[No. 89.] " 125—same combination, in thirds and sixths.
Kashtcheï 90—The same.
It is necessary to pay more attention to cases where, of the two parts in octaves, only one is doubled. When this method is applied to a melody in the soprano register it is better to allow the wood-wind to progress in octaves, the lower part only being doubled by one of the string groups;
| Picc. Fl. + Vns | >[ | 8. | Fl. Ob. (Cl.) + Vns | >[ | 8. |
Examples:
Tsar Saltan 102—
| 2 Fl. + Picc. Vns I + II + Ob. | >[ | 8 (cf. [Ex. 133]). |
* [No. 90.] Shéhérazade, 4th movement U—
| 2 Cl. 'Cellos + 2 Horns | >[ | 8. |
In the case of a melody in the low register demanding a sweet soft tone, the violoncellos and double basses should be made to progress in octaves, the former doubled by a bassoon, the latter not doubled at all: