usic]

_Examples:_

* _The Christmas Night_ [[75]]--3 Horns (+) + Oboe.

_The Tsar's Bride_ [[123]]--Ob., Eng. horn, Horn (+) (cf. Ex. 240).

* _Legend of Kitesh_ [[244]]--Cl., 2 Fl., + 2 Ob., Eng. horn, 3 Horn
(+).

* No. 164. _Legend of Kitesh_, before [[256]]--2 Ob., Eng. horn/3
Horns (+)] 8.

* Cf. also _Tsar Saltan_, before [[115]]--Horn (+)/2 Fl. + 2 Fag. (Ex.
110).

If trumpets and trombones take part in a chord, flutes, oboes and
clarinets are better used to form the harmonic part above the
trumpets. The following should be the arrangement:

[Music] etc.

[Music] etc.

_Examples:_

* _Sadko_, symphonic tableau [[20]].

* No. 165. _The May Night_, Act I [[Ee]]--3 Trombones, 2 Ob.
+ 2 Cl. + 2 Fag.

" " " p. 325.--Final chord, _C_ maj. (cf.
Table I of chords, Ex. 1).

* No. 166. _Snegourotchka_ [[198]]; cf. also [[200]] and before
[[210]].

* _Sheherazade_, 1st movement [[E]], 2nd movement [[P]], 3rd
movement [[M]], 4th movement p. 203 (cf. Ex. 195, 19, 210, 77).

No. 167. _The Christmas Night_ [[205]]; cf. also [[161]], [[212]],
14th bar. (Ex. 100, 153).

* _Mlada_, end of Act I (cf. Chord Table II, Ex. 13). Act II [[20]].

No. 168-169. _Sadko_, Opera, before [[249]], [[302]]; cf. also Ex.
120.

No. 170. _Sadko_, Opera [[244]]--Chord of widely extended range;
bassoons at the limit of low compass.

" " [[142]], [[239]]; cf. also [[3]] (Ex. 86).

* _The Tsar's Bride_ [[179]] (cf. Ex. 243).

_Antar_ [[65]]--Alternation of notes in horns and wood-wind on
trombone chords (cf. Ex. 32).

_General observations._ It is not always possible to secure proper
balance in scoring for full wood-wind. For instance, in a succession
of chords where the melodic position is constantly changing,
distribution is subordinate to correct progression of parts. In
practice, however, any inequality of tone may be counterbalanced by
the following acoustic phenomenon: in every chord the parts in octaves
strengthen one another, the harmonic sounds in the lowest register
coinciding with and supporting those in the highest. In spite of this
fact it rests entirely with the orchestrator to obtain the best
possible balance of tone; in difficult cases this may be secured by
judicious dynamic grading, marking the wood-wind one degree louder
than the brass.

B. Combination of strings