. This arrangement is
constantly found, and produces a beautiful quality of tone, somewhat
severe in character.

_Examples:_

_Snegourotchka_ [[58]], [[60]], [[65]] and [[68]]. The same melody,
played twice _pianissimo_, not doubled, then twice (_mezzo-forte_ and
_forte_), doubled in the wood-wind.

_Mlada_, Act II, the beginning of the Lithuanian dance. A lively
_piano_ theme.

_Ivan the Terrible_, Act II [[28]].

_Note I._ It may be of use to point out that melodies lying
in the extreme upper register, e.g. those exceeding the
middle of the 5th octave, are generally doubled an octave
below, whilst those situated in the extreme low register
(below the middle of the 1st octave) are doubled an
octave higher.

_Examples:_

_Sadko_ [[207]] (cf. Ex. 24).

_Note II._ Progression in octaves of divided strings _of the
same kind_ is generally to be avoided:

Violas I 'Cellos I D. basses I ]
Violas II, 'Cellos II, D. basses II ] 8,

for, in such cases the parts are played on strings which do
not correspond, and unity of tone is impaired. This,
however, does not apply to violins.

_Note III._ The following distribution is occasionally
found:

Violas + 'Cellos I ]
D. basses + 'Cellos II ] 8.

Melody in double octaves.

a) Vns I] 8/Vns II/Violas] 8 or Vns I] 8/Vns II/'Cellos] 8
may be used for full _cantabile_ melodies extremely tense in
character, and in _forte_ passages for choice.

_Example:_

No. 32. _Antar_ [[65]].--Vns I] 8./Vns II/Violas + 'Cellos] 8.

b) Violas] 8/'Cellos/D. basses] 8 or Vns I + II] 8/Violas +
'Cellos/D. basses] 8 or Vns I + II + Violas] 8/'Cellos/D. basses] 8
are employed when the low register of each instrument is brought into
play, and also to suit phrases of a rough and severe character.

_Examples:_

_Legend of Kitesh_ [[66]], opening of the 2nd Act.

No. 33. _Snegourotchka_ [[215]]. Tumblers' dance.

_Note._ The lack of balance in the distribution:

Vns I + II +Violas ] 8

'Cellos ]
D. basses ] 8

is not of any great importance, for, in such cases, the
partial harmonics of one octave support the tone of the
other, and _vice versa_.

Doubling in three and four octaves.

The distribution Vns I/Vns II/Violas/'Cellos/D. basses] 8/8/8/8
is very seldom found, and as a rule, only when supported by wind
instrum