]] and before
[[200]].

* _Spanish Capriccio_, before [[V]] (cf. Ex. 67).

_Sheherazade_, 2nd movement [[P]] (cf. Ex. 19.)

* No. 98. _Tsar Saltan_ [[135]]; cf. also [[141]] and before [[182]].

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]]--Violas div./'Cellos div.} 4
part harmony.

No. 102. _Snegourotchka_ [[187-188]]--Four-part harmony, Vns I,
Vns II, Violas and Violoncellos.

" [[243]]--4 Solo 'cellos _divisi_.

_Sheherazade_, 2nd movement, beginning.--4 D. bass soli div. (cf.
Ex. 40).

_The Tsar's Bride_ [[179]]--Chords on all strings (c