The word tutti generally means the simultaneous use of all instruments, but the word "all" is used relatively, and it must not be inferred that every single instrument must necessarily be employed to form a tutti. In order to simplify the following illustrations I will divide the word into two classes, full tutti and partial tutti,—independently of whether the orchestra is constructed in pairs, in three's, or a larger number of instruments. I call full tutti the combination of all melodic groups, strings, wind, and brass. By partial tutti I mean passages in which the brass group only takes part, whether two horns or two trumpets participate alone, or whether two horns are combined with one or three trombones, without tuba, trumpets, or the two remaining horns, etc.:

In both species of tutti full wood-wind may be employed or not, according to the register and musical context of the passage. For instance, in the extreme high register it may be essential to include the piccolo; in the low register flutes will be unnecessary, and yet the passage can still be called tutti. The inclusion of kettle-drums, harp, and other instruments of little sustaining power, as of the percussion in general, does not come under discussion.

The variety of orchestral operations increases with the number of instruments forming a tutti, in fact, so great does it become that it is impossible to consider all combinations. I can only give a few examples of full and partial tutti, and leave the reader to draw his own conclusions. Some of these examples fall under the double heading of full and partial tutti, and the student is reminded that the tutti is used essentially in forte and fortissimo, rarely in pianissimo and piano passages.

Examples:

Snegourotchka 61 and 62—Partial and full Tutti.

" 231 Partial Tutti, without the trumpets (cf. Ex. 8).

No. 204. Snegourotchka 216—Full Tutti.

" 325-326—Full Tutti and chorus (cf. Ex. 8).

Sadko 3, 223, 239—Full Tutti (cf. Ex. 86).

No. 205-206. Sadko 173, 177—Full Tutti with chorus, differently scored.

No. 207-208. The Christmas Night 184 and 186—Full Tutti, orchestrated in different ways, with and without chorus.

* The Tsar's Bride, Overture 1, 2, 7—Full and partial Tutti (cf. Ex. 179-181).

* """ 141—Full Tutti.

* """ 177— ""

Pan Voyevoda 186 and 188 Full Tutti.

* Antar 65—(cf. Ex. 32).

* No. 209. ShÉhÉrazade, 3rd movement M; cf. also 1st movement A, E, H; 2nd movement K, P, R; 3rd movement G, O; 4th movement G, P, W and further on to Y (No. 193, 194, 19, 66, 77).

* Spanish Capriccio B, F, J, P, V, X-Z (cf. Ex. 3).

* Russian Easter FÊte F, J, before L, Y, up to the end.

* 3rd Symphony, 1st movement D, R-T, X; 2nd movement A, E; 4th movement A, H, S.

* Sadko, Symphonic tableau 20-24.

* Mlada, Act III 12 (cf. Ex. 258).

* For examples of Tutti chords, see special Tables at the end of Vol. II.