B. Combination of strings and wind.
1. We frequently meet with the combination of strings and woodwind
in the light of comparison of one timbre with another, either
in long sustained notes, or tremolando in the strings. Apart from
the complete or partial doubling of the string quartet (two methods
frequently used), the general and most natural arrangement is:
Examples:
- * Sadko, Symphonic Tableau before 4, and 4, 9th bar.
- * Shéhérazade, 1st movement M 6 Vns soli + 2 Ob. (2 Fl.), Cl.
- * Antar 7 — String quartet divisi + wood-wind (cf. Ex. 151).
- * No. 171. Antar 57 — Vns II, Violas div. + Fl., Horn (florid
accompaniment in the Clar.).
- * Legend of Kitesh 295 — the same; rhythmic motion in the
wind, sustained harmony in the strings (cf. Ex. 213).
2. Owing to the complete absence of any affinity in tone quality,
the combination of strings with brass is seldom employed in juxtaposition,
crossing, or enclosure of parts.
The first method may be used however when the harmony is
formed by the strings tremolando, and the brass is employed in
sustaining chords, also when the strings play short disconnected
chords, sforzando. Another possible exception may be mentioned;
the splendid effect of horns doubled by divided violas or 'cellos.
Examples:
- Snegourotchka 242 — Full brass + strings tremolando (cf. 1st Table
of chords, Ex. 6).
- * Legend of Kitesh, before 240 — the same (Horn, Trumpet + ).
- * Sadko, Opera, before 34 — Horn + Violas div., Trombones +
'Cellos div.[2].
