Doubling in two, three and four octaves.

In such cases the student should follow the above-mentioned rules, and should take care not to infringe the natural order:

In 3 octaves:

Fl.
Ob.
Cl.

Ob.
Cl.
Fag.

Fl.
Cl.
Fag.

Fl.
Ob.
Fag.

>[ 8
] 8.

In 4 octaves:

Fl.
Ob.
Cl.
Fag.

>[ 8
] 8
] 8.

Mixed timbres may also be employed.

Examples:

[No. 64.] Spanish Capriccio P—melody in 4 octaves:

Picc.
2 Fl.
2 Ob. + Cl.
Fag.

>[ 8
] 8
] 8.

The Tsar's Bride 141—melody in 3 octaves.

* Legend of Kitesh 212—

2 Cl.
Bass cl.
D. bassoon

>[ 8
] 8.

* [No. 65.] Antar, (1st version) 3rd movement, the beginning—

Picc. + 2 Fl.
2 Ob. + 2 Cl.
2 Fag.

>[ 8
] 8;

also C, melody in 4 octaves (piccolo in the upper octaves).

* Mlada, Act III, after 42—

Fl.
Ob.
Eng. horn

>[ 8
] 8.

[No. 66.] Shéhérazade, 3rd movement G—

Picc.
Cl. I
Cl. II

>[ 8
] 8.

Examples of melody doubled in five octaves are extremely rare; in such cases the strings participate in the process.