_ad. lib._ is both ineffective and dangerous.

_Examples:_

_Snegourotchka_ [[50-52]]--Snegourotchka's Arietta (cf. Ex. 41).

_Sadko_ [[309-311]]--Volkhova's Cradle-song (cf. Ex. 81).

Besides the question of doubling the voice for the object of colour
there are instances when the singer executes only part of a phrase,
allotted in its entirely to an orchestral instrument.

_Example:_

_Vera Scheloga_ [[30]], [[36]] (cf. Ex. 49).

Lyrical climaxes, _a piena voce_, or dramatic passages for the voice
situated outside its normal range should be supported melodically and
harmonically by the orchestra, in the register in which the voice is
placed. The culminating point in such passages often coincides with
the entry or sudden attack of the trombones or other brass
instruments, or by a rush of strings. Strengthening the accompaniment
in this manner will soften the tone of the voice.

_Examples:_

No. 280. _The Tsar's Bride_ [[206]].

_Servilia_ [[126-127]].

" [[232]].

No. 281. _Sadko_ [[314]].

_Vera Scheloga_ [[41]].

If the culminating point is soft in colour and outline it is better
left unsupported in the orchestra, but sometimes the wood-wind,
sustaining such passages with light transparent melody or harmony may
produce an entrancing effect.

_Examples:_

_Snegourotchka_ [[188]].

" [[318]] (cf. Ex. 119).

No. 282. _The Tsar's Bride_ [[214]].

It is a common practice to support voices in concerted numbers by
harmony and duplication; this operation makes for accuracy and
brilliance when applied to duets, trios, quartets etc.

_Examples:_

_Snegourotchka_ [[292-293]]--Duet (cf. Ex. 118).

_Sadko_ [[99-101]]--Duet (cf. Ex. 289 and 290).

No. 283. _The Tsar's Bride_ [[169]]--sextet.

" " " [[117]] quartet.

_Legend of Kitesh_ [[341]]--quartet and sextet (cf. Ex. 305).

The beautiful effect produced by a solo instrument accompanying a
_cantabile aria_ cannot be denied. In such cases the instruments used
are generally the violin, viola, and 'cello, or the flute, oboe, Eng.
horn, clar., bass clar., bassoon, horn and harp. The accompaniment is
often contrapuntal or composed of polyphonic designs. The solo
instrument either plays alone or as the leading melodic voice in the
_ensemble_. In combination with the voice, or associated with some
action on the stage, a solo instrument is a powerful expedient for
musical characterisation. Instances of this