fer the
reader to operatic full scores and content myself with giving one or
[Transcriber's Note: 'two' missing in original] short instances:

_Examples:_

No. 287. _Snegourotchka_ [[16]].

No. 288. _The Tsar's Bride_ [[124-125]].

The following double examples, similar from a musical point of view,
show different methods of handling an orchestra from the standpoint of
accompaniment to the voice, and the _tutti_ form.

_Examples:_

No. 289-291. _Sadko_ [[99-101]] and [[305-307]] (compare also Ex. 75).

_Vera Scheloga_ [[3-7]] and [[28]].

Care should be taken not to score too heavily when accompanying
singers in the wings.

_Examples:_

* No. 292. _Sadko_ [[316]], [[318]], [[320]].

* _Legend of Kitesh_ [[286-289]], [[304-305]].

Orchestral accompaniment of the chorus.

The chorus, possessing much greater unity and power than the solo
voice, does not demand such careful handling in the accompaniment. On
the contrary, too great a refinement of orchestral treatment will
prove harmful to the resonance of the chorus. As a general rule
orchestration of choral works follows the rules laid down for purely
instrumental scoring. It is obvious that dynamic marks of expression
must correspond in both bodies, but doubling one orchestral group with
another and coupling instruments of the same kind in unison (2 Ob., 2
Cl., 4 Horns, 3 Trombones etc.) are both possible operations, if
performed according to the requirements of the musical context.
Doubling choral parts by instruments is generally a good plan. In
_cantabile_ passages such duplication may be melodic in character,
and the design more ornamental in the orchestra than in the chorus.

_Examples:_

_Ivan the Terrible_, Act II [[3-6]]; Act III [[66-69]].

_The May Night_, Act I [[X-Y]]; Act III [[L-Ee]], [[Ddd-Fff]].

_Snegourotchka_ [[61-73]], [[147-153]], [[323-328]].

_Mlada_, Act II [[22-31]], [[45-63]]; Act IV [[31-36]].

_The Christmas Night_ [[59-61]], [[115-123]].

_Sadko_ [[37-39]], [[50-53]], [[79-86]], [[173]], [[177]], [[187]],
[[189]], [[218-221]], [[233]], [[270-273]].

_The Tsar's Bride_ [[29-30]], [[40-42]], [[50-59]], [[141]].

_Tsar Saltan_ [[67-71], [[91-93]], [[133-145]], [[207-208]].

_Legend of Kitesh_ [[167]], [[177-178]].

_The Golden Cockerel_ [[237-238]], [[262-264]].

The reader will find instances of choral accompaniment in many
examples relating to other sections of the work.

In the case of solitary exclamations