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:_