* Shéhérazade, 3rd movement M, 5th bar (cf. [Ex. 248]).
* Russian Easter Fête 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 groups which combine the most satisfactorily with percussion from the standpoint of colour. The triangle, side drum, and tambourine go best with harmony in the upper register; cymbals, bass drum and gong with harmony in the lower. The following are the combinations most generally employed: tremolo on the triangle and tambourine with trills in wood-wind and violins; tremolo on the side drum, or cymbals struck with drum sticks, and sustained chords on trumpets and horns; tremolo on the bass drum or the gong with chords on trombones or low sustained notes on 'cellos and double basses. It must not be forgotten that the bass drum, cymbals, gong and a tremolo on the side drum, played fortissimo, is sufficient to overpower any orchestral tutti.
* The reader will find instances of the use of percussion instruments in any full score, and in several examples of the present work.
Examples:
* Shéhérazade pp. 107-119, also many passages in 4th movement.