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.
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:
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]
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: |
 |
Small kettle-drum: |
 |
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:
Note. A magnificent kettle-drum of very small size was made for my opera-ballet Mlada; this instrument gave the D♭ 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.
[Enlarge]
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.
[Enlarge]
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.
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.
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).
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♭ 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♭ 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 | ] | 8 | ) |
| Vns II |
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.