* Antar 40, 43 (cf. [Ex. 73], [29]).
* Spanish capriccio P (cf. [Ex. 64]); the cadences to be studied in the 4th movement, where they are accompanied by various percussion instruments.
* Russian Easter Fête K (cf. [Ex. 217]).
* The Tsar's Bride 140.
* Legend of Kitesh 196-197—"The Battle of Kerjémetz".
Economy in orchestral colour.
Neither musical feeling nor the ear itself can stand, for long, the full resources of the orchestra combined together. The favourite group of instruments is the strings, then follow in order the wood-wind, brass, kettle-drums, harps, pizzicato effects, and lastly the percussion, also, in point of order, triangle, cymbals, big drum, side drum, tambourine, gong. Further removed stand the celesta, glockenspiel and xylophone, which instruments, though melodic, are too characteristic in timbre to be employed over frequently. The same may be said of the piano and castanets. A quantity of national instruments not included in the present work may be incorporated into the orchestra; such are the guitar, the domra, zither, mandoline, the oriental tambourine, small tambourine etc. These instruments are employed from time to time for descriptive-aesthetic purposes.
These instruments are most frequently used in the above-named order. A group of instruments which has been silent for some time gains fresh interest upon its reappearance. The trombones, trumpets and tuba are occasionally tacet for long periods, the percussion is seldom employed, and practically never all together, but in single instruments or in two's and three's. In national dances or music in ballad style, percussion instruments may be used more freely.
After a long rest the re-entry of the horns, trombones and tuba should coincide with some characteristic intensity of tone, either pp or ff; piano and forte re-entries are less successful, while re-introducing these instruments mezzo-forte or mezzo-piano produces a colourless and common-place effect. This remark is capable of wider application. For the same reasons it is not good to commence or finish any piece of music either mf or mp. The scope of the musical examples in this work does not permit of illustrating by quotation the use of economy in orchestral colour, nor the re-entry of instruments thrown into prominence by prolonged rests. The reader must examine these questions in full scores.