matory style, the composer may reduce or eliminate some harmony
which is found to be too heavy as the vocal tone diminishes, and
conversely, support the voice by a fuller orchestral tone in broad
phrases and climaxes.

Ornamental writing and polyphonic accompaniment should never be too
intricate in character, entailing the use of an unnecessary number of
instruments. Some complicated figures are better partially entrusted
to _pizz._ strings and harp, as this combination has little chance of
overpowering the voice. Some examples of accompanying an _aria_ are
given below.

_Examples:_

_The Tsar's Bride_, Lykow's supplementary _Aria_ (Act III).

" " " [[16-19]]--Griasnov's _Aria_.

No. 277. _Snegourotchka_ [[45]].

* _Snegourotchka_ [[187-188]], [[212-213]] the two Cavatinas of Tsar
Berendey (cf. extracts, Ex. 102, 225).

No. 278. _Sadko_ [[143]].

" [[204-206]]--The Venetian's Song.

* _Legend of Kitesh_ [[39-41]], [[222-223]] (cf. Ex. 31).

* _The Golden Cockerel_ [[153-157]], [[163]].

Florid singing which limits volume of tone requires a light
accompaniment, simple in outline and colour, involving no duplication
of instruments.

_Examples:_

No. 279. _Snegourotchka_ [[42-48]]--_Snegourotchka's Aria_ (Prologue),
Fragment.

* _Sadko_ [[195-197]]--Hindoo Song (cf. Ex. 122).

* _The Christmas Night_ [[45-50]]--Oxana's _Aria_.

* _The Golden Cockerel_ [[131-136]]--_Aria_ of Queen Shemakha.

Doubling voices in the orchestra.

Melodic doubling of voices by orchestral instruments (in unison or
octaves) is of frequent occurrence, but incessant duplication for an
extended period of time should be avoided; it is only permissible in
isolated phrases. The most natural duplication in unison of womens'
voices is performed by violins, violas, clarinets and oboes; that of
mens' voices by violas, 'cellos, bassoons and horns. Doubling in
octaves is usually done in the upper register. Trombones and trumpets
overpower the voice and cannot be used for this purpose. Uninterrupted
or too frequent duplication should be avoided, not only because the
operation deprives the singer of full freedom of expression, but also
because it replaces by a mixed timbre the rare characteristic
qualities of the human voice. Doubling, when limited to a few special
phrases supports the voice and endows it with beauty and colour. It is
only suitable _in tempo_; to apply it, in unison or octaves to a
passage