Transference of passages and phrases.
A phrase or a figure is often transferred from one instrument to another. In order to connect the phrases on each instrument in the best possible way, the last note of each part is made to coincide with the first note of the following one. This method is used for passages the range of which is too wide to be performed on any one instrument, or when it is desired to divide a phrase into two different timbres.
Examples:
* Snegourotchka 137—The melody is transferred from the violins to the flute and clarinet (cf. [Ex. 28]).
* " before 191—Solo violin—Solo 'cello.
Pan Voyevoda 57—Trombones—Trumpets; Horn—Ob. + Cl.
A similar operation is used in scoring passages covering the entire orchestral scale, or a great portion of it. When one instrument is on the point of completing its allotted part, another instrument takes up the passage, starting on one or two notes common to both parts, and so on. This division must be carried out to ensure the balance of the whole passage.
Examples:
Snegourotchka 36, 38, 131—Strings.
The Tsar's Bride 190—Wood-wind.
Sadko 72—Strings (cf. [Ex. 112]).
" 223—Strings.
The Christmas Night, before 180—Strings, wind and chorus (cf. [Ex. 132]).
* [No. 237.] The Christmas Night, before 181—String figure.
* Servilia 111—Strings (cf. [Ex. 88]).
" 29, 5th bar.—Ob.—Fl.; Cl.—Bass cl., Fag.
[No. 238.] The Golden Cockerel, before 9—Wood-wind.
* """ 5—Fag.—Eng. horn (+ 'Cellos pizz.).