The relationship which has been shown to exist between stopped horns and oboe or Eng. horn authorizes the simultaneous use of these instruments in one and the same chord, played _p_ or _sfp_:
* _The Christmas Night_ [[75]]--3 Horns (+) + Oboe.
_The Tsar's Bride_ [[123]]--Ob., Eng. horn, Horn (+) (cf. Ex. 240).
* _Legend of Kitesh_ [[244]]--Cl., 2 Fl., + 2 Ob., Eng. horn, 3 Horn (+).
* No. 164. _Legend of Kitesh_, before [[256]]--2 Ob., Eng. horn/3 Horns (+)] 8.
* Cf. also _Tsar Saltan_, before [[115]]--Horn (+)/2 Fl. + 2 Fag. (Ex. 110).
If trumpets and trombones take part in a chord, flutes, oboes and clarinets are better used to form the harmonic part above the trumpets. The following should be the arrangement:
* No. 165. _The May Night_, Act I [[Ee]]--3 Trombones, 2 Ob. + 2 Cl. + 2 Fag.
" " " p. 325.--Final chord, _C_ maj. (cf. Table I of chords, Ex. 1).
* No. 166. _Snegourotchka_ [[198]]; cf. also [[200]] and before [[210]].
* _Shéhérazade_, 1st movement [[E]], 2nd movement [[P]], 3rd movement [[M]], 4th movement p. 203 (cf. Ex. 195, 19, 210, 77).
No. 167. _The Christmas Night_ [[205]]; cf. also [[161]], [[212]], 14th bar. (Ex. 100, 153).
* _Mlada_, end of Act I (cf. Chord Table II, Ex. 13). Act II [[20]].
No. 168-169. _Sadko_, Opera, before [[249]], [[302]]; cf. also Ex. 120.
No. 170. _Sadko_, Opera [[244]]--Chord of widely extended range; bassoons at the limit of low compass.
" " [[142]], [[239]]; cf. also [[3]] (Ex. 86).
* _The Tsar's Bride_ [[179]] (cf. Ex. 243).
_Antar_ [[65]]--Alternation of notes in horns and wood-wind on trombone chords (cf. Ex. 32).
_General observations._ It is not always possible to secure proper balance in scoring for full wood-wind. For instance, in a succession of chords where the melodic position is constantly changing, distribution is subordinate to correct progression of parts. In practice, however, any inequality of tone may be counterbalanced by the following acoustic phenomenon: in every chord the parts in octaves strengthen one another, the harmonic sounds in the lowest register coinciding with and supporting those in the highest. In spite of this fact it rests entirely with the orchestrator to obtain the best possible balance of tone; in difficult cases this may be secured by judicious dynamic grading, marking the wood-wind one degree louder than the brass.