s
muted (3 Cl. at the bottom).

* No. 150. " " [[131]] 17th bar.--Same combination with
added horns.

* No. 151. _Antar_ [[7]]--Ob., Eng. horn, 2 Fag. + 4 Horns (+).

A beautiful dark tone is derived from the combination of middle notes
in stopped horns and deep notes in the clarinet:

[Music]

If bassoons are substituted for clarinets the effect loses part of its
character.

_Examples:_

* _Kashtchei the Immortal_ [[29]], 11th bar,--2 Ob., 2 Cl. + 4 Horns (+).

" " " [[107]], 6th bar.--2 Cl., Fag. + 3 Horns (+).

* _The Christmas Night_, p. 249--Cl., Fag. + 3 Horns (+).

* _Mlada_, Act III [[19]]--3 Horns (+) + 3 Fag. and 3 Horns (+) + 3
Ob. (cf. Ex. 259).

2. _Overlaying (superposition), crossing, enclosure of parts._

It has already been stated that the bassoon and horn are the two
instruments best capable of reconciling the groups of wood-wind and
brass. Four-part harmony given to two bassoons and two horns,
especially in soft passages, yields a finely-balanced tone recalling
the effect of a quartet of horns, but possessing slightly greater
transparence. In _forte_ passages the horns overwhelm the bassoons,
and it is wiser to employ four horns alone. In the former case
crossing of parts is to be recommended for the purposes of blend, the
concords being given to the horns, the discords to the bassoons:

[Music] and not: [Music]

Bassoons may also be written inside the horns, but the inverse process
is not to be recommended:

[Music]

The same insetting of parts may be used for sustained trumpet notes in
octaves. In soft passages, thirds played in the low register of the
flutes, sometimes combined with clarinets, produce a beautiful
mysterious effect between trumpets in octaves. In a chain of
consecutive chords it is advisable to entrust the stationary parts to
the brass, the moving parts to the wood-wind.

Clarinets, on account of their tone quality should rarely be set
inside the horns, but, in the upper register, and in the higher
harmonic parts, a chord of four horns, (_piano_), may be completed by
clarinets as effectively as by oboes or flutes; the bassoon may then
double the base an octave below:

[Music]

Played _forte_, the horns are more powerful than the wood-wind;
balance may be established by doubling the upper harmonic parts:

[Music]

_Examples:_

a) Superposition.

* _Sadko_, Symphonic