* _Legend of Kitesh_ [[53]], [[55]], [[60]].
c) Trombones, leaving the orchestra to go on the stage:
_Ivan the Terrible_, Act III [[3]], [[7]].
e) Sacred horns (natural brass instruments in various keys):
No. 299-300. _Mlada_, Act III [[37]], [[39]].
g) Pipes of Pan: instruments, specially made, with many holes which are passed over the lips. These particular pipes produce a special enharmonic scale (_B_ flat, _C_, _D_ flat, _E_ flat, _E_, _F_ sharp, _G_, _A_), which has the effect of a glissando:
_Mlada_, Act III [[39]], [[43]] (cf. Ex. 300).
h) Harp, reproducing the effect of an aeolian harp:
_Kashtcheï the Immortal_ [[32]] and further on (cf. Ex. 268, 269).
i) Lyres. Instruments specially made and tuned so as to be able to perform a glissando chord of the diminished seventh:
_Mlada_, Act III [[39]], [[43]] (cf. Ex. 300).
_Ivan the Terrible_, Act I [[57]] and further on.
m) Bass Drum (without cymbals) to imitate the sound of cannon:
n) Small kettle-drum, in _D_ flat (3rd octave):
_Mlada_, Act III [[41]] and later (cf. Ex. 60).
No. 301. _Legend of Kitesh_ [[181]] and further on. See also [[241]], [[323]] and later.
Wood-wind and strings are comparatively seldom used on the stage or in the wings. In Russian opera the strings are employed in this way by Rubinstein (_Gorioucha_), and in a splendidly characteristic manner by Serov (_Hostile Power_): in the latter opera the _E_ flat clarinet is used to imitate the fife in the Carnival procession.[17]
[Footnote 17: Mention should be made of the happy use of a small orchestra in the wings (2 picc., 2 cl., 2 horns, 1 trombone, tambourine, 4 Vns, 2 violas, 1 D-bass) in _The May Night_, Act II, Sc. I. [[M-P]]. (Editor's note.)]
Among all the confused terms employed in singing to denote the compass, register and character of the human voice, there are four which may be said to represent elemental types: soprano, alto or contralto, tenor and bass. These names are used to denote the composition of the chorus with sub-divisions of _firsts_ and _seconds_, to determine how the parts must be divided. (Sopr. I, Sopr. II etc.) While the range of an instrument is exactly governed by its construction, the compass of the voice, on the other hand, depends on the individuality of the singer. It is therefore impossible to define the exact limits of each of these vocal types. When it is a question of dividing choristers into 1st and 2nd parts, those with the higher voices are classed among the firsts and _vice versa_.