orn 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