Examples:
Legend of Kitesh 34, 36, 297 (cf. [Ex. 34] and [231]).
[No. 272]-[274]. Tsar Saltan 104, 162-165 (cf. also 147-148).
* Russian Easter Fête, 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.