Examples:
* Shéhérazade, 4th movement, 15th bar after W—
| Picc. 2 Fl. + 2 Ob. 2 Trumpets | >[ 8 ] 8. |
* Legend of Tsar Saltan 228—
| Picc. 2 Fl. + 2 Ob. Trumpet + Eng. horn | >[ 8 ] 8. |
C. Combination of strings and wind.
In commencing this section of the work I consider it necessary to lay down the following fundamental rules which apply equally to melody, harmony, counterpoint and polyphonic writing.
All combinations of strings and wood-wind are good; a wind instrument progressing in unison with a stringed instrument increases the resonance of the latter and amplifies its tone, while the quality of the strings softens that of the wood-wind. In such combinations the strings will predominate provided that the two instruments are of equal power, e.g. when violins are coupled with an oboe, a bassoon with the 'cellos. If several wind instruments play in unison with one group of strings, the latter will be overpowered. As a rule all combinations refine the characteristics of each instrument taken separately, the wood-wind losing more than the strings.
Doubling in unison.
The best and most natural combinations are between instruments whose registers correspond the nearest: