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.

_