1]].

d) Cornets:

_Ivan the Terrible_, Act III [[3]], [[7]].

e) Sacred horns (natural brass instruments in various keys):

_Mlada_, Act II, pp. 179 onwards.

f) Small clarinets and piccolos:

No. 299-300. _Mlada_, Act III [[37]], [[39]].

g) Pipes of Pan: instruments, specially made, with many holes which
are passed over the lips. These particular pipes produce a special
enharmonic scale (_B_ flat, _C_, _D_ flat, _E_ flat, _E_, _F_ sharp,
_G_, _A_), which has the effect of a glissando:

_Mlada_, Act III [[39]], [[43]] (cf. Ex. 300).

h) Harp, reproducing the effect of an aeolian harp:

_Kashtchei the Immortal_ [[32]] and further on (cf. Ex. 268, 269).

i) Lyres. Instruments specially made and tuned so as to be able to
perform a glissando chord of the diminished seventh:

_Mlada_, Act III [[39]], [[43]] (cf. Ex. 300).

k) Pianoforte, grand or upright:

_Mozart and Salieri_ [[22-23]].

l) Gong, imitating a church bell:

_Ivan the Terrible_, Act I [[57]] and further on.

m) Bass Drum (without cymbals) to imitate the sound of cannon:

_Tsar Saltan_ [[139]] and later.

n) Small kettle-drum, in _D_ flat (3rd octave):

_Mlada_, Act III [[41]] and later (cf. Ex. 60).

o) Bells in various keys:

_Sadko_ [[128]] and [[139]].

No. 301. _Legend of Kitesh_ [[181]] and further on. See also [[241]],
[[323]] and later.

* _Tsar Saltan_ [[139]] and further on.

p) Organ:

No. 302. _Sadko_ [[299-300]].

Wood-wind and strings are comparatively seldom used on the stage or in
the wings. In Russian opera the strings are employed in this way by
Rubinstein (_Gorioucha_), and in a splendidly characteristic manner by
Serov (_Hostile Power_): in the latter opera the _E_ flat clarinet is
used to imitate the fife in the Carnival procession.[17]

[Footnote 17: Mention should be made of the happy use of a small
orchestra in the wings (2 picc., 2 cl., 2 horns, 1 trombone,
tambourine, 4 Vns, 2 violas, 1 D-bass) in _The May Night_, Act II,
Sc. I. [[M-P]]. (Editor's note.)]

Chapter VI (Supplementary).

VOICES.

Technical Terms.

Among all the confused terms employed in singing to denote the
compass, register and character of the human voice, there are four
which may be said to represent elemental types: soprano, alto or
contralto, tenor and bass. These names are used to denote the
composition of the chorus with sub-divisions of _firsts_ and
_seconds_, to determine how the part