rs or boxed letters
corresponding to the ones marking the sub-divisions of the particular
score. On the other hand, references in the text to the 312 musical
examples in the second part of the book are always indicated as "No.
1," "No. 2," etc. Thus, "_The Tsar's Bride_ [[84]]" indicates that the
reader should look at section [[84]] of the score of _The Tsar's
Bride_ as published by Belaieff in Leipzig, the music of which is not
reprinted here; whereas "No. 1. _Sheherazade_ 2nd movement [[B]]"
indicates that the reader should look at the first musical example in
the second part of the present book, which comes from the section
marked [[B]] in the second movement of the score of _Sheherazade_ as
published by Belaieff.]

_Antar_, before [[70]].--Descending melodic phrase, Vns I _con
sordini piano_.

No. 1. _Sheherazade_ 2nd movement [[B]]. A _piano_ melody (Vns
I) graceful in character.

_Antar_ [[12]]. Light graceful melody, oriental in style; a dance
measure (Vns I _con sord._), the mutes producing a dull ethereal
quality of tone.

No. 2. _The Legend of the Invisible City of Kitesh_ [[283]].

No. 3. _Spanish Capriccio_ [[J]]. Vns I in the upper register
doubling the high register of the wood-wind. Choice resonance.

b) Violas.

Melody in the alto-tenor register and a still higher compass is
assigned to the violas. _Cantabile_ melodies however are not so
frequently written for violas as for violins and 'cellos, partly
because the viola tone is slightly nasal in quality and better fitted
for short characteristic phrases, partly because the number of viola
players in an orchestra is smaller. Melodies confided to the violas
are generally doubled by other strings or by the wood-wind.

_Examples:_

No. 4. _Pan Voyevoda_, duet in Act II [[145]]. A long _cantabile_
melody in the violas, _dolce_, in unison with the _mezzo soprano_
voice.

No. 5. _The Golden Cockerel_ [[193]].--Flowing _cantabile_.

No. 6. _Sadko._ Symphonic tableau [[12]].--Muted violas. A short dance
theme, _piano_ in _D[flat]_ major. (The same theme in Eng. horn in the
6th scene of the opera _Sadko_ is slightly more penetrating in
tone).

c) Violoncellos.

Violoncellos, representing the tenor-bass range + an extra-high
compass are more often entrusted with tense passionate _cantabile_
melody than with distinctive figures or rapid phrases. Such melodies
are usually laid out for the top string (_A_) which possesses a
wonderfully rich "che