,
the clarinet in the higher register. Examples: No. 53. _Legend of
Kitesh_ [[330]]; also [[339]] and [[342]].

c) _Oboe + Clarinet._ A fuller quality than that of either instrument
heard separately. The dark, nasal tone of the oboe will prevail in the
low register, the bright, "chest" quality of the clarinet in the high
compass. Examples: _Snegourotchka_ [[19]]; No. 54. _Snegourotchka_
[[115]]. Cf. also _Legend of Kitesh_ [[68]], [[70]], [[84]]--2 Ob. + 3
Cl. (Ex. 199-201).

d) _Flute + Oboe + Clarinet._ Very full in quality. The flute
predominates in the low register, the oboe in the middle, and the
clarinet in the high compass. Examples: _Mlada_, Act I [[1]]; *
_Sadko_ [[58]] (2 Fl. + 2 Ob. + Small Cl.).

e) _Bassoon + Clarinet._ Very full quality. The gloomy character of
the clarinet prevails in the lower register, the sickly quality of the
bassoon in the higher. Example: _Mlada_, Act II, after [[49]].

f) _Bassoon + Oboe_, and

g) _Bassoon + Flute._

The combinations _f_ and _g_, as well as _Bassoon + Clarinet + Oboe_,
and _Bassoon + Clarinet + Flute_ are very seldom found except in
certain orchestral _tutti_, where they produce increased resonance
without creating a fresh atmosphere. But in such combinations, the
range of which is practically restricted to the limits of the third
octave, the low notes of the flute will predominate in the lower third
of this register, and the high notes of the bassoon in the middle
third. The clarinet, weak in the middle compass will not stand out
prominently in this particular combination.

h) _Bassoon + Clarinet + Oboe + Flute._ This combination is equally
rare. The colour is rich, and difficult to define in words. The tone
of each instrument will be separated from the others more or less in
the manner detailed above. Examples: _Russian Easter Fete_, the
beginning; No. 55. _Snegourotchka_ [[301]]; _The May Night_, Act III
[[Qqq]].

The process of combining two or more qualities of tone in unison,
while endowing the music with greater resonance, sweetness and power,
possesses the disadvantage of restricting the variety of colour and
expression. Individual timbres lose their characteristics when
associated with others. Hence such combinations should be handled with
extreme care. Phrases or melodies demanding diversity of expression
alone should be entrusted to solo instruments of simple timbres. The
same applies to the coupling of two instruments of the same kind, such