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 space to be more completely filled up.

_Example:_

No. 263. _The Golden Cockerel_, before [[106]].

Tone quality as a harmonic force.

Harmonic basis.

Melodic design comprising notes foreign to the harmony, passing 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 passage 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 t