_Shéhérazade_, 2nd movement [[D]] (cf. Ex. 74).
No. 246. _Servilia_ [[228]]; cf. also [[44]].
_The Christmas Night_ [[165]] (cf. Ex. 143).
No. 247. _The Tsar's Bride_, before [[205]].
* No. 249-250. _Legend of Kitesh_ [[5]], [[162]].
As regards choice of timbre, phrases in imitation are subject to the law of register. When a phrase is imitated in the upper register it should be given to an instrument of higher range and _vice versa_. If this rule is ignored an unnatural effect will be produced, as when the clarinet in its upper range replies to the oboe in the lower compass etc. The same rule must be followed in dealing with phrases, actually different, but similar in character; repeated phrases of different character should be scored in a manner most suitable to each.
In echo phrases, that is to say imitation entailing not only decrease in volume of tone but also an effect of distance, the second instrument should be weaker than the first, but the two should possess some sort of affinity. An echo given to muted brass following the same phrase not muted produces this distant effect. Muted trumpets are eminently suited to echo a theme in the oboes; flutes also may imitate clarinets and oboes successfully. A wood-wind instrument cannot be used to echo the strings, or _vice versa_, on account of the dissimilarity in timbre. Imitation in octaves (with a decrease in resonance) creates an effect resembling an echo.
* _Spanish Capriccio_ [[E]].--This example is not precisely an echo but resembles one in character (cf. Ex. 44).
* _Shéhérazade_, 4th movement before [[O]].
_Sforzando-piano_ and _piano-sforzando_ chords.
Besides the natural dynamic process of obtaining these marks of expression, a process which depends upon the player, they may also be produced by artificial means of orchestration.
a) At the moment when the wood-wind begins a _piano_ chord, the strings attack it _sforzando_, a compound chord for preference, either _arco_ or _pizz._ In the opposite case the _sf_ in the strings must occur at the end of the wood-wind chord. The first method is also employed for a _sf-dim._, and the second for a _cresc.-sf_ effect.
b) It is not so effective, and therefore less frequent to give the notes of sustained value to the strings, and the short chords to the wood-wind. In such cases the _tenuto_ chord is played _tremolando_ on the strings.