In the 19th century, Russian composers went further with melodic and harmonic possibilities of the scale, often to depict the ominous; examples include the endings of the overtures to Glinka's opera "Ruslan and Lyudmila" and Borodin's "Prince Igor", and the Commander's theme in Dargomyzhsky's "The Stone Guest". Further examples can be found in the works of Rimsky-Korsakov: the sea king's music in "Sadko" and also in "Scheherazade". Shown below is the opening theme to "Scheherazade", which is "simply a descending whole-tone scale with diatonic trimmings." Notes in the whole-tone scale are highlighted.