Isolated chords may be added to a melodic figure in the upper part, accentuating, sforzando, certain rhythmical moments.
Example:
[No. 99.] Snegourotchka, before 126; cf. also 326.
B. Sustained and tremolando chords. Chords sustained for a shorter or longer period of time, or tremolando passages, often used as a substitute, demand perfect balance of tone. Taking for granted that the different members of the string group are equal in power, the parts being written according to the usual order of register, (cf. [Chap. I]), it is patent that a passage in close four-part harmony, with the bass in octaves will also be uniformly resonant. When it is necessary to introduce notes to fill up the empty middle register, the upper parts being farther distant from the bass, doubled notes on the violins or violas should be used, or on both instruments together. The method of dividing strings, which is sometimes adopted, should be avoided in such cases, as certain parts of the chord will be divided and others will not; but, on the other hand, if a passage in six and seven-part harmony be written entirely for strings divided in the same manner, the balance of tone will be completely satisfactory, e.g.,
| div. | { | Vns I Vns I |
| div. | { | Vns II Vns II |
| div. | { | Violas I Violas II |
If the harmony in the three upper parts, thus strengthened, is written for divided strings, the 'cellos and basses, playing non divisi will prove a trifle heavy; their tone must therefore be eased, either by marking the parts down or reducing the number of players.
In the case of sustained chords or forte tremolando on two strings, the progression of parts is not always according to rule, the intervals chosen being those which are the easiest to play.
Examples:
[No. 100.] The Christmas Night 161—Full divisi.
[No. 101.] " " " 210.—