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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:

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D. basses + Bass cl., D. basses + Fag. ; D. basses + C-fag.

The object of these combinations is: a) to obtain a new timbre
of definite colour; b) to strengthen the resonance of the strings;
c) to soften the quality of the wood-wind.

Examples:

• Snegourotchka 5 — 'Cellos + Violas + Eng. horn (cf. Ex. 15).
• " 28 — Violas + Ob. + Eng. horn.
• " 116 — Vns I + II + Ob. + Cl.
• " 288 — Vns I + II-'Cellos + Eng. horn (cf. Ex. 17)
• No. 80. The May Night, Act III Bb — Violas + Cl.
• No. 81. Sadko 311 — Vns + Ob.
• No. 82. " 77 — Violas + Eng. horn.
• No. 83. " 123 — Violas + Eng. horn.
• Servilia 59 — Vns G string + Fl.
• Tsar Saltan 30 — Vns I + II + 2 Cl.
• No. 84. Tsar Saltan 30, 10th bar. — 'Cellos + Violas + 3 Cl.
  + Fag.
• Tsar Saltan 156-159 — Vns detached + Fl. legato.
• The Tsar's Bride 10 Violas + 'Cellos + Fag.
• Antar, 4th movement 63 — 'Cellos + 2 Fag.
• Shéhérazade, 3rd movement H — Violas + Ob. + Eng. horn.

Parts doubled in octaves.

Examples of strings in octaves doubled by wood-wind also in
octaves are numerous, and do not require special description; they
are used according to the rules already laid down. The following
are examples of melody distributed over 1, 2, 3 and 4 octaves:

Examples:

• No. 85. Ivan the Terrible, beginning of Overture —
  [ILLUSTRATION]

  Vns I + II + 2 Cl./Violas + 'Cellos + 2 Fag.]8.

• No. 86 Sadko 3 — [ILLUSTRATION]

  'Cellos + Bass cl./D. basses + C-fag.]8.

• Sadko 166 — [ILLUSTRATION]

  'Cellos + Fag./D. basses + C-fag.]8.

• " 235 — [ILLUSTRATION]

  Violas + 2 Cl./'Cellos + D. basses + 2 Fag.]8.

• The Tsar's Bride 14 — [ILLUSTRATION]

  'Cellos + Fag./D. basses + Fag.]8.

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• The Tsar's Bride 81 — [ILLUSTRATION]

  Vns I/Vns II div. + Fl./ + Ob.]8.

• " " " 166 — [ILLUSTRATION]

  Vns I + Fl./Vns II + Ob.]8

  (cf. Ex. 22).

In three and four octaves:

• Servilia 93 — [ILLUSTRATION]

  Vns + 3 Fl./Violas + 2 Ob./'Cellos + 2 Fag.]8.

• No. 87. Kashtcheï 105 — [ILLUSTRATION]

  Vns I + Picc./Vns II + Fl. + Ob./Violas + 'Cellos + 2 Cl. + Eng. horn + Fag.]8.

• Shéhérazade, 3rd movement M — [ILLUSTRATION]

  Vns I + Fl./Vns II + Ob./'Cellos + Engl. horn]8.

Examples of melody in thirds and sixths:

• Servilia 44 — [ILLUSTRATION]

  Fl. + Ob. + Cl. + Vns/Fl. + Ob. + Cl. + Vns div]3.

• No. 88. Servilia 111 — Strings and wood-wind in thirds.
• 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 woodwind
to progress in octaves, the lower part only being doubled
by one of the string groups; [ILLUSTRATION]

Picc./Fl. + Vns]8 Fl./Ob. (cl.) + Vns]8.

Examples:

• Tsar Saltan 102 — [ILLUSTRATION]

  2 Fl. + Picc/Vns I + II + Ob.] 8

  (cf. Ex. 133)
• * No. 90. Shéhérazade, 4th movement U — [ILLUSTRATION]

  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: [ILLUSTRATION]

'Cellos + Fag./D. basses] 8.

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Example:

• No. 91. Tsar Saltan 92 — [ILLUSTRATION]

  Violas + Fag./Cellos + Fag./D. Basses ] 8.