[19]]; cf. also Act. III [[5]].

* No. 213-214. _Legend of Kitesh_ [[294]], [[312]] (compare).

* No. 215. _The Golden Cockerel_ [[116]]; cf. also [[82]] and [[84]].

* _Antar_ [[37]] (cf. Ex. 65).

_Tutti pizzicato._

The quartet of strings (_pizzicato_), reinforced occasionally by the
harp and piano, may, in certain cases constitute a particular kind of
_tutti_, which can only attain any great degree of strength by support
from the wood-wind. Without this support it is of medium power, though
still fairly brilliant in quality.

_Examples:_

No. 216. _Snegourotchka_, before [[128]]; cf. also [[153]] and before
[[305]].

* No. 217. _Russian Easter Fete_ [[K]]; cf. also [[U]] and [[V]].

* _Spanish Capriccio_ [[A]], [[C]], before [[S]], before [[P]]; cf.
also [[O]] (Ex. 56).

_Mlada_, Act II [[15]].

* _Sadko_: [[220]] (cf. Ex. 295).

* _Legend of Kitesh_ [[101]].

* No. 218. _The May Night_, Act I, The Mayor's Song--combination of
strings, _arco_ and _pizz._

_Tutti_ in one, two and three parts.

It often happens that a moderately full orchestral _ensemble_ executes
a passage composed of one or two harmonic parts, in unison or in
octaves. Such melodic phrases call for more or less simple
orchestration with the usual doubling of parts, or, in ornamental
writing, admit of contrast in tone colouring, occasionally with the
addition of sustained notes.

_Examples:_

_Snegourotchka_, before [[152]], [[174]], [[176]].

_The Tsar's Bride_ [[120-121]] (cf. Ex. 63).

_The Golden Cockerel_ [[215]].

* No. 219-221. _Legend of Kitesh_ [[142]], [[144]], [[147]]--3 part
_Tutti_, with different scoring.

* _Legend of Kitesh_ [[138]], [[139]]--_Tutti_ in one part.

_Soli_ in the strings.

Although, in any orchestral piece, numerous instances are to be found
of melodies and phrases entrusted to a solo wind instrument (generally
the first of each group, wood-wind or brass), solos for stringed
instruments, on the other hand, are extremely rare. Whilst the 1st
violin and 1st 'cello are fairly frequently used in this manner,
the solo viola is seldom found, and a solo on the double bass is
practically unknown. Phrases demanding particular individuality of
expression are entrusted to solo instruments; likewise passages that
require extraordinary technique, beyond the scope of the orchestral
rank and file. The comparatively weak tone of the solo instrument
necessitates light, transparent accompaniment. Diff