s, in
pair's, in three's etc. eliminates characteristics of tone, and
produces a dull, neutral texture, whereas the employment of simple,
elementary combinations gives infinitely greater scope for variety in
colour.

7 (20) June 1908.

Chapter II.

MELODY.

Whether it be long or short, a simple theme or a melodic phrase,
melody should always stand out in relief from the accompaniment. This
may be done by artificial or natural means; artificially, when the
question of tone quality does not come into consideration, and the
melody is detached by means of strongly accentuated dynamic shades;
naturally, by selection and contrast of timbres, strengthening of
resonance by doubling, tripling, etc., or crossing of parts
(violoncellos above the violas and violins, clarinets or oboes above
the flutes, bassoons above the clarinets etc.).

Melody planned in the upper parts stands out from the very fact of
position alone, and likewise, to a less degree when it is situated in
the low register. In the middle of the orchestral range it is not so
prominent and the methods referred to above come into operation. They
may also be employed for two part melody (in thirds and sixths) and
for polyphonic writing.

Melody in stringed instruments.

Instances of the melodic use of stringed instruments are innumerable.
The reader will find many examples in the present treatise. With the
exception of the double basses,--dull in tone and of little
flexibility, chiefly employed in unison or in octaves with the
violoncellos,--each of the other stringed instruments, taken
independently, is qualified to assume full responsibility for the
melodic line.

a) Violins.

Melody in the soprano-alto register and an extra-high compass usually
falls to the lot of the 1st Violins, sometimes to the 2nd
Violins or to both in unison, a process which produces fuller
resonance without impairing quality of tone.

_Examples:_

_The Tsar's Bride_ [[84]].[C]--_Pianissimo_ melody (Vns I) of a
troubled dramatic character. Harmonic accompaniment (Vns II and
Violas _tremolando_--middle parts; the Violoncellos forming the bass).

[Footnote C: The present volume is divided into two parts, text (pp.
1-152) and musical examples (pp. 1-333). The first page of the second
part lists the standard full-score editions of Rimsky-Korsakov's works
that are referred to throughout the book. These references to specific
passages are always indicated by boxed numbe