o do. They can improve in this direction by
reading good scores and by repeatedly listening to an orchestra,
provided they concentrate the mind to the fullest possible extent. The
search after extravagant and daring effects in orchestration is quite
a different thing from mere caprice; _the will to achieve is not
sufficient; there are certain things which should not be achieved_.

* * * * *

The simplest musical ideas, melodic phrases in unison and octaves, or
repeated throughout several octaves, chords, of which no single part
has any melodic meaning are scored in various ways according to
register, dynamic effect and the quality of expression or tone colour
that may be desired. In many cases, one idea will be orchestrated in a
different way every time it recurs. Later on I shall frequently touch
upon this more complicated question.

_Examples:_

* _Snegourotchka_ [[58]]; [[65]] and before [[68]]--sustained note in
unison.

There are fewer possible ways of scoring more complex musical ideas,
harmonico-melodic phrases, polyphonic designs etc.; sometimes there
are but two methods to be followed, for each of the primary elements
in music, melody, harmony, and counterpoint possesses its own special
requirements, regulating the choice of instruments and tone colour.
The most complicated musical ideas sometimes admit of only one manner
of scoring, with a few hardly noticeable variations in detail. To the
following example, very simple in structure I add an alternative
method of scoring:

_Example:_

No. 175. _Vera Scheloga_, before [[35]]--a) actual orchestration,
*b)--another method.

It is obvious that the method b) will produce satisfactory tone. But a
3rd and 4th way of scoring would be less successful, and a
continuation of this process would soon lead to the ridiculous. For
instance if the chords were given to the brass the whole passage would
sound heavy, and the soprano recitative in the low and middle register
would be overpowered. If the _F_ sharp in the double basses were
played _arco_ by 'cellos and basses together it would sound clumsy, if
it were given to the bassoons a comic effect would be produced, and if
played by the brass it would sound rough and coarse, etc.

The object of scoring the same musical phrase in different ways is to
obtain variety either in tone colour or resonance. In each case the
composer may resort to the inversion of the normal order of
instrum