Grouping in unison.
a) Vns I + Vns II.—It goes without saying that this combination entails no alteration in colour; it gains in power and richness of tone by reason of the increased number of players, and is usually attended by doubling of the melody in some departments of the wood-wind. The large number of violins prevents the wood-wind predominating, and the tone quality remains that of the string quartet, enriched and amplified.
Examples:
[No. 12.] Shéhérazade, beginning of the third movement. Cantabile for Vns I and II on the D string, then on the A.
The May Night, overture D. Quick piano melody, beginning cantabile and divided later in octaves
| ( | Vns I | ] | 8 | ) |
| Vns II |
with florid embellishment.
[No. 13.] The Golden Cockerel 170.—Vns I + II muted.
b) Violins + Violas.—The combination of violins and violas presents no special characteristics, as in the preceding case. The violins remain predominant, and the resonance is rich and full.
Examples:
[No. 14.] Sadko 208.—Vns I + II + Violas (G string). Quiet cantabile melody pp, in unison with the altos and tenors of the chorus.
The Golden Cockerel 142.—Same combination.
c) Violas + 'Cellos.—Produces a rich full resonance, the 'cello quality predominating.
Examples:
[No. 15.] Snegourotchka 5.—Apparition of Spring. Violas + 'Cellos + Eng. horn. The same melody, mezzo-forte cantabile as in [Ex. 9]; but in a brighter key, a third higher, its resonance is more brilliant and tense. The addition of the Eng. horn makes no essential difference to the compound tone; the 'cellos stand out above the rest.
[No. 16.] The Golden Cockerel 71. Violas + 'Cellos muted.
d) Violins + 'Cellos.—A combination similar to the preceding one. The 'cello tone prevails and the resonance is fuller.
Examples:
[No. 17.] Snegourotchka 288. "Spring descends upon the lake". Vns I + Vns II + 'Cellos + Eng. horn. The same cantabile as in [Ex. 9], and [15]. The Eng. horn is absorbed in the musical texture, the principal colour being that of the 'cellos. Still more powerful in resonance.
[No. 18.] The May Night. Act III L. Chorus of Roussâlki. The combination of the solo 'cello with the violins gives the latter a touch of the 'cello timbre.
e) Vns I + II + Violas + 'Cellos.—Combining violins, violas and 'cellos in unison is not possible except in the alto-tenor register; this process unites the full resonance of the instruments into an ensemble of complex quality, very tense and powerful in forte passages, extremely full and rich in piano.
Examples:
[No. 19.] Shéhérazade, 2nd movement P.—Energetic phrase ff.
Mlada, Lithuanian dance, before 36.
Mlada, Act III. 40.—Cleopatra's dance. Cantabile embellished in oriental fashion.
f) Violoncellos + D. basses.—A combination of rich full resonance, used occasionally for phrases in the very low register.
Examples:
[No. 20.] Sadko 260.—A persistent forte figure, severe in character.
[No. 21.] Legend of Kitesh 240.—A pianissimo phrase, sinister and horrible in character.