‘filling’ between. This is a layout common in the works of his last years.” During the Romantic Era, composers continued further in their exploration of sonorities that can be obtained through imaginative chord voicing. Alan Walker draws attention to the quiet middle section of Chopin's Scherzo No. 1. In this passage, Chopin weaves a "magical" pianistic texture around a traditional Polish Christmas carol: Maurice Ravel's Pavane de la Belle au Bois Dormant from his 1908 suite Ma Mère l'Oye exploits the delicate transparency of voicing afforded through the medium of the piano duet. Four hands can cope better than two when it comes to playing widely-spaced chords. This is especially apparent in bars 5–8 of the following extract: Speaking of this piece (which also exists in an orchestral version), Austin writes about Ravel's technique of "varying the sonority from phrase to phrase by telling changes of register." The two chords that open and close Igor Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes. The first chord is sometimes called the Psalms chord. William W. Austin remarks: Some chord voicings devised by composers are so striking that they are instantly recognizable when heard. For example, The Unanswered Question by Charles Ives opens with strings playing a widely spaced G-major chord very softly, at the limits of audibility. According to Ives, the string part represents "The Silence of the Druids—who Know, See and Hear Nothing". Doubling In a chord, a note that is duplicated in different octaves is said to be doubled. (The term magadization is also used for vocal doubling at the octave, especially in reference to early music.) Doubling may also refer to a note or a melodic phrase that is duplicated at the same pitch, but played by different instruments. Melodic doubling in parallel (also called parallel harmony) is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movement. Octave doubling of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For instance, in the opening of John Philip Sousa's "Washington Post March", the melody is "doubled" in four octaves. Consistent parallelism between melodic lines