Melody in thirds and sixths.
In confiding a melody in thirds to the strings it is frequently necessary to use the same quality of tone in both parts, but in the case of a melody in sixths different timbres may be employed. In writing thirds doubled in octaves, the first and second violins should be used. In spite of the difference in the quantity of players, the thirds will not sound unequal. The same arrangement may obtain in the viola and 'cello groups, but it is useless in the case of melody in sixths.
Examples:
* [No. 34.] Legend of Kitesh 34—
| Vns I div.) 3 Vns II div.) 3 | >[ | 8. |
* Legend of Kitesh 39—
| Vns I Violas | >[ | 6. |
Cf. also Legend of Kitesh 223:
| Vns I Vns II | } | 3 | ] | 8 ([Ex. 31]). |
| Vns I Vns II | } | 3 |
Distribution in octaves, thirds, and sixths is usually regulated by the normal register of the respective instruments, so as to avoid any suggestion of mannerism resulting from the disturbance of balance. But such a departure from the recognised order may be permitted in special cases. For instance, in the following example of writing in sixths the upper part is allotted to the 'cellos, the lower part to the violins on the G string; this arrangement produces a quality of tone distinctly original in character.