o
another. In order to connect the phrases on each instrument in the
best possible way, the last note of each part is made to coincide with
the first note of the following one. This method is used for passages
the range of which is too wide to be performed on any one instrument,
or when it is desired to divide a phrase into two different timbres.

_Examples:_

* _Snegourotchka_ [[137]]--The melody is transferred from the violins
to the flute and clarinet (cf. Ex. 28).

* " before [[191]]--Solo violin--Solo 'cello.

_Pan Voyevoda_ [[57]]--Trombones--Trumpets; Horn--Ob. + Cl.

A similar operation is used in scoring passages covering the entire
orchestral scale, or a great portion of it. When one instrument is on
the point of completing its allotted part, another instrument takes up
the passage, starting on one or two notes common to both parts, and so
on. This division must be carried out to ensure the balance of the
whole passage.

_Examples:_

_Snegourotchka_ [[36]], [[38]], [[131]]--Strings.

_The Tsar's Bride_ [[190]]--Wood-wind.

_Sadko_ [[72]]--Strings (cf. Ex. 112).

" [[223]]--Strings.

_The Christmas Night_, before [[180]]--Strings, wind and chorus (cf.
Ex. 132).

* No. 237. _The Christmas Night_, before [[181]]--String figure.

* _Servilia_ [[111]]--Strings (cf. Ex. 88).

" [[29]], 5th bar.--Ob.--Fl.; Cl.--Bass cl., Fag.

No. 238. _The Golden Cockerel_, before [[9]]--Wood-wind.

* " " " [[5]]--Fag.--Eng. horn (+ 'Cellos
_pizz._).

Chords of different tone quality used alternately.

1. The most usual practice is to employ chords on different groups of
instruments alternately. In dealing with chords in different registers
care should be taken that the progression of parts, though broken in
passing from one group to another, remains as regular as if there
were no leap from octave to octave; this applies specially to
chromatic passages in order to avoid false relation.

_Examples:_

No. 239. _Ivan the Terrible_, Act II [[29]].

No. 240-241. _The Tsar's Bride_ [[123]], before [[124]].

* No. 242-243. " " " [[178]], [[179]].

* _Note._ The rules regulating progression of parts may
sometimes be ignored, when extreme contrast of timbre
between two adjacent chords is intended.

_Examples:_

* _Sheherazade_, 8th bar from the beginning, (the