Melody in the wood-wind.
* The choice of instruments for characteristic and expressive melody is based on their distinctive qualities, discussed minutely in the [foregoing chapter]. To a large extent the question is left to the orchestrator's own personal taste. Only the best methods of using the wood-wind in unison or octaves, and distributing a melody in thirds, sixths and mixed intervals, from the standpoint of resonance and tone quality will be indicated in this section of the work. Examples of the use of solo wood-wind are to be found in any score; the following are typical instances:
Examples of solo wood-wind:
1. Piccolo: Serbian Fantasia C; [No. 36.] Tsar Saltan 216; Snegourotchka 54.
2. Flute: Antar 4; Servilia 80; Snegourotchka 79, 183; A Fairy Tale L; The Christmas Night 163; [No. 37.] Shéhérazade, 4th movement, before A (Fl. à 2 in the low register).
Flute (double tonguing): Pan Voyevoda 72; Shéhérazade, 4th movement, after V; [No. 38.] Ivan the Terrible, Act III, after 10.
3. Bass flute: [No. 39.] Legend of Kitesh 44.
4. Oboe: [No. 40.] Shéhérazade, 2nd movement A; The May Night, Act III Kk; [No. 41.] Snegourotchka 50; Snegourotchka 112, 239; The Tsar's Bride 108 (cf. [Ex. 284]), [No. 42] and [43]. The Golden Cockerel 57 and 97.
5. Eng. horn: Snegourotchka 97, 283 (cf. [Ex. 26]); [No. 44.] Spanish Capriccio E; [No. 45.] The Golden Cockerel 61.
6. Small Clarinet: [No. 46.] Mlada, Act II 33; Mlada, Act III 37.
7. Clarinet: Serbian Fantasia G; Spanish Capriccio A; Snegourotchka 90, 99, 224, 227, 231 (cf. [Ex. 8]); The May Night, Act I, before X; Shéhérazade, 3rd movement D; A Fairy Tale M; The Tsar's Bride 50, 203; The Golden Cockerel 97 (lowest register, cf. [Ex. 43]).
8. Bass clarinet: [No. 47] and [48]. Snegourotchka 243 and 246-247.
9. Bassoon: Antar 59; [No. 49.] Vera Scheloga 36; Shéhérazade, 2nd movement, beginning (cf. [Ex. 40]); [No. 50.] The Golden Cockerel 249; [No. 51.] Mlada, Act III, after 29; cf. also [Ex. 78].
10. Double bassoon: Legend of Kitesh, before 84, 289; cf. also [Ex. 10] (D. bassoon + D. bass solo).
The normal order of wood-wind instruments and that which produces the most natural resonance is the following: Flutes, Oboes, Clarinets, Bassoons (the order used in orchestral full scores). Departure from this natural order, e.g. placing bassoons above clarinets and oboes, or flutes below oboes and clarinets, and especially below the bassoons, creates a far-fetched, unnatural tone, useful, however, in certain cases to attain certain special effects. I do not advise the student to make too free a use of this proceeding.