predominating.

_Examples:_

No. 15. _Snegourotchka_ [[5]].--Apparition of Spring. Violas + 'Cellos
+ Eng. horn. The same melody, _mezzo-forte cantabile_ as in Ex. 9; but
in a brighter key, a third higher, its resonance is more brilliant and
tense. The addition of the Eng. horn makes no essential difference to
the compound tone; the 'cellos stand out above the rest.

No. 16. _The Golden Cockerel_ [[71]]. Violas + 'Cellos muted.

d) Violins + 'Cellos.--A combination similar to the preceding one. The
'cello tone prevails and the resonance is fuller.

_Examples:_

No. 17. _Snegourotchka_ [[288]]. "Spring descends upon the lake".
Vns I + Vns II + 'Cellos + Eng. horn. The same _cantabile_ as in
Ex. 9, and 15. The Eng. horn is absorbed in the musical texture, the
principal colour being that of the 'cellos. Still more powerful in
resonance.

No. 18. _The May Night._ Act III [[L]]. Chorus of _Roussalki_. The
combination of the solo 'cello with the violins gives the latter a
touch of the 'cello timbre.

e) Vns I + II + Violas + 'Cellos.--Combining violins, violas and
'cellos in unison is not possible except in the alto-tenor register;
this process unites the full resonance of the instruments into an
_ensemble_ of complex quality, very tense and powerful in _forte_
passages, extremely full and rich in _piano_.

_Examples:_

No. 19. _Sheherazade_, 2nd movement [[P]].--Energetic phrase _ff_.

_Mlada_, Lithuanian dance, before [[36]].

_Mlada_, Act III. [[40]].--Cleopatra's dance. _Cantabile_ embellished
in oriental fashion.

f) Violoncellos + D. basses.--A combination of rich full resonance,
used occasionally for phrases in the very low register.

_Examples:_

No. 20. _Sadko_ [[260]].--A persistent _forte_ figure, severe in
character.

No. 21. _Legend of Kitesh_ [[240]].--A _pianissimo_ phrase, sinister
and horrible in character.

Stringed instruments doubling in octaves.

a) Vns I and Vns II in octaves.

This is a very common process used for all kinds of melodic figures,
in particular those in the very high register. It has already been
stated that the _E_ string diminishes in fulness of tone the higher
it ascends from the limits of the soprano voice. Moreover, melodic
figures in the very high register of the violins become too isolated
from the rest of the _ensemble_ unless doubled in octaves. Such
doubling secures expression, fulness of tone and firmness of timbre.
The reader will find numerous exam