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Melody in thirds and sixths.

In confiding a melody in thirds to the strings it is frequently
necessary to use the same quality of tone in both parts, but in the
case of a melody in sixths different timbres may be employed. In
writing thirds doubled in octaves, the first and second violins should
be used. In spite of the difference in the quantity of players, the
thirds will not sound unequal. The same arrangement may obtain
in the viola and 'cello groups, but it is useless in the case of
melody in sixths.

Examples:

• * No. 34. Legend of Kitesh 34 — Vns I div.) 3/Vns II div.) 3 ] 8.
• * Legend of Kitesh 39 — Vns I/Violas ] 6.
• Cf. also Legend of Kitesh 223: Vns I/Vns II} 3/Vns I/Vns II } 3 ] 8 (Ex. 31).

Distribution in octaves, thirds, and sixths is usually regulated by
the normal register of the respective instruments, so as to avoid

any suggestion of mannerism resulting from the disturbance of
balance. But such a departure from the recognised order may be
permitted in special cases. For instance, in the following example
of writing in sixths the upper part is allotted to the 'cellos, the
lower part to the violins on the G string; this arrangement produces
a quality of tone distinctly original in character.

Example:

• No. 35. Spanish Capriccio D — 'Cellos/Vns I + II ] 6.