o. 272-274. _Tsar Saltan_ [[104]], [[162-165]] (cf. also
[[147-148]]).

* _Russian Easter Fete_, before [[V]].

The whole question as to what is allowed and what forbidden in the
employment of notes extraneous to the harmony is one of the most
difficult in the whole range of composition; the permissible length of
such notes is in no way established. In absence of artistic feeling,
the composer who relies entirely on the difference between two timbres
will often find himself using the most painful discords. Innovations
in this direction in the latest post-Wagnerian music are often very
questionable; they depress the ear and deaden the musical senses,
leading to the unnatural conclusion that what is good, taken
separately, must necessarily be good in combination.

Artificial effects.

I apply this name to some orchestral operations which are based on
certain defects of hearing and faculty of perception. Having no wish
to specify those that already exist or to foretell those which may yet
be invented, I will mention, in passing, a few which have been used by
me in my own works. To this class belong _glissando_ scales or
arpeggios in the harp, the notes of which do not correspond with those
played simultaneously by other instruments, but which are used from
the fact that long _glissandi_ are more resonant and brilliant than
short ones.

_Examples:_

_Snegourotchka_ [[325]] (cf. Ex. 95).

No. 275. _Pan Voyevoda_ [[128]].

* _Sheherazade_, 3rd movement [[M]], 5th bar (cf. Ex. 248).

* _Russian Easter Fete_ [[D]] (cf. Ex. 248).

* Enharmonic _glissando_ in the strings should also be mentioned.

No. 276. _The Christmas Night_ [[180]], 13th bar--'Cellos
_glissando_.

Use of percussion instruments for rhythm and colour.

Whenever some portion of the orchestra executes a rhythmic figure,
percussion instruments should always be employed concurrently. An
insignificant and playful rhythm is suitable to the triangle,
tambourine, castanets and side drum, a vigourous and straightforward
rhythm may be given to the bass drum, cymbals and gong. The strokes on
these instruments should almost invariably correspond to the strong
beats of the bar, highly-accented syncopated notes or disconnected
_sforzandi_. The triangle, side drum and tambourine are capable of
various rhythmic figures. Sometimes the percussion is used separately,
independently of any other group of instruments.

The brass and wood-wind are the two group