+for a particular artist, and composers and librettists do not find it
+necessary to entrust a certain rôle to <i>fioriture</i> singers, another to
+heavy dramatic voices. Poetic and artistic considerations demand
+greater variety of resource in the study of opera or vocal music in
+general.</p>
+
+
+<h2>Soloists.</h2>
+
+<h3>Range and register.</h3>
+
+<p>I advise the composer to be guided by <a href="#Table_F">Table F.</a> which gives the
+approximate range of the six principal solo voices. A bracket under
+the notes defines the normal octave, the register in which the voice
+is generally used. Within these limits the composer may write freely
+without fear of hardening or tiring the voice.<span class="pagenum"><a name="Page_134" id="Page_134">-134-</a></span> The normal octave
+applies also to declamatory singing and recitative; the notes above it
+are exceptional and should be used for the culminating points of a
+passage or for climaxes, the notes below, for the fall or decline of a
+melody. Employing voices in unusual registers for long periods of time
+will weary both singer and listener, but these registers may
+occasionally be used for brief intervals so as not to confine the
+voice too strictly to one octave. A few examples are added to
+illustrate melody in different types of voices.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>The Tsar's Bride</i> <span class="box">102-109</span> (for extracts cf. <a href="rimsky2.html#No_256">Ex. 256</a>, <a href="rimsky2.html#No_280">280</a>, <a href="rimsky2.html#No_284">284</a>)&mdash;Marfa's Aria (Soprano).</p>
+
+<p><span style="margin-left: 1em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 1.2em;"><span class="box">16-18</span>&mdash;Griaznov's Aria (Baritone).</span></p>
+
+<p><i>Snegourotchka</i>&mdash;The 3 songs of Lell. (Contralto).</p>
+
+<p><i>Sadko</i> <span class="box">46-49</span> (cf. extract, <a href="rimsky2.html#No_120">Ex. 120</a>)&mdash;Sadko's Aria (Tenor).</p>
+
+<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.2em;"><span class="box">129-131</span>&mdash;Lioubava's Aria (Mezzo-sopr.).</span></p>
+
+<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.2em;"><span class="box">191-193</span> (cf. extract, <a href="rimsky2.html#No_131">Ex. 131</a>)&mdash;Bass Aria.</span></p>
+
+
+<h3>Vocalisation.</h3>
+
+<p>A good vocal melody should contain notes of at least three different
+values, minims, crotchets and quavers (or crotchets, quavers and
+semiquavers etc.). Monotony in rhythmic construction is unsuited to
+vocal melody; it is applicable to instrumental music, but only in
+certain cases. <i>Cantabile</i> melody requires a fair number of long
+notes, and a change of syllable in a word should occur at a moment
+when the voice quits a long sustained note. Short, single notes,
+changing with every syllable produce a harmonious effect. Owing to the
+requirements of diction, extended melodic figures sung <i>legato</i> on one
+syllable must be used with care on the part of the composer; to
+perform these the singer must possess greater command over flexibility
+and technique. The possibility of taking breath in the right place is
+one of the conditions essential to all vocal writing. Breath cannot be
+taken in the middle of a word, sometimes not even during the course of
+a sentence or phrase in the text; hence the voice part must be
+suitably interspersed with rests.<span class="pagenum"><a name="Page_135" id="Page_135">-135-</a></span></p>
+
+
+<div class="bboxf">
+<h3><a name="Table_F" id="Table_F"></a>Table F. Voices.</h3>
+
+<h4>Chorus:</h4>
+
+<p class="center">
+<img src="images1/table_f_chorus.png" width="581" height="327" alt="Chorus" title="Chorus" />
+</p>
+
+
+<h4>Soloists:</h4>
+
+<p class="centerbp">
+<img src="images1/table_f_soloists.png" width="620" height="517" alt="Soloists" title="Soloists" />
+</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_136" id="Page_136">-136-</a></span></p>
+
+<div class="blockquot">
+<p class="tp"><i>Note.</i> It must be remembered that there are some words upon
+which the voice may not dwell, or sing more than one or two
+notes. These words may be nouns, pronouns, numerals,
+prepositions, conjunctions and other parts of speech. It
+would be impossible and ridiculous, for instance, to write a
+sustained note on such words as "who", "he" etc. The voice
+may dwell on certain words which, so to speak, possess some
+poetical colour.<a name="FNanchor_18_21" id="FNanchor_18_21"></a><a href="#Footnote_18_21" class="fnanchor">[18]</a></p>
+</div>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_303">No. 303.</a> <i>Sadko</i> <span class="box">236</span>&mdash;Sadko's Aria (Tenor).</p>
+
+<p><span style="margin-left: 4.7em;">"</span> <span style="margin-left: 1.3em;"><span class="box">309-311</span> (see extract, <a href="rimsky2.html#No_081">Ex. 81</a>). Volkhova's Cradle Song (Soprano).</span></p>
+
+<p><i>Snegourotchka</i> <span class="box">9</span>&mdash;Fairy Spring's Aria (Mezzo-sopr.).</p>
+
+<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.7em;"><span class="box">187-188</span>, <span class="box">212-213</span> (see extracts, <a href="rimsky2.html#No_102">Ex. 102</a> and <a href="rimsky2.html#No_225">225</a>)&mdash;the two</span><br />
+<span style="margin-left: 8.3em;">Cavatinas of Tsar Berendey (Tenor).</span></p>
+
+<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.7em;"><span class="box">247</span>&mdash;Miskir's Aria (Baritone).</span></p>
+
+
+<h3>Vowels.</h3>
+
+<p>As regards vocalisation on one syllable, on long sustained notes and
+in the high register, the choice of vowels is a matter of some
+importance. The difference in the position of the mouth and lips in
+forming the open vowel <b>a</b> and the closed vowel <b>ou</b> is apparent to
+everyone. The series of vowels from the point of view of open sounds
+is: <b>a</b>, <b>i</b>, <b>o</b>, <b>e</b>, <b>u</b>. In women's voices the easiest vowel on high notes
+is <b>a</b>, for men it is <b>o</b>. The vowel <b>i</b> softens the penetrating quality of
+the top notes of a bass voice, and the vowel <b>a</b> adds to the extension
+of range in the very lowest compass. Lengthy florid passages are often
+written on the interjection <b>ah</b>, or simply<span class="pagenum"><a name="Page_137" id="Page_137">-137-</a></span> on the vowel <b>a</b>. Owing to
+the restrictions imposed by literary and dramatic laws, the composer
+can only follow the above rules to a limited extent.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">293</span>, <span class="box">318-319</span> (cf. <a href="rimsky2.html#No_119">Ex. 119</a>).</p>
+
+<p><a href="rimsky2.html#No_304">No. 304.</a> <i>Sadko</i> <span class="box">83</span>.</p>
+
+
+<h3>Flexibility.</h3>
+
+<p>Voices possess the greatest amount of flexibility in their normal
+octave. Women's voices are more supple than men's, but in all types,
+the higher voice is the more agile, sopranos in women, the tenor voice
+in men. Although capable of performing florid and complicated figures,
+different varieties of phrasing and the rapid change from staccato to
+legato, the human voice is infinitely less flexible than a musical
+instrument. In passages of any rapidity, diatonic scales and
+<i>arpeggios</i> in thirds come easiest to the voice. Intervals bigger than
+fourths in quick succession and chromatic scales are extremely
+difficult. Skips of an octave or more starting from a short note
+should always be avoided. Preparation should precede any extremely
+high note either by leading up to it gradually, or by the clear leap
+of a fourth, fifth or octave; but sometimes the voice may attack a
+high note without any due preparation.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">46-48</span> (cf. extract, <a href="rimsky2.html#No_279">Ex. 279</a>)&mdash;Snegourotchka's Aria (Soprano).</p>
+
+<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.7em;"><span class="box">96-97</span>&mdash;Lell's first song (Contralto).</span></p>
+
+<p><i>Sadko</i> <span class="box"><span class="err" title="Transcriber's Note: numbers reversed in original">196-193</span></span> (cf. extract, <a href="rimsky2.html#No_122">Ex. 122</a>)&mdash;Hindoo song (Tenor).</p>
+
+<p><span style="margin-left: 1em;">"</span> <span style="margin-left: 1.2em;"><span class="box">203-206</span>&mdash;Venetian song (Baritone).</span></p>
+
+<p><i>Pan Voyevoda</i> <span class="box">20-26</span>&mdash;Maria's cradle song (Sopr).</p>
+
+
+<h3>Colour and character of voices.</h3>
+
+<p>The colouring of the voice, whether it be brilliant or dull, sombre or
+sonorous depends upon the individual singer, and the composer has no
+need to consider it. The chief question is interpretation and may be
+solved by the judicious choice of artists. From the<span class="pagenum"><a name="Page_138" id="Page_138">-138-</a></span> point of view of
+flexibility and expression voices may be divided into two classes,
+<i>lyric</i> and <i>dramatic</i>. The latter is more powerful and of greater
+range, the former possesses more suppleness and elasticity and is more
+readily disposed to different shades of expression. Granted that the
+rare combination of the two classes is the composer's ideal, he should
+nevertheless be content to follow the main artistic purpose which he
+has set out <span class="err" title="Transcriber's Note: to">the</span> achieve. In complicated and
+important works the composer should bear in mind the characteristics
+of the various voices he employs; moreover, if he use two voices of
+the same calibre, e.g. 2 Sopranos or 2 Tenors, he should discriminate
+between the range and register of their respective parts, writing for
+one slightly higher than the other. It is no rare occurrence to meet
+with voices of an intermediate character (mezzo-carattere) combining
+the qualities of each type to a modified extent. To such voices the
+composer may assign rôles demanding the characteristics of each class,
+especially secondary rôles. At the present day, besides the rôles
+suitable to the dramatic and lyric type of voice, it is customary to
+give prominence to those demanding some special qualifications, voices
+of a certain tenderness or power, a specified range or degree of
+flexibility&mdash;attributes decided by the artistic object in view. In
+casting secondary and minor rôles the composer is advised to employ a
+medium range and less exacting demands on technique.</p>
+
+<div class="blockquot">
+<p><i>Note.</i> After Meyerbeer, who was the first to write for a
+special type of heavy mezzo-soprano and baritone, Richard
+Wagner created a type of powerful dramatic soprano, of
+extensive range, combining the quality and scope of the
+soprano and mezzo-soprano voices; likewise a similar type of
+tenor, possessing the attributes and compass of the tenor
+and baritone together. To demand that voices shall be
+equally brilliant and resonant in the high and low register,
+that singers shall be endowed with a super-powerful
+breathing apparatus and an extraordinary faculty for
+resistance to fatigue (Siegfried, Parsifal, Tristan,
+Brünhilda, Kundry, Isolda), is to exact something little
+short of the miraculous. Such voices are to be found, but
+there are some singers with excellent though not phenomenal
+vocal powers, who, by the constant pursuit of Wagnerian
+parts endeavour to increase their range and volume, and only
+succeed in depriving the voice of correct intonation, beauty
+of tone, and all subtlety of <i>nuances</i>. I believe that less
+exacting demands and greater perception of what is required,
+skilful and judicious use of the high and low registers of
+the voice, a proper understanding of <i>cantabile</i> writing
+combined with orchestration which never overpowers the vocal
+part will be of greater service to the composer, from an
+artistic point of view, than the more elaborate methods of
+Richard Wagner.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_139" id="Page_139">-139-</a></span></p>
+
+
+<h2>Voices in combination.</h2>
+
+<p>Treating solo voices in a polyphonico-harmonic manner is the best
+method of preserving their individual character in <i>ensembles</i>. A
+distribution which is wholly harmonic or entirely polyphonic is seldom
+found. The first plan, largely used in choral writing, simplifies the
+movement of the voices too greatly, eliminating their melodic
+character; the second method is wearisome and somewhat disturbing to
+the ear.</p>
+
+<p>As a general rule the voices are arranged according to the law of
+normal register. Crossing of parts is rare and should only be done
+with the intention of emphasising the melody in the ascending voices
+above those adjacent in register, e.g. the tenor part above contralto,
+the mezzo-soprano above the soprano, etc.</p>
+
+
+<h3>Duet.</h3>
+
+<p>The combinations most conducive to the proper movement of parts are
+those of two voices related within an octave</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="voices">
+<tr>
+<td rowspan="2">8</td>
+<td rowspan="2" class="vat"><span class="xxlg">[</span></td>
+<td>Sopr.,</td>
+<td>M.-sopr.,</td>
+<td>C.-alto</td>
+</tr>
+<tr>
+<td>Ten.,</td>
+<td>Bar.,</td>
+<td>Bass.</td>
+</tr>
+</table>
+
+<p class="noindent">Movement in tenths, sixths, thirds or
+octaves (the last very seldom) will always produce satisfactory
+<i>ensemble</i>, and if the parts progress polyphonically, it need not
+happen <i>frequently</i> that they are separated by more than a tenth, or
+that undesirable crossing of parts will result.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Sadko</i> <span class="box">99-101</span>&mdash;Sopr. and Tenor (cf. <a href="rimsky2.html#No_289">Ex. 289</a>, <a href="rimsky2.html#No_290">290</a>).</p>
+
+<p><i>Servilia</i> <span class="box">143</span>&mdash;Sopr. and Tenor.</p>
+
+<p><i>Ivan the Terrible</i>, Act I <span class="box">48-50</span>&mdash;Sopr. and Tenor.</p>
+
+<p><i>Kashtcheï the Immortal</i> <span class="box">62-64</span>. Mezzo-sopr. and Baritone.</p>
+
+<p class="tp"><b>Voices related in fifths and fourths,</b></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="voices">
+<tr>
+<td rowspan="2"><b>5</b></td>
+<td rowspan="2" class="vat"><span class="xxlg"><b>[</b></span></td>
+<td><b>Sopr.,</b></td>
+<td rowspan="2"><b>4</b></td>
+<td rowspan="2" class="vat"><span class="xxlg"><b>[</b></span></td>
+<td><b>C.-alto,</b></td>
+<td rowspan="2"><b>5</b></td>
+<td rowspan="2" class="vat"><span class="xxlg"><b>[</b></span></td>
+<td><b>Ten.</b></td>
+</tr>
+<tr>
+<td><b>C.-alto,</b></td>
+<td><b>Ten.,</b></td>
+<td><b>Bass.</b></td>
+</tr>
+</table>
+
+<p class="noindent">should progress nearer to one another; it
+is rare for them to move in tenths, common in sixths and thirds; they
+may also proceed in unison. The two voices are seldom separated at a
+greater distance than an octave, and certain cases will require
+crossing of parts, which, however, should only be for periods of short
+duration.<span class="pagenum"><a name="Page_140" id="Page_140">-140-</a></span></p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">263-264</span>&mdash;Soprano and Alto.</p>
+
+<p>* <i>The Christmas Night</i> <span class="box">78-80</span>&mdash;Alto and Tenor.</p>
+
+<p>* <i>Legend of Kitesh</i> <span class="box">338</span>&mdash;Tenor and Bass.</p>
+
+<p class="tp">Voices related in thirds;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="voices">
+<tr>
+<td rowspan="2">3</td>
+<td rowspan="2" class="vat"><span class="xxlg">[</span></td>
+<td>Sopr.,</td>
+<td>M.-sopr.,</td>
+<td>Ten.,</td>
+<td>Bar.</td>
+</tr>
+<tr>
+<td>M.-sopr.,</td>
+<td>C.-alto,</td>
+<td>Bass,</td>
+<td>Bass,</td>
+</tr>
+</table>
+
+<p class="noindent">may move in unison, in thirds and sixths, and admit very largely of
+the crossing of parts. Separation by more than an octave must only be
+momentary, and is generally to be avoided.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p>* <i>The Tsar's Bride</i> <span class="box">174</span>&mdash;Sopr. and Mezzo-sopr.</p>
+
+<p>* <i>Tsar Saltan</i> <span class="box">5-6</span>&mdash;Sopr. and Mezzo-sopr.</p>
+
+<p class="tp">In the case of voices related in twelfths:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="voices">
+<tr>
+<td rowspan="2">12</td>
+<td rowspan="2" class="vat"><span class="xxlg">[</span></td>
+<td>Sopr.</td>
+</tr>
+<tr>
+<td>Bass,</td>
+</tr>
+</table>
+
+<p class="noindent">intervals approaching one another do not create a good effect, for this
+transplants the deeper voice into the upper register and <i>vice versa</i>.
+Singing in unison is no longer possible, and thirds are to be avoided;
+the use of sixths, tenths and thirteenths is recommended. The voices
+will often be separated by more than a twelfth and crossing of parts
+is out of the question.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p>* <i>Tsar Saltan</i> <span class="box">254-255</span>.</p>
+
+<p class="tp">Relationship in tenths</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="voices">
+<tr>
+<td rowspan="2">10</td>
+<td rowspan="2" class="vat"><span class="xxlg">[</span></td>
+<td>Sopr.</td>
+<td rowspan="2">or</td>
+<td>M.-sopr.</td>
+</tr>
+<tr>
+<td>Bar.</td>
+<td>Bass</td>
+</tr>
+</table>
+
+<p class="noindent">is fairly common. The explanations given above are also applicable in this case.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">291-300</span> (cf. extract, <a href="rimsky2.html#No_118">Ex. 118</a>) Sopr. and Bar.</p>
+
+<p class="tp">The use of similar voices in pairs:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="voices">
+<tr>
+<td>Sopr.,</td>
+<td>Ten.</td>
+</tr>
+<tr>
+<td>Sopr.,</td>
+<td>Ten.</td>
+</tr>
+</table>
+
+<p class="noindent">entails singing in unison and thirds. They should rarely be separated beyond a
+sixth, but crossing of parts is inevitable, as otherwise the resultant
+volume of tone would be too weak.<span class="pagenum"><a name="Page_141" id="Page_141">-141-</a></span></p>
+
+<div class="blockquot">
+<p><i>Note.</i> Other possible combinations:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="voices">
+<tr>
+<td>C.-alto,<br />Bar.,</td>
+<td>&nbsp;</td>
+<td>M.-sopr.,<br />Ten.,</td>
+</tr>
+</table>
+
+<p class="noindent">call for no special remarks.</p>
+
+<p class="center"><i>Examples:</i></p>
+
+<p>* <i>The May Night</i>, Act I pp. 59-64&mdash;Mezzo-sopr. and Tenor.</p>
+
+<p>* <i>Sadko</i> <span class="box">322-324</span>&mdash;Mezzo-sopr. and Tenor.</p>
+</div>
+
+<p>As a general rule, writing for two voices is only successful when the
+progression of parts is clear, when discords are prepared by a common
+note, or are the outcome of conveniently separated movement and
+correctly resolved. Empty intervals of fourths and perfect fifths,
+elevenths and twelfths should be avoided on the strong beats of a bar,
+especially on notes of some value. If, however, one of the voices
+assumes a melodic character, the other forming the harmonic
+accompaniment in declamatory style, it is not absolutely necessary to
+avoid the intervals mentioned above.</p>
+
+<div class="blockquot">
+<p><i>Note.</i> It is not within the scope of the present work to
+consider the writing of vocal parts in closer detail. This
+question must be left to the professor of free counterpoint.
+It remains to be noted that the human voice accompanied by
+the orchestra is always heard independently as something
+apart, something complete in itself. For this reason a
+composer may never rely on the orchestra to fill up an empty
+space or correct a fault in the handling of voices. All the
+rules of harmony and counterpoint, down to the last detail,
+must be applied to vocal writing, which is never dependent
+upon orchestral accompaniment.</p>
+</div>
+
+
+<h3>Trios, quartets etc.</h3>
+
+<p>All that has been said regarding the relationship of voices in duet
+applies with equal force to the combination of three, four, five or
+more voices. An <i>ensemble</i> of several voices is seldom purely
+polyphonic; as a rule, although some parts move polyphonically,
+progression in thirds, sixths, tenths and thirteenths is used for the
+remainder. Declamation for some voices on notes forming the harmony is
+also possible. This variety of simultaneous movement of vocal parts
+renders the comprehension of the total effect less difficult for the
+ear, and sanctions the distribution of distinctive and suitable
+figures or tone colouring to certain voices with other figures or
+timbres which may be proceeding at the same time. The skilful
+arrangement of pauses and re-entries facilitates the understanding of
+the whole, and gives desirable prominence to detail.<span class="pagenum"><a name="Page_142" id="Page_142">-142-</a></span></p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">267</span>&mdash;Trio, Finale to Act III.</p>
+
+<p><i>The Tsar's Bride</i> <span class="box">116-118</span>&mdash;Quartet in Act II.</p>
+
+<p><span style="margin-left: 1em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">"</span> <span style="margin-left: 1.1em;"><span class="box">168-171</span>&mdash;Sextet in Act III (cf. extract, <a href="rimsky2.html#No_283">Ex. 283</a>).</span></p>
+
+<p><i>Servilia</i> <span class="box">149-152</span>&mdash;Quintet in Act III.</p>
+
+<p class="tp">The movement of solo voices is seldom purely harmonic in character
+with predominance given to the upper voices homophonically treated.
+The blending of all the parts into an harmonic whole, without any
+distinctive predominant feature in any one part (as in a chorale) is
+employed for songs or <i>ensembles</i> in traditional style, prayers,
+hymns, etc. If this method is adopted for the quartet of voices,</p>
+
+<ul>
+<li>Sopr.</li>
+<li>Alto</li>
+<li>Ten.</li>
+<li>Bass,</li>
+</ul>
+
+<p class="noindent">it will be noted that widely-spaced part writing
+is the most natural and suitable form (especially in <i>forte</i>
+passages), as the four voices can sing together in their proper
+registers (low, middle and high), while, in close part writing they
+may find themselves at a given moment in registers, which are entirely
+foreign. But both methods should be employed, as, otherwise, it would
+be impossible to guarantee equality in even the shortest succession of
+chords.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">178</span> Hymn of Tsar Berendey's subjects.</p>
+
+<p><a href="rimsky2.html#No_305">No. 305.</a> <i>Legend of Kitesh</i> <span class="box">341</span>.</p>
+
+<p class="tp">The second half of the last example is an instance of six-part
+harmonic writing; the upper voice stands out prominently, the rest
+form a kind of accompaniment.</p>
+
+
+<h2>Chorus.</h2>
+
+<h3>Range and register.</h3>
+
+<p>The range of choral voices is slightly more limited than that of
+soloists. The exceptional register may be considered as two notes
+above and below the normal octave. The dotted lines extended still
+further indicate the limits upon which a composer may rely in very
+exceptional cases, as every full chorus must contain a few<span class="pagenum"><a name="Page_143" id="Page_143">-143-</a></span> voices of
+more than average compass, in this respect approaching the solo voice
+in character. In many choruses one or two bass singers may be found
+who are able to go still lower than the limit of the exceptional range
+(they are called <i>octavists</i>).<a name="FNanchor_19_22" id="FNanchor_19_22"></a><a href="#Footnote_19_22" class="fnanchor">[19]</a></p>
+
+<div class="blockquot">
+<p><i>Note.</i> These uncommonly deep notes must be moderately well
+sustained and can only be used when the whole chorus is
+singing quite <i>piano</i>; they are hardly applicable except in
+unaccompanied choruses (<i>a cappella</i>).</p>
+</div>
+
+<p>The difference in range between the "firsts" and "seconds" in each
+type may be fixed as follows: the normal octave and the exceptionally
+low register should be allotted to the "seconds", the same octave and
+the exceptionally high register to the "firsts".</p>
+
+<p>The composition of the chorus is approximately as follows: for a full
+chorus, 32 singers to each of the 4 parts sopr., alt., ten. and bass;
+for a chorus of medium size, from 16 to 20, and for a small chorus
+from 8 to 10 singers. The number of women will often predominate, and
+more voices are given to the "firsts" than to the "seconds".</p>
+
+<p>On account of stage requirements a chorus may have to be divided into
+two or even three separate parts. This is a great disadvantage,
+especially with a small chorus, as each chorister becomes more or less
+a soloist.</p>
+
+<p>The methods of writing for operatic chorus are very numerous. Besides
+the primary harmonico-polyphonic arrangement, containing the whole
+musical idea, the voices may be made to enter separately, singing or
+declaiming phrases of varying length; they may progress in unison or
+in octaves; one vocal part may repeat certain notes or the whole
+chorus reiterate certain chords; one melodic part may predominate (the
+upper part for preference), the others forming an harmonic
+accompaniment; isolated exclamatory phrases may be given to the whole
+chorus or to certain portions of it, and finally, the entire chorus
+may be treated in a purely harmonic manner in chords, with the
+essential melodic design allotted to the orchestra. Having outlined
+the principal methods of handling the chorus, I advise the reader to
+study vocal and orchestral scores where he will find many
+illustrations impossible to deal with here.<span class="pagenum"><a name="Page_144" id="Page_144">-144-</a></span></p>
+
+<p>There exists another most important operation, the division of the
+chorus into different groups. The most natural method is to divide it
+into men's chorus and women's chorus. Less frequent combinations are
+altos, tenors and basses, or sopranos, altos and tenors. There remains
+yet another point to be considered, the sub-division of each part into
+two's and three's. Men's and women's choruses, considered as distinct
+unities may alternate either one with the other, or with the principal
+chorus. For this reason sub-division increases the possibilities of
+choral writing, and, as I have already remarked, it is only by the
+study of choral works that the student will acquire mastery over this
+branch of composition, the fundamental principles of which can only be
+faintly outlined in the course of the present work.</p>
+
+
+<h3>Melody.</h3>
+
+<p>Melody is more limited in the chorus than in the solo voice, both as
+regards range as well as mobility. Choristers' voices are less
+"settled" and not so highly trained as those of soloists. Sometimes
+solo and choral melody are similar in point of range and technique,
+but more often the latter is lacking in freedom and variety of rhythm,
+restricted as it is to the repetition of short phrases, while the solo
+voice demands broader melodic outline and greater freedom in
+construction. In this respect choral melody more closely resembles
+instrumental melody. Pauses for taking breath are not so important
+with chorus singers as with soloists; the former do not need to
+breathe all together and each singer may take a slight rest from time
+to time, thus obviating the necessity for sudden complete silences.
+The question of suitable vowels is likewise of secondary importance.</p>
+
+<p>The change from notes of short value to long, vocalisation on
+syllables and other questions mentioned above are equally applicable
+to choral melody, but in a minor degree. Not more than two or three
+notes should be written on one syllable except for fanciful and
+whimsical effects.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><a href="rimsky2.html#No_306">No. 306.</a> <i>The Golden Cockerel</i> <span class="box">262</span>; see also before <span class="box">123</span>.<span class="pagenum"><a name="Page_145" id="Page_145">-145-</a></span></p>
+
+
+<h2>A. Mixed chorus.</h2>
+
+<h3>Chorus in unison.</h3>
+
+<p>The simplest and most natural combination of voices is sopranos and
+altos, or tenors and basses. These combinations produce ample and
+vigourous tone, and the mixed timbres serve to give prominence to a
+melody in the upper or bass parts. In practice the other voices are
+often divided to thicken the harmony. The combination of altos and
+tenors produces a peculiar mixed tone quality, somewhat <i>bizarre</i> and
+seldom used.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">64</span>.</p>
+
+<p><i>Sadko</i> <span class="box">208</span> (cf. <a href="rimsky2.html#No_014">Ex. 14</a>).</p>
+
+
+<h3>Progression in octaves.</h3>
+
+<p>The most beautiful and natural combinations are sopranos and tenors</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="voices">
+<tr>
+<td rowspan="2">8</td>
+<td rowspan="2" class="vat"><span class="xxlg">[</span></td>
+<td>Sopr.</td>
+</tr>
+<tr>
+<td>Ten.,</td>
+</tr>
+</table>
+
+<p class="noindent">altos and basses</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="voices">
+<tr>
+<td rowspan="2">8</td>
+<td rowspan="2" class="vat"><span class="xxlg">[</span></td>
+<td>Altos</td>
+</tr>
+<tr>
+<td>Basses;</td>
+</tr>
+</table>
+
+<p class="noindent">they produce a tone both brilliant and powerful. Progression of sopranos and altos, or
+tenors and basses is seldom practised. Though the latter combinations
+may occur in choruses for women and men alone, they can only be used
+in melodies of restricted length. The difference of register in which
+the voices move does not permit of the same balance of tone obtained
+by voices of a distinctive kind.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">60</span>, <span class="box">61</span>&mdash;Carnival Procession.</p>
+
+<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.8em;"><span class="box">113</span>&mdash;Wedding Ceremony.</span></p>
+
+<p><i>Sadko</i> <span class="box">37</span>&mdash;Chorus of Guests, 1<span class="super">st</span> Tableau.</p>
+
+<p class="tp">Dividing kindred voices in octaves is seldom done,</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="voices">
+<tr>
+<td rowspan="2">8</td>
+<td rowspan="2" class="vat"><span class="xxlg">[</span></td>
+<td>Sopr. I</td>
+</tr>
+<tr>
+<td>Sopr. II</td>
+</tr>
+</table>
+
+<p class="noindent">etc., except perhaps in the basses</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="voices">
+<tr>
+<td rowspan="2">8</td>
+<td rowspan="2" class="vat"><span class="xxlg">[</span></td>
+<td>Basses I</td>
+</tr>
+<tr>
+<td>Basses II,</td>
+</tr>
+</table>
+
+<p class="noindent">when the progression of parts demand it, or it is required to double the bass
+part in octaves.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Ivan the Terrible</i>, Act III <span class="box">68</span>&mdash;Final chorus (cf. <a href="rimsky2.html#No_312">Ex. 312</a>).</p>
+
+<p><i>Sadko</i> <span class="box">341</span>&mdash;Final chorus.<span class="pagenum"><a name="Page_146" id="Page_146">-146-</a></span></p>
+
+<p class="tp">A beautifully round tone results from doubling men's and women's
+voices in octaves</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="voices">
+<tr>
+<td rowspan="2">8</td>
+<td rowspan="2" class="vat"><span class="xxlg">[</span></td>
+<td>Sopr. <span class="lg">+</span> Altos</td>
+</tr>
+<tr>
+<td>Ten. <span class="lg">+</span> Basses.</td>
+</tr>
+</table>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">323</span>&mdash;Final chorus.</p>
+
+<p class="tp">Brilliance and vigour is achieved when sopranos and altos progress in
+thirds doubled in octaves by tenors and basses also in thirds:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="voices">
+<tr>
+<td rowspan="4">8</td>
+<td rowspan="4" class="vat"><span class="xxxxlg">[</span></td>
+<td>Sopr.</td>
+<td rowspan="2"><span class="xlg">]</span></td>
+<td rowspan="2">3</td>
+</tr>
+<tr>
+<td>Altos</td>
+</tr>
+<tr>
+<td>Ten.</td>
+<td rowspan="2"><span class="xlg">]</span></td>
+<td rowspan="2">3.</td>
+</tr>
+<tr>
+<td>Basses</td>
+</tr>
+</table>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Mlada</i>, Act I <span class="box">24</span>; Act II, before <span class="box">31</span>.</p>
+
+<p><i>The Golden Cockerel</i> <span class="box">235</span>.</p>
+
+<p class="tp">On the rare occasions when the whole chorus progresses in double
+octaves the usual arrangement is:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="voices">
+<tr>
+<td>Sopr.</td>
+<td colspan="2" class="center"><span class="lg">+</span></td>
+<td>Altos</td>
+<td rowspan="2"><span class="xxlg">]</span></td>
+<td rowspan="2">8,</td>
+<td rowspan="3">&nbsp;or else&nbsp;</td>
+<td rowspan="2">8</td>
+<td rowspan="2"><span class="xxlg">[</span></td>
+<td>Sopr.</td>
+<td>&nbsp;</td>
+<td>&nbsp;</td>
+<td>&nbsp;</td>
+<td>&nbsp;</td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td rowspan="2">8</td>
+<td rowspan="2"><span class="xxlg">[</span></td>
+<td>Ten.</td>
+<td>Altos</td>
+<td class="center"><span class="lg">+</span></td>
+<td>Ten.</td>
+<td rowspan="2"><span class="xxlg">]</span></td>
+<td rowspan="2">8.</td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td>Basses</td>
+<td>&nbsp;</td>
+<td>&nbsp;</td>
+<td>&nbsp;</td>
+<td>&nbsp;</td>
+<td>Basses</td>
+</tr>
+</table>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">319</span>.</p>
+
+<p><i>Sadko</i> <span class="box">182</span>.</p>
+
+
+<h3>Voices (<i>divisi</i>); harmonic use of the mixed chorus.</h3>
+
+<p>The purely harmonic progression of a four-part mixed chorus is more
+natural and resonant when the harmony is of the widely divided order,
+so that the volume of tone is equally distributed throughout.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><a href="rimsky2.html#No_307">No. 307.</a> <i>Sadko</i> <span class="box">144</span>&mdash;Beginning of 3<span class="super">rd</span> tableau.</p>
+
+<p class="tp">To secure a well-balanced <i>forte</i> chord in close part writing the
+following distribution is recommended:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="voices">
+<tr>
+<td rowspan="2" class="vat"><span class="xxlg">[</span></td>
+<td>Sopr. I</td>
+</tr>
+<tr>
+<td>Sopr. II</td>
+</tr>
+<tr>
+<td>&nbsp;</td>
+<td>Altos</td>
+</tr>
+<tr>
+<td rowspan="2" class="vat"><span class="xxlg">[</span></td>
+<td>Ten. I</td>
+</tr>
+<tr>
+<td>Ten. II</td>
+</tr>
+<tr>
+<td rowspan="2" class="vat"><span class="xxlg">[</span></td>
+<td>Basses I</td>
+</tr>
+<tr>
+<td>Basses II.</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_147" id="Page_147">-147-</a></span></p>
+
+<p class="noindent">Three harmonic parts in the high register (2 sopranos and altos) are
+doubled an octave lower by 2 tenors and the 1<span class="super">st</span> basses. The lower
+part is undertaken by the 2<span class="super">nd</span> basses. In this manner the tenors
+sing in the soprano octave, the 1<span class="super">st</span> basses in the alto octave and
+the 2<span class="super">nd</span> basses are independent.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">327</span>&mdash;End of the work.</p>
+
+<p><i>Mlada</i>, Act II <span class="box">20</span>&mdash;Procession of Princes.</p>
+
+<p><i>Ivan the Terrible</i>, Act II <span class="box">19</span> (cf. <a href="rimsky2.html#No_212">Ex. 212</a>).</p>
+
+<p class="tp">Division of parts can be adopted when one of them is entrusted with a
+melody, the remainder forming a sufficiently full accompaniment. The
+choice of parts to be divided depends upon the range of the upper one.
+When a harmonic-melodic phrase is repeated in different keys and
+registers, it may be necessary to distribute the parts and divide them
+in another manner, so as to maintain proper choral balance. As an
+illustration I give two extracts of identical musical context, the
+second (<i>F</i> major) being a third higher than the first (<i>D</i> major). In
+the first example the altos are added to the sopranos to strengthen
+the melody; the tenors and basses <i>divisi</i> form the harmony. In the
+second example the melody being a third higher may be given to the
+sopranos alone; the altos therefore take part in the harmony, and
+consequently the lower parts are divided in a different way.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Sadko</i> <span class="box">173</span> and <span class="box">177</span> (cf. <a href="rimsky2.html#No_205">Ex. 205</a> and <a href="rimsky2.html#No_206">206</a>); compare also the
+same music in <i>G</i> major <span class="box">189</span>.</p>
+
+<p><a href="rimsky2.html#No_309">No. 309</a>-<a href="rimsky2.html#No_310">310</a>. <i>Ivan the Terrible</i>, Act I <span class="box">77</span>.</p>
+
+<p class="tp"><a href="rimsky2.html#No_307">Example 307</a> is an instance of widely-spaced four-part writing forming
+the harmonic basis, with the melodic idea in the orchestra. In <a href="rimsky2.html#No_308">Example
+308</a>, the same in musical context, the melodic figure is given to the
+sopranos, and among the other parts which form the harmony the tenors
+are divided.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><a href="rimsky2.html#No_308">No. 308.</a> <i>Sadko</i> <span class="box">152</span>.<span class="pagenum"><a name="Page_148" id="Page_148">-148-</a></span></p>
+
+<p class="tp">In polyphonic writing exceeding 4 part harmony the voices should be
+divided so as to obtain the necessary number of actual parts. One part
+may be divided into as many as three different parts, 3 sopranos, 3
+altos etc.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><a href="rimsky2.html#No_312">No. 312.</a> <i>Ivan the Terrible</i>, Act III <span class="box">69</span>&mdash;Final chorus.</p>
+
+<p><i>Servilia</i> <span class="box">233</span>&mdash;Final chorus.</p>
+
+<p><i>Mlada</i>, Act IV <span class="box">35-36</span>&mdash;Final chorus.</p>
+
+<p class="tp">In <i>fugato</i> writing and fugal imitation for mixed chorus the
+distribution is generally in four parts, but this number may be
+increased for cumulative effects as in the example quoted. In such
+cases the composer should be careful as to the arrangement of the
+final chord, the summit and climax of the passage. After the entry of
+the last of the voices the progression of such a passage should be
+handled with a view to the tone of the final chord. The treatment
+should be such that concords produced by divided voices or different
+groups of voices retain their full value; and if the final chord be a
+discord its effect may be heightened by means of crossing of parts.
+The reader is advised to examine carefully the progression of parts
+leading up to the final chord in each of the examples given above,
+paying special attention to the distribution of these final chords.
+Crossing of parts must not be effected at random. The arrangement of
+choral parts follows the natural order of register and can only be
+altered for short spaces of time to give momentary prominence to some
+melodic or declamatory phrase.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Ivan the Terrible</i>, Act I <span class="box">79</span>, Act II <span class="box">5</span>, Act III <span class="box">67</span>.</p>
+
+
+<h2>B. Men&#8217;s chorus and women&#8217;s chorus.</h2>
+
+<p>In writing a three-part female chorus the division should be either</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="voices">
+<tr>
+<td>Sopr. I<br />
+Sopr. II<br />
+Altos</td>
+<td class="center">&nbsp;or&nbsp;</td>
+<td>Sopr.<br />
+Altos I<br />
+Altos II;</td>
+</tr>
+</table>
+
+<p class="noindent">the same for men:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="voices">
+<tr>
+<td>Ten. I<br />
+Ten. II<br />
+Bass</td>
+<td class="center">&nbsp;or&nbsp;</td>
+<td>Ten.<br />
+Bass I<br />
+Bass II.</td>
+</tr>
+</table>
+
+<p class="noindent">The choice of distribution depends upon which voice is to predominate, or the register in which
+the group is to be placed. The manner of divid<span class="pagenum"><a name="Page_149" id="Page_149">-149-</a></span>ing the parts may
+change, one following the other at will. In four-part harmonic writing
+the method of division is self-evident:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="voices">
+<tr>
+<td>Sopr. I<br />
+Sopr. II<br />
+Altos I<br />
+Altos II</td>
+<td style="width: 5%">&nbsp;</td>
+<td>Ten. I<br />
+Ten. II<br />
+Bass I<br />
+Bass II</td>
+</tr>
+</table>
+
+<p>To give prominence to a melody in the middle part in three-part
+harmony, the following method may be adopted:</p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary="voices">
+<tr>
+<td>Sopr. I<br />
+Sopr. II <span class="lg">+</span> Altos I,<br />
+Altos II</td>
+<td>&nbsp;or&nbsp;</td>
+<td>Ten. I<br />
+Ten. II <span class="lg">+</span> Bass I.<br />
+Bass II</td>
+</tr>
+</table>
+
+<p>If, in three-part writing, the melody has to stand out in the upper
+part, the harmony may be either widely-divided or close.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Ivan the Terrible</i>, Act I <span class="box">25-26</span>, <span class="box">23-31</span> (Women's chorus).</p>
+
+<p><i>Sadko</i>, before <span class="box">181</span>&mdash;Men's chorus (cf. <a href="rimsky2.html#No_027">Ex. 27</a>).</p>
+
+<p><a href="rimsky2.html#No_311">No. 311.</a> <i>Sadko</i> <span class="box">270-272</span>&mdash;Women's chorus.</p>
+
+<p class="tp">In four-part choral writing close harmony is preferable, otherwise the
+upper part will be in too high a register and the range of the bottom
+part too low.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Sadko</i> <span class="box">17</span>&mdash;Male chorus.</p>
+
+<p><i>Ivan the Terrible</i>, Act II <span class="box">36-38</span>&mdash;Female chorus (cf. <a href="rimsky2.html#No_296">Ex. 296</a>).</p>
+
+<p class="tp">Distribution in two parts which is generally polyphonic does not call
+for any special remarks; the same may be said of chorus in unison.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<table style="width: 90%" border="0" cellpadding="2" cellspacing="0" summary="examples">
+<tr>
+<td style="width: 33%"><i>Sadko</i> <span class="box">50</span>&mdash;Male chorus.</td>
+<td colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><i>Mlada</i>, beginning of Act I.</td>
+<td rowspan="3" style="width: 2%"><span class="xxxlg">}</span></td>
+<td rowspan="3">Female chorus.</td>
+</tr>
+<tr>
+<td><i>Ivan the Terrible</i>, Act III <span class="box">13-15</span>.</td>
+</tr>
+<tr>
+<td><i>Servilia</i> <span class="box">26</span>.</td>
+</tr>
+</table>
+
+<p class="tp">If male and female choruses are handled in a purely harmonic manner
+close part writing should be adopted. This is the only way to secure
+proper balance of tone in chords given to voices<span class="pagenum"><a name="Page_150" id="Page_150">-150-</a></span> of the same kind.
+Successions of chords in three parts are more frequent than those in
+four; sometimes a series of chords is practicable only in two parts.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">19</span>&mdash;Chorus of Birds.</p>
+
+<p><span style="margin-left: 3em;">"</span> <span style="margin-left: 2.7em;"><span class="box">281-285</span>&mdash;Chorus of Flowers (cf. <a href="rimsky2.html#No_026">Ex. 26</a>).</span></p>
+
+<p class="tp">In <i>fugato</i> writing, and fugal imitation in three parts, allotted to a
+chorus composed of voices of one kind, the principal subject is given
+to two parts, the counter subject to one; by this method the doubled
+themes will stand out to better advantage.</p>
+
+<p class="centertp"><i>Examples:</i></p>
+
+<p><i>Sadko</i> <span class="box">20-21</span>.</p>
+
+<p>* <i>The Tsar's Bride</i> <span class="box">29-30</span>.</p>
+
+<p class="tp">Male and female choruses, apart from the part they play as individual
+unities, may be introduced as separate groups in mixed choruses
+alternating with the whole <i>ensemble</i>.</p>
+
+<p class="centertp"><i>Example:</i></p>
+
+<p><i>Snegourotchka</i> <span class="box">198</span>&mdash;Hymn of Tsar Berendey's Subjects
+(cf. <a href="rimsky2.html#No_166">Ex. 166</a>).</p>
+
+<p class="tp">As a general rule a female chorus does not contain the real harmonic
+bass part when this part is situated in the low register, so that no
+octaves are formed between the real bass and the lower choral voice.
+Harmony in a chorus for women is generally given to the three upper
+parts, the lower part acting as accompanying bass. It will be noticed
+that this rule may lead to the employment of chords of the sixth and
+empty consecutive fourth's and fifth's which should be avoided. In
+example <a href="rimsky2.html#No_311">No. 311</a> (<i>Sadko</i> <span class="box">270</span>), this is remedied by the high
+position of the bass part; later an empty interval (4/5) occurs, but
+only for a moment, and still further on another such interval is
+avoided by the union of all the voices in the octave (<i>B/B</i>). In <a href="rimsky2.html#No_304">Ex.
+No. 304</a> (<i>Sadko</i> <span class="box">83</span>) the harmonic bass in the low register is
+carefully omitted, but when transferred to the upper register it is
+doubled.<span class="pagenum"><a name="Page_151" id="Page_151">-151-</a></span></p>
+
+<p>I conclude the present chapter with the following necessary
+observations:</p>
+
+<p>1. The operation of dividing voices undoubtedly weakens their
+resonance, and as the reader will have observed, one of the principal
+factors in good orchestration is <i>equal</i> balance of tone in the
+distribution of chords. But in choral writing the question is somewhat
+different. The orchestra, even after repeated rehearsal always <i>plays
+from music</i>; the operatic chorus, on the other hand, sings by heart.
+The chorus master can carry out the composer's instructions as to the
+division of parts in one way or another, varying and adjusting the
+number of singers to each part. By manipulating some shade of
+expression he can maintain a balance of tone between divided and
+undivided voices. In orchestral material the composer has to handle a
+great number of timbres, widely different in character and volume of
+tone. In the chorus there are but four qualities. A chorus moving
+about the stage cannot convey varying shades of expression so exactly
+as an orchestra seated at the desk. It may therefore be safely assumed
+that a composer is entitled to some licence in the question of
+dividing choral parts; dealing with the orchestra involves greater
+foresight and care.</p>
+
+<p>2. In trying to obtain equal balance in writing three-part choruses
+for male or female chorus I have often resorted to the method of
+doubling the middle part as recommended on <a href="#Page_149">p. 149</a>. The chorus master
+is at liberty to equalise the chorus by transferring voices from one
+part to another. In choruses divided into three parts I have noticed
+that chorus masters are in the habit of giving the upper part to Sopr.
+I, or Ten. I, and the two lower parts to Sopr. II and Ten. II divided.
+I consider this arrangement unsound, as the balance of parts can never
+be equal. The attention of chorus masters is called to the necessity
+of strengthening middle parts, for the expedient of giving prominence
+to the upper part concerns melody alone and leaves harmony out of the
+question.</p>
+
+<p>3. Skilful management of choral parts is a fairly safe guarantee of
+clear and satisfactory performance. Miscalculations in writing are a
+great hindrance to study, and the most experienced chorus may come to
+grief through faulty progression of parts. If the progression of parts
+is correct, if discords are properly prepared,<span class="pagenum"><a name="Page_152" id="Page_152">-152-</a></span> sudden and remote
+modulations, even of the harshest and most uncommon kind will be
+comparatively simple and may be approached with some degree of
+confidence. This is a fact which composers do not always bear in mind,
+but singers know it well and appreciate its importance to the full. As
+an instance I quote the very difficult modulation which occurs in <a href="rimsky2.html#No_169">Ex.
+No. 169</a> (<i>Sadko</i> <span class="box">302</span>). I doubt whether it could be sung if written
+in any other way. Careful endeavour on the part of a composer is
+better than useless struggle inflicted upon the performer.</p>
+
+<p class="right">July 31<span class="super">st</span> (Aug. 13<span class="super">th</span>) 1905.</p>
+
+
+
+<hr />
+<p class="center"><b><a href="rimsky_toc.html">CONTENTS</a></b><br />
+<b><a href="rimsky2.html">VOLUME II</a></b></p>
+
+
+<hr />
+<h2>FOOTNOTES</h2>
+
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> This manuscript was given to me by Alexander Glazounov;
+if a Rimsky-Korsakov museum is ever founded it will be placed there.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> This <a href="#Extract_from_the_Authors_Preface_1891">preface</a> had already been published in his <i>Notes and
+Articles on Music</i> (St. Petersburgh, 1911).</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Recently the firm of Belaieff has published
+Rimsky-Korsakov's symphonic works in miniature score, pocket-size.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> In the margin of the MS. a question mark is added here.
+(Editor's note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> A. Glazounov has well expressed the various degrees of
+excellence in scoring, which he divides into three classes: 1. When
+the orchestra sounds well, playing from sight; magnificent, after a
+few rehearsals. 2. When effects cannot be brought off except with the
+greatest care and attention on the part of conductor and players. 3.
+When the orchestra never sounds well. Evidently the chief aim in
+orchestration is to obtain the first of these results. (Author's
+note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> A short review of these various questions forms the
+<a href="#Chapter_I">first chapter</a> of the book. (Editor's note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> To give a list of easy three and four-note chords, or to
+explain the different methods of bowing does not come within the scope
+of the present book.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> Of late years sometimes two tubas are employed, by
+Glazounov for instance in his Finnish Fantasia. (Editor's note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_A_9" id="Footnote_A_9"></a><a href="#FNanchor_A_9"><span class="label">[A]</span></a> The 7<span class="super">th</span> natural harmonic is everywhere omitted as
+useless; the same in the horns, the notes 11, 13, 14 and 15.</p></div>
+
+<div class="footnote"><p><a name="Footnote_B_10" id="Footnote_B_10"></a><a href="#FNanchor_B_10"><span class="label">[B]</span></a> The <i>b&#9838;</i> of the octave -1 does not exist on the
+trombones.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_11" id="Footnote_9_11"></a><a href="#FNanchor_9_11"><span class="label">[9]</span></a> A Russian instrument which, like the balalaïka, is better
+known abroad. (Translator's note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_12" id="Footnote_10_12"></a><a href="#FNanchor_10_12"><span class="label">[10]</span></a> A chromatic harp without pedals has now been invented in
+France (Lyon's system), on which the most abrupt modulations are
+possible. (Translator's note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_13" id="Footnote_11_13"></a><a href="#FNanchor_11_13"><span class="label">[11]</span></a> Rimsky-Korsakov's opera <i>Sadko</i> and Moussorgsky's <i>Boris
+Godounov</i> are particularly interesting in this respect. (Translator's
+note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_12_14" id="Footnote_12_14"></a><a href="#FNanchor_12_14"><span class="label">[12]</span></a> Recently, bells have been made of suspended metal plates
+possessing the rare quality of a fairly pure tone, and which are
+sufficiently portable to be used on the concert platform. (Editor's
+note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_C_15" id="Footnote_C_15"></a><a href="#FNanchor_C_15"><span class="label">[C]</span></a> The present volume is divided into two parts, text (pp.
+1-152) and musical examples (pp. 1-333). The <a href="rimsky2.html#LIST">first page of the second
+part</a> lists the standard full-score editions of Rimsky-Korsakov's works
+that are referred to throughout the book. These references to specific
+passages are always indicated by boxed numbers or boxed letters
+corresponding to the ones marking the sub-divisions of the particular
+score. On the other hand, references in the text to the 312 musical
+examples in the <a href="rimsky2.html">second part</a> of the book are always indicated as "No.
+1," "No. 2," etc. Thus, "<i>The Tsar's Bride</i> <span class="box">84</span>" indicates that the
+reader should look at section <span class="box">84</span> of the score of <i>The Tsar's
+Bride</i> as published by Belaieff in Leipzig, the music of which is not
+reprinted here; whereas "<a href="rimsky2.html#No_001">No. 1.</a> <i>Shéhérazade</i> 2<span class="super">nd</span> movement <span class="box">B</span>"
+indicates that the reader should look at the first musical example in
+the second part of the present book, which comes from the section
+marked <span class="box">B</span> in the second movement of the score of <i>Shéhérazade</i> as
+published by Belaieff.</p></div>
+
+<div class="footnote"><p><a name="Footnote_13_16" id="Footnote_13_16"></a><a href="#FNanchor_13_16"><span class="label">[13]</span></a> The composer has emended the score in the following
+manner: from the fifth to the ninth bar after <span class="box">305</span>, and also from
+the fifth to the ninth bar after <span class="box">306</span>, the three clarinets play in
+unison, the trumpet being marked <i>forte</i> instead of <i>fortissimo</i>; in
+the example, the first of these passages is corrected according to the
+composer's alteration. (Editor's note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_14_17" id="Footnote_14_17"></a><a href="#FNanchor_14_17"><span class="label">[14]</span></a> The process of doubling strings and wood-wind in
+octaves:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="instruments">
+<tr>
+<td style="padding-top: .3em">Fl.<br />
+Vn<span class="super">s</span></td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8,</td>
+<td style="padding-top: .3em">Ob.<br />
+'Cellos</td>
+<td class="vat"><span class="xxlg">]</span></td>
+<td>8,</td>
+</tr>
+</table>
+
+<p class="noindent">etc. often used by the
+classics to obtain balance of tone, is not to be recommended, as the
+tone quality of the two groups is so widely different. As a result of
+the ever-increasing tendency to profusion of colour, this method has
+recently come into fashion again, notably among the younger French
+composers. (Editor's note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_15_18" id="Footnote_15_18"></a><a href="#FNanchor_15_18"><span class="label">[15]</span></a> In the full score a misprint occurs in the clarinet
+part; it is corrected in the example. (Editor's note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_16_19" id="Footnote_16_19"></a><a href="#FNanchor_16_19"><span class="label">[16]</span></a> A splendid example of the combination of strings and
+brass may be found in the introduction to the 2<span class="super">nd</span> scene of the
+4<span class="super">th</span> act of "<i>Khovanstchina</i>" by Moussorgsky, orchestrated by
+Rimsky-Korsakov. (Editor's note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_17_20" id="Footnote_17_20"></a><a href="#FNanchor_17_20"><span class="label">[17]</span></a> Mention should be made of the happy use of a small
+orchestra in the wings (2 picc., 2 cl., 2 horns, 1 trombone,
+tambourine, 4 Vn<span class="super">s</span>, 2 violas, 1 D-bass) in <i>The May Night</i>, Act II,
+Sc. I. <span class="box">M-P</span>. (Editor's note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_18_21" id="Footnote_18_21"></a><a href="#FNanchor_18_21"><span class="label">[18]</span></a> Here the author approaches a question so well known to
+the Russians that it does not require any further elucidation for
+their guidance. But a whole book would have to be written to form a
+compendium of practical rules on this subject, and to point out the
+errors which nearly all French composers openly commit&mdash;even those who
+are famous for their sense of diction and literary style. We can only
+conclude that the question has come to be considered of minor
+importance in France, perhaps on account of the lack of definite
+stress on the syllables of words, which is characteristic of the
+French language. It is not within the translator's province to discuss
+the question of French versification or to elaborate the excellent
+maxims laid down by Rimsky-Korsakov, the first, among many, to touch
+upon this delicate and important subject. (Translator's note.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_19_22" id="Footnote_19_22"></a><a href="#FNanchor_19_22"><span class="label">[19]</span></a> <i>Contrebasses</i> voices as they are called when mentioned
+in French works are peculiar to Russia, in which country they are
+plentiful. (Translator's note.)</p></div>
+
+
+</body>
+</html>
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+<body>
+
+
+
+<div class="bbox">
+<h1><span class="sm">NIKOLAY RIMSKY-KORSAKOV</span><br />
+<br />
+<i>Principles<br />
+of Orchestration</i><br />
+</h1>
+
+
+<h2>
+<i>with musical examples<br />
+drawn from his own works</i><br />
+</h2>
+
+
+<h3>
+Edited by<br />
+MAXIMILIAN STEINBERG<br />
+<br />
+English translation by<br />
+EDWARD AGATE<br />
+</h3>
+
+
+<h3>[VOLUME II]</h3>
+
+<p class="centerbp">[<span lang="fr">Édition Russe de Musique</span>, Paris, 1922]</p>
+</div>
+
+<p class="centertp"><b><a href="rimsky_toc.html">CONTENTS</a></b><br />
+<b><a href="rimsky1.html">VOLUME I</a></b></p>
+
+
+<hr />
+
+<p class="ind"><a name="LIST" id="LIST"></a>The musical examples in this volume are taken from the composer's
+following works:</p>
+
+
+<h3>W. BESSEL &amp; CO., publishers, Petrograd.</h3>
+
+<p>"IVAN THE TERRIBLE", opera in 3 acts, 1894 edition.<br />
+"SNEGOUROTCHKA", opera in prologue and 4 acts (1880-1881).<br />
+"THE LEGEND OF TSAR SALTAN", opera in prologue and 4 acts (1899-1900).<br />
+"SERVILIA", opera in 5 acts (1900-1901).<br />
+"KASHTCHEÏ THE IMMORTAL", opera in 1 act of 3 scenes (1902).<br />
+"PAN VOYEVODA", opera in 4 acts (1902-1903).<br />
+"VERA SCHELOGA", prologue to "IVAN THE TERRIBLE", op. 54 (1898).<br />
+"ANTAR", symphonic suite (2<span class="super">nd</span> symphony), <i>new edition</i> of 1897, published in 1913.
+</p>
+
+
+<h3>P. JURGENSON, publisher, Moscow.</h3>
+
+<p>"SADKO", symphonic poem, 1891-1892 edition.<br />
+"THE GOLDEN COCKEREL", opera in 3 acts (1906-1907).
+</p>
+
+
+<h3>M.P. BELAIEFF, publisher, Leipzig.</h3>
+
+<p>"THE MAY NIGHT", opera in 3 acts (1878-1879).<br />
+"MLADA", opera-ballet in 4 acts (1889-1890).<br />
+"THE CHRISTMAS NIGHT", opera in 4 acts (1894-1895).<br />
+"SADKO", opera-legend in 7 scenes (1895-1896).<br />
+"THE TSAR'S BRIDE", opera in 4 acts (1898).<br />
+"THE LEGEND OF THE INVISIBLE CITY OF KITESH AND THE MAID FEVRONIA",<br />
+<span style="margin-left: 2em;">opera in 4 acts (1903-1905).</span><br />
+"SPANISH CAPRICCIO", op. 34 (1887).<br />
+"SHEHERAZADE", symphonic suite from the "THOUSAND AND ONE NIGHTS",
+op. 35 (1888).<br />
+"RUSSIAN EASTER FÊTE", Overture on Russian Church Themes, op. 36 (1888).
+</p>
+
+<hr />
+
+<h3><a name="No_001" id="No_001"></a><i>N<span class="super">o.</span> 1. &#8220;Sheherazade,&#8221; 2<span class="super2">nd</span> movement.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 1. &#8222;Shéhérazade,&#8220; 2<span class="super2">me</span> mouvement.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_37">Vol. I p. 37</a>]</p>
+
+<p class="centerbp">[<a href="music2/001.mp3">Listen</a>] [<a href="music2/001.xml">XML</a>] [<a href="images2/001.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/001a.png" width="350" height="553" alt="music" title="music" />
+</td>
+<td class="ct"><img src="images2/001b.png" width="350" height="553" alt="music" title="music" />
+</td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_002" id="No_002"></a><i>N<span class="super">o.</span> 2. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 2. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_37">Vol. I p. 37</a>]</p>
+
+<p class="centerbp">[<a href="music2/002.mp3">Listen</a>] [<a href="music2/002.xml">XML</a>] [<a href="images2/002.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/002a.png" width="351" height="557" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/002b.png" width="352" height="552" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td colspan="2" class="center"><img src="images2/002c.png" width="350" height="214" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+<hr />
+
+<h3><a name="No_003" id="No_003"></a><i>N<span class="super">o.</span> 3. &#8220;Spanish Capriccio.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 3. &#8222;Capriccio Espagnol.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_37">Vol. I p. 37</a>]</p>
+
+<p class="centerbp">[<a href="music2/003.mp3">Listen</a>] [<a href="music2/003.xml">XML</a>] [<a href="images2/003.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/003.png" width="350" height="341" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_004" id="No_004"></a><i>N<span class="super">o.</span> 4. &#8220;Pan Voyevoda.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 4. &#8222;Pan le Voïevode.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_37">Vol. I p. 37</a>]</p>
+
+<p class="centerbp">[<a href="music2/004.mp3">Listen</a>] [<a href="music2/004.xml">XML</a>] [<a href="images2/004.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/004.png" width="350" height="556" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_005" id="No_005"></a><i>N<span class="super">o.</span> 5. &#8220;The Golden Cockerel.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 5. &#8222;Le Coq d&#8217;Or.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_37">Vol. I p. 37</a>]</p>
+
+<p class="centerbp">[<a href="music2/005.mp3">Listen</a>] [<a href="music2/005.xml">XML</a>] [<a href="images2/005.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/005.png" width="350" height="295" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_006" id="No_006"></a><i>N<span class="super">o.</span> 6. &#8220;Sadko,&#8221; symphonic tableau (p. 28).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 6. &#8222;Sadko,&#8220; tableau symphonique (p. 28).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_37">Vol. I p. 37</a>]</p>
+
+<p class="centerbp">[<a href="music2/006.mp3">Listen</a>] [<a href="music2/006.xml">XML</a>] [<a href="images2/006.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/006a.png" width="350" height="253" alt="music" title="music" /><br />
+<img src="images2/006b.png" width="350" height="283" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_007" id="No_007"></a><i>N<span class="super">o.</span> 7. &#8220;Pan Voyevoda,&#8221; nocturne.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 7. &#8222;Pan le Voïevode,&#8220; nocturne.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_38">Vol. I p. 38</a>]</p>
+
+<p class="centerbp">[<a href="music2/007.mp3">Listen</a>] [<a href="music2/007.xml">XML</a>] [<a href="images2/007.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/007a.png" width="350" height="285" alt="music" title="music" /><br />
+<img src="images2/007b.png" width="350" height="561" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_008" id="No_008"></a><i>N<span class="super">o.</span> 8. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 8. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_38">Vol. I p. 38</a>]</p>
+
+<p class="centerbp">[<a href="music2/008.mp3">Listen</a>] [<a href="music2/008.xml">XML</a>] [<a href="images2/008.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/008a.png" width="350" height="547" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/008b.png" width="350" height="564" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_009" id="No_009"></a><i>N<span class="super">o.</span> 9. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 9. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_38">Vol. I p. 38</a>]</p>
+
+<p class="centerbp">[<a href="music2/009.mp3">Listen</a>] [<a href="music2/009.xml">XML</a>] [<a href="images2/009.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/009.png" width="350" height="573" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_010" id="No_010"></a><i>N<span class="super">o.</span> 10. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 10. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_38">Vol. I p. 38</a>]</p>
+
+<p class="centerbp">[<a href="music2/010.mp3">Listen</a>] [<a href="music2/010.xml">XML</a>] [<a href="images2/010.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/010.png" width="350" height="354" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_011" id="No_011"></a><i>N<span class="super">o.</span> 11. &#8220;The Golden Cockerel.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 11. &#8222;Le Coq d&#8217;Or.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_38">Vol. I p. 38</a>]</p>
+
+<p class="centerbp">[<a href="music2/011.mp3">Listen</a>] [<a href="music2/011.xml">XML</a>] [<a href="images2/010.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/011.png" width="350" height="224" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_012" id="No_012"></a><i>N<span class="super">o.</span> 12. &#8220;Sheherazade,&#8221; 3<span class="super2">rd</span> movement (commencement).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 12. &#8222;Shéhérazade,&#8220; 3<span class="super2">me</span> mouvement (début).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_39">Vol. I p. 39</a>]</p>
+
+<p class="centerbp">[<a href="music2/012.mp3">Listen</a>] [<a href="music2/012.xml">XML</a>] [<a href="images2/012.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/012.png" width="350" height="551" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_013" id="No_013"></a><i>N<span class="super">o.</span> 13. &#8220;The Golden Cockerel&#8221; (p. 87).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 13. &#8222;Le Coq d&#8217;Or&#8220; (p. 87).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_39">Vol. I p. 39</a>]</p>
+
+<p class="centerbp">[<a href="music2/013.mp3">Listen</a>] [<a href="music2/013.xml">XML</a>] [<a href="images2/013.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/013.png" width="350" height="171" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_014" id="No_014"></a><i>N<span class="super">o.</span> 14. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 14. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_39">Vol. I p. 39</a>]</p>
+
+<p class="centerbp">[<a href="music2/014.mp3">Listen</a>] [<a href="music2/014.xml">XML</a>] [<a href="images2/014.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/014a.png" width="350" height="407" alt="music" title="music" /><br />
+<img src="images2/014b.png" width="350" height="308" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_015" id="No_015"></a><i>N<span class="super">o.</span> 15. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 15. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_39">Vol. I p. 39</a>]</p>
+
+<p class="centerbp">[<a href="music2/015.mp3">Listen</a>] [<a href="music2/015.xml">XML</a>] [<a href="images2/015.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/015a.png" width="350" height="280" alt="music" title="music" /><br />
+<img src="images2/015b.png" width="350" height="575" alt="music" title="music" /><br />
+<img src="images2/015c.png" width="350" height="343" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_016" id="No_016"></a><i>N<span class="super">o.</span> 16. &#8220;The Golden Cockerel&#8221; (p. 88).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 16. &#8222;Le Coq d&#8217;Or&#8220; (p. 88).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_39">Vol. I p. 39</a>]</p>
+
+<p class="centerbp">[<a href="music2/016.mp3">Listen</a>] [<a href="music2/016.xml">XML</a>] [<a href="images2/016.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/016.png" width="350" height="230" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_017" id="No_017"></a><i>N<span class="super">o.</span> 17. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 17. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_40">Vol. I p. 40</a>]</p>
+
+<p class="centerbp">[<a href="music2/017.mp3">Listen</a>] [<a href="music2/017.xml">XML</a>] [<a href="images2/017.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/017a.png" width="350" height="541" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/017b.png" width="350" height="519" alt="music" title="music" /></td>
+</tr><tr>
+<td class="ct"><img src="images2/017c.png" width="350" height="528" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/017d.png" width="350" height="522" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_018" id="No_018"></a><i>N<span class="super">o.</span> 18. &#8220;The May Night,&#8221; Act III.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 1. &#8222;La Nuit de Mai,&#8220; 3<span class="super2">me</span> acte.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_40">Vol. I p. 40</a>]</p>
+
+<p class="centerbp">[<a href="music2/018.mp3">Listen</a>] [<a href="music2/018.xml">XML</a>] [<a href="images2/018.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/018.png" width="350" height="571" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_019" id="No_019"></a><i>N<span class="super">o.</span> 19. &#8220;Sheherazade,&#8221; 2<span class="super2">nd</span> movement.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 19. &#8222;Shéhérazade,&#8220; 2<span class="super2">me</span> mouvement.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_40">Vol. I p. 40</a>]</p>
+
+<p class="centerbp">[<a href="music2/019.mp3">Listen</a>] [<a href="music2/019.xml">XML</a>] [<a href="images2/019.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/019.png" width="350" height="569" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_020" id="No_020"></a><i>N<span class="super">o.</span> 20. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 20. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_40">Vol. I p. 40</a>]</p>
+
+<p class="centerbp">[<a href="music2/020.mp3">Listen</a>] [<a href="music2/020.xml">XML</a>] [<a href="images2/020.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/020.png" width="350" height="313" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_021" id="No_021"></a><i>N<span class="super">o.</span> 21. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 21. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_40">Vol. I p. 40</a>]</p>
+
+<p class="centerbp">[<a href="music2/021.mp3">Listen</a>] [<a href="music2/021.xml">XML</a>] [<a href="images2/020.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/021.png" width="350" height="264" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_022" id="No_022"></a><i>N<span class="super">o.</span> 22. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 22. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_41">Vol. I p. 41</a>]</p>
+
+<p class="centerbp">[<a href="music2/022.mp3">Listen</a>] [<a href="music2/022.xml">XML</a>] [<a href="images2/022.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/022.png" width="350" height="553" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_023" id="No_023"></a><i>N<span class="super">o.</span> 23. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 23. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_41">Vol. I p. 41</a>]</p>
+
+<p class="centerbp">[<a href="music2/023.mp3">Listen</a>] [<a href="music2/023.xml">XML</a>] [<a href="images2/023.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/023.png" width="350" height="565" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_024" id="No_024"></a><i>N<span class="super">o.</span> 24. &#8220;Sadko&#8221; (p. 336).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 24. &#8222;Sadko&#8220; (p. 336).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_41">Vol. I p. 41</a>]</p>
+
+<p class="centerbp">[<a href="music2/024.mp3">Listen</a>] [<a href="music2/024.xml">XML</a>] [<a href="images2/024.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/024.png" width="350" height="578" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_025" id="No_025"></a><i>N<span class="super">o.</span> 25. &#8220;Ivan the Terrible,&#8221; Act III.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 25. &#8222;La Pskovitaine,&#8220; 3<span class="super2">me</span> acte.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_41">Vol. I p. 41</a>]</p>
+
+<p class="centerbp">[<a href="music2/025.mp3">Listen</a>] [<a href="music2/025.xml">XML</a>] [<a href="images2/025.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/025.png" width="350" height="575" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_026" id="No_026"></a><i>N<span class="super">o.</span> 26. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 26. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_42">Vol. I p. 42</a>]</p>
+
+<p class="centerbp">[<a href="music2/026.mp3">Listen</a>] [<a href="music2/026.xml">XML</a>] [<a href="images2/026.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/026a.png" width="350" height="546" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/026b.png" width="350" height="532" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_027" id="No_027"></a><i>N<span class="super">o.</span> 27. &#8220;Sadko&#8221; (p. 296).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 27. &#8222;Sadko&#8220; (p. 296).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_42">Vol. I p. 42</a>]</p>
+
+<p class="centerbp">[<a href="music2/027.mp3">Listen</a>] [<a href="music2/027.xml">XML</a>] [<a href="images2/027.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/027.png" width="350" height="387" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_028" id="No_028"></a><i>N<span class="super">o.</span> 28. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 28. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_42">Vol. I p. 42</a>]</p>
+
+<p class="centerbp">[<a href="music2/028.mp3">Listen</a>] [<a href="music2/028.xml">XML</a>] [<a href="images2/028.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/028a.png" width="350" height="197" alt="music" title="music" /><br />
+<img src="images2/028b.png" width="350" height="542" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_029" id="No_029"></a><i>N<span class="super">o.</span> 29. &#8220;Antar.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 29. &#8222;Antar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_43">Vol. I p. 43</a>]</p>
+
+<p class="centerbp">[<a href="music2/029.mp3">Listen</a>] [<a href="music2/029.xml">XML</a>] [<a href="images2/029.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/029.png" width="350" height="547" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_030" id="No_030"></a><i>N<span class="super">o.</span> 30. &#8220;Sheherazade,&#8221; 3<span class="super2">rd</span> movement (p. 131).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 30. &#8222;Shéhérazade,&#8220; 3<span class="super2">me</span> mouvement (p. 131).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_43">Vol. I p. 43</a>]</p>
+
+<p class="centerbp">[<a href="music2/030.mp3">Listen</a>] [<a href="music2/030.xml">XML</a>] [<a href="images2/030.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="cb"><img src="images2/030a.png" width="350" height="559" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/030b.png" width="350" height="561" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_031" id="No_031"></a><i>N<span class="super">o.</span> 31. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 31. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_43">Vol. I p. 43</a>]</p>
+
+<p class="centerbp">[<a href="music2/031.mp3">Listen</a>] [<a href="music2/031.xml">XML</a>] [<a href="images2/031.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/031.png" width="350" height="574" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_032" id="No_032"></a><i>N<span class="super">o.</span> 32. &#8220;Antar.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 32. &#8222;Antar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_44">Vol. I p. 44</a>]</p>
+
+<p class="centerbp">[<a href="music2/032.mp3">Listen</a>] [<a href="music2/032.xml">XML</a>] [<a href="images2/032.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="cb"><img src="images2/032a.png" width="350" height="554" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/032b.png" width="350" height="560" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_033" id="No_033"></a><i>N<span class="super">o.</span> 33. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 33. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_44">Vol. I p. 44</a>]</p>
+
+<p class="centerbp">[<a href="music2/033.mp3">Listen</a>] [<a href="music2/033.xml">XML</a>] [<a href="images2/033.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/033.png" width="350" height="132" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_034" id="No_034"></a><i>N<span class="super">o.</span> 34. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 34. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_45">Vol. I p. 45</a>]</p>
+
+<p class="centerbp">[<a href="music2/034.mp3">Listen</a>] [<a href="music2/034.xml">XML</a>] [<a href="images2/033.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/034.png" width="350" height="455" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_035" id="No_035"></a><i>N<span class="super">o.</span> 35. &#8220;Spanish Capriccio.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 35. &#8222;Capriccio Espagnol.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_46">Vol. I p. 46</a>]</p>
+
+<p class="centerbp">[<a href="music2/035.mp3">Listen</a>] [<a href="music2/035.xml">XML</a>] [<a href="images2/035.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/035.png" width="350" height="257" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_036" id="No_036"></a><i>N<span class="super">o.</span> 36. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 36. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_46">Vol. I p. 46</a>]</p>
+
+<p class="centerbp">[<a href="music2/036.mp3">Listen</a>] [<a href="music2/036.xml">XML</a>] [<a href="images2/036.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/036a.png" width="350" height="282" alt="music" title="music" /><br />
+<img src="images2/036b.png" width="350" height="572" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_037" id="No_037"></a><i>N<span class="super">o.</span> 37. &#8220;Sheherazade,&#8221; 4<span class="super2">th</span> movement (p. 140).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 37. &#8222;Shéhérazade,&#8220; 4<span class="super2">me</span> mouvement (p. 140).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_46">Vol. I p. 46</a>]</p>
+
+<p class="centerbp">[<a href="music2/037.mp3">Listen</a>] [<a href="music2/037.xml">XML</a>] [<a href="images2/037.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/037.png" width="350" height="117" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_038" id="No_038"></a><i>N<span class="super">o.</span> 38. &#8220;Ivan the Terrible,&#8221; Act III (p. 236).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 38. &#8222;La Pskovitaine,&#8220; 3<span class="super2">me</span> acte (p. 236).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_46">Vol. I p. 46</a>]</p>
+
+<p class="centerbp">[<a href="music2/038.mp3">Listen</a>] [<a href="music2/038.xml">XML</a>] [<a href="images2/038.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/038a.png" width="350" height="464" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/038b.png" width="350" height="540" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_039" id="No_039"></a><i>N<span class="super">o.</span> 39. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 39. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_46">Vol. I p. 46</a>]</p>
+
+<p class="centerbp">[<a href="music2/039.mp3">Listen</a>] [<a href="music2/039.xml">XML</a>] [<a href="images2/039.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/039.png" width="350" height="556" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_040" id="No_040"></a><i>N<span class="super">o.</span> 40. &#8220;Sheherazade,&#8221; 2<span class="super2">nd</span> movement (p. 43).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 40. &#8222;Shéhérazade,&#8220; 2<span class="super2">me</span> mouvement (p. 43).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_46">Vol. I p. 46</a>]</p>
+
+<p class="centerbp">[<a href="music2/040.mp3">Listen</a>] [<a href="music2/040.xml">XML</a>] [<a href="images2/040.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/040.png" width="350" height="561" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_041" id="No_041"></a><i>N<span class="super">o.</span> 41. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 41. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_46">Vol. I p. 46</a>]</p>
+
+<p class="centerbp">[<a href="music2/041.mp3">Listen</a>] [<a href="music2/041.xml">XML</a>] [<a href="images2/041.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/041.png" width="354" height="564" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_042" id="No_042"></a><i>N<span class="super">o.</span> 42. &#8220;The Golden Cockerel&#8221; (p. 75).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 42. &#8222;Le Coq d&#8217;Or&#8220; (p. 75).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_46">Vol. I p. 46</a>]</p>
+
+<p class="centerbp">[<a href="music2/042.mp3">Listen</a>] [<a href="music2/042.xml">XML</a>] [<a href="images2/042.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/042.png" width="350" height="194" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_043" id="No_043"></a><i>N<span class="super">o.</span> 43. &#8220;The Golden Cockerel&#8221; (p. 119).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 43. &#8222;Le Coq d&#8217;Or&#8220; (p. 119).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_46">Vol. I p. 46</a>]</p>
+
+<p class="centerbp">[<a href="music2/043.mp3">Listen</a>] [<a href="music2/043.xml">XML</a>] [<a href="images2/042.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/043.png" width="350" height="393" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_044" id="No_044"></a><i>N<span class="super">o.</span> 44. &#8220;Spanish Capriccio.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 44. &#8222;Capriccio Espagnol.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_46">Vol. I p. 46</a>]</p>
+
+<p class="centerbp">[<a href="music2/044.mp3">Listen</a>] [<a href="music2/044.xml">XML</a>] [<a href="images2/044.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/044.png" width="350" height="194" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_045" id="No_045"></a><i>N<span class="super">o.</span> 45. &#8220;The Golden Cockerel.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 45. &#8222;Le Coq d&#8217;Or.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_46">Vol. I p. 46</a>]</p>
+
+<p class="centerbp">[<a href="music2/045.mp3">Listen</a>] [<a href="music2/045.xml">XML</a>] [<a href="images2/044.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/045.png" width="350" height="382" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_046" id="No_046"></a><i>N<span class="super">o.</span> 46. &#8220;Mlada,&#8221; Act II (p. 206).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 46. &#8222;Mlada,&#8220; 2<span class="super2">me</span> acte (p. 206).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_47">Vol. I p. 47</a>]</p>
+
+<p class="centerbp">[<a href="music2/046.mp3">Listen</a>] [<a href="music2/046.xml">XML</a>] [<a href="images2/046.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/046.png" width="350" height="218" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_047" id="No_047"></a><i>N<span class="super">o.</span> 47. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 47. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_47">Vol. I p. 47</a>]</p>
+
+<p class="centerbp">[<a href="music2/047.mp3">Listen</a>] [<a href="music2/047.xml">XML</a>] [<a href="images2/046.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/047.png" width="350" height="353" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_048" id="No_048"></a><i>N<span class="super">o.</span> 48. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 48. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_47">Vol. I p. 47</a>]</p>
+
+<p class="centerbp">[<a href="music2/048.mp3">Listen</a>] [<a href="music2/048.xml">XML</a>] [<a href="images2/048.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/048.png" width="350" height="232" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_049" id="No_049"></a><i>N<span class="super">o.</span> 49. &#8220;Vera Scheloga.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 49. &#8222;La Boïarine Véra Chéloga.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_47">Vol. I p. 47</a>]</p>
+
+<p class="centerbp">[<a href="music2/049.mp3">Listen</a>] [<a href="music2/049.xml">XML</a>] [<a href="images2/048.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/049.png" width="350" height="365" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_050" id="No_050"></a><i>N<span class="super">o.</span> 50. &#8220;The Golden Cockerel&#8221; (p. 330).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 50. &#8222;Le Coq d&#8217;Or&#8220; (p. 330).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_47">Vol. I p. 47</a>]</p>
+
+<p class="centerbp">[<a href="music2/050.mp3">Listen</a>] [<a href="music2/050.xml">XML</a>] [<a href="images2/050.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/050.png" width="350" height="577" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_051" id="No_051"></a><i>N<span class="super">o.</span> 51. &#8220;Mlada,&#8221; Act III (p. 359).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 51. &#8222;Mlada,&#8220; 3<span class="super2">me</span> acte (p. 359).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_47">Vol. I p. 47</a>]</p>
+
+<p class="centerbp">[<a href="music2/051.mp3">Listen</a>] [<a href="music2/051.xml">XML</a>] [<a href="images2/051.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/051.png" width="350" height="562" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_052" id="No_052"></a><i>N<span class="super">o.</span> 52. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 52. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_47">Vol. I p. 47</a>]</p>
+
+<p class="centerbp">[<a href="music2/052.mp3">Listen</a>] [<a href="music2/052.xml">XML</a>] [<a href="images2/052.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/052.png" width="350" height="565" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_053" id="No_053"></a><i>N<span class="super">o.</span> 53. &#8220;The Legend of the invisible city of Kitesh&#8221; (p. 491).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 53. &#8222;Légende de la ville invisible de Kitéj&#8220; (p. 491).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_47">Vol. I p. 47</a>]</p>
+
+<p class="centerbp">[<a href="music2/053.mp3">Listen</a>] [<a href="music2/053.xml">XML</a>] [<a href="images2/053.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/053.png" width="350" height="373" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_054" id="No_054"></a><i>N<span class="super">o.</span> 54. &#8220;Snegourotchka&#8221; (p. 133).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 54. &#8222;Sniégourotchka&#8220; (p. 133).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_47">Vol. I p. 47</a>]</p>
+
+<p class="centerbp">[<a href="music2/054.mp3">Listen</a>] [<a href="music2/054.xml">XML</a>] [<a href="images2/053.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/054.png" width="350" height="209" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_055" id="No_055"></a><i>N<span class="super">o.</span> 55. &#8220;Snegourotchka&#8221; (p. 365).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 55. &#8222;Sniégourotchka&#8220; (p. 365).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_48">Vol. I p. 48</a>]</p>
+
+<p class="centerbp">[<a href="music2/055.mp3">Listen</a>] [<a href="music2/055.xml">XML</a>] [<a href="images2/055.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/055.png" width="350" height="314" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_056" id="No_056"></a><i>N<span class="super">o.</span> 56. &#8220;Spanish Capriccio.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 56. &#8222;Capriccio Espagnol.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_49">Vol. I p. 49</a>]</p>
+
+<p class="centerbp">[<a href="music2/056.mp3">Listen</a>] [<a href="music2/056.xml">XML</a>] [<a href="images2/055.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/056.png" width="350" height="229" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_057" id="No_057"></a><i>N<span class="super">o.</span> 57. &#8220;Snegourotchka&#8221; (p. 306).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 57. &#8222;Sniégourotchka&#8220; (p. 306).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_49">Vol. I p. 49</a>]</p>
+
+<p class="centerbp">[<a href="music2/057.mp3">Listen</a>] [<a href="music2/057.xml">XML</a>] [<a href="images2/057.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/057.png" width="350" height="564" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_058" id="No_058"></a><i>N<span class="super">o.</span> 58. &#8220;Sheherazade,&#8221; 3<span class="super2">rd</span> movement.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 58. &#8222;Shéhérazade,&#8220; 3<span class="super2">me</span> mouvement.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_49">Vol. I p. 49</a>]</p>
+
+<p class="centerbp">[<a href="music2/058.mp3">Listen</a>] [<a href="music2/058.xml">XML</a>] [<a href="images2/058.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/058.png" width="350" height="576" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_059" id="No_059"></a><i>N<span class="super">o.</span> 59. &#8220;Vera Scheloga.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 59. &#8222;La Boïarine Véra Chéloga.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_49">Vol. I p. 49</a>]</p>
+
+<p class="centerbp">[<a href="music2/059.mp3">Listen</a>] [<a href="music2/059.xml">XML</a>] [<a href="images2/059.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/059.png" width="350" height="225" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_060" id="No_060"></a><i>N<span class="super">o.</span> 60. &#8220;Mlada,&#8221; Act III (p. 389).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 60. &#8222;Mlada,&#8220; 3<span class="super2">me</span> acte (p. 389).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_50">Vol. I p. 50</a>]</p>
+
+<p class="centerbp">[<a href="music2/060.mp3">Listen</a>] [<a href="music2/060.xml">XML</a>] [<a href="images2/059.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/060.png" width="350" height="348" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_061" id="No_061"></a><i>N<span class="super">o.</span> 61. &#8220;Mlada,&#8221; Act II (p. 205).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 61. &#8222;Mlada,&#8220; 2<span class="super2">me</span> acte (p. 205).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_50">Vol. I p. 50</a>]</p>
+
+<p class="centerbp">[<a href="music2/061.mp3">Listen</a>] [<a href="music2/061.xml">XML</a>] [<a href="images2/061.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/061.png" width="350" height="571" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_062" id="No_062"></a><i>N<span class="super">o.</span> 62. &#8220;Servilia.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 62. &#8222;Servilia.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_51">Vol. I p. 51</a>]</p>
+
+<p class="centerbp">[<a href="music2/062.mp3">Listen</a>] [<a href="music2/062.xml">XML</a>] [<a href="images2/062.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/062a.png" width="350" height="581" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/062b.png" width="350" height="556" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_063" id="No_063"></a><i>N<span class="super">o.</span> 63. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 63. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_51">Vol. I p. 51</a>]</p>
+
+<p class="centerbp">[<a href="music2/063.mp3">Listen</a>] [<a href="music2/063.xml">XML</a>] [<a href="images2/063.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/063.png" width="350" height="205" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_064" id="No_064"></a><i>N<span class="super">o.</span> 64. &#8220;Spanish Capriccio&#8221; (p. 57).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 64. &#8222;Capriccio Espagnol&#8220; (p. 57).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_51">Vol. I p. 51</a>]</p>
+
+<p class="centerbp">[<a href="music2/064.mp3">Listen</a>] [<a href="music2/064.xml">XML</a>] [<a href="images2/063.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/064.png" width="350" height="374" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_065" id="No_065"></a><i>N<span class="super">o.</span> 65. &#8220;Antar,&#8221; 1<span class="super2">st</span> version, 3<span class="super2">rd</span> movement (commencement).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 65. &#8222;Antar,&#8220; première version, 3<span class="super2">me</span> mouvement (début).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_51">Vol. I p. 51</a>]</p>
+
+<p class="centerbp">[<a href="music2/065.mp3">Listen</a>] [<a href="music2/065.xml">XML</a>] [<a href="images2/065.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/065.png" width="350" height="542" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_066" id="No_066"></a><i>N<span class="super">o.</span> 66. &#8220;Sheherazade,&#8221; 3<span class="super2">rd</span> movement.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 66. &#8222;Shéhérazade,&#8220; 3<span class="super2">me</span> mouvement.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_51">Vol. I p. 51</a>]</p>
+
+<p class="centerbp">[<a href="music2/066.mp3">Listen</a>] [<a href="music2/066.xml">XML</a>] [<a href="images2/066.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="cb"><img src="images2/066a.png" width="350" height="576" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/066b.png" width="350" height="580" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_067" id="No_067"></a><i>N<span class="super">o.</span> 67. &#8220;Spanish Capriccio&#8221; (p. 79).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 67. &#8222;Capriccio Espagnol&#8220; (p. 79).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_52">Vol. I p. 52</a>]</p>
+
+<p class="centerbp">[<a href="music2/067.mp3">Listen</a>] [<a href="music2/067.xml">XML</a>] [<a href="images2/067.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/067.png" width="350" height="550" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_068" id="No_068"></a><i>N<span class="super">o.</span> 68. &#8220;The Christmas Night.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 68. &#8222;La Nuit de Noël.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_52">Vol. I p. 52</a>]</p>
+
+<p class="centerbp">[<a href="music2/068.mp3">Listen</a>] [<a href="music2/068.xml">XML</a>] [<a href="images2/068.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/068.png" width="350" height="576" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_069" id="No_069"></a><i>N<span class="super">o.</span> 69. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 69. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_53">Vol. I p. 53</a>]</p>
+
+<p class="centerbp">[<a href="music2/069.mp3">Listen</a>] [<a href="music2/069.xml">XML</a>] [<a href="images2/069.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/069.png" width="350" height="569" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_070" id="No_070"></a><i>N<span class="super">o.</span> 70. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 70. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_54">Vol. I p. 54</a>]</p>
+
+<p class="centerbp">[<a href="music2/070.mp3">Listen</a>] [<a href="music2/070.xml">XML</a>] [<a href="images2/070.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="cb"><img src="images2/070a.png" width="350" height="568" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/070b.png" width="350" height="559" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_071" id="No_071"></a><i>N<span class="super">o.</span> 71. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 71. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_54">Vol. I p. 54</a>]</p>
+
+<p class="centerbp">[<a href="music2/071.mp3">Listen</a>] [<a href="music2/071.xml">XML</a>] [<a href="images2/071.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/071.png" width="350" height="276" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_072" id="No_072"></a><i>N<span class="super">o.</span> 72. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 72. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_54">Vol. I p. 54</a>]</p>
+
+<p class="centerbp">[<a href="music2/072.mp3">Listen</a>] [<a href="music2/072.xml">XML</a>] [<a href="images2/071.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/072.png" width="350" height="326" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_073" id="No_073"></a><i>N<span class="super">o.</span> 73. &#8220;Antar,&#8221; 3<span class="super2">rd</span> movement.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 73. &#8222;Antar,&#8220; 3<span class="super2">me</span> mouvement.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_54">Vol. I p. 54</a>]</p>
+
+<p class="centerbp">[<a href="music2/073.mp3">Listen</a>] [<a href="music2/073.xml">XML</a>] [<a href="images2/073.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/073.png" width="350" height="356" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_074" id="No_074"></a><i>N<span class="super">o.</span> 74. &#8220;Sheherazade,&#8221; 2<span class="super2">nd</span> movement (p. 51).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 74. &#8222;Shéhérazade,&#8220; 2<span class="super2">me</span> mouvement (p. 51).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_55">Vol. I p. 55</a>]</p>
+
+<p class="centerbp">[<a href="music2/074.mp3">Listen</a>] [<a href="music2/074.xml">XML</a>] [<a href="images2/073.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/074.png" width="350" height="237" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_075" id="No_075"></a><i>N<span class="super">o.</span> 75. &#8220;Sadko&#8221; (p. 498).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 75. &#8222;Sadko&#8220; (p. 498).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_55">Vol. I p. 55</a>]</p>
+
+<p class="centerbp">[<a href="music2/075.mp3">Listen</a>] [<a href="music2/075.xml">XML</a>] [<a href="images2/075.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/075.png" width="350" height="548" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_076" id="No_076"></a><i>N<span class="super">o.</span> 76. &#8220;The May Night,&#8221; Act III (commencement).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 76. &#8222;La Nuit de Mai,&#8220; 3<span class="super2">me</span> acte (début).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_55">Vol. I p. 55</a>]</p>
+
+<p class="centerbp">[<a href="music2/076.mp3">Listen</a>] [<a href="music2/076.xml">XML</a>] [<a href="images2/076.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/076.png" width="350" height="513" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_077" id="No_077"></a><i>N<span class="super">o.</span> 77. &#8220;Sheherazade,&#8221; 4<span class="super2">th</span> movement (p. 204).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 77. &#8222;Shéhérazade,&#8220; 4<span class="super2">me</span> mouvement (p. 204).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_55">Vol. I p. 55</a>]</p>
+
+<p class="centerbp">[<a href="music2/077.mp3">Listen</a>] [<a href="music2/077.xml">XML</a>] [<a href="images2/077.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="cb"><img src="images2/077a.png" width="350" height="593" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/077b.png" width="350" height="593" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td colspan="2" class="center"><img src="images2/077c.png" width="350" height="554" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_078" id="No_078"></a><i>N<span class="super">o.</span> 78. &#8220;Mlada,&#8221; Act III (p. 350).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 78. &#8222;Mlada,&#8220; 3<span class="super2">me</span> acte (p. 350).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_58">Vol. I p. 58</a>]</p>
+
+<p class="centerbp">[<a href="music2/078.mp3">Listen</a>] [<a href="music2/078.xml">XML</a>] [<a href="images2/078.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/078.png" width="350" height="574" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_079" id="No_079"></a><i>N<span class="super">o.</span> 79. &#8220;Mlada,&#8221; Act III (p. 370).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 79. &#8222;Mlada,&#8220; 3<span class="super2">me</span> acte (p. 370).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_58">Vol. I p. 58</a>]</p>
+
+<p class="centerbp">[<a href="music2/079.mp3">Listen</a>] [<a href="music2/079.xml">XML</a>] [<a href="images2/079.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/079.png" width="350" height="530" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_080" id="No_080"></a><i>N<span class="super">o.</span> 80. &#8220;The May Night,&#8221; Act III.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 80. &#8222;La Nuit de Mai,&#8220; 3<span class="super2">me</span> acte.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_59">Vol. I p. 59</a>]</p>
+
+<p class="centerbp">[<a href="music2/080.mp3">Listen</a>] [<a href="music2/080.xml">XML</a>] [<a href="images2/080.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/080.png" width="350" height="455" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_081" id="No_081"></a><i>N<span class="super">o.</span> 81. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 81. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_59">Vol. I p. 59</a>]</p>
+
+<p class="centerbp">[<a href="music2/081.mp3">Listen</a>] [<a href="music2/081.xml">XML</a>] [<a href="images2/081.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/081a.png" width="350" height="150" alt="music" title="music" /><br />
+<img src="images2/081b.png" width="350" height="569" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_082" id="No_082"></a><i>N<span class="super">o.</span> 82. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 82. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_59">Vol. I p. 59</a>]</p>
+
+<p class="centerbp">[<a href="music2/082.mp3">Listen</a>] [<a href="music2/082.xml">XML</a>] [<a href="images2/082.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/082.png" width="350" height="581" alt="music" title="music" />
+</p>
+
+
+<hr />
+
+<h3><a name="No_083" id="No_083"></a><i>N<span class="super">o.</span> 83. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 83. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_59">Vol. I p. 59</a>]</p>
+
+<p class="centerbp">[<a href="music2/083.mp3">Listen</a>] [<a href="music2/083.xml">XML</a>] [<a href="images2/083.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/083.png" width="350" height="573" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_084" id="No_084"></a><i>N<span class="super">o.</span> 84. &#8220;The Legend of Tsar Saltan&#8221; (p. 54).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 84. &#8222;Légende du Tsar Saltan&#8220; (p. 54).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_59">Vol. I p. 59</a>]</p>
+
+<p class="centerbp">[<a href="music2/084.mp3">Listen</a>] [<a href="music2/084.xml">XML</a>] [<a href="images2/084.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="cb"><img src="images2/084a.png" width="350" height="567" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/084b.png" width="350" height="563" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_085" id="No_085"></a><i>N<span class="super">o.</span> 85. &#8220;Ivan the Terrible,&#8221; overture (beginning).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 85. &#8222;La Pskovitaine,&#8220; ouverture (début).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_59">Vol. I p. 59</a>]</p>
+
+<p class="centerbp">[<a href="music2/085.mp3">Listen</a>] [<a href="music2/085.xml">XML</a>] [<a href="images2/085.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/085.png" width="350" height="580" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_086" id="No_086"></a><i>N<span class="super">o.</span> 86. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 86. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_59">Vol. I p. 59</a>]</p>
+
+<p class="centerbp">[<a href="music2/086.mp3">Listen</a>] [<a href="music2/086.xml">XML</a>] [<a href="images2/086.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/086.png" width="350" height="556" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_087" id="No_087"></a><i>N<span class="super">o.</span> 87. &#8220;Kashtcheï the Immortal.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 87. &#8222;Kachtchéï l&#8217;Immortel.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_60">Vol. I p. 60</a>]</p>
+
+<p class="centerbp">[<a href="music2/087.mp3">Listen</a>] [<a href="music2/087.xml">XML</a>] [<a href="images2/087.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/087.png" width="350" height="578" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_088" id="No_088"></a><i>N<span class="super">o.</span> 88. &#8220;Servilia.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 88. &#8222;Servilia.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_60">Vol. I p. 60</a>]</p>
+
+<p class="centerbp">[<a href="music2/088.mp3">Listen</a>] [<a href="music2/088.xml">XML</a>] [<a href="images2/088.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/088.png" width="350" height="574" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_089" id="No_089"></a><i>N<span class="super">o.</span> 89. &#8220;Servilia.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 89. &#8222;Servilia.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_60">Vol. I p. 60</a>]</p>
+
+<p class="centerbp">[<a href="music2/089.mp3">Listen</a>] [<a href="music2/089.xml">XML</a>] [<a href="images2/089.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/089a.png" width="350" height="571" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/089b.png" width="350" height="552" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_090" id="No_090"></a><i>N<span class="super">o.</span> 90. &#8220;Sheherazade,&#8221; 4<span class="super2">th</span> part.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 90. &#8222;Shéhérazade,&#8220; 4<span class="super2">me</span> partie.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_60">Vol. I p. 60</a>]</p>
+
+<p class="centerbp">[<a href="music2/090.mp3">Listen</a>] [<a href="music2/090.xml">XML</a>] [<a href="images2/090.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/090a.png" width="350" height="556" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/090b.png" width="350" height="515" alt="music" title="music" /></td>
+</tr>
+</table>
+
+<p class="center">
+<img src="images2/090c.png" width="350" height="544" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_091" id="No_091"></a><i>N<span class="super">o.</span> 91. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 91. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_61">Vol. I p. 61</a>]</p>
+
+<p class="centerbp">[<a href="music2/091.mp3">Listen</a>] [<a href="music2/091.xml">XML</a>] [<a href="images2/091.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/091.png" width="350" height="574" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_092" id="No_092"></a><i>N<span class="super">o.</span> 92. &#8220;The Golden Cockerel.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 92. &#8222;Le Coq d&#8217;Or.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_61">Vol. I p. 61</a>]</p>
+
+<p class="centerbp">[<a href="music2/092.mp3">Listen</a>] [<a href="music2/092.xml">XML</a>] [<a href="images2/092.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/092.png" width="350" height="343" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_093" id="No_093"></a><i>N<span class="super">o.</span> 93. &#8220;Snegourotchka&#8221; (p. 269).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 93. &#8222;Sniégourotchka&#8220; (p. 269).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_61">Vol. I p. 61</a>]</p>
+
+<p class="centerbp">[<a href="music2/093.mp3">Listen</a>] [<a href="music2/093.xml">XML</a>] [<a href="images2/092.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/093.png" width="350" height="250" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_094" id="No_094"></a><i>N<span class="super">o.</span> 94. &#8220;Snegourotchka&#8221; (p. 271).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 94. &#8222;Sniégourotchka&#8220; (p. 271).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_61">Vol. I p. 61</a>]</p>
+
+<p class="centerbp">[<a href="music2/094.mp3">Listen</a>] [<a href="music2/094.xml">XML</a>] [<a href="images2/094.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/094.png" width="350" height="564" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_095" id="No_095"></a><i>N<span class="super">o.</span> 95. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 95. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_62">Vol. I p. 62</a>]</p>
+
+<p class="centerbp">[<a href="music2/095.mp3">Listen</a>] [<a href="music2/095.xml">XML</a>] [<a href="images2/095.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/095a.png" width="350" height="588" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/095b.png" width="350" height="577" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_096" id="No_096"></a><i>N<span class="super">o.</span> 96. &#8220;Ivan the Terrible,&#8221; Act III (p. 318).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 96. &#8222;La Pskovitaine,&#8220; 3<span class="super2">me</span> acte (p. 318).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_62">Vol. I p. 62</a>]</p>
+
+<p class="centerbp">[<a href="music2/096.mp3">Listen</a>] [<a href="music2/096.xml">XML</a>] [<a href="images2/096.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/096.png" width="350" height="569" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_097" id="No_097"></a><i>N<span class="super">o.</span> 97. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 97. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_69">Vol. I p. 69</a>]</p>
+
+<p class="centerbp">[<a href="music2/097.mp3">Listen</a>] [<a href="music2/097.xml">XML</a>] [<a href="images2/097.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/097.png" width="350" height="560" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_098" id="No_098"></a><i>N<span class="super">o.</span> 98. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 98. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_69">Vol. I p. 69</a>]</p>
+
+<p class="centerbp">[<a href="music2/098.mp3">Listen</a>] [<a href="music2/098.xml">XML</a>] [<a href="images2/098.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/098a.png" width="350" height="584" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/098b.png" width="350" height="559" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_099" id="No_099"></a><i>N<span class="super">o.</span> 99. &#8220;Snegourotchka&#8221; (p. 145).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 99. &#8222;Sniégourotchka&#8220; (p. 145).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_70">Vol. I p. 70</a>]</p>
+
+<p class="centerbp">[<a href="music2/099.mp3">Listen</a>] [<a href="music2/099.xml">XML</a>] [<a href="images2/099.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/099.png" width="350" height="575" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_100" id="No_100"></a><i>N<span class="super">o.</span> 100. &#8220;The Christmas Night.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 100. &#8222;La Nuit de Noël.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_70">Vol. I p. 70</a>]</p>
+
+<p class="centerbp">[<a href="music2/100.mp3">Listen</a>] [<a href="music2/100.xml">XML</a>] [<a href="images2/100.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/100.png" width="350" height="569" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_101" id="No_101"></a><i>N<span class="super">o.</span> 101. &#8220;The Christmas Night.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 101. &#8222;La Nuit de Noël.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_70">Vol. I p. 70</a>]</p>
+
+<p class="centerbp">[<a href="music2/101.mp3">Listen</a>] [<a href="music2/101.xml">XML</a>] [<a href="images2/101.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/101a.png" width="350" height="544" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/101b.png" width="350" height="515" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_102" id="No_102"></a><i>N<span class="super">o.</span> 102. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 102. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_71">Vol. I p. 71</a>]</p>
+
+<p class="centerbp">[<a href="music2/102.mp3">Listen</a>] [<a href="music2/102.xml">XML</a>] [<a href="images2/102.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/102.png" width="350" height="560" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_103" id="No_103"></a><i>N<span class="super">o.</span> 103. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 103. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_71">Vol. I p. 71</a>]</p>
+
+<p class="centerbp">[<a href="music2/103.mp3">Listen</a>] [<a href="music2/103.xml">XML</a>] [<a href="images2/103.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/103.png" width="350" height="158" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_104" id="No_104"></a><i>N<span class="super">o.</span> 104. &#8220;The Golden Cockerel.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 104. &#8222;Le Coq d&#8217;Or.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_71">Vol. I p. 71</a>]</p>
+
+<p class="centerbp">[<a href="music2/104.mp3">Listen</a>] [<a href="music2/104.xml">XML</a>] [<a href="images2/103.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/104.png" width="350" height="297" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_105" id="No_105"></a><i>N<span class="super">o.</span> 105. &#8220;The Christmas Night&#8221; (p. 247).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 105. &#8222;La Nuit de Noël&#8220; (p. 247).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_80">Vol. I p. 80</a>]</p>
+
+<p class="centerbp">[<a href="music2/105.mp3">Listen</a>] [<a href="music2/105.xml">XML</a>] [<a href="images2/103.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/105.png" width="350" height="145" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_106" id="No_106"></a><i>N<span class="super">o.</span> 106. &#8220;The Christmas Night,&#8221; Prelude.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 106. &#8222;La Nuit de Noël,&#8220; Prélude.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_80">Vol. I p. 80</a>]</p>
+
+<p class="centerbp">[<a href="music2/106.mp3">Listen</a>] [<a href="music2/106.xml">XML</a>] [<a href="images2/106.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/106.png" width="350" height="550" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_107" id="No_107"></a><i>N<span class="super">o.</span> 107. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 107. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_80">Vol. I p. 80</a>]</p>
+
+<p class="centerbp">[<a href="music2/107.mp3">Listen</a>] [<a href="music2/107.xml">XML</a>] [<a href="images2/107.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/107.png" width="350" height="341" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_108" id="No_108"></a><i>N<span class="super">o.</span> 108. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 108. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_80">Vol. I p. 80</a>]</p>
+
+<p class="centerbp">[<a href="music2/108.mp3">Listen</a>] [<a href="music2/108.xml">XML</a>] [<a href="images2/107.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/108.png" width="350" height="132" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_109" id="No_109"></a><i>N<span class="super">o.</span> 109. &#8220;Sheherazade,&#8221; 1<span class="super2">st</span> movement (p. 3).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 109. &#8222;Shéhérazade,&#8220; 1<span class="super2">er</span> mouvement (p. 3).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_80">Vol. I p. 80</a>]</p>
+
+<p class="centerbp">[<a href="music2/109.mp3">Listen</a>] [<a href="music2/109.xml">XML</a>] [<a href="images2/107.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/109.png" width="350" height="129" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_110" id="No_110"></a><i>N<span class="super">o.</span> 110. &#8220;The Legend of Tsar Saltan&#8221; (p. 197).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 110. &#8222;Légende du Tsar Saltan&#8220; (p. 197).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_80">Vol. I p. 80</a>]</p>
+
+<p class="centerbp">[<a href="music2/110.mp3">Listen</a>] [<a href="music2/110.xml">XML</a>] [<a href="images2/110.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/110.png" width="350" height="571" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_111" id="No_111"></a><i>N<span class="super">o.</span> 111. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 111. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_80">Vol. I p. 80</a>]</p>
+
+<p class="centerbp">[<a href="music2/111.mp3">Listen</a>] [<a href="music2/111.xml">XML</a>] [<a href="images2/111.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/111.png" width="350" height="239" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_112" id="No_112"></a><i>N<span class="super">o.</span> 112. &#8220;Sadko,&#8221; (opening of the 2<span class="super2">nd</span> tableau).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 112. &#8222;Sadko,&#8220; (début du 2<span class="super2">me</span> tableau).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_81">Vol. I p. 81</a>]</p>
+
+<p class="centerbp">[<a href="music2/112.mp3">Listen</a>] [<a href="music2/112.xml">XML</a>] [<a href="images2/112.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/112a.png" width="350" height="347" alt="music" title="music" /><br />
+<img src="images2/112b.png" width="350" height="551" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_113" id="No_113"></a><i>N<span class="super">o.</span> 113. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 113. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_81">Vol. I p. 81</a>]</p>
+
+<p class="centerbp">[<a href="music2/113.mp3">Listen</a>] [<a href="music2/113.xml">XML</a>] [<a href="images2/113.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/113.png" width="350" height="198" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_114" id="No_114"></a><i>N<span class="super">o.</span> 114. &#8220;The Legend of the invisible city of Kitesh&#8221; (p. 127).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 114. &#8222;Légende de la ville invisible de Kitéj&#8220; (p. 127).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_81">Vol. I p. 81</a>]</p>
+
+<p class="centerbp">[<a href="music2/114.mp3">Listen</a>] [<a href="music2/114.xml">XML</a>] [<a href="images2/113.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/114.png" width="350" height="387" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_115" id="No_115"></a><i>N<span class="super">o.</span> 115. &#8220;The Legend of the invisible city of Kitesh&#8221; (p. 257).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 115. &#8222;Légende de la ville invisible de Kitéj&#8220; (p. 257).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_81">Vol. I p. 81</a>]</p>
+
+<p class="centerbp">[<a href="music2/115.mp3">Listen</a>] [<a href="music2/115.xml">XML</a>] [<a href="images2/115.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/115.png" width="350" height="328" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_116" id="No_116"></a><i>N<span class="super">o.</span> 116. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 116. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_81">Vol. I p. 81</a>]</p>
+
+<p class="centerbp">[<a href="music2/116.mp3">Listen</a>] [<a href="music2/116.xml">XML</a>] [<a href="images2/115.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/116.png" width="350" height="260" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_117" id="No_117"></a><i>N<span class="super">o.</span> 117. &#8220;The Golden Cockerel&#8221; (p. 315).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 117. &#8222;Le Coq d&#8217;Or&#8220; (p. 315).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_81">Vol. I p. 81</a>]</p>
+
+<p class="centerbp">[<a href="music2/117.mp3">Listen</a>] [<a href="music2/117.xml">XML</a>] [<a href="images2/117.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/117.png" width="350" height="155" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_118" id="No_118"></a><i>N<span class="super">o.</span> 118. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 118. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_81">Vol. I p. 81</a>]</p>
+
+<p class="centerbp">[<a href="music2/118.mp3">Listen</a>] [<a href="music2/118.xml">XML</a>] [<a href="images2/117.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/118.png" width="350" height="428" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_119" id="No_119"></a><i>N<span class="super">o.</span> 119. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 119. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_81">Vol. I p. 81</a>]</p>
+
+<p class="centerbp">[<a href="music2/119.mp3">Listen</a>] [<a href="music2/119.xml">XML</a>] [<a href="images2/119.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/119.png" width="350" height="577" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_120" id="No_120"></a><i>N<span class="super">o.</span> 120. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 120. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_81">Vol. I p. 81</a>]</p>
+
+<p class="centerbp">[<a href="music2/120.mp3">Listen</a>] [<a href="music2/120.xml">XML</a>] [<a href="images2/120.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/120a.png" width="350" height="549" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/120b.png" width="350" height="521" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td class="ct"><img src="images2/120c.png" width="350" height="541" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/120d.png" width="350" height="544" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_121" id="No_121"></a><i>N<span class="super">o.</span> 121. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 121. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_82">Vol. I p. 82</a>]</p>
+
+<p class="centerbp">[<a href="music2/121.mp3">Listen</a>] [<a href="music2/121.xml">XML</a>] [<a href="images2/121.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/121.png" width="350" height="567" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_122" id="No_122"></a><i>N<span class="super">o.</span> 122. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 122. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_82">Vol. I p. 82</a>]</p>
+
+<p class="centerbp">[<a href="music2/122.mp3">Listen</a>] [<a href="music2/122.xml">XML</a>] [<a href="images2/122.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/122a.png" width="350" height="543" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/122b.png" width="350" height="541" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_123" id="No_123"></a><i>N<span class="super">o.</span> 123. &#8220;Kashtcheï the Immortal&#8221; (p. 119).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 123. &#8222;Kachtchéï l&#8217;Immortel&#8220; (p. 119).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_82">Vol. I p. 82</a>]</p>
+
+<p class="centerbp">[<a href="music2/123.mp3">Listen</a>] [<a href="music2/123.xml">XML</a>] [<a href="images2/123.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/123.png" width="350" height="156" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_124" id="No_124"></a><i>N<span class="super">o.</span> 124. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 124. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_82">Vol. I p. 82</a>]</p>
+
+<p class="centerbp">[<a href="music2/124.mp3">Listen</a>] [<a href="music2/124.xml">XML</a>] [<a href="images2/123.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/124.png" width="350" height="413" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_125" id="No_125"></a><i>N<span class="super">o.</span> 125. &#8220;The Legend of the invisible city of Kitesh&#8221; (p. 392).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 125. &#8222;Légende de la ville invisible de Kitéj&#8220; (p. 392).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_82">Vol. I p. 82</a>]</p>
+
+<p class="centerbp">[<a href="music2/125.mp3">Listen</a>] [<a href="music2/125.xml">XML</a>] [<a href="images2/125.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/125.png" width="350" height="290" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_126" id="No_126"></a><i>N<span class="super">o.</span> 126. &#8220;The Legend of the invisible city of Kitesh&#8221; (p. 517).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 126. &#8222;Légende de la ville invisible de Kitéj&#8220; (p. 517).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_82">Vol. I p. 82</a>]</p>
+
+<p class="centerbp">[<a href="music2/126.mp3">Listen</a>] [<a href="music2/126.xml">XML</a>] [<a href="images2/126.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/126a.png" width="350" height="266" alt="music" title="music" /><br />
+<img src="images2/126b.png" width="350" height="546" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_127" id="No_127"></a><i>N<span class="super">o.</span> 127. &#8220;The Golden Cockerel.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 127. &#8222;Le Coq d&#8217;Or.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_82">Vol. I p. 82</a>]</p>
+
+<p class="centerbp">[<a href="music2/127.mp3">Listen</a>] [<a href="music2/127.xml">XML</a>] [<a href="images2/127.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/127.png" width="350" height="570" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_128" id="No_128"></a><i>N<span class="super">o.</span> 128. &#8220;The Golden Cockerel.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 128. &#8222;Le Coq d&#8217;Or.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_82">Vol. I p. 82</a>]</p>
+
+<p class="centerbp">[<a href="music2/128.mp3">Listen</a>] [<a href="music2/128.xml">XML</a>] [<a href="images2/128.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/128.png" width="350" height="577" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_129" id="No_129"></a><i>N<span class="super">o.</span> 129. &#8220;Snegourotchka&#8221; (p. 350).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 129. &#8222;Sniégourotchka&#8220; (p. 350).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_87">Vol. I p. 87</a>]</p>
+
+<p class="centerbp">[<a href="music2/129.mp3">Listen</a>] [<a href="music2/129.xml">XML</a>] [<a href="images2/129.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/129.png" width="350" height="516" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_130" id="No_130"></a><i>N<span class="super">o.</span> 130. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 130. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_87">Vol. I p. 87</a>]</p>
+
+<p class="centerbp">[<a href="music2/130.mp3">Listen</a>] [<a href="music2/130.xml">XML</a>] [<a href="images2/130.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/130a.png" width="350" height="503" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/130b.png" width="350" height="552" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_131" id="No_131"></a><i>N<span class="super">o.</span> 131. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 131. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_87">Vol. I p. 87</a>]</p>
+
+<p class="centerbp">[<a href="music2/131.mp3">Listen</a>] [<a href="music2/131.xml">XML</a>] [<a href="images2/131.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/131.png" width="350" height="541" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_132" id="No_132"></a><i>N<span class="super">o.</span> 132. &#8220;The Christmas Night&#8221; (p. 309).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 132. &#8222;La Nuit de Noël&#8220; (p. 309).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_87">Vol. I p. 87</a>]</p>
+
+<p class="centerbp">[<a href="music2/132.mp3">Listen</a>] [<a href="music2/132.xml">XML</a>] [<a href="images2/132.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/132.png" width="350" height="574" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_133" id="No_133"></a><i>N<span class="super">o.</span> 133. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 133. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_87">Vol. I p. 87</a>]</p>
+
+<p class="centerbp">[<a href="music2/133.mp3">Listen</a>] [<a href="music2/133.xml">XML</a>] [<a href="images2/133.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/133a.png" width="350" height="528" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/133b.png" width="350" height="522" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_134" id="No_134"></a><i>N<span class="super">o.</span> 134. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 134. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_87">Vol. I p. 87</a>]</p>
+
+<p class="centerbp">[<a href="music2/134.mp3">Listen</a>] [<a href="music2/134.xml">XML</a>] [<a href="images2/134.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/134.png" width="350" height="290" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_135" id="No_135"></a><i>N<span class="super">o.</span> 135. &#8220;The Golden Cockerel&#8221; (p. 143).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 135. &#8222;Le Coq d&#8217;Or&#8220; (p. 143).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_87">Vol. I p. 87</a>]</p>
+
+<p class="centerbp">[<a href="music2/135.mp3">Listen</a>] [<a href="music2/135.xml">XML</a>] [<a href="images2/134.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/135.png" width="350" height="218" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_136" id="No_136"></a><i>N<span class="super">o.</span> 136. &#8220;Snegourotchka&#8221; (p. 97).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 136. &#8222;Sniégourotchka&#8220; (p. 97).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_87">Vol. I p. 87</a>]</p>
+
+<p class="centerbp">[<a href="music2/136.mp3">Listen</a>] [<a href="music2/136.xml">XML</a>] [<a href="images2/136.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/136.png" width="350" height="336" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_137" id="No_137"></a><i>N<span class="super">o.</span> 137. &#8220;Servilia.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 137. &#8222;Servilia.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_87">Vol. I p. 87</a>]</p>
+
+<p class="centerbp">[<a href="music2/137.mp3">Listen</a>] [<a href="music2/137.xml">XML</a>] [<a href="images2/137.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/137a.png" width="350" height="243" alt="music" title="music" /><br />
+<img src="images2/137b.png" width="350" height="546" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_138" id="No_138"></a><i>N<span class="super">o.</span> 138. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 138. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_87">Vol. I p. 87</a>]</p>
+
+<p class="centerbp">[<a href="music2/138.mp3">Listen</a>] [<a href="music2/138.xml">XML</a>] [<a href="images2/138.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/138.png" width="350" height="565" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_139" id="No_139"></a><i>N<span class="super">o.</span> 139. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 139. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_87">Vol. I p. 87</a>]</p>
+
+<p class="centerbp">[<a href="music2/139.mp3">Listen</a>] [<a href="music2/139.xml">XML</a>] [<a href="images2/139.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/139.png" width="350" height="347" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_140" id="No_140"></a><i>N<span class="super">o.</span> 140. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 140. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_87">Vol. I p. 87</a>]</p>
+
+<p class="centerbp">[<a href="music2/140.mp3">Listen</a>] [<a href="music2/140.xml">XML</a>] [<a href="images2/139.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/140.png" width="350" height="234" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_141" id="No_141"></a><i>N<span class="super">o.</span> 141. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 141. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_88">Vol. I p. 88</a>]</p>
+
+<p class="centerbp">[<a href="music2/141.mp3">Listen</a>] [<a href="music2/141.xml">XML</a>] [<a href="images2/141.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/141.png" width="350" height="301" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_142" id="No_142"></a><i>N<span class="super">o.</span> 142. &#8220;The Tsar&#8217;s Bride&#8221; (p. 247).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 142. &#8222;La Fiancée du Tsar&#8220; (p. 247).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_88">Vol. I p. 88</a>]</p>
+
+<p class="centerbp">[<a href="music2/142.mp3">Listen</a>] [<a href="music2/142.xml">XML</a>] [<a href="images2/141.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/142.png" width="350" height="249" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_143" id="No_143"></a><i>N<span class="super">o.</span> 143. &#8220;The Christmas Night.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 143. &#8222;La Nuit de Noël.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_88">Vol. I p. 88</a>]</p>
+
+<p class="centerbp">[<a href="music2/143.mp3">Listen</a>] [<a href="music2/143.xml">XML</a>] [<a href="images2/143.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/143.png" width="350" height="570" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_144" id="No_144"></a><i>N<span class="super">o.</span> 144. &#8220;Sadko&#8221; (p. 121; woodwind alone).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 144. &#8222;Sadko&#8220; (p. 121; instruments à vent seuls).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_89">Vol. I p. 89</a>]</p>
+
+<p class="centerbp">[<a href="music2/144.mp3">Listen</a>] [<a href="music2/144.xml">XML</a>] [<a href="images2/144.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/144.png" width="350" height="177" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_145" id="No_145"></a><i>N<span class="super">o.</span> 145. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 145. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_89">Vol. I p. 89</a>]</p>
+
+<p class="centerbp">[<a href="music2/145.mp3">Listen</a>] [<a href="music2/145.xml">XML</a>] [<a href="images2/144.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/145.png" width="350" height="395" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_146" id="No_146"></a><i>N<span class="super">o.</span> 146. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 146. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_89">Vol. I p. 89</a>]</p>
+
+<p class="centerbp">[<a href="music2/146.mp3">Listen</a>] [<a href="music2/146.xml">XML</a>] [<a href="images2/146.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/146.png" width="350" height="562" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_147" id="No_147"></a><i>N<span class="super">o.</span> 147. &#8220;The Golden Cockerel.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 147. &#8222;Le Coq d&#8217;Or.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_89">Vol. I p. 89</a>]</p>
+
+<p class="centerbp">[<a href="music2/147.mp3">Listen</a>] [<a href="music2/147.xml">XML</a>] [<a href="images2/147.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/147.png" width="350" height="344" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_148" id="No_148"></a><i>N<span class="super">o.</span> 148. &#8220;Russian Easter Fête&#8221; (p. 11).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 148. &#8222;La Grande Pâque Russe&#8220; (p. 11).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_89">Vol. I p. 89</a>]</p>
+
+<p class="centerbp">[<a href="music2/148.mp3">Listen</a>] [<a href="music2/148.xml">XML</a>] [<a href="images2/147.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/148.png" width="350" height="238" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_149" id="No_149"></a><i>N<span class="super">o.</span> 149. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 149. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_89">Vol. I p. 89</a>]</p>
+
+<p class="centerbp">[<a href="music2/149.mp3">Listen</a>] [<a href="music2/149.xml">XML</a>] [<a href="images2/149.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/149a.png" width="350" height="558" alt="music" title="music" /><br />
+<img src="images2/149b.png" width="350" height="202" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_150" id="No_150"></a><i>N<span class="super">o.</span> 150. &#8220;The Legend of Tsar Saltan&#8221; (p. 219).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 150. &#8222;Légende du Tsar Saltan&#8220; (p. 219).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_89">Vol. I p. 89</a>]</p>
+
+<p class="centerbp">[<a href="music2/150.mp3">Listen</a>] [<a href="music2/150.xml">XML</a>] [<a href="images2/150.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/150.png" width="350" height="366" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_151" id="No_151"></a><i>N<span class="super">o.</span> 151. &#8220;Antar.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 151. &#8222;Antar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_89">Vol. I p. 89</a>]</p>
+
+<p class="centerbp">[<a href="music2/151.mp3">Listen</a>] [<a href="music2/151.xml">XML</a>] [<a href="images2/151.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/151.png" width="350" height="567" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_152" id="No_152"></a><i>N<span class="super">o.</span> 152. &#8220;Antar.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 152. &#8222;Antar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_91">Vol. I p. 91</a>]</p>
+
+<p class="centerbp">[<a href="music2/152.mp3">Listen</a>] [<a href="music2/152.xml">XML</a>] [<a href="images2/152.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/152.png" width="350" height="548" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_153" id="No_153"></a><i>N<span class="super">o.</span> 153. &#8220;The Christmas Night&#8221; (p. 376).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 153. &#8222;La Nuit de Noël&#8220; (p. 376).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_91">Vol. I p. 91</a>]</p>
+
+<p class="centerbp">[<a href="music2/153.mp3">Listen</a>] [<a href="music2/153.xml">XML</a>] [<a href="images2/153.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="cb"><img src="images2/153a.png" width="350" height="524" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/153b.png" width="350" height="525" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td class="cb"><img src="images2/153c.png" width="350" height="549" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/153d.png" width="350" height="543" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_154" id="No_154"></a><i>N<span class="super">o.</span> 154. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 154. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_91">Vol. I p. 91</a>]</p>
+
+<p class="centerbp">[<a href="music2/154.mp3">Listen</a>] [<a href="music2/154.xml">XML</a>] [<a href="images2/154.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/154.png" width="350" height="254" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_155" id="No_155"></a><i>N<span class="super">o.</span> 155. &#8220;Servilia.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 155. &#8222;Servilia.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_91">Vol. I p. 91</a>]</p>
+
+<p class="centerbp">[<a href="music2/155.mp3">Listen</a>] [<a href="music2/155.xml">XML</a>] [<a href="images2/154.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/155.png" width="350" height="337" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_156" id="No_156"></a><i>N<span class="super">o.</span> 156. &#8220;The Legend of the invisible city of Kitesh&#8221; (p. 252).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 156. &#8222;Légende de la ville invisible de Kitéj&#8220; (p. 252).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_91">Vol. I p. 91</a>]</p>
+
+<p class="centerbp">[<a href="music2/156.mp3">Listen</a>] [<a href="music2/156.xml">XML</a>] [<a href="images2/156.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/156.png" width="350" height="246" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_157" id="No_157"></a><i>N<span class="super">o.</span> 157. &#8220;Antar.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 157. &#8222;Antar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_91">Vol. I p. 91</a>]</p>
+
+<p class="centerbp">[<a href="music2/157.mp3">Listen</a>] [<a href="music2/157.xml">XML</a>] [<a href="images2/156.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/157.png" width="350" height="336" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_158" id="No_158"></a><i>N<span class="super">o.</span> 158. &#8220;Ivan the Terrible,&#8221; Act I.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 158. &#8222;La Pskovitaine,&#8220; 1<span class="super2">er</span> acte.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_92">Vol. I p. 92</a>]</p>
+
+<p class="centerbp">[<a href="music2/158.mp3">Listen</a>] [<a href="music2/158.xml">XML</a>] [<a href="images2/158.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/158.png" width="350" height="565" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_159" id="No_159"></a><i>N<span class="super">o.</span> 159. &#8220;Snegourotchka&#8221; (p. 223).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 159. &#8222;Sniégourotchka&#8220; (p. 223).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_92">Vol. I p. 92</a>]</p>
+
+<p class="centerbp">[<a href="music2/159.mp3">Listen</a>] [<a href="music2/159.xml">XML</a>] [<a href="images2/159.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/159.png" width="350" height="163" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_160" id="No_160"></a><i>N<span class="super">o.</span> 160. &#8220;Sadko&#8221; (p. 231).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 160. &#8222;Sadko&#8220; (p. 231).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_92">Vol. I p. 92</a>]</p>
+
+<p class="centerbp">[<a href="music2/160.mp3">Listen</a>] [<a href="music2/160.xml">XML</a>] [<a href="images2/159.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/160.png" width="350" height="395" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_161" id="No_161"></a><i>N<span class="super">o.</span> 161. &#8220;The Legend of Tsar Saltan&#8221; (p. 80).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 161. &#8222;Légende du Tsar Saltan&#8220; (p. 80).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_92">Vol. I p. 92</a>]</p>
+
+<p class="centerbp">[<a href="music2/161.mp3">Listen</a>] [<a href="music2/161.xml">XML</a>] [<a href="images2/161.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/161.png" width="350" height="186" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_162" id="No_162"></a><i>N<span class="super">o.</span> 162. &#8220;The Legend of Tsar Saltan&#8221; (p. 92).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 162. &#8222;Légende du Tsar Saltan&#8220; (p. 92).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_92">Vol. I p. 92</a>]</p>
+
+<p class="centerbp">[<a href="music2/162.mp3">Listen</a>] [<a href="music2/162.xml">XML</a>] [<a href="images2/161.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/162.png" width="350" height="181" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_163" id="No_163"></a><i>N<span class="super">o.</span> 163. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 163. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_92">Vol. I p. 92</a>]</p>
+
+<p class="centerbp">[<a href="music2/163.mp3">Listen</a>] [<a href="music2/163.xml">XML</a>] [<a href="images2/161.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/163.png" width="350" height="225" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_164" id="No_164"></a><i>N<span class="super">o.</span> 164. &#8220;The Legend of the invisible city of Kitesh&#8221; (p. 400).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 164. &#8222;Légende de la ville invisible de Kitéj&#8220; (p. 400).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_92">Vol. I p. 92</a>]</p>
+
+<p class="centerbp">[<a href="music2/164.mp3">Listen</a>] [<a href="music2/164.xml">XML</a>] [<a href="images2/164.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/164.png" width="350" height="228" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_165" id="No_165"></a><i>N<span class="super">o.</span> 165. &#8220;The May Night,&#8221; Act I (p. 105).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 165. &#8222;La Nuit de Mai,&#8220; 1<span class="super2">er</span> acte (p. 105).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_93">Vol. I p. 93</a>]</p>
+
+<p class="centerbp">[<a href="music2/165.mp3">Listen</a>] [<a href="music2/165.xml">XML</a>] [<a href="images2/164.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/165.png" width="350" height="345" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_166" id="No_166"></a><i>N<span class="super">o.</span> 166. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 166. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_93">Vol. I p. 93</a>]</p>
+
+<p class="centerbp">[<a href="music2/166.mp3">Listen</a>] [<a href="music2/166.xml">XML</a>] [<a href="images2/166.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/166.png" width="350" height="559" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_167" id="No_167"></a><i>N<span class="super">o.</span> 167. &#8220;The Christmas Night.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 167. &#8222;La Nuit de Noël.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_93">Vol. I p. 93</a>]</p>
+
+<p class="centerbp">[<a href="music2/167.mp3">Listen</a>] [<a href="music2/167.xml">XML</a>] [<a href="images2/167.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/167.png" width="350" height="554" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_168" id="No_168"></a><i>N<span class="super">o.</span> 168. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 168. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_93">Vol. I p. 93</a>]</p>
+
+<p class="centerbp">[<a href="music2/168.mp3">Listen</a>] [<a href="music2/168.xml">XML</a>] [<a href="images2/168.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/168a.png" width="350" height="563" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/168b.png" width="350" height="566" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_169" id="No_169"></a><i>N<span class="super">o.</span> 169. &#8220;Sadko&#8221; (p. 492).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 169. &#8222;Sadko&#8220; (p. 492).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_93">Vol. I p. 93</a>]</p>
+
+<p class="centerbp">[<a href="music2/169.mp3">Listen</a>] [<a href="music2/169.xml">XML</a>] [<a href="images2/169.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/169a.png" width="350" height="579" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/169b.png" width="350" height="545" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_170" id="No_170"></a><i>N<span class="super">o.</span> 170. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 170. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_94">Vol. I p. 94</a>]</p>
+
+<p class="centerbp">[<a href="music2/170.mp3">Listen</a>] [<a href="music2/170.xml">XML</a>] [<a href="images2/170.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/170.png" width="350" height="575" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_171" id="No_171"></a><i>N<span class="super">o.</span> 171. &#8220;Antar.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 171. &#8222;Antar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_94">Vol. I p. 94</a>]</p>
+
+<p class="centerbp">[<a href="music2/171.mp3">Listen</a>] [<a href="music2/171.xml">XML</a>] [<a href="images2/171.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/171.png" width="350" height="343" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_172" id="No_172"></a><i>N<span class="super">o.</span> 172. &#8220;The Tsar&#8217;s Bride&#8221; (p. 252).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 172. &#8222;La Fiancée du Tsar&#8220; (p. 252).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_95">Vol. I p. 95</a>]</p>
+
+<p class="centerbp">[<a href="music2/172.mp3">Listen</a>] [<a href="music2/172.xml">XML</a>] [<a href="images2/171.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/172.png" width="350" height="237" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_173" id="No_173"></a><i>N<span class="super">o.</span> 173. &#8220;Sadko&#8221; (p. 112).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 173. &#8222;Sadko&#8220; (p. 112).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_95">Vol. I p. 95</a>]</p>
+
+<p class="centerbp">[<a href="music2/173.mp3">Listen</a>] [<a href="music2/173.xml">XML</a>] [<a href="images2/173.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/173.png" width="350" height="564" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_174" id="No_174"></a><i>N<span class="super">o.</span> 174. &#8220;The Christmas Night.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 174. &#8222;La Nuit de Noël.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_95">Vol. I p. 95</a>]</p>
+
+<p class="centerbp">[<a href="music2/174.mp3">Listen</a>] [<a href="music2/174.xml">XML</a>] [<a href="images2/174.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/174.png" width="350" height="569" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_175_A" id="No_175_A"></a><i>N<span class="super">o.</span> 175<span class="super">a.</span> &#8220;Vera Scheloga&#8221; (p. 49).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 175.a. &#8222;La Boïarine Véra Chéloga&#8220; (p. 49).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_99">Vol. I p. 99</a>]</p>
+
+<p class="centerbp">[<a href="music2/175a.mp3">Listen</a>] [<a href="music2/175a.xml">XML</a>] [<a href="images2/175.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/175a.png" width="350" height="278" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_175_B" id="No_175_B"></a><i>N<span class="super">o.</span> 175<span class="super">b.</span> Another possible orchestration.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 175.b. Autre orchestration possible.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_99">Vol. I p. 99</a>]</p>
+
+<p class="centerbp">[<a href="music2/175b.mp3">Listen</a>] [<a href="music2/175b.xml">XML</a>] [<a href="images2/175.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/175b.png" width="350" height="290" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_176" id="No_176"></a><i>N<span class="super">o.</span> 176. &#8220;Russian Easter Fête&#8221; (p. 5).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 176. &#8222;La Grande Pâque Russe&#8220; (p. 5).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/176.mp3">Listen</a>] [<a href="music2/176.xml">XML</a>] [<a href="images2/176.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/176.png" width="350" height="576" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_177" id="No_177"></a><i>N<span class="super">o.</span> 177. &#8220;Russian Easter Fête&#8221; (p. 9).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 177. &#8222;La Grande Pâque Russe&#8220; (p. 9).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/177.mp3">Listen</a>] [<a href="music2/177.xml">XML</a>] [<a href="images2/177.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/177.png" width="350" height="577" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_178" id="No_178"></a><i>N<span class="super">o.</span> 178. &#8220;The Tsar&#8217;s Bride&#8221; (p. 1-2).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 178. &#8222;La Fiancée du Tsar&#8220; (p. 1-2).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/178.mp3">Listen</a>] [<a href="music2/178.xml">XML</a>] [<a href="images2/178.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/178.png" width="350" height="214" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_179" id="No_179"></a><i>N<span class="super">o.</span> 179. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 179. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/179.mp3">Listen</a>] [<a href="music2/179.xml">XML</a>] [<a href="images2/178.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/179.png" width="350" height="362" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_180" id="No_180"></a><i>N<span class="super">o.</span> 180. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 180. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/180.mp3">Listen</a>] [<a href="music2/180.xml">XML</a>] [<a href="images2/180.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/180.png" width="350" height="557" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_181" id="No_181"></a><i>N<span class="super">o.</span> 181. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 181. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/181.mp3">Listen</a>] [<a href="music2/181.xml">XML</a>] [<a href="images2/181.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/181.png" width="350" height="344" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_182" id="No_182"></a><i>N<span class="super">o.</span> 182. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 182. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/182.mp3">Listen</a>] [<a href="music2/182.xml">XML</a>] [<a href="images2/181.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/182.png" width="350" height="244" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_183" id="No_183"></a><i>N<span class="super">o.</span> 183. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 183. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/183.mp3">Listen</a>] [<a href="music2/183.xml">XML</a>] [<a href="images2/183.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/183.png" width="350" height="570" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_184" id="No_184"></a><i>N<span class="super">o.</span> 184. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 184. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/184.mp3">Listen</a>] [<a href="music2/184.xml">XML</a>] [<a href="images2/184.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/184.png" width="350" height="250" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_185" id="No_185"></a><i>N<span class="super">o.</span> 185. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 185. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/185.mp3">Listen</a>] [<a href="music2/185.xml">XML</a>] [<a href="images2/184.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/185.png" width="350" height="356" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_186" id="No_186"></a><i>N<span class="super">o.</span> 186. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 186. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/186.mp3">Listen</a>] [<a href="music2/186.xml">XML</a>] [<a href="images2/186.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/186.png" width="350" height="202" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_187" id="No_187"></a><i>N<span class="super">o.</span> 187. &#8220;The Legend of Tsar Saltan&#8221; (p. 306).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 187. &#8222;Légende du Tsar Saltan&#8220; (p. 306).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/187.mp3">Listen</a>] [<a href="music2/187.xml">XML</a>] [<a href="images2/186.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/187.png" width="350" height="385" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_188" id="No_188"></a><i>N<span class="super">o.</span> 188. &#8220;The Legend of Tsar Saltan&#8221; (p. 416).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 188. &#8222;Légende du Tsar Saltan&#8220; (p. 416).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/188.mp3">Listen</a>] [<a href="music2/188.xml">XML</a>] [<a href="images2/188.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/188.png" width="350" height="561" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_189" id="No_189"></a><i>N<span class="super">o.</span> 189. &#8220;The Legend of Tsar Saltan&#8221; (p. 367).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 189. &#8222;Légende du Tsar Saltan&#8220; (p. 367).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/189.mp3">Listen</a>] [<a href="music2/189.xml">XML</a>] [<a href="images2/189.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/189a.png" width="350" height="558" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/189b.png" width="350" height="534" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_190" id="No_190"></a><i>N<span class="super">o.</span> 190. &#8220;Ivan the Terrible,&#8221; overture.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 190. &#8222;La Pskovitaine,&#8220; ouverture.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/190.mp3">Listen</a>] [<a href="music2/190.xml">XML</a>] [<a href="images2/190.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/190.png" width="350" height="217" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_191" id="No_191"></a><i>N<span class="super">o.</span> 191. &#8220;Ivan the Terrible,&#8221; overture.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 191. &#8222;La Pskovitaine,&#8220; ouverture.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_100">Vol. I p. 100</a>]</p>
+
+<p class="centerbp">[<a href="music2/191.mp3">Listen</a>] [<a href="music2/191.xml">XML</a>] [<a href="images2/190.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/191.png" width="350" height="378" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_192" id="No_192"></a><i>N<span class="super">o.</span> 192. &#8220;Sheherazade&#8221; (p. 5).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 192. &#8222;Shéhérazade&#8220; (p. 5).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_101">Vol. I p. 101</a>]</p>
+
+<p class="centerbp">[<a href="music2/192.mp3">Listen</a>] [<a href="music2/192.xml">XML</a>] [<a href="images2/192.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/192.png" width="350" height="343" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_193" id="No_193"></a><i>N<span class="super">o.</span> 193. &#8220;Sheherazade&#8221; (p. 8).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 193. &#8222;Shéhérazade&#8220; (p. 8).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_101">Vol. I p. 101</a>]</p>
+
+<p class="centerbp">[<a href="music2/193.mp3">Listen</a>] [<a href="music2/193.xml">XML</a>] [<a href="images2/192.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/193.png" width="350" height="241" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_194" id="No_194"></a><i>N<span class="super">o.</span> 194. &#8220;Sheherazade&#8221; (p. 19).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 194. &#8222;Shéhérazade&#8220; (p. 19).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_101">Vol. I p. 101</a>]</p>
+
+<p class="centerbp">[<a href="music2/194.mp3">Listen</a>] [<a href="music2/194.xml">XML</a>] [<a href="images2/194.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/194.png" width="350" height="589" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_195" id="No_195"></a><i>N<span class="super">o.</span> 195. &#8220;Sheherazade&#8221; (p. 38-39).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 195. &#8222;Shéhérazade&#8220; (p. 38-39).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_101">Vol. I p. 101</a>]</p>
+
+<p class="centerbp">[<a href="music2/195.mp3">Listen</a>] [<a href="music2/195.xml">XML</a>] [<a href="images2/195.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/195.png" width="350" height="576" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_196" id="No_196"></a><i>N<span class="super">o.</span> 196. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 196. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_101">Vol. I p. 101</a>]</p>
+
+<p class="centerbp">[<a href="music2/196.mp3">Listen</a>] [<a href="music2/196.xml">XML</a>] [<a href="images2/196.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/196.png" width="350" height="562" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_197" id="No_197"></a><i>N<span class="super">o.</span> 197. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 197. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_101">Vol. I p. 101</a>]</p>
+
+<p class="centerbp">[<a href="music2/197.mp3">Listen</a>] [<a href="music2/197.xml">XML</a>] [<a href="images2/197.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/197.png" width="350" height="560" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_198" id="No_198"></a><i>N<span class="super">o.</span> 198. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 198. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_101">Vol. I p. 101</a>]</p>
+
+<p class="centerbp">[<a href="music2/198.mp3">Listen</a>] [<a href="music2/198.xml">XML</a>] [<a href="images2/198.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/198.png" width="350" height="386" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_199" id="No_199"></a><i>N<span class="super">o.</span> 199. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 199. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_101">Vol. I p. 101</a>]</p>
+
+<p class="centerbp">[<a href="music2/199.mp3">Listen</a>] [<a href="music2/199.xml">XML</a>] [<a href="images2/198.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/199.png" width="350" height="209" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_200" id="No_200"></a><i>N<span class="super">o.</span> 200. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 200. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_101">Vol. I p. 101</a>]</p>
+
+<p class="centerbp">[<a href="music2/200.mp3">Listen</a>] [<a href="music2/200.xml">XML</a>] [<a href="images2/200.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/200.png" width="350" height="349" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_201" id="No_201"></a><i>N<span class="super">o.</span> 201. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 201. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_101">Vol. I p. 101</a>]</p>
+
+<p class="centerbp">[<a href="music2/201.mp3">Listen</a>] [<a href="music2/201.xml">XML</a>] [<a href="images2/200.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/201.png" width="350" height="248" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_202" id="No_202"></a><i>N<span class="super">o.</span> 202. &#8220;The Golden Cockerel&#8221; (p. 298-299).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 202. &#8222;Le Coq d&#8217;Or&#8220; (p. 298-299).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_101">Vol. I p. 101</a>]</p>
+
+<p class="centerbp">[<a href="music2/202.mp3">Listen</a>] [<a href="music2/202.xml">XML</a>] [<a href="images2/202.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/202.png" width="350" height="575" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_203" id="No_203"></a><i>N<span class="super">o.</span> 203. &#8220;The Golden Cockerel&#8221; (p. 309-310).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 203. &#8222;Le Coq d&#8217;Or&#8220; (p. 309-310).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_101">Vol. I p. 101</a>]</p>
+
+<p class="centerbp">[<a href="music2/203.mp3">Listen</a>] [<a href="music2/203.xml">XML</a>] [<a href="images2/203.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/203.png" width="350" height="578" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_204" id="No_204"></a><i>N<span class="super">o.</span> 204. &#8220;Snegourotchka&#8221; (p. 267).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 204. &#8222;Sniégourotchka&#8220; (p. 267).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_102">Vol. I p. 102</a>]</p>
+
+<p class="centerbp">[<a href="music2/204.mp3">Listen</a>] [<a href="music2/204.xml">XML</a>] [<a href="images2/204.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/204.png" width="350" height="548" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_205" id="No_205"></a><i>N<span class="super">o.</span> 205. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 205. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_102">Vol. I p. 102</a>]</p>
+
+<p class="centerbp">[<a href="music2/205.mp3">Listen</a>] [<a href="music2/205.xml">XML</a>] [<a href="images2/205.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/205.png" width="350" height="604" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_206" id="No_206"></a><i>N<span class="super">o.</span> 206. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 206. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_102">Vol. I p. 102</a>]</p>
+
+<p class="centerbp">[<a href="music2/206.mp3">Listen</a>] [<a href="music2/206.xml">XML</a>] [<a href="images2/206.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/206.png" width="350" height="583" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_207" id="No_207"></a><i>N<span class="super">o.</span> 207. &#8220;The Christmas Night.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 207. &#8222;La Nuit de Noël.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_102">Vol. I p. 102</a>]</p>
+
+<p class="centerbp">[<a href="music2/207.mp3">Listen</a>] [<a href="music2/207.xml">XML</a>] [<a href="images2/207.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/207a.png" width="350" height="572" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/207b.png" width="350" height="554" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_208" id="No_208"></a><i>N<span class="super">o.</span> 208. &#8220;The Christmas Night.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 208. &#8222;La Nuit de Noël.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_102">Vol. I p. 102</a>]</p>
+
+<p class="centerbp">[<a href="music2/208.mp3">Listen</a>] [<a href="music2/208.xml">XML</a>] [<a href="images2/208.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/208a.png" width="350" height="579" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/208b.png" width="350" height="561" alt="music" title="music" /></td>
+</tr>
+</table>
+
+<p class="center">
+<img src="images2/208c.png" width="350" height="567" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_209" id="No_209"></a><i>N<span class="super">o.</span> 209. &#8220;Sheherazade&#8221; (p. 123).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 209. &#8222;Shéhérazade&#8220; (p. 123).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_102">Vol. I p. 102</a>]</p>
+
+<p class="centerbp">[<a href="music2/209.mp3">Listen</a>] [<a href="music2/209.xml">XML</a>] [<a href="images2/209.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/209a.png" width="350" height="568" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/209b.png" width="350" height="525" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_210" id="No_210"></a><i>N<span class="super">o.</span> 210. &#8220;Snegourotchka&#8221; (p. 176-177).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 210. &#8222;Sniégourotchka&#8220; (p. 176-177).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_103">Vol. I p. 103</a>]</p>
+
+<p class="centerbp">[<a href="music2/210.mp3">Listen</a>] [<a href="music2/210.xml">XML</a>] [<a href="images2/210.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/210.png" width="350" height="562" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_211" id="No_211"></a><i>N<span class="super">o.</span> 211. &#8220;Snegourotchka&#8221; (p. 179-180).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 211. &#8222;Sniégourotchka&#8220; (p. 179-180).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_103">Vol. I p. 103</a>]</p>
+
+<p class="centerbp">[<a href="music2/211.mp3">Listen</a>] [<a href="music2/211.xml">XML</a>] [<a href="images2/211.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/211a.png" width="350" height="550" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/211b.png" width="350" height="552" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_212" id="No_212"></a><i>N<span class="super">o.</span> 212. &#8220;Ivan the Terrible,&#8221; Act II.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 212. &#8222;La Pskovitaine,&#8220; 2<span class="super2">me</span> acte.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_103">Vol. I p. 103</a>]</p>
+
+<p class="centerbp">[<a href="music2/212.mp3">Listen</a>] [<a href="music2/212.xml">XML</a>] [<a href="images2/212.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/212.png" width="350" height="570" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_213" id="No_213"></a><i>N<span class="super">o.</span> 213. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 213. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_103">Vol. I p. 103</a>]</p>
+
+<p class="centerbp">[<a href="music2/213.mp3">Listen</a>] [<a href="music2/213.xml">XML</a>] [<a href="images2/213.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/213a.png" width="350" height="569" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/213b.png" width="350" height="556" alt="music" title="music" /></td>
+</tr>
+</table>
+
+<p class="center">
+<img src="images2/213c.png" width="350" height="519" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_214" id="No_214"></a><i>N<span class="super">o.</span> 214. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 214. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_103">Vol. I p. 103</a>]</p>
+
+<p class="centerbp">[<a href="music2/214.mp3">Listen</a>] [<a href="music2/214.xml">XML</a>] [<a href="images2/214.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/214.png" width="350" height="541" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_215" id="No_215"></a><i>N<span class="super">o.</span> 215. &#8220;The Golden Cockerel.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 215. &#8222;Le Coq d&#8217;Or.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_103">Vol. I p. 103</a>]</p>
+
+<p class="centerbp">[<a href="music2/215.mp3">Listen</a>] [<a href="music2/215.xml">XML</a>] [<a href="images2/215.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/215.png" width="350" height="331" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_216" id="No_216"></a><i>N<span class="super">o.</span> 216. &#8220;Snegourotchka&#8221; (p. 148).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 216. &#8222;Sniégourotchka&#8220; (p. 148).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_104">Vol. I p. 104</a>]</p>
+
+<p class="centerbp">[<a href="music2/216.mp3">Listen</a>] [<a href="music2/216.xml">XML</a>] [<a href="images2/215.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/216.png" width="350" height="252" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_217" id="No_217"></a><i>N<span class="super">o.</span> 217. &#8220;Russian Easter Fête.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 217. &#8222;La Grande Pâque Russe.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_104">Vol. I p. 104</a>]</p>
+
+<p class="centerbp">[<a href="music2/217.mp3">Listen</a>] [<a href="music2/217.xml">XML</a>] [<a href="images2/217.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/217a.png" width="350" height="563" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/217b.png" width="350" height="549" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_218" id="No_218"></a><i>N<span class="super">o.</span> 218. &#8220;The May Night&#8221; (p. 140).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 218. &#8222;La Nuit de Mai&#8220; (p. 140).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_104">Vol. I p. 104</a>]</p>
+
+<p class="centerbp">[<a href="music2/218.mp3">Listen</a>] [<a href="music2/218.xml">XML</a>] [<a href="images2/218.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/218.png" width="350" height="342" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_219" id="No_219"></a><i>N<span class="super">o.</span> 219. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 219. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_104">Vol. I p. 104</a>]</p>
+
+<p class="centerbp">[<a href="music2/219.mp3">Listen</a>] [<a href="music2/219.xml">XML</a>] [<a href="images2/218.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/219.png" width="350" height="257" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_220" id="No_220"></a><i>N<span class="super">o.</span> 220. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 220. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_104">Vol. I p. 104</a>]</p>
+
+<p class="centerbp">[<a href="music2/220.mp3">Listen</a>] [<a href="music2/220.xml">XML</a>] [<a href="images2/220.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/220.png" width="350" height="574" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_221" id="No_221"></a><i>N<span class="super">o.</span> 221. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 221. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_104">Vol. I p. 104</a>]</p>
+
+<p class="centerbp">[<a href="music2/221.mp3">Listen</a>] [<a href="music2/221.xml">XML</a>] [<a href="images2/221.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/221.png" width="350" height="577" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_222" id="No_222"></a><i>N<span class="super">o.</span> 222. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 222. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_105">Vol. I p. 105</a>]</p>
+
+<p class="centerbp">[<a href="music2/222.mp3">Listen</a>] [<a href="music2/222.xml">XML</a>] [<a href="images2/222.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/222.png" width="350" height="576" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_223" id="No_223"></a><i>N<span class="super">o.</span> 223. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 223. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_105">Vol. I p. 105</a>]</p>
+
+<p class="centerbp">[<a href="music2/223.mp3">Listen</a>] [<a href="music2/223.xml">XML</a>] [<a href="images2/223.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/223.png" width="350" height="576" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_224" id="No_224"></a><i>N<span class="super">o.</span> 224. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 224. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_105">Vol. I p. 105</a>]</p>
+
+<p class="centerbp">[<a href="music2/224.mp3">Listen</a>] [<a href="music2/224.xml">XML</a>] [<a href="images2/224.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/224.png" width="350" height="568" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_225" id="No_225"></a><i>N<span class="super">o.</span> 225. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 225. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_105">Vol. I p. 105</a>]</p>
+
+<p class="centerbp">[<a href="music2/225.mp3">Listen</a>] [<a href="music2/225.xml">XML</a>] [<a href="images2/225.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/225.png" width="350" height="306" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_226" id="No_226"></a><i>N<span class="super">o.</span> 226. &#8220;The Golden Cockerel.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 226. &#8222;Le Coq d&#8217;Or.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_105">Vol. I p. 105</a>]</p>
+
+<p class="centerbp">[<a href="music2/226.mp3">Listen</a>] [<a href="music2/226.xml">XML</a>] [<a href="images2/225.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/226.png" width="350" height="298" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_227" id="No_227"></a><i>N<span class="super">o.</span> 227. &#8220;Mlada,&#8221; Act II.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 227. &#8222;Mlada,&#8220; 2<span class="super2">me</span> acte.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_106">Vol. I p. 106</a>]</p>
+
+<p class="centerbp">[<a href="music2/227.mp3">Listen</a>] [<a href="music2/227.xml">XML</a>] [<a href="images2/227.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/227.png" width="350" height="560" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_228" id="No_228"></a><i>N<span class="super">o.</span> 228. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 228. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_106">Vol. I p. 106</a>]</p>
+
+<p class="centerbp">[<a href="music2/228.mp3">Listen</a>] [<a href="music2/228.xml">XML</a>] [<a href="images2/228.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/228a.png" width="350" height="561" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/228b.png" width="350" height="555" alt="music" title="music" /></td>
+</tr>
+</table>
+
+<p class="center">
+<img src="images2/228c.png" width="350" height="550" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_229" id="No_229"></a><i>N<span class="super">o.</span> 229. &#8220;The Golden Cockerel&#8221; (p. 227).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 229. &#8222;Le Coq d&#8217;Or&#8220; (p. 227).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_106">Vol. I p. 106</a>]</p>
+
+<p class="centerbp">[<a href="music2/229.mp3">Listen</a>] [<a href="music2/229.xml">XML</a>] [<a href="images2/229.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/229a.png" width="350" height="556" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/229b.png" width="350" height="535" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_230" id="No_230"></a><i>N<span class="super">o.</span> 230. &#8220;Russian Easter Fête.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 230. &#8222;La Grande Pâque Russe.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_106">Vol. I p. 106</a>]</p>
+
+<p class="centerbp">[<a href="music2/230.mp3">Listen</a>] [<a href="music2/230.xml">XML</a>] [<a href="images2/230.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/230.png" width="350" height="573" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_231" id="No_231"></a><i>N<span class="super">o.</span> 231. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 231. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_106">Vol. I p. 106</a>]</p>
+
+<p class="centerbp">[<a href="music2/231.mp3">Listen</a>] [<a href="music2/231.xml">XML</a>] [<a href="images2/231.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/231a.png" width="350" height="547" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/231b.png" width="350" height="559" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_232" id="No_232"></a><i>N<span class="super">o.</span> 232. &#8220;The Golden Cockerel&#8221; (p. 282).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 232. &#8222;Le Coq d&#8217;Or&#8220; (p. 282).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_107">Vol. I p. 107</a>]</p>
+
+<p class="centerbp">[<a href="music2/232.mp3">Listen</a>] [<a href="music2/232.xml">XML</a>] [<a href="images2/232.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/232.png" width="350" height="361" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_233" id="No_233"></a><i>N<span class="super">o.</span> 233. &#8220;The Golden Cockerel&#8221; (p. 141).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 233. &#8222;Le Coq d&#8217;Or&#8220; (p. 141).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_107">Vol. I p. 107</a>]</p>
+
+<p class="centerbp">[<a href="music2/233.mp3">Listen</a>] [<a href="music2/233.xml">XML</a>] [<a href="images2/232.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/233.png" width="350" height="217" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_234" id="No_234"></a><i>N<span class="super">o.</span> 234. &#8220;Sheherazade&#8221; (p. 61).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 234. &#8222;Shéhérazade&#8220; (p. 61).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_107">Vol. I p. 107</a>]</p>
+
+<p class="centerbp">[<a href="music2/234.mp3">Listen</a>] [<a href="music2/234.xml">XML</a>] [<a href="images2/234.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/234.png" width="350" height="364" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_235" id="No_235"></a><i>N<span class="super">o.</span> 235. &#8220;Snegourotchka&#8221; (p. 307).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 235. &#8222;Sniégourotchka&#8220; (p. 307).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_107">Vol. I p. 107</a>]</p>
+
+<p class="centerbp">[<a href="music2/235.mp3">Listen</a>] [<a href="music2/235.xml">XML</a>] [<a href="images2/234.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/235.png" width="350" height="232" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_236" id="No_236"></a><i>N<span class="super">o.</span> 236. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 236. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_107">Vol. I p. 107</a>]</p>
+
+<p class="centerbp">[<a href="music2/236.mp3">Listen</a>] [<a href="music2/236.xml">XML</a>] [<a href="images2/236.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/236.png" width="350" height="545" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_237" id="No_237"></a><i>N<span class="super">o.</span> 237. &#8220;The Christmas Night&#8221; (p. 312).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 237. &#8222;La Nuit de Noël&#8220; (p. 312).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_108">Vol. I p. 108</a>]</p>
+
+<p class="centerbp">[<a href="music2/237.mp3">Listen</a>] [<a href="music2/237.xml">XML</a>] [<a href="images2/237.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/237.png" width="350" height="343" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_238" id="No_238"></a><i>N<span class="super">o.</span> 238. &#8220;The Golden Cockerel&#8221; (p. 19).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 238. &#8222;Le Coq d&#8217;Or&#8220; (p. 19).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_108">Vol. I p. 108</a>]</p>
+
+<p class="centerbp">[<a href="music2/238.mp3">Listen</a>] [<a href="music2/238.xml">XML</a>] [<a href="images2/237.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/238.png" width="350" height="263" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_239" id="No_239"></a><i>N<span class="super">o.</span> 239. &#8220;Ivan the Terrible,&#8221; Act II.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 239. &#8222;La Pskovitaine,&#8220; 2<span class="super2">me</span> acte.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_109">Vol. I p. 109</a>]</p>
+
+<p class="centerbp">[<a href="music2/239.mp3">Listen</a>] [<a href="music2/239.xml">XML</a>] [<a href="images2/239.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/239.png" width="350" height="377" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_240" id="No_240"></a><i>N<span class="super">o.</span> 240. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 240. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_109">Vol. I p. 109</a>]</p>
+
+<p class="centerbp">[<a href="music2/240.mp3">Listen</a>] [<a href="music2/240.xml">XML</a>] [<a href="images2/239.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/240.png" width="350" height="196" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_241" id="No_241"></a><i>N<span class="super">o.</span> 241. &#8220;The Tsar&#8217;s Bride&#8221; (p. 210).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 241. &#8222;La Fiancée du Tsar&#8220; (p. 210).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_109">Vol. I p. 109</a>]</p>
+
+<p class="centerbp">[<a href="music2/241.mp3">Listen</a>] [<a href="music2/241.xml">XML</a>] [<a href="images2/241.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/241.png" width="350" height="306" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_242" id="No_242"></a><i>N<span class="super">o.</span> 242. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 242. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_109">Vol. I p. 109</a>]</p>
+
+<p class="centerbp">[<a href="music2/242.mp3">Listen</a>] [<a href="music2/242.xml">XML</a>] [<a href="images2/241.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/242.png" width="175" height="297" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_243" id="No_243"></a><i>N<span class="super">o.</span> 243. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 243. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_109">Vol. I p. 109</a>]</p>
+
+<p class="centerbp">[<a href="music2/243.mp3">Listen</a>] [<a href="music2/243.xml">XML</a>] [<a href="images2/241.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/243.png" width="175" height="295" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_244" id="No_244"></a><i>N<span class="super">o.</span> 244. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 244. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_109">Vol. I p. 109</a>]</p>
+
+<p class="centerbp">[<a href="music2/244.mp3">Listen</a>] [<a href="music2/244.xml">XML</a>] [<a href="images2/244.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/244.png" width="350" height="582" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_245" id="No_245"></a><i>N<span class="super">o.</span> 245. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 245. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_110">Vol. I p. 110</a>]</p>
+
+<p class="centerbp">[<a href="music2/245.mp3">Listen</a>] [<a href="music2/245.xml">XML</a>] [<a href="images2/245.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/245.png" width="350" height="560" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_246" id="No_246"></a><i>N<span class="super">o.</span> 246. &#8220;Servilia.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 246. &#8222;Servilia.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_110">Vol. I p. 110</a>]</p>
+
+<p class="centerbp">[<a href="music2/246.mp3">Listen</a>] [<a href="music2/246.xml">XML</a>] [<a href="images2/246.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/246.png" width="350" height="576" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_247" id="No_247"></a><i>N<span class="super">o.</span> 247. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 247. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_110">Vol. I p. 110</a>]</p>
+
+<p class="centerbp">[<a href="music2/247.mp3">Listen</a>] [<a href="music2/247.xml">XML</a>] [<a href="images2/247.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/247.png" width="350" height="230" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_248" id="No_248"></a><i>N<span class="super">o.</span> 248. &#8220;Russian Easter Fête.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 248. &#8222;La Grande Pâque Russe.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_110">Vol. I p. 110</a>]</p>
+
+<p class="centerbp">[<a href="music2/248.mp3">Listen</a>] [<a href="music2/248.xml">XML</a>] [<a href="images2/248.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/248a.png" width="350" height="357" alt="music" title="music" />
+</p>
+
+<p class="center">
+<img src="images2/248b.png" width="350" height="560" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_249" id="No_249"></a><i>N<span class="super">o.</span> 249. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 249. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_110">Vol. I p. 110</a>]</p>
+
+<p class="centerbp">[<a href="music2/249.mp3">Listen</a>] [<a href="music2/249.xml">XML</a>] [<a href="images2/249.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/249.png" width="350" height="576" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_250" id="No_250"></a><i>N<span class="super">o.</span> 250. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 250. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_110">Vol. I p. 110</a>]</p>
+
+<p class="centerbp">[<a href="music2/250.mp3">Listen</a>] [<a href="music2/250.xml">XML</a>] [<a href="images2/250.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/250.png" width="350" height="396" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_251" id="No_251"></a><i>N<span class="super">o.</span> 251. &#8220;Spanish Capriccio.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 251. &#8222;Capriccio Espagnol.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_110">Vol. I p. 110</a>]</p>
+
+<p class="centerbp">[<a href="music2/251.mp3">Listen</a>] [<a href="music2/251.xml">XML</a>] [<a href="images2/250.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/251.png" width="350" height="202" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_252" id="No_252"></a><i>N<span class="super">o.</span> 252. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 252. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_111">Vol. I p. 111</a>]</p>
+
+<p class="centerbp">[<a href="music2/252.mp3">Listen</a>] [<a href="music2/252.xml">XML</a>] [<a href="images2/252.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/252.png" width="350" height="560" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_253" id="No_253"></a><i>N<span class="super">o.</span> 253. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 253. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_111">Vol. I p. 111</a>]</p>
+
+<p class="centerbp">[<a href="music2/253.mp3">Listen</a>] [<a href="music2/253.xml">XML</a>] [<a href="images2/253.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/253.png" width="350" height="294" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_254" id="No_254"></a><i>N<span class="super">o.</span> 254. &#8220;The Tsar&#8217;s Bride&#8221; (p. 246-247).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 254. &#8222;La Fiancée du Tsar.&#8220; (p. 246-247).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_112">Vol. I p. 112</a>]</p>
+
+<p class="centerbp">[<a href="music2/254.mp3">Listen</a>] [<a href="music2/254.xml">XML</a>] [<a href="images2/253.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/254.png" width="350" height="296" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_255" id="No_255"></a><i>N<span class="super">o.</span> 255. &#8220;Sheherazade,&#8221; 2<span class="super2">nd</span> movement.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 255. &#8222;Shéhérazade,&#8220; 2<span class="super2">me</span> mouvement.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_112">Vol. I p. 112</a>]</p>
+
+<p class="centerbp">[<a href="music2/255.mp3">Listen</a>] [<a href="music2/255.xml">XML</a>] [<a href="images2/255.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/255.png" width="350" height="240" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_256" id="No_256"></a><i>N<span class="super">o.</span> 256. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 256. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_113">Vol. I p. 113</a>]</p>
+
+<p class="centerbp">[<a href="music2/256.mp3">Listen</a>] [<a href="music2/256.xml">XML</a>] [<a href="images2/255.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/256.png" width="350" height="353" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_257" id="No_257"></a><i>N<span class="super">o.</span> 257. &#8220;The Tsar&#8217;s Bride&#8221; (p. 186).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 257. &#8222;La Fiancée du Tsar&#8220; (p. 186).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_113">Vol. I p. 113</a>]</p>
+
+<p class="centerbp">[<a href="music2/257.mp3">Listen</a>] [<a href="music2/257.xml">XML</a>] [<a href="images2/257.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/257.png" width="350" height="575" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_258" id="No_258"></a><i>N<span class="super">o.</span> 258. &#8220;Mlada,&#8221; Act III.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 258. &#8222;Mlada,&#8220; 3<span class="super2">me</span> acte.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_113">Vol. I p. 113</a>]</p>
+
+<p class="centerbp">[<a href="music2/258.mp3">Listen</a>] [<a href="music2/258.xml">XML</a>] [<a href="images2/258.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/258a.png" width="350" height="550" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/258b.png" width="350" height="568" alt="music" title="music" /></td>
+</tr>
+</table>
+
+<p class="center">
+<img src="images2/258c.png" width="350" height="572" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_259" id="No_259"></a><i>N<span class="super">o.</span> 259. &#8220;Mlada,&#8221; Act III.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 259. &#8222;Mlada,&#8220; 3<span class="super2">me</span> acte.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_113">Vol. I p. 113</a>]</p>
+
+<p class="centerbp">[<a href="music2/259.mp3">Listen</a>] [<a href="music2/259.xml">XML</a>] [<a href="images2/259.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/259a.png" width="350" height="532" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/259b.png" width="350" height="552" alt="music" title="music" /></td>
+</tr>
+</table>
+
+<p class="center">
+<img src="images2/259c.png" width="350" height="538" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_260" id="No_260"></a><i>N<span class="super">o.</span> 260. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 260. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_113">Vol. I p. 113</a>]</p>
+
+<p class="centerbp">[<a href="music2/260.mp3">Listen</a>] [<a href="music2/260.xml">XML</a>] [<a href="images2/260.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/260.png" width="350" height="550" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_261" id="No_261"></a><i>N<span class="super">o.</span> 261. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 261. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_113">Vol. I p. 113</a>]</p>
+
+<p class="centerbp">[<a href="music2/261.mp3">Listen</a>] [<a href="music2/261.xml">XML</a>] [<a href="images2/261.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/261.png" width="350" height="573" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_262" id="No_262"></a><i>N<span class="super">o.</span> 262. &#8220;Antar.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 262. &#8222;Antar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_114">Vol. I p. 114</a>]</p>
+
+<p class="centerbp">[<a href="music2/262.mp3">Listen</a>] [<a href="music2/262.xml">XML</a>] [<a href="images2/262.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/262.png" width="350" height="568" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_263" id="No_263"></a><i>N<span class="super">o.</span> 263. &#8220;The Golden Cockerel.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 263. &#8222;Le Coq d&#8217;Or.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_114">Vol. I p. 114</a>]</p>
+
+<p class="centerbp">[<a href="music2/263.mp3">Listen</a>] [<a href="music2/263.xml">XML</a>] [<a href="images2/263.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/263.png" width="350" height="413" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_264" id="No_264"></a><i>N<span class="super">o.</span> 264. &#8220;Pan Voyevoda,&#8221; introduction (p. 3).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 264. &#8222;Pan le Voïevode,&#8220; introduction (p. 3).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_115">Vol. I p. 115</a>]</p>
+
+<p class="centerbp">[<a href="music2/264.mp3">Listen</a>] [<a href="music2/264.xml">XML</a>] [<a href="images2/264.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/264a.png" width="350" height="168" alt="music" title="music" /><br />
+<img src="images2/264b.png" width="350" height="574" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_265" id="No_265"></a><i>N<span class="super">o.</span> 265. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 265. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_115">Vol. I p. 115</a>]</p>
+
+<p class="centerbp">[<a href="music2/265.mp3">Listen</a>] [<a href="music2/265.xml">XML</a>] [<a href="images2/265.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/265.png" width="350" height="573" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_266" id="No_266"></a><i>N<span class="super">o.</span> 266. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 266. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_115">Vol. I p. 115</a>]</p>
+
+<p class="centerbp">[<a href="music2/266.mp3">Listen</a>] [<a href="music2/266.xml">XML</a>] [<a href="images2/266.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/266.png" width="350" height="382" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_267" id="No_267"></a><i>N<span class="super">o.</span> 267. &#8220;The Legend of the invisible city of Kitesh&#8221; (p. 488).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 267. &#8222;Légende de la ville invisible de Kitéj&#8220; (p. 488).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_115">Vol. I p. 115</a>]</p>
+
+<p class="centerbp">[<a href="music2/267.mp3">Listen</a>] [<a href="music2/267.xml">XML</a>] [<a href="images2/266.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/267.png" width="350" height="204" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_268" id="No_268"></a><i>N<span class="super">o.</span> 268. &#8220;Kashtcheï the Immortal.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 268. &#8222;Kachtchéï l&#8217;Immortel.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_115">Vol. I p. 115</a>]</p>
+
+<p class="centerbp">[<a href="music2/268.mp3">Listen</a>] [<a href="music2/268.xml">XML</a>] [<a href="images2/268.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/268.png" width="350" height="575" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_269" id="No_269"></a><i>N<span class="super">o.</span> 269. &#8220;Kashtcheï the Immortal.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 269. &#8222;Kachtchéï l&#8217;Immortel.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_115">Vol. I p. 115</a>]</p>
+
+<p class="centerbp">[<a href="music2/269.mp3">Listen</a>] [<a href="music2/269.xml">XML</a>] [<a href="images2/269.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/269a.png" width="350" height="568" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/269b.png" width="350" height="549" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_270" id="No_270"></a><i>N<span class="super">o.</span> 270. &#8220;Mlada&#8221; (p. 166).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 270. &#8222;Mlada&#8220; (p. 166).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_115">Vol. I p. 115</a>]</p>
+
+<p class="centerbp">[<a href="music2/270.mp3">Listen</a>] [<a href="music2/270.xml">XML</a>] [<a href="images2/270.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/270.png" width="350" height="560" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_271" id="No_271"></a><i>N<span class="super">o.</span> 271. &#8220;The Golden Cockerel.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 271. &#8222;Le Coq d&#8217;Or.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_115">Vol. I p. 115</a>]</p>
+
+<p class="centerbp">[<a href="music2/271.mp3">Listen</a>] [<a href="music2/271.xml">XML</a>] [<a href="images2/271.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/271.png" width="350" height="328" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_272" id="No_272"></a><i>N<span class="super">o.</span> 272. &#8220;The Legend of Tsar Saltan&#8221; (p. 179).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 272. &#8222;Légende du Tsar Saltan&#8220; (p. 179).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_116">Vol. I p. 116</a>]</p>
+
+<p class="centerbp">[<a href="music2/272.mp3">Listen</a>] [<a href="music2/272.xml">XML</a>] [<a href="images2/271.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/272.png" width="350" height="253" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_273" id="No_273"></a><i>N<span class="super">o.</span> 273. &#8220;The Legend of Tsar Saltan&#8221; (p. 269).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 273. &#8222;Légende du Tsar Saltan&#8220; (p. 269).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_116">Vol. I p. 116</a>]</p>
+
+<p class="centerbp">[<a href="music2/273.mp3">Listen</a>] [<a href="music2/273.xml">XML</a>] [<a href="images2/273.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/273.png" width="350" height="558" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_274" id="No_274"></a><i>N<span class="super">o.</span> 274. &#8220;The Legend of Tsar Saltan.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 274. &#8222;Légende du Tsar Saltan.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_116">Vol. I p. 116</a>]</p>
+
+<p class="centerbp">[<a href="music2/274.mp3">Listen</a>] [<a href="music2/274.xml">XML</a>] [<a href="images2/274.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/274.png" width="350" height="544" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_275" id="No_275"></a><i>N<span class="super">o.</span> 275. &#8220;Pan Voyevoda.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 275. &#8222;Pan le Voïevode.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_116">Vol. I p. 116</a>]</p>
+
+<p class="centerbp">[<a href="music2/275.mp3">Listen</a>] [<a href="music2/275.xml">XML</a>] [<a href="images2/275.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/275a.png" width="350" height="553" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/275b.png" width="350" height="561" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_276" id="No_276"></a><i>N<span class="super">o.</span> 276. &#8220;The Christmas Night&#8221; (p. 310).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 276. &#8222;La Nuit de Noël&#8220; (p. 310).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_116">Vol. I p. 116</a>]</p>
+
+<p class="centerbp">[<a href="music2/276.mp3">Listen</a>] [<a href="music2/276.xml">XML</a>] [<a href="images2/276.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/276.png" width="350" height="510" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_277" id="No_277"></a><i>N<span class="super">o.</span> 277. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 277. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_122">Vol. I p. 122</a>]</p>
+
+<p class="centerbp">[<a href="music2/277.mp3">Listen</a>] [<a href="music2/277.xml">XML</a>] [<a href="images2/277.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/277.png" width="350" height="548" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_278" id="No_278"></a><i>N<span class="super">o.</span> 278. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 278. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_122">Vol. I p. 122</a>]</p>
+
+<p class="centerbp">[<a href="music2/278.mp3">Listen</a>] [<a href="music2/278.xml">XML</a>] [<a href="images2/278.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/278.png" width="351" height="574" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_279" id="No_279"></a><i>N<span class="super">o.</span> 279. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 279. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_122">Vol. I p. 122</a>]</p>
+
+<p class="centerbp">[<a href="music2/279.mp3">Listen</a>] [<a href="music2/279.xml">XML</a>] [<a href="images2/279.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/279.png" width="350" height="573" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_280" id="No_280"></a><i>N<span class="super">o.</span> 280. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 280. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_123">Vol. I p. 123</a>]</p>
+
+<p class="centerbp">[<a href="music2/280.mp3">Listen</a>] [<a href="music2/280.xml">XML</a>] [<a href="images2/280.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/280a.png" width="350" height="579" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/280b.png" width="350" height="579" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_281" id="No_281"></a><i>N<span class="super">o.</span> 281. &#8220;Sadko&#8221; (p. 516).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 281. &#8222;Sadko&#8220; (p. 516).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_123">Vol. I p. 123</a>]</p>
+
+<p class="centerbp">[<a href="music2/281.mp3">Listen</a>] [<a href="music2/281.xml">XML</a>] [<a href="images2/281.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/281.png" width="350" height="587" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_282" id="No_282"></a><i>N<span class="super">o.</span> 282. &#8220;The Tsar&#8217;s Bride&#8221; (p. 361).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 282. &#8222;La Fiancée du Tsar&#8220; (p. 361).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_124">Vol. I p. 124</a>]</p>
+
+<p class="centerbp">[<a href="music2/282.mp3">Listen</a>] [<a href="music2/282.xml">XML</a>] [<a href="images2/282.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/282.png" width="350" height="574" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_283" id="No_283"></a><i>N<span class="super">o.</span> 283. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 283. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_124">Vol. I p. 124</a>]</p>
+
+<p class="centerbp">[<a href="music2/283.mp3">Listen</a>] [<a href="music2/283.xml">XML</a>] [<a href="images2/283.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="cb"><img src="images2/283a.png" width="350" height="542" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/283b.png" width="350" height="565" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td class="ct"><img src="images2/283c.png" width="350" height="577" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/283d.png" width="350" height="559" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td class="ct"><img src="images2/283e.png" width="350" height="560" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/283f.png" width="350" height="550" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_284" id="No_284"></a><i>N<span class="super">o.</span> 284. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 284. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_124">Vol. I p. 124</a>]</p>
+
+<p class="centerbp">[<a href="music2/284.mp3">Listen</a>] [<a href="music2/284.xml">XML</a>] [<a href="images2/284.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/284.png" width="350" height="574" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_285" id="No_285"></a><i>N<span class="super">o.</span> 285. &#8220;The Golden Cockerel.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 285. &#8222;Le Coq d&#8217;Or.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_125">Vol. I p. 125</a>]</p>
+
+<p class="centerbp">[<a href="music2/285.mp3">Listen</a>] [<a href="music2/285.xml">XML</a>] [<a href="images2/285.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/285a.png" width="350" height="551" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/285b.png" width="350" height="551" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_286" id="No_286"></a><i>N<span class="super">o.</span> 286. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 286. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_125">Vol. I p. 125</a>]</p>
+
+<p class="centerbp">[<a href="music2/286.mp3">Listen</a>] [<a href="music2/286.xml">XML</a>] [<a href="images2/286.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/286a.png" width="350" height="550" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/286b.png" width="350" height="549" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_287" id="No_287"></a><i>N<span class="super">o.</span> 287. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 287. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_126">Vol. I p. 126</a>]</p>
+
+<p class="centerbp">[<a href="music2/287.mp3">Listen</a>] [<a href="music2/287.xml">XML</a>] [<a href="images2/287.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/287a.png" width="350" height="572" alt="music" title="music" /></td>
+<td class="center"><img src="images2/287b.png" width="350" height="548" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_288" id="No_288"></a><i>N<span class="super">o.</span> 288. &#8220;The Tsar&#8217;s Bride.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 288. &#8222;La Fiancée du Tsar.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_126">Vol. I p. 126</a>]</p>
+
+<p class="centerbp">[<a href="music2/288.mp3">Listen</a>] [<a href="music2/288.xml">XML</a>] [<a href="images2/288.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/288a.png" width="350" height="564" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/288b.png" width="350" height="563" alt="music" title="music" /></td>
+</tr>
+</table>
+
+<p class="center">
+<img src="images2/288c.png" width="350" height="571" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_289" id="No_289"></a><i>N<span class="super">o.</span> 289. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 289. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_126">Vol. I p. 126</a>]</p>
+
+<p class="centerbp">[<a href="music2/289.mp3">Listen</a>] [<a href="music2/289.xml">XML</a>] [<a href="images2/289.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/289.png" width="350" height="464" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_290" id="No_290"></a><i>N<span class="super">o.</span> 290. &#8220;Sadko&#8221; (p. 150).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 290. &#8222;Sadko&#8220; (p. 150).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_126">Vol. I p. 126</a>]</p>
+
+<p class="centerbp">[<a href="music2/290.mp3">Listen</a>] [<a href="music2/290.xml">XML</a>] [<a href="images2/290.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/290a.png" width="350" height="141" alt="music" title="music" /><br />
+<img src="images2/290b.png" width="350" height="567" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_291" id="No_291"></a><i>N<span class="super">o.</span> 291. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 291. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_126">Vol. I p. 126</a>]</p>
+
+<p class="centerbp">[<a href="music2/291.mp3">Listen</a>] [<a href="music2/291.xml">XML</a>] [<a href="images2/291.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/291a.png" width="350" height="579" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/291b.png" width="350" height="562" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_292_A" id="No_292_A"></a><i>N<span class="super">o.</span> 292a. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 292a. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_126">Vol. I p. 126</a>]</p>
+
+<p class="centerbp">[<a href="music2/292a.mp3">Listen</a>] [<a href="music2/292a.xml">XML</a>] [<a href="images2/292.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/292a.png" width="350" height="273" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_292_B" id="No_292_B"></a><i>N<span class="super">o.</span> 292b. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 292b. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_126">Vol. I p. 126</a>]</p>
+
+<p class="centerbp">[<a href="music2/292b.mp3">Listen</a>] [<a href="music2/292b.xml">XML</a>] [<a href="images2/292.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/292b.png" width="350" height="283" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_293" id="No_293"></a><i>N<span class="super">o.</span> 293. &#8220;The Tsar&#8217;s Bride&#8221; (p. 169).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 293. &#8222;La Fiancée du Tsar&#8220; (p. 169).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_127">Vol. I p. 127</a>]</p>
+
+<p class="centerbp">[<a href="music2/293.mp3">Listen</a>] [<a href="music2/293.xml">XML</a>] [<a href="images2/293.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/293.png" width="350" height="563" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_294" id="No_294"></a><i>N<span class="super">o.</span> 294. &#8220;Ivan the Terrible,&#8221; Act I (p. 111).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 294. &#8222;La Pskovitaine,&#8220; 1<span class="super2">er</span> acte (p. 111).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_127">Vol. I p. 127</a>]</p>
+
+<p class="centerbp">[<a href="music2/294.mp3">Listen</a>] [<a href="music2/294.xml">XML</a>] [<a href="images2/294.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/294.png" width="350" height="577" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_295" id="No_295"></a><i>N<span class="super">o.</span> 295. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 295. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_128">Vol. I p. 128</a>]</p>
+
+<p class="centerbp">[<a href="music2/295.mp3">Listen</a>] [<a href="music2/295.xml">XML</a>] [<a href="images2/295.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/295a.png" width="350" height="570" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/295b.png" width="350" height="560" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_296" id="No_296"></a><i>N<span class="super">o.</span> 296. &#8220;Ivan the Terrible,&#8221; Act II.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 296. &#8222;La Pskovitaine,&#8220; 2<span class="super2">me</span> acte.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_128">Vol. I p. 128</a>]</p>
+
+<p class="centerbp">[<a href="music2/296.mp3">Listen</a>] [<a href="music2/296.xml">XML</a>] [<a href="images2/296.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/296a.png" width="350" height="576" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/296b.png" width="350" height="564" alt="music" title="music" /></td>
+</tr>
+<tr>
+<td class="ct"><img src="images2/296c.png" width="350" height="577" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/296d.png" width="350" height="553" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_297" id="No_297"></a><i>N<span class="super">o.</span> 297. &#8220;Sadko&#8221; (p. 157).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 297. &#8222;Sadko&#8220; (p. 157).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_128">Vol. I p. 128</a>]</p>
+
+<p class="centerbp">[<a href="music2/297.mp3">Listen</a>] [<a href="music2/297.xml">XML</a>] [<a href="images2/297.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/297a.png" width="350" height="546" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/297b.png" width="350" height="536" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_298" id="No_298"></a><i>N<span class="super">o.</span> 298. &#8220;Snegourotchka.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 298. &#8222;Sniégourotchka.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_129">Vol. I p. 129</a>]</p>
+
+<p class="centerbp">[<a href="music2/298.mp3">Listen</a>] [<a href="music2/298.xml">XML</a>] [<a href="images2/298.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/298a.png" width="350" height="578" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/298b.png" width="350" height="575" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_299" id="No_299"></a><i>N<span class="super">o.</span> 299. &#8220;Mlada,&#8221; Act III.</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 299. &#8222;Mlada,&#8220; 3<span class="super2">me</span> acte.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_130">Vol. I p. 130</a>]</p>
+
+<p class="centerbp">[<a href="music2/299.mp3">Listen</a>] [<a href="music2/299.xml">XML</a>] [<a href="images2/299.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/299a.png" width="350" height="553" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/299b.png" width="350" height="564" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_300" id="No_300"></a><i>N<span class="super">o.</span> 300. &#8220;Mlada.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 300. &#8222;Mlada.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_130">Vol. I p. 130</a>]</p>
+
+<p class="centerbp">[<a href="music2/300.mp3">Listen</a>] [<a href="music2/300.xml">XML</a>] [<a href="images2/300.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/300.png" width="350" height="572" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_301" id="No_301"></a><i>N<span class="super">o.</span> 301. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 301. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_131">Vol. I p. 131</a>]</p>
+
+<p class="centerbp">[<a href="music2/301.mp3">Listen</a>] [<a href="music2/301.xml">XML</a>] [<a href="images2/301.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/301.png" width="350" height="575" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_302" id="No_302"></a><i>N<span class="super">o.</span> 302. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 302. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_131">Vol. I p. 131</a>]</p>
+
+<p class="centerbp">[<a href="music2/302.mp3">Listen</a>] [<a href="music2/302.xml">XML</a>] [<a href="images2/302.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/302a.png" width="350" height="566" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/302b.png" width="350" height="564" alt="music" title="music" /></td>
+</tr>
+</table>
+
+<p class="center">
+<img src="images2/302c.png" width="350" height="570" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_303" id="No_303"></a><i>N<span class="super">o.</span> 303. &#8220;Sadko.&#8221; (p. 378).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 303. &#8222;Sadko.&#8220; (p. 378).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_136">Vol. I p. 136</a>]</p>
+
+<p class="centerbp">[<a href="music2/303.mp3">Listen</a>] [<a href="music2/303.xml">XML</a>] [<a href="images2/303.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/303a.png" width="350" height="574" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/303b.png" width="350" height="558" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="No_304" id="No_304"></a><i>N<span class="super">o.</span> 304. &#8220;Sadko.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 304. &#8222;Sadko.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_137">Vol. I p. 137</a>]</p>
+
+<p class="centerbp">[<a href="music2/304.mp3">Listen</a>] [<a href="music2/304.xml">XML</a>] [<a href="images2/304.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/304.png" width="350" height="572" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_305" id="No_305"></a><i>N<span class="super">o.</span> 305. &#8220;The Legend of the invisible city of Kitesh.&#8221;</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 305. &#8222;Légende de la ville invisible de Kitéj.&#8220;</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_142">Vol. I p. 142</a>]</p>
+
+<p class="centerbp">[<a href="music2/305.mp3">Listen</a>] [<a href="music2/305.xml">XML</a>] [<a href="images2/305.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/305a.png" width="350" height="577" alt="music" title="music" /></td>
+<td class="cb"><img src="images2/305b.png" width="350" height="569" alt="music" title="music" /></td>
+</tr>
+</table>
+
+<p class="center">
+<img src="images2/305c.png" width="350" height="560" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_306" id="No_306"></a><i>N<span class="super">o.</span> 306. &#8220;The Golden Cockerel&#8221; (p. 351).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 306. &#8222;Le Coq d&#8217;Or&#8220; (p. 351).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_144">Vol. I p. 144</a>]</p>
+
+<p class="centerbp">[<a href="music2/306.mp3">Listen</a>] [<a href="music2/306.xml">XML</a>] [<a href="images2/306.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/306.png" width="350" height="583" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_307" id="No_307"></a><i>N<span class="super">o.</span> 307. &#8220;Sadko&#8221; (p. 210).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 307. &#8222;Sadko&#8220; (p. 210).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_146">Vol. I p. 146</a>]</p>
+
+<p class="centerbp">[<a href="music2/307.mp3">Listen</a>] [<a href="music2/307.xml">XML</a>] [<a href="images2/307.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/307.png" width="175" height="537" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_308" id="No_308"></a><i>N<span class="super">o.</span> 308. &#8220;Sadko&#8221; (p. 226).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 308. &#8222;Sadko&#8220; (p. 226).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_147">Vol. I p. 147</a>]</p>
+
+<p class="centerbp">[<a href="music2/308.mp3">Listen</a>] [<a href="music2/308.xml">XML</a>] [<a href="images2/307.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/308.png" width="175" height="511" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_309" id="No_309"></a><i>N<span class="super">o.</span> 309. &#8220;Ivan the Terrible&#8221; (p. 116).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 309. &#8222;La Pskovitaine&#8220; (p. 116).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_147">Vol. I p. 147</a>]</p>
+
+<p class="centerbp">[<a href="music2/309.mp3">Listen</a>] [<a href="music2/309.xml">XML</a>] [<a href="images2/309.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/309.png" width="350" height="572" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_310" id="No_310"></a><i>N<span class="super">o.</span> 310. &#8220;Ivan the Terrible&#8221; (p. 117).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 310. &#8222;La Pskovitaine&#8220; (p. 117).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_147">Vol. I p. 147</a>]</p>
+
+<p class="centerbp">[<a href="music2/310.mp3">Listen</a>] [<a href="music2/310.xml">XML</a>] [<a href="images2/310.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/310.png" width="350" height="557" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_311" id="No_311"></a><i>N<span class="super">o.</span> 311. &#8220;Sadko&#8221; (p. 441).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 311. &#8222;Sadko&#8220; (p. 441).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_149">Vol. I p. 149</a>]</p>
+
+<p class="centerbp">[<a href="music2/311.mp3">Listen</a>] [<a href="music2/311.xml">XML</a>] [<a href="images2/311.pdf">PDF</a>]</p>
+
+<p class="center">
+<img src="images2/311.png" width="350" height="573" alt="music" title="music" />
+</p>
+
+
+
+<hr />
+
+<h3><a name="No_312" id="No_312"></a><i>N<span class="super">o.</span> 312. &#8220;Ivan the Terrible,&#8221; Act III (the end).</i><br />
+<span class="nobold"><span lang="fr">N<span class="super">o.</span> 312. &#8222;La Pskovitaine,&#8220; 3<span class="super2">me</span> acte (fin).</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_148">Vol. I p. 148</a>]</p>
+
+<p class="centerbp">[<a href="music2/312.mp3">Listen</a>] [<a href="music2/312.xml">XML</a>] [<a href="images2/312.pdf">PDF</a>]</p>
+
+<table border="0" cellpadding="10" cellspacing="0" summary="music">
+<tr>
+<td class="ct"><img src="images2/312a.png" width="350" height="556" alt="music" title="music" /></td>
+<td class="ct"><img src="images2/312b.png" width="350" height="565" alt="music" title="music" /></td>
+</tr>
+</table>
+
+
+
+<hr />
+
+<h3><a name="APPENDIX" id="APPENDIX"></a><i><span class="lg">Appendix.</span> <span class="nobold">Single <span class="u">tutti</span> chords.</span></i><br />
+<span lang="fr"><span class="lg">Appendice.</span> <span class="nobold">Accords isolés en tutti.</span></span></h3>
+
+<p class="center">[<a href="rimsky1.html#Page_102">Vol. I p. 102</a>]</p>
+
+<p class="centerbp">[<a href="images2/appendix.pdf">PDF</a>]</p>
+
+<div class="blockquot">
+<p class="hang"><b><i>NOTE. These diagrams are given in semibreves. They do not include
+percussion instruments of indeterminate sound or the human voice.</i></b></p>
+
+<p class="hang">NOTA. Ces exemples sont donnés sous forme demi-schématique, en rondes.
+Ils ne comportent ni les instruments de percussion à sons indéterminés,
+ni les voix humaines.</p>
+</div>
+
+<p class="centertp">
+<img src="images2/appendix01.png" width="350" height="594" alt="Appendix I" title="Appendix I" />
+</p>
+
+<p class="center">
+<img src="images2/appendix02.png" width="350" height="570" alt="Appendix II" title="Appendix II" />
+</p>
+
+<p class="center">
+<img src="images2/appendix03.png" width="350" height="592" alt="Appendix III" title="Appendix III" />
+</p>
+
+
+
+<hr />
+
+<p class="centertp"><b><a href="rimsky_toc.html">CONTENTS</a></b><br />
+<b><a href="rimsky1.html">VOLUME I</a></b></p>
+
+
+
+
+</body>
+</html>
diff --git a/old/rimsky_toc.html b/old/rimsky_toc.html
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+++ b/old/rimsky_toc.html
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+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <meta http-equiv="Content-Style-Type" content="text/css" />
+    <title>
+      The Project Gutenberg eBook of Principles of Orchestration (contents), by Nikolay Rimsky-Korsakov.
+    </title>
+    <style type="text/css">
+
+body {margin-left: 15%;
+      margin-right: 15%;}
+
+    h1,h2,h3,h4,h5,h6 {
+    text-align: center; /* all headings centered */
+    clear: both;
+}
+
+p {
+    margin-top: .75em;
+    text-align: justify;
+    margin-bottom: .75em;
+}
+
+hr {
+    width: 65%;
+    margin-top: 2em;
+    margin-bottom: 2em;
+    margin-left: auto;
+    margin-right: auto;
+    clear: both;
+}
+
+hr.short {
+    width: 15%;
+    margin-top: 1em;
+    margin-bottom: 1em;
+    margin-left: auto;
+    margin-right: auto;
+    clear: both;
+}
+
+table {
+    margin-left: auto;
+    margin-right: auto;
+}
+
+.pagenum  {position: absolute; left: 92%;
+           font-size: 75%; text-indent: 0em;
+           background-color: inherit; font-weight: normal;
+           font-style: normal; font-variant: normal;
+           text-decoration: none;}
+
+
+/* Formatting */
+.bbox     {border: solid black 1px; margin-left: 10%;
+           margin-right: 10%;}
+
+.center    {text-align: center;}
+.centerbp  {text-align: center; padding-bottom: 1em;}
+
+.right    {text-align: right;}
+
+.ind  {text-indent: 2em;}
+
+
+/* Fonts */
+.sm  {font-size: 75%;}
+
+
+/* Transcriber Notes */
+.notes    {background-color: #eeeeee; color: #000;
+           padding-top: .5em; padding-bottom: .5em;
+           padding-left: 1em; padding-right: 1em;
+           margin-left: 5%; margin-right: 5%;}
+
+.err {border-bottom: thin dotted red;}
+
+    </style>
+  </head>
+<body>
+
+<div class="notes">
+<p class="center"><b><i>Transcriber&#8217;s Notes</i></b></p>
+
+<p class="ind"><i>About this e-book:</i> This e-book was prepared from a 1964
+reprint published by Dover Publications, Inc., New York,
+which in turn was prepared from the two-volume 1922 English translation
+published by <span lang="fr">Édition Russe de Musique</span>, Paris.</p>
+
+<p class="ind"><a href="rimsky1.html">Volume I</a> contains
+the text of the work; <a href="rimsky2.html">Volume II</a> contains the
+musical examples referred to in Volume I. In this e-book, each volume
+is in a separate HTML document. References in Volume I to the numbered
+musical examples are hyperlinked to Volume II. See
+<a href="rimsky1.html#Footnote_C_15">this footnote</a> for the editor's
+explanation of the musical examples and the boxed rehearsal numbers.
+The use of asterisks is explained on <a href="rimsky1.html#Page_xii">page XII</a> of the
+<a href="rimsky1.html#Editors_Preface">Editor's Preface</a>.</p>
+
+<p class="ind">Obvious printer errors have been corrected without note. Other
+apparent errors are underlined in red with a popup
+<span class="err" title="Transcriber's Note">Transcriber's Note</span>.</p>
+
+<p class="ind"><i>About the music:</i> Midi or MP3 files have been provided for all music examples (except for
+single-note examples, and tables of instrument ranges and chords). Click on the
+[Listen] link to hear the music. For the extended music examples in
+<a href="rimsky2.html">Volume II</a>, you can also click on the [PDF] link to view an enlarged version of the
+original music images; and on the [XML] link to view or download
+the notation in MusicXML.</p>
+
+<p class="ind">All MP3 files were created by the Transcriber using Finale with Garritan Personal
+Orchestra, which employs sound samples of actual musical instruments,
+except for vocal solos. The MusicXML files were created automatically in Finale and have not
+been edited further. They reflect primarily the sound of the music,
+not its appearance. Some workarounds were employed to address minor
+limitations and bugs in Finale and Garritan that affected the sound (e.g., empty measures at
+the beginning and/or end of a piece to avoid abrupt cut-offs; changes in dynamics;
+expansion of shared staves where instruments are doubled; instrument substitutions; etc.).
+Obvious printer errors have been corrected without note; other questionable
+items are noted in the MusicXML file.</p>
+
+<p class="ind">For each music example in <a href="rimsky2.html">Volume II</a>, a
+link has been provided back to the page in <a href="rimsky1.html">Volume I</a> on which the
+example is referenced. Page numbers have been omitted from
+<a href="rimsky2.html">Volume II</a>, but are available
+in the PDF files.</p>
+</div>
+
+<p><br /></p>
+
+<div class="bbox">
+<h1><span class="sm">NIKOLAY RIMSKY-KORSAKOV</span><br />
+<br />
+<i>Principles<br />
+of Orchestration</i><br />
+</h1>
+
+
+<h2>
+<i>with musical examples<br />
+drawn from his own works</i><br />
+</h2>
+
+
+<h3>
+Edited by<br />
+MAXIMILIAN STEINBERG<br />
+<br />
+English translation by<br />
+EDWARD AGATE<br />
+</h3>
+
+
+<h3>[VOLUMES I and II]</h3>
+
+<p class="centerbp">[<span lang="fr">Édition Russe de Musique</span>, Paris, 1922]</p>
+</div>
+
+
+
+
+<hr />
+<p><span class="pagenum"><a name="Page_iii" id="Page_iii">-III-</a></span></p>
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS<br />
+<br />
+<a href="rimsky1.html">Volume I</a></h2>
+
+<h3>Text</h3>
+
+<hr class="short" />
+
+<table border="0" cellpadding="2" cellspacing="0" summary="contents">
+<tr><td>&nbsp;</td><td class="right">page</td></tr>
+<tr><td><a href="rimsky1.html#Editors_Preface">Editor's Preface</a></td><td class="right"><a href="rimsky1.html#Page_vii">VII&mdash;XII</a></td></tr>
+<tr><td><a href="rimsky1.html#Extract_from_the_Authors_Preface_1891">Extract from the Author's preface</a> (1891)</td><td class="right"><a href='rimsky1.html#Page_1'>1</a></td></tr>
+<tr><td><a href="rimsky1.html#Extract_from_the_Preface_to_the_last_edition">Extract from the Preface to the last edition</a></td><td class="right"><a href='rimsky1.html#Page_5'>5</a></td></tr>
+<tr><td colspan="2">&nbsp;</td></tr>
+<tr><td><b><a href="rimsky1.html#Chapter_I">Chapter I.</a>&mdash;General review of orchestral groups</b></td><td class="right">&nbsp;</td></tr>
+<tr><td><span style="margin-left: 1em;">A. Stringed instruments</span></td><td class="right"><a href='rimsky1.html#Page_6'>6</a></td></tr>
+<tr><td><span style="margin-left: 1em;">B. Wind instruments:</span></td><td class="right">&nbsp;</td></tr>
+<tr><td><span style="margin-left: 2.5em;">Wood-wind</span></td><td class="right"><a href='rimsky1.html#Page_12'>12</a></td></tr>
+<tr><td><span style="margin-left: 2.5em;">Brass</span></td><td class="right"><a href='rimsky1.html#Page_21'>21</a></td></tr>
+<tr><td><span style="margin-left: 1em;">C. Instruments of little sustaining power:</span></td><td class="right">&nbsp;</td></tr>
+<tr><td><span style="margin-left: 2.5em;">Plucked strings</span></td><td class="right"><a href='rimsky1.html#Page_26'>26</a></td></tr>
+<tr><td><span style="margin-left: 3.5em;">Pizzicato</span></td><td class="right"><a href='rimsky1.html#Page_27'>27</a></td></tr>
+<tr><td><span style="margin-left: 3.5em;">Harp</span></td><td class="right"><a href='rimsky1.html#Page_27'>27</a></td></tr>
+<tr><td><span style="margin-left: 2.5em;">Percussion instruments producing determinate sounds, keyed instruments</span></td><td class="right">&nbsp;</td></tr>
+<tr><td><span style="margin-left: 3.5em;">Kettle-drums</span></td><td class="right"><a href='rimsky1.html#Page_29'>29</a></td></tr>
+<tr><td><span style="margin-left: 3.5em;">Piano and Celesta</span></td><td class="right"><a href='rimsky1.html#Page_30'>30</a></td></tr>
+<tr><td><span style="margin-left: 3.5em;"><i>Glockenspiel</i>, Bells, Xylophone</span></td><td class="right"><a href='rimsky1.html#Page_32'>32</a></td></tr>
+<tr><td><span style="margin-left: 2.5em;">Percussion instruments producing indefinite sounds</span></td><td class="right"><a href='rimsky1.html#Page_32'>32</a></td></tr>
+<tr><td><span style="margin-left: 2.5em;">Comparison of resonance in orchestral groups, and combination of different tone qualities</span></td><td class="right"><a href='rimsky1.html#Page_33'>33</a></td></tr>
+<tr><td colspan="2">&nbsp;</td></tr>
+<tr><td><b><a href="rimsky1.html#Chapter_II">Chapter II.</a>&mdash;Melody</b></td><td class="right">&nbsp;</td></tr>
+<tr><td><span style="margin-left: 1em;">Melody in stringed instruments</span></td><td class="right"><a href='rimsky1.html#Page_36'>36</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Grouping in unison</span></td><td class="right"><a href='rimsky1.html#Page_39'>39</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Stringed instruments doubling in octaves</span></td><td class="right"><a href='rimsky1.html#Page_40'>40</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Melody in double octaves</span></td><td class="right"><a href='rimsky1.html#Page_44'>44</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Doubling in three and four octaves</span></td><td class="right"><a href='rimsky1.html#Page_45'>45</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Melody in thirds and sixths</span></td><td class="right"><a href='rimsky1.html#Page_45'>45</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Melody in the wood-wind</span></td><td class="right"><a href='rimsky1.html#Page_46'>46</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Combination in unison</span></td><td class="right"><a href='rimsky1.html#Page_47'>47</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Combination in octaves</span></td><td class="right"><a href='rimsky1.html#Page_49'>49</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Doubling in two, three and four octaves</span></td><td class="right"><a href='rimsky1.html#Page_51'>51</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Melody in thirds and sixths</span></td><td class="right"><a href='rimsky1.html#Page_52'>52</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Thirds and sixths together</span></td><td class="right"><a href='rimsky1.html#Page_53'>53</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Melody in the brass</span></td><td class="right"><a href='rimsky1.html#Page_53'>53</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Brass in unison, in octaves, thirds and sixths</span></td><td class="right"><a href='rimsky1.html#Page_55'>55</a></td></tr>
+<tr><td><span class="pagenum"><a name="Page_iv" id="Page_iv">-IV-</a></span></td></tr>
+<tr><td><span style="margin-left: 1em;">Melody in different groups of instruments combined together</span></td><td class="right"><a href='rimsky1.html#Page_56'>56</a></td></tr>
+<tr><td><span style="margin-left: 2em;">A. Combination of wind and brass in unison</span></td><td class="right"><a href='rimsky1.html#Page_56'>56</a></td></tr>
+<tr><td><span style="margin-left: 2em;">B. Combination of wind and brass in octaves</span></td><td class="right"><a href='rimsky1.html#Page_57'>57</a></td></tr>
+<tr><td><span style="margin-left: 2em;">C. Combination of strings and wind</span></td><td class="right"><a href='rimsky1.html#Page_58'>58</a></td></tr>
+<tr><td><span style="margin-left: 2em;">D. Combination of strings and brass</span></td><td class="right"><a href='rimsky1.html#Page_61'>61</a></td></tr>
+<tr><td><span style="margin-left: 2em;">E. Combination of the three groups</span></td><td class="right"><a href='rimsky1.html#Page_61'>61</a></td></tr>
+<tr><td colspan="2">&nbsp;</td></tr>
+<tr><td><b><a href="rimsky1.html#Chapter_III">Chapter III.</a>&mdash;Harmony</b></td><td class="right">&nbsp;</td></tr>
+<tr><td><span style="margin-left: 1em;">General observations</span></td><td class="right"><a href='rimsky1.html#Page_63'>63</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Number of harmonic parts&mdash;Duplication</span></td><td class="right"><a href='rimsky1.html#Page_64'>64</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Distribution of notes in chords</span></td><td class="right"><a href='rimsky1.html#Page_67'>67</a></td></tr>
+<tr><td><span style="margin-left: 1em;">String harmony</span></td><td class="right"><a href='rimsky1.html#Page_69'>69</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Wood-wind harmony</span></td><td class="right"><a href='rimsky1.html#Page_71'>71</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Four-part and three-part harmony</span></td><td class="right"><a href='rimsky1.html#Page_72'>72</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Harmony in several parts</span></td><td class="right"><a href='rimsky1.html#Page_76'>76</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Duplication of timbres</span></td><td class="right"><a href='rimsky1.html#Page_77'>77</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Remarks</span></td><td class="right"><a href='rimsky1.html#Page_78'>78</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Harmony in the brass</span></td><td class="right"><a href='rimsky1.html#Page_82'>82</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Four-part writing</span></td><td class="right"><a href='rimsky1.html#Page_82'>82</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Three-part writing</span></td><td class="right"><a href='rimsky1.html#Page_84'>84</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Writing in several parts</span></td><td class="right"><a href='rimsky1.html#Page_84'>84</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Duplication in the brass</span></td><td class="right"><a href='rimsky1.html#Page_85'>85</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Harmony in combined groups</span></td><td class="right"><a href='rimsky1.html#Page_88'>88</a></td></tr>
+<tr><td><span style="margin-left: 2em;">A. Combination of wind and brass</span></td><td class="right"><a href='rimsky1.html#Page_88'>88</a></td></tr>
+<tr><td><span style="margin-left: 3.5em;">1. In unison</span></td><td class="right"><a href='rimsky1.html#Page_88'>88</a></td></tr>
+<tr><td><span style="margin-left: 3.5em;">2. Overlaying, crossing, enclosure of parts</span></td><td class="right"><a href='rimsky1.html#Page_90'>90</a></td></tr>
+<tr><td><span style="margin-left: 2em;">B. Combination of strings and wind</span></td><td class="right"><a href='rimsky1.html#Page_94'>94</a></td></tr>
+<tr><td><span style="margin-left: 2em;">C. Combination of the three groups</span></td><td class="right"><a href='rimsky1.html#Page_95'>95</a></td></tr>
+<tr><td colspan="2">&nbsp;</td></tr>
+<tr><td><b><a href="rimsky1.html#Chapter_IV">Chapter IV.</a>&mdash;Composition of the orchestra</b></td><td class="right">&nbsp;</td></tr>
+<tr><td><span style="margin-left: 1em;">Different ways of orchestrating the same music</span></td><td class="right"><a href='rimsky1.html#Page_97'>97</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Full <i>Tutti</i></span></td><td class="right"><a href='rimsky1.html#Page_101'>101</a></td></tr>
+<tr><td><span style="margin-left: 1em;"><i>Tutti</i> in the wind</span></td><td class="right"><a href='rimsky1.html#Page_103'>103</a></td></tr>
+<tr><td><span style="margin-left: 1em;"><i>Tutti pizzicato</i></span></td><td class="right"><a href='rimsky1.html#Page_103'>103</a></td></tr>
+<tr><td><span style="margin-left: 1em;"><i>Tutti</i> in one, two and three parts</span></td><td class="right"><a href='rimsky1.html#Page_104'>104</a></td></tr>
+<tr><td><span style="margin-left: 1em;"><i>Soli</i> in the strings</span></td><td class="right"><a href='rimsky1.html#Page_104'>104</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Limits of orchestral range</span></td><td class="right"><a href='rimsky1.html#Page_106'>106</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Transference of passages and phrases</span></td><td class="right"><a href='rimsky1.html#Page_107'>107</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Chords of different tone quality used alternately</span></td><td class="right"><a href='rimsky1.html#Page_108'>108</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Amplification and elimination of tone qualities</span></td><td class="right"><a href='rimsky1.html#Page_109'>109</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Repetition of phrases, imitation, echo</span></td><td class="right"><a href='rimsky1.html#Page_110'>110</a></td></tr>
+<tr><td><span style="margin-left: 1em;"><i>Sforzando-piano</i> and <i>piano-sforzando</i> chords</span></td><td class="right"><a href='rimsky1.html#Page_111'>111</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Method of emphasising certain notes and chords</span></td><td class="right"><a href='rimsky1.html#Page_111'>111</a></td></tr>
+<tr><td><span style="margin-left: 1em;"><i>Crescendo</i> and <i>diminuendo</i></span></td><td class="right"><a href='rimsky1.html#Page_112'>112</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Diverging and converging progressions</span></td><td class="right"><a href='rimsky1.html#Page_113'>113</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Tone quality as a harmonic force. Harmonic basis</span></td><td class="right"><a href='rimsky1.html#Page_114'>114</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Artificial effects</span></td><td class="right"><a href='rimsky1.html#Page_116'>116</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Use of percussion instruments for rhythm and colour</span></td><td class="right"><a href='rimsky1.html#Page_117'>117</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Economy in orchestral colour</span></td><td class="right"><a href='rimsky1.html#Page_118'>118</a></td></tr>
+<tr><td><span class="pagenum"><a name="Page_v" id="Page_v">-V-</a></span></td></tr>
+<tr><td colspan="2">&nbsp;</td></tr>
+<tr><td><b><a href="rimsky1.html#Chapter_V">Chapter V.</a>&mdash;Combination of the human voice with orchestra. The Stage band</b></td><td class="right">&nbsp;</td></tr>
+<tr><td><span style="margin-left: 1em;">Orchestral accompaniment of solo voices</span></td><td class="right"><a href='rimsky1.html#Page_119'>119</a></td></tr>
+<tr><td><span style="margin-left: 2em;">General remarks</span></td><td class="right"><a href='rimsky1.html#Page_119'>119</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Transparence of accompaniment. Harmony</span></td><td class="right"><a href='rimsky1.html#Page_120'>120</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Doubling voices in the orchestra</span></td><td class="right"><a href='rimsky1.html#Page_122'>122</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Recitative and declamation</span></td><td class="right"><a href='rimsky1.html#Page_125'>125</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Orchestral accompaniment of the chorus</span></td><td class="right"><a href='rimsky1.html#Page_126'>126</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Solo voice with chorus</span></td><td class="right"><a href='rimsky1.html#Page_128'>128</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Instruments on the stage and in the wings</span></td><td class="right"><a href='rimsky1.html#Page_129'>129</a></td></tr>
+<tr><td colspan="2">&nbsp;</td></tr>
+<tr><td><b><a href="rimsky1.html#Chapter_VI_Supplementary">Chapter VI</a> (Supplementary).&mdash;Voices</b></td><td class="right">&nbsp;</td></tr>
+<tr><td><span style="margin-left: 1em;">Technical terms</span></td><td class="right"><a href='rimsky1.html#Page_132'>132</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Soloists</span></td><td class="right"><a href='rimsky1.html#Page_133'>133</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Range and register</span></td><td class="right"><a href='rimsky1.html#Page_133'>133</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Vocalisation</span></td><td class="right"><a href='rimsky1.html#Page_134'>134</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Vowels</span></td><td class="right"><a href='rimsky1.html#Page_136'>136</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Flexibility</span></td><td class="right"><a href='rimsky1.html#Page_137'>137</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Colour and character of voices</span></td><td class="right"><a href='rimsky1.html#Page_137'>137</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Voices in combination</span></td><td class="right"><a href='rimsky1.html#Page_139'>139</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Duet</span></td><td class="right"><a href='rimsky1.html#Page_139'>139</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Trios, quartets etc.</span></td><td class="right"><a href='rimsky1.html#Page_141'>141</a></td></tr>
+<tr><td><span style="margin-left: 1em;">Chorus</span></td><td class="right"><a href='rimsky1.html#Page_142'>142</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Range and register</span></td><td class="right"><a href='rimsky1.html#Page_142'>142</a></td></tr>
+<tr><td><span style="margin-left: 2em;">Melody</span></td><td class="right"><a href='rimsky1.html#Page_144'>144</a></td></tr>
+<tr><td><span style="margin-left: 1em;">A. Mixed chorus</span></td><td class="right"><a href='rimsky1.html#Page_145'>145</a></td></tr>
+<tr><td><span style="margin-left: 2.5em;">Chorus in unison</span></td><td class="right"><a href='rimsky1.html#Page_145'>145</a></td></tr>
+<tr><td><span style="margin-left: 2.5em;">Progression in octaves</span></td><td class="right"><a href='rimsky1.html#Page_145'>145</a></td></tr>
+<tr><td><span style="margin-left: 2.5em;">Voices <i>divisi</i>; harmonic use of the mixed chorus</span></td><td class="right"><a href='rimsky1.html#Page_146'>146</a></td></tr>
+<tr><td><span style="margin-left: 1em;">B. Men's chorus and Women's chorus</span></td><td class="right"><a href='rimsky1.html#Page_148'>148</a></td></tr>
+</table>
+
+<hr />
+
+<h2><a href="rimsky2.html">Volume II</a></h2>
+
+<h3>Musical Examples</h3>
+
+<p class="center"><a href="rimsky2.html#LIST">List of Works</a></p>
+
+
+
+</body>
+</html>