hat 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 brass; 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. _Kashtchei the Immortal_ [[33]], [[43]].

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

No. 271. _The Golden Cockerel_ [[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.

_Examples:_

_Legend of Kitesh_ [[34]], [[36]], [[297]] (cf. Ex. 34 and 231).

N