* Antar 6, 51.
* The Christmas Night 183.
* Sadko 165-166.
* The Tsar's Bride 80-81.
Many examples of shorter crescendi and diminuendi will be found in [Vol. II].
Diverging and converging progressions.
In the majority of cases, diverging and converging progressions simply consist in the gradual ascent of the three upper parts, with the bass descending. The distance separating the bass from the other parts is trifling at first, and grows by degrees. On the other hand, in converging progressions, the three upper parts, at first so far distant from the bass, gradually approach it. Sometimes these progressions involve an increase or a decrease in tone. The intermediate intervals are filled up by the introduction of fresh parts as the distance widens, 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: