It cannot be denied that the constant use of compound timbres, in pair's, in three's etc. eliminates characteristics of tone, and produces a dull, neutral texture, whereas the employment of simple, elementary combinations gives infinitely greater scope for variety in colour.
Whether it be long or short, a simple theme or a melodic phrase, melody should always stand out in relief from the accompaniment. This may be done by artificial or natural means; artificially, when the question of tone quality does not come into consideration, and the melody is detached by means of strongly accentuated dynamic shades; naturally, by selection and contrast of timbres, strengthening of resonance by doubling, tripling, etc., or crossing of parts (violoncellos above the violas and violins, clarinets or oboes above the flutes, bassoons above the clarinets etc.).
Melody planned in the upper parts stands out from the very fact of position alone, and likewise, to a less degree when it is situated in the low register. In the middle of the orchestral range it is not so prominent and the methods referred to above come into operation. They may also be employed for two part melody (in thirds and sixths) and for polyphonic writing.
Instances of the melodic use of stringed instruments are innumerable. The reader will find many examples in the present treatise. With the exception of the double basses,--dull in tone and of little flexibility, chiefly employed in unison or in octaves with the violoncellos,--each of the other stringed instruments, taken independently, is qualified to assume full responsibility for the melodic line.
Melody in the soprano-alto register and an extra-high compass usually falls to the lot of the 1st Violins, sometimes to the 2nd Violins or to both in unison, a process which produces fuller resonance without impairing quality of tone.
_The Tsar's Bride_ [[84]].[C]--_Pianissimo_ melody (Vns I) of a troubled dramatic character. Harmonic accompaniment (Vns II and Violas _tremolando_--middle parts; the Violoncellos forming the bass).
[Footnote C: The present volume is divided into two parts, text (pp. 1-152) and musical examples (pp. 1-333). The first page of the second part lists the standard full-score editions of Rimsky-Korsakov's works that are referred to throughout the book. These references to specific passages are always indicated by boxed numbers or boxed letters corresponding to the ones marking the sub-divisions of the particular score. On the other hand, references in the text to the 312 musical examples in the second part of the book are always indicated as "No. 1," "No. 2," etc. Thus, "_The Tsar's Bride_ [[84]]" indicates that the reader should look at section [[84]] of the score of _The Tsar's Bride_ as published by Belaieff in Leipzig, the music of which is not reprinted here; whereas "No. 1. _Shéhérazade_ 2nd movement [[B]]" indicates that the reader should look at the first musical example in the second part of the present book, which comes from the section marked [[B]] in the second movement of the score of _Shéhérazade_ as published by Belaieff.]