* Shéhérazade, 4th movement before O.
Sforzando-piano and piano-sforzando chords.
Besides the natural dynamic process of obtaining these marks of expression, a process which depends upon the player, they may also be produced by artificial means of orchestration.
a) At the moment when the wood-wind begins a piano chord, the strings attack it sforzando, a compound chord for preference, either arco or pizz. In the opposite case the sf in the strings must occur at the end of the wood-wind chord. The first method is also employed for a sf-dim., and the second for a cresc.-sf effect.
b) It is not so effective, and therefore less frequent to give the notes of sustained value to the strings, and the short chords to the wood-wind. In such cases the tenuto chord is played tremolando on the strings.
Examples:
Vera Scheloga, before 35, 38, 10th bar.
* [No. 253.] Legend of Kitesh, before 15-16.
* Shéhérazade, 2nd movement, P, 14th bar.