Example:
[No. 35.] Spanish Capriccio D—
| 'Cellos Vns I + II | >[ | 6. |
Melody in the wood-wind.
* The choice of instruments for characteristic and expressive melody is based on their distinctive qualities, discussed minutely in the [foregoing chapter]. To a large extent the question is left to the orchestrator's own personal taste. Only the best methods of using the wood-wind in unison or octaves, and distributing a melody in thirds, sixths and mixed intervals, from the standpoint of resonance and tone quality will be indicated in this section of the work. Examples of the use of solo wood-wind are to be found in any score; the following are typical instances:
Examples of solo wood-wind:
1. Piccolo: Serbian Fantasia C; [No. 36.] Tsar Saltan 216; Snegourotchka 54.
2. Flute: Antar 4; Servilia 80; Snegourotchka 79, 183; A Fairy Tale L; The Christmas Night 163; [No. 37.] Shéhérazade, 4th movement, before A (Fl. à 2 in the low register).
Flute (double tonguing): Pan Voyevoda 72; Shéhérazade, 4th movement, after V; [No. 38.] Ivan the Terrible, Act III, after 10.
3. Bass flute: [No. 39.] Legend of Kitesh 44.