use, but, in point of fact, they
corresponded very closely to the final form of the work.

The musical examples are of greater importance. According to the
original scheme, as noted on the 1891 MS., they were to be drawn from
the works of Glinka and Tschaikovsky; those of Borodin and Glazounov
were to be added later. The idea of choosing examples solely from his
own works only came to Rimsky-Korsakov by degrees. The reasons for
this decision are partly explained in the unfinished preface of 1905,
but other motives may be mentioned. If Rimsky-Korsakov had chosen his
examples from the works of these four composers, he would have had to
give some account of their individual, and often strongly marked
peculiarities of style. This would have been a difficult undertaking,
and then, how to justify the exclusion of West-European composers,
Richard Wagner, for example, whose orchestration Rimsky-Korsakov so
greatly admired? Besides, the latter could hardly fail to realise that
his own compositions afforded sufficient material to illustrate every
conceivable manner of scoring, examples _emanating from one great
general principle_. This is not the place to criticise his method;
Rimsky-Korsakov's "school" is here displayed, each may examine it for
himself. The brilliant, highly-coloured orchestration of Russian
composers, and the scoring of the younger French musicians are largely
developments of the methods of Rimsky-Korsakov, who, in turn, looked
upon Glinka as his spiritual father.

The table of examples found among the author's papers was far from
complete; some portions were badly explained, others, not at all. The
composer had not mentioned which musical quotations were to be printed
in the second volume, and which examples were to indicate the study of
the full score; further, no limit was fixed to the length of
quotation. All this was therefore left to the editor's discretion. I
selected the examples only after much doubt and hesitation, finding it
difficult to keep to those stipulated by the composer, as every page
of the master's works abounds in appropriate instances of this or that
method of scoring.

I was guided by the following considerations which agreed with the
opinions of the author himself: in the first place the examples should
be as simple as possible, so as not to distract the student's
attention from the point under discussion; secondly, it was necessary
that one example should serve to illustrate severa