* Shéhérazade, 8th bar from the beginning, (the 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.