Method of emphasising certain notes and chords.

In order to stress or emphasise a certain note or chord, besides the marks of expression [music symbol: decrescendo] and _sf_, chords of 2, 3, and 4 notes can be inserted into the melodic progression by the instruments of the string quartet, each playing a single note; short notes in the wood-wind may also be used as well as a chain of three or four grace notes, in the form of a scale, either in strings or wood-wind. These unstressed notes (anacrusis), generally written very small, form a kind of upward glide, the downward direction being less common. As a rule they are connected to the main note by a slur. In the strings they should not lead up to chords of three or four notes, as this would be awkward for the bow.

_Examples:_

No. 254. _The Tsar's Bride_ [[142]]--Anacrusis in the strings.

* No. 255. _Sheherazade_, 2nd movement [[C]]--Short _pizz._ chords.

* " " " [[P]]--Short wind chords (cf. Ex. 19).

_Crescendo_ and _diminuendo_.

Short _crescendi_ and _diminuendi_ are generally produced by natural dynamic means; when prolonged, they are obtained by this method combined with other orchestral devices. After the strings, the bra.s.s is the group most facile in producing dynamic shades of expression, glorifying _crescendo_ chords into the most brilliant _sforzando_ climaxes. Clarinets specialise in _diminuendo_ effects and are capable of decreasing their tone to a breath (_morendo_). Prolonged orchestral _crescendi_ are obtained by the gradual addition of other instruments in the following order: strings, wood-wind, bra.s.s. _Diminuendo_ effects are accomplished by the elimination of the instruments in the reverse order (bra.s.s, wood-wind, strings). The scope of this work does not lend itself to the quotation of prolonged _crescendo_ and _diminuendo_ pa.s.sages. The reader is referred, therefore, to the full scores:

* _Sheherazade_, pp. 5-7, 92-96, 192-200.

* _Antar_ [[6]], [[51]].

* _The Christmas Night_ [[183]].

* _Sadko_ [[165-166]].

* _The Tsar's Bride_ [[80-81]].

Many examples of shorter _crescendi_ and _diminuendi_ will be found in Vol. II.

Diverging and converging progressions.

In the majority of cases, diverging and converging progressions simply consist in the gradual ascent of the three upper parts, with the ba.s.s descending. The distance separating the ba.s.s from the other parts is trifling at first, and grows by degrees. On the other hand, in converging progressions, the three upper parts, at first so far distant from the ba.s.s, gradually approach it. Sometimes these progressions involve an increase or a decrease in tone. The intermediate intervals are filled up by the introduction of fresh parts as the distance widens, so that the upper parts become doubled or trebled. In converging progressions the tripled and doubled parts are simplified, as the duplicating instruments cease to play.

Moreover, if the harmony allows it, the group in the middle region which remains stationary is the group to be retained, or else the sustained note which guarantees unity in the operation. Below, the reader will find double examples of both descriptions. The first pair represents a diverging progression, 1. _piano_, in which the human voice takes part; 2. a purely orchestral _crescendo_. The second depicts two similar diverging progressions, firstly a gradual _crescendo_, secondly _dim._, during which the strings become more and more divided as the wind instruments cease to play. Ex. 258 accompanies the apparition of Mlada, Ex. 259, its disappearance. The atmosphere and colouring are weird and fanciful. The third pair of examples forms instances of converging progressions. In the first (Ex.

260) Princess Volkhova relates the wonders of the sea. Then in the middle of a powerful orchestral _crescendo_ the Sea-King appears (Ex.

261). Both examples include a sustained stationary chord of the diminished seventh. The handling of such progressions requires the greatest care.

_Examples:_

No. 256-257. _The Tsar's Bride_ [[102]] and [[107]].

No. 258-259. _Mlada_, Act III [[12]] and [[19]].

No. 260-261. _Sadko_ [[105]] and [[119]].

_Sadko_ [[72]] (cf. Ex. 112).

" before [[315]].

* _The Christmas Night_, beginning (cf. Ex. 106).

* No. 262. _Antar_, end of 3rd movement.

_Note._ A sustained note between the diverging parts does not always allow the empty s.p.a.ce to be more completely filled up.

_Example:_

No. 263. _The Golden c.o.c.kerel_, before [[106]].

Tone quality as a harmonic force.

Harmonic basis.

Melodic design comprising notes foreign to the harmony, pa.s.sing or grace notes, embellishments etc., does not permit that a florid outline should proceed at the same time with another one, reduced to essential and fundamental notes:

[Music]

If, in the above example, the upper part is transposed an octave lower, the discordant effect produced by the contact of appoggiaturas and fundamental notes will be diminished; the quicker the pa.s.sage is played the less harsh the effect will be, and _vice versa_. But it would be ill-advised to lay down any hard and fast rule as to the permissible length of these notes. There is no doubt that the harmonic notes, the thirds of the fundamental one (_E_) are more prominent from their proximity with the notes extraneous to the harmony. If the number of parts is increased (for instance, if the melodic figure is in thirds, sixths etc.), the question becomes still more complicated, since, to the original harmonic scheme, chords with different root bases are added, producing false relation.

Nevertheless, for the solution of such problems, orchestration provides an element of the greatest importance: difference of timbres.

The greater the dissimilarity in timbre between the harmonic basis on the one hand and the melodic design on the other, the less discordant the notes extraneous to the harmony will sound. The best example of this is to be found between the human voice and the orchestra, next comes the difference of timbres between the groups of strings, wood-wind, plucked strings and percussion instruments. Less important differences occur between wood-wind and bra.s.s; in these two groups, therefore, the harmonic basis generally remains an octave removed from the melodic design, and should be of inferior dynamic power.

_Examples of harmonic basis in chords:_

No. 264. _Pan Voyevoda_, Introduction.

_Legend of Kitesh_, Introduction (cf. also Ex. 125 and 140).

* _Mlada_, Act III [[10]].

The harmonic basis may be ornamental in character, in which case it should move independently of the concurrent melodic design.

_Examples:_

* No. 265-266. _Tsar Saltan_ [[103-104]], [[128]], [[149]], [[162-165]] (cf. below).

Chords the most widely opposed in character may be used on a simple, stationary harmonic basis, a basis, founded, for example, on the chord of the tonic or diminished seventh.

_Examples:_

No. 267. _Legend of Kitesh_ [[326-328]]--Wood-wind and harps on a string basis.

No. 268-269. _Kashtche the Immortal_ [[33]], [[43]].

No. 270. _Mlada_, Act II, before [[17]], [[18]]], [[20]].

No. 271. _The Golden c.o.c.kerel_ [[125]]--Chords of the diminished seventh, on arpeggio basis (augmented fifth).

The effect of alternating harmony produced between two melodic figures, e.g. one transmitting a note, held in abeyance, to the other, or the simultaneous progression of a figure in augmentation and diminution etc. becomes comprehensible and pleasant to the ear when the fundamental sustained harmony is different.