_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 han