_The Christmas Night_, before [[180]]--Strings, wind and chorus (cf. Ex. 132).
* No. 237. _The Christmas Night_, before [[181]]--String figure.
* _Servilia_ [[111]]--Strings (cf. Ex. 88).
" [[29]], 5th bar.--Ob.--Fl.; Cl.--Bass cl., Fag.
No. 238. _The Golden Cockerel_, before [[9]]--Wood-wind.
* " " " [[5]]--Fag.--Eng. horn (+ 'Cellos _pizz._).
Chords of different tone quality used alternately.
1. The most usual practice is to employ chords on different groups of instruments alternately. In dealing with chords in different registers care should be taken that the progression of parts, though broken in passing from one group to another, remains as regular as if there were no leap from octave to octave; this applies specially to chromatic passages in order to avoid false relation.
No. 239. _Ivan the Terrible_, Act II [[29]].
No. 240-241. _The Tsar's Bride_ [[123]], before [[124]].
* _Note._ The rules regulating progression of parts may sometimes be ignored, when extreme contrast of timbre between two adjacent chords is intended.
* _Shéhérazade_, 8th bar from the beginning, (the chromatic progression at the 12th bar is undertaken by the same instruments, the 2nd cl. is therefore placed above the first in the opening)--cf. Ex. 109.
* _The Christmas Night_, opening (cf. Ex. 106).
2. Another excellent method consists in transferring _the same chord or its inversion_ from one orchestral group to another. This operation demands perfect balance in progression of parts as well as register. The first group strikes a chord of short value, the other group takes possession of it simultaneously in the same position and distribution, either in the same octave or in another. The dynamic gradations of tone need not necessarily be the same in both groups.
_Ivan the Terrible_, commencement of the overture (cf. Ex. 85).
Amplification and elimination of tone qualities.
The operation which consists in contrasting the resonance of two different groups (* or the different timbres of one and the same group), either in sustained notes or chords, transforms a simple into a complex timbre, suddenly, or by degrees. It is used in establishing a _crescendo_. While the first group effects the _crescendo_ gradually, the second group enters _piano_ or _pianissimo_, and attains its _crescendo_ more rapidly. The whole process is thereby rendered more tense as the timbre changes. The converse operation--the transition from a complex to a simple timbre, by the suppression of one of the groups, belongs essentially to the _diminuendo_.