_Legend of Kitesh_ [[162]] (cf. Ex. 250).

_Snegourotchka_--end of opera, (cf. Table III in Vol. II, Ex. 17) and
a host of other examples.

_General Observations._ Balance and correct distribution of tone is
much more important in dealing with long sustained chords or those of
rhythmic design; in the case of short, disconnected chords resonance
is a minor consideration, but one which should not be entirely
neglected.

I have endeavoured to outline the general principles to be followed,
but I do not profess to deal with all the countless cases which may
arise in the course of orchestration. I have given a few examples of
well-sounding chords; for further information I advise the reader to
study full scores with care, as this is the only method to acquire
perfect knowledge of the distribution and doubling of various
instruments.

Chapter IV.

COMPOSITION OF THE ORCHESTRA.

Different ways of orchestrating the same music.

There are times when the general tone, character and atmosphere of a
passage, or a given moment in an orchestral work point to one, and
only one particular manner of scoring. The following simple example
will serve for explanation. Take a short phrase where a flourish or
fanfare call is given out above a _tremolando_ accompaniment, with or
without change in harmony. There is no doubt that any orchestrator
would assign the _tremolo_ to the strings and the fanfare to a
trumpet, never _vice versa_. But taking this for granted, the composer
or orchestrator may still be left in doubt. Is the fanfare flourish
suitable to the range of a trumpet? Should it be written for two or
three trumpets in unison, or doubled by other instruments? Can any of
these methods be employed without damaging the musical meaning? These
are questions which I shall endeavour to answer.

If the phrase is too low in register for the trumpets it should be
given to the horns (instruments allied to the trumpet); if the phrase
is too high it may be entrusted to the oboes and clarinets in unison,
this combination possessing the closest resemblance to the trumpet
tone both in character and power. The question whether one trumpet or
two should be employed must be decided by the degree of power to be
vested in the given passage. If a big sonorous effect is required the
instruments may be doubled, tripled, or even multiplied by four; in
the opposite case one solo brass instrument, or two of the wood-wind
will suffice (1 Ob.