description are numerous.

_Examples:_

_Snegourotchka_ [[50]]--Soprano and oboe (cf. Ex. 41).

" [[97]]--Contralto and Eng. horn.

" [[243]], [[246]]--Baritone and bass clar.
(cf. Ex. 47-48).

No. 284. _The Tsar's Bride_ [[108]]--Soprano, 'cello and oboe.

* _The Golden Cockerel_ [[163]]--Soprano and viola (cf. Ex. 226).

It is comparatively rare for percussion instruments to take part in
accompanying the voice. The triangle is occasionally used, the cymbals
less frequently. An accompaniment may be formed by a figure or a
_tremolo_ on the kettle-drums.

_Examples:_

_Snegourotchka_ [[97]], [[224]], [[247]] (Lell's 1st and 3rd
songs).

_Tsar Saltan_, before [[5]].

* No. 285. _The Golden Cockerel_ [[135]]; cf. also [[161]], [[197]].

The following are examples of powerful and expressive orchestral
passages, the voice _tacet_:

No. 286. _The Tsar's Bride_ [[81]].

* _Legend of Kitesh_ [[282]], [[298]].

* _Servilia_ [[130]].

Recitative and declamation.

The accompaniment of recitative and melodic declamatory phrases should
be light enough to allow the voice to come through without strain, and
the words to be heard distinctly. The most convenient method is to
employ sustained chords and _tremolo_ on the strings or wood-wind,
giving free latitude to the voice from a rhythmic point of view (_a
piacere_).

Another excellent plan is to write short chords in the strings
combined with wood-wind in different ways. Sustained chords and those
entailing change of position should occur preferably when the voice is
silent, thus permitting both conductor and orchestra to keep a closer
watch over the singer's irregularities of rhythm in _a piacere_
recitatives. If the accompaniment is more complex in character,
melodic, polyphonic or ornamental in design, the recitative must be
sung _in tempo_. Any phrase which it is necessary to emphasise in
accordance with the sense of the words assumes a more _cantabile_
character, and must be reinforced by the orchestra. Opera, today,
besides demanding much greater care in the treatment of the text than
in the past, abounds in constant transition from declamation to
_cantabile_, or in the fusion of the two. The orchestra offers more
variety of texture and must be handled with greater regard to its
relationship to the words, and the action on the stage. This class of
orchestration can only be studied from lengthy examples. I re