String harmony.
It is an incontrovertible rule that the resonance of different harmonic parts must be equally balanced, but this balance will be less noticeable in short sharp chords than in those which are connected and sustained. Both these cases will be studied separately. In the first case, in order to increase the number of harmonic parts, each instrument in the string group may be provided with double notes or chords of three and four notes. In the second case, the resources are limited to double notes unis, or division of parts.
A. Short chords. Chords of three or four notes can only be executed rapidly on the strings.
Note. It is true that the two upper notes of a chord can be sustained and held a long time; this, however, involves complications and will be considered later.
Short chords, arco, only sound well when played forte (sf), and when they can be supported by wind instruments. In the execution of double notes and chords of three and four notes on the strings, balance, perfect distribution of tone, and correct progression of parts are of minor importance. What must be considered before everything is the resonance of the chords themselves, and the degree of ease with which they can be played. Those comprising notes on the gut strings are the most powerful. Chords played on several strings are usually assigned to 1st and 2nd violins and violas, the different notes being divided between them according to ease in execution and the demands of resonance. On account of its low register the 'cello is rarely called upon to play chords on three or four strings, and is usually allotted the lowest note of the chord in company with the double bass. Chords on the latter instrument are even more uncommon, but it may supply the octave on an uncovered string.
Examples:
[No. 97.] Snegourotchka 171; cf. also before 140 and before 200.
* Spanish Capriccio, before V (cf. [Ex. 67]).
Shéhérazade, 2nd movement P (cf. [Ex. 19].)
* [No. 98.] Tsar Saltan 135; cf. also 141 and before 182.