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.
_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).
_Pan Voyevoda_ [[186]] and [[188]] Full _Tutti_.
* 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]].
* For examples of _Tutti_ chords, see special Tables at the end of Vol. II.
In many cases the wood-wind and brass groups can form a _tutti_ by themselves for periods of varying length. Sometimes this is effected by the wood-wind alone, but more frequently with the support of horns. At other times the horns are found alone without the wood-wind, and, lastly, a _tutti_ may be comprised of instruments of each group in varying numbers. The addition of kettle-drums and the rest of the percussion is quite common and constitutes what the Germans call "Janitscharenmusik", or Turkish infantry music. Violoncellos and double basses playing more or less important _pizz._ notes are often added to wood-wind instruments (_tutti_), likewise the remainder of the strings and the harps; this process renders the sustained notes in the wood-wind more distinct. _Tutti_ passages in wood-wind and horns do not produce any great amount of power in _forte_ passages, but, on the other hand _tutti_ in the brass groups alone may attain an extraordinary volume of tone. In the following examples the formation of pedal notes by strings or wood-wind in no way alters the general character of the _Tutti_: