Ex. 199).

No. 124. " " " [[118]]--mixed timbre: 2 Ob., Eng.
horn and 3 Cl.

" " " [[136]]--harmonic parts in motion:

" " " before [[185]]--3 Fl. (low register)
and 2 Cl.

" " " [[223]]--Fl., Ob., Cl. (cf. Ex. 31).

* No. 125. " " " [[247]]--2 Cl., Bass Cl.

" " " [[273]]--Eng. horn, 2 Cl. and Bass
Cl., Fag.

* No. 126. " " " [[355]]--Eng. horn muted, Cl., 2 Fag.

* No. 127. _The Golden Cockerel_ [[3]]--Cl., Bass Cl., Fag., C-fag.

" " " [[40-41]] Bass Cl., Fag.; Fl., Cl.;
Cl., Bass Cl.

* No. 128. " " " [[156]]--harmonic parts in motion:
Fl. and Cl.

Harmony in the brass.

Here, as in the wood-wind, part writing should be of the close order
with no empty spaces in the intervals.

Four-part writing.

It is evident that the quartet of horns presents every facility for
four-part harmony, perfectly balanced in tone, without doubling the
bass in octaves:

[Music]

_Note._ In the diagrams of the present section the actual
sounds of horns and trumpets are given, as in a piano score,
for the sake of simplicity.

When it is found necessary to double the bass in octaves, the too
resonant trombone and tuba are seldom used, the duplication being
effected by the bassoon, as explained further on. The quartet of
trombones and tuba is not often employed in close four-part harmony;
the third trombone and the tuba usually form the bass in octaves, and
the three upper parts are generally allotted to the two remaining
trombones reinforced by a trumpet or two horns in unison, so as to
obtain a perfect balance of tone:

[Music]

I have often adopted the following combination of brass instruments,
and consider it eminently satisfactory: 2 horns and tuba to form the
bass in octaves, the three other parts given to the trombones:

[Music] (beautiful full resonance).

In the higher registers, four-part harmony, of which the two upper
parts are given to the trumpets, may be completed by two trombones or
four horns in pairs:

[Music]

When 3 trumpets are available the fourth part should be allotted to
one trombone, or two horns in