4. Oboe: [No. 40.] Shéhérazade, 2nd movement A; The May Night, Act III Kk; [No. 41.] Snegourotchka 50; Snegourotchka 112, 239; The Tsar's Bride 108 (cf. [Ex. 284]), [No. 42] and [43]. The Golden Cockerel 57 and 97.
5. Eng. horn: Snegourotchka 97, 283 (cf. [Ex. 26]); [No. 44.] Spanish Capriccio E; [No. 45.] The Golden Cockerel 61.
6. Small Clarinet: [No. 46.] Mlada, Act II 33; Mlada, Act III 37.
7. Clarinet: Serbian Fantasia G; Spanish Capriccio A; Snegourotchka 90, 99, 224, 227, 231 (cf. [Ex. 8]); The May Night, Act I, before X; Shéhérazade, 3rd movement D; A Fairy Tale M; The Tsar's Bride 50, 203; The Golden Cockerel 97 (lowest register, cf. [Ex. 43]).
8. Bass clarinet: [No. 47] and [48]. Snegourotchka 243 and 246-247.
9. Bassoon: Antar 59; [No. 49.] Vera Scheloga 36; Shéhérazade, 2nd movement, beginning (cf. [Ex. 40]); [No. 50.] The Golden Cockerel 249; [No. 51.] Mlada, Act III, after 29; cf. also [Ex. 78].
10. Double bassoon: Legend of Kitesh, before 84, 289; cf. also [Ex. 10] (D. bassoon + D. bass solo).
The normal order of wood-wind instruments and that which produces the most natural resonance is the following: Flutes, Oboes, Clarinets, Bassoons (the order used in orchestral full scores). Departure from this natural order, e.g. placing bassoons above clarinets and oboes, or flutes below oboes and clarinets, and especially below the bassoons, creates a far-fetched, unnatural tone, useful, however, in certain cases to attain certain special effects. I do not advise the student to make too free a use of this proceeding.
Combination in unison.
The combination of two different wood-wind instruments in unison yields the following tone qualities: