ed.

No. 207-208. _The Christmas Night_ [[184]] and [[186]]--Full _Tutti_,
orchestrated in different ways, with and without chorus.

* _The Tsar's Bride_, Overture [[1]], [[2]], [[7]]--Full and partial
_Tutti_ (cf. Ex. 179-181).

* " " " [[141]]--Full _Tutti_.

* " " " [[177]]-- " "

_Pan Voyevoda_ [[186]] and [[188]] Full _Tutti_.

* _Antar_ [[65]]--(cf. Ex. 32).

* No. 209. _Sheherazade_, 3rd movement [[M]]; cf. also 1st
movement [[A]], [[E]], [[H]]; 2nd movement [[K]], [[P]], [[R]];
3rd movement [[G]], [[O]]; 4th movement [[G]], [[P]], [[W]] and
further on to [[Y]] (No. 193, 194, 19, 66, 77).

* _Spanish Capriccio_ [[B]], [[F]], [[J]], [[P]], [[V]], [[X-Z]] (cf.
Ex. 3).

* _Russian Easter Fete_ [[F]], [[J]], before [[L]], [[Y]], up to the
end.

* _3rd Symphony_, 1st movement [[D]], [[R-T]], [[X]]; 2nd
movement [[A]], [[E]]; 4th movement [[A]], [[H]], [[S]].

* _Sadko_, Symphonic tableau [[20-24]].

* _Mlada_, Act III [[12]] (cf. Ex. 258).

* For examples of _Tutti_ chords, see special Tables at the end of
Vol. II.

_Tutti_ in the wind.

In many cases the wood-wind and brass groups can form a _tutti_ by
themselves for periods of varying length. Sometimes this is effected
by the wood-wind alone, but more frequently with the support of horns.
At other times the horns are found alone without the wood-wind, and,
lastly, a _tutti_ may be comprised of instruments of each group in
varying numbers. The addition of kettle-drums and the rest of the
percussion is quite common and constitutes what the Germans call
"Janitscharenmusik", or Turkish infantry music. Violoncellos and
double basses playing more or less important _pizz._ notes are often
added to wood-wind instruments (_tutti_), likewise the remainder of
the strings and the harps; this process renders the sustained notes in
the wood-wind more distinct. _Tutti_ passages in wood-wind and horns
do not produce any great amount of power in _forte_ passages, but, on
the other hand _tutti_ in the brass groups alone may attain an
extraordinary volume of tone. In the following examples the formation
of pedal notes by strings or wood-wind in no way alters the general
character of the _Tutti_:

_Examples:_

No. 210-211. _Snegourotchka_ [[149]], [[151]] (compare).

_Tsar Saltan_ [[14]], [[17]], [[26]] (cf. Ex. 182-184).

_Pan Voyevoda_ [[57]], [[186]], [[262]].

No. 212. _Ivan the Terrible_, Act II [