No. [168]-[169]. Sadko, Opera, before 249, 302; cf. also [Ex. 120].
[No. 170.] Sadko, Opera 244—Chord of widely extended range; bassoons at the limit of low compass.
""142, 239; cf. also 3 ([Ex. 86]).
* The Tsar's Bride 179 (cf. [Ex. 243]).
Antar 65—Alternation of notes in horns and wood-wind on trombone chords (cf. [Ex. 32]).
General observations. It is not always possible to secure proper balance in scoring for full wood-wind. For instance, in a succession of chords where the melodic position is constantly changing, distribution is subordinate to correct progression of parts. In practice, however, any inequality of tone may be counterbalanced by the following acoustic phenomenon: in every chord the parts in octaves strengthen one another, the harmonic sounds in the lowest register coinciding with and supporting those in the highest. In spite of this fact it rests entirely with the orchestrator to obtain the best possible balance of tone; in difficult cases this may be secured by judicious dynamic grading, marking the wood-wind one degree louder than the brass.
B. Combination of strings and wind.
1. We frequently meet with the combination of strings and wood-wind in the light of comparison of one timbre with another, either in long sustained notes, or tremolando in the strings. Apart from the complete or partial doubling of the string quartet (two methods frequently used), the general and most natural arrangement is:
| Fl. Ob. (Cl.) | + Vns div.; | Clar. Fag. | + 'Cellos + Violas div., etc. |
Examples: