Principles of Orchestration

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.