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.

_Examples:_

_Ivan the Terrible_, commencement of the overture (cf. Ex. 85).

No. 244. _Snegourotchka_ [[140]].

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_.

_Examples:_

No. 245. _Snegourotchka_ [[313]].

" [[140]] (cf. Ex. 244).

_A Fairy Tale_ [[V]].

_Sheherazade_, 2nd movement [[D]] (cf. Ex. 74).

* " 4th movement p. 221.

No. 246. _Servilia_ [[228]]; cf. also [[44]].

_The Christmas Night_ [[165]] (cf. Ex. 143).

No. 247. _The Tsar's Bride_, before [[205]].

* No. 248. _Russian Easter Fete_ [[D]].

* No. 249-250. _Legend of Kitesh_ [[5]], [[162]].

Repetition of phrases, imitation, echo.

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 simila