Nikolai Rimsky-Korsakov · section 29 of 100

Doubling in two, three and four octaves

In such cases the student should follow the above-mentioned rules, and should take care not to infringe the natural order:

In 3 octaves: | Fl. Ob. Cl. | Ob. Cl. Fag. | Fl. Cl. Fag. | Fl. Ob. Fag. | ] 8 ] 8.

In 4 octaves: | Fl. Ob. Cl. Fag. | ] 8 ] 8 ] 8.

Mixed timbres may also be employed.

Examples:

No. 64. Spanish Capriccio P—melody in 4 octaves:

Picc. 2 Fl. 2 Ob. + Cl. Fag. | ] 8 ] 8 ] 8.

The Tsar's Bride 141—melody in 3 octaves.

* Legend of Kitesh 212—

2 Cl. Bass cl. D. bassoon | ] 8 ] 8.

* No. 65. Antar, (1st version) 3rd movement, the beginning—

Picc. + 2 Fl. 2 Ob. + 2 Cl. 2 Fag. | ] 8 ] 8;

also C, melody in 4 octaves (piccolo in the upper octaves).

* Mlada, Act III, after 42—

Fl. Ob. Eng. horn | ] 8 ] 8.

No. 66. Shéhérazade, 3rd movement G—

Picc. Cl. I Cl. II | ] 8 ] 8.

Examples of melody doubled in five octaves are extremely rare; in such cases the strings participate in the process.