a) Vns I + Vns II.—It goes without saying that this combination entails no alteration in colour; it gains in power and richness of tone by reason of the increased number of players, and is usually attended by doubling of the melody in some departments of the wood-wind. The large number of violins prevents the wood-wind predominating, and the tone quality remains that of the string quartet, enriched and amplified.

Examples:

No. 12. ShÉhÉrazade, beginning of the third movement. Cantabile for Vns I and II on the D string, then on the A.

The May Night, overture D. Quick piano melody, beginning cantabile and divided later in octaves

with florid embellishment.

No. 13. The Golden Cockerel 170.—Vns I + II muted.

b) Violins + Violas.—The combination of violins and violas presents no special characteristics, as in the preceding case. The violins remain predominant, and the resonance is rich and full.

Examples:

No. 14. Sadko 208.—Vns I + II + Violas (G string). Quiet cantabile melody pp, in unison with the altos and tenors of the chorus.

The Golden Cockerel 142.—Same combination.

c) Violas + 'Cellos.—Produces a rich full resonance, the 'cello quality predominating.

Examples:

No. 15. Snegourotchka 5.—Apparition of Spring. Violas + 'Cellos + Eng. horn. The same melody, mezzo-forte cantabile as in Ex. 9; but in a brighter key, a third higher, its resonance is more brilliant and tense. The addition of the Eng. horn makes no essential difference to the compound tone; the 'cellos stand out above the rest.

No. 16. The Golden Cockerel 71. Violas + 'Cellos muted.

d) Violins + 'Cellos.—A combination similar to the preceding one. The 'cello tone prevails and the resonance is fuller.

Examples:

No. 17. Snegourotchka 288. "Spring descends upon the lake". Vns I + Vns II + 'Cellos + Eng. horn. The same cantabile as in Ex. 9, and 15. The Eng. horn is absorbed in the musical texture, the principal colour being that of the 'cellos. Still more powerful in resonance.

No. 18. The May Night. Act III L. Chorus of RoussÂlki. The combination of the solo 'cello with the violins gives the latter a touch of the 'cello timbre.

e) Vns I + II + Violas + 'Cellos.—Combining violins, violas and 'cellos in unison is not possible except in the alto-tenor register; this process unites the full resonance of the instruments into an ensemble of complex quality, very tense and powerful in forte passages, extremely full and rich in piano.

Examples:

No. 19. ShÉhÉrazade, 2nd movement P.—Energetic phrase ff.

Mlada, Lithuanian dance, before 36.

Mlada, Act III. 40.—Cleopatra's dance. Cantabile embellished in oriental fashion.

f) Violoncellos + D. basses.—A combination of rich full resonance, used occasionally for phrases in the very low register.

Examples:

No. 20. Sadko 260.—A persistent forte figure, severe in character.

No. 21. Legend of Kitesh 240.—A pianissimo phrase, sinister and horrible in character.