* [No. 230.] Russian Easter Fête, p. 32—2 Solo violins (in harmonics).
* [No. 231.] Legend of Kitesh 297—2 Solo violins + Picc.
Limits of orchestral range.
It is seldom that the entire orchestral conception is centred in the upper register of the orchestra (the 5th and 6th octaves), still more rarely is it focussed wholly in the lowest range (octaves 1 and -1) where the proximity of harmonic intervals creates a bad effect. In the first case the flutes and piccolo should be used along with the upper notes of the violins, soli or divisi; in the second case the double bassoon and the low notes of the bassoons, bass clarinet, horns, trombones and tuba are brought into play. The first method gives brilliant colour, the second combination is dark and gloomy. The contrary would be fundamentally impossible.
Examples:
| Pan Voyevoda 122, 137 | } | low register. |
| Servilia 168, 8th bar. (cf. [Ex. 62]) | ||
| [No. 232.] The Golden Cockerel 220; cf. also 218, 219 |
| * Snegourotchka, before 25 | } | high register. |
| * Legend of Kitesh, before 34 | ||
| * [No. 233.] The Golden Cockerel 113, 117 | ||
| * [No. 234.] Shéhérazade, 2nd movement pp. 59-62 |
The upper and lower parts of a passage can seldom be widely separated without the intermediate octaves being filled in, for this is contrary to the first principles of proper distribution of chords. Nevertheless the unusual resonance thus produced serves for strange and grotesque effects. In the first of the following examples the piccolo figure doubled by the harp and the sparkling notes of the glockenspiel is set about four octaves apart from the bass, which is assigned to a single Double bass and Tuba. But in the 3rd octave, the augmented fourths and diminished fifths in the two flutes help to fill up the intermediate space and lessen the distance between the two extreme parts, thus forming some sort of link between them. The general effect is fanciful.
Examples:
[No. 235.] Snegourotchka 255.