sed as well as a chain of three
or four grace notes, in the form of a scale, either in strings or
wood-wind. These unstressed notes (anacrusis), generally written very
small, form a kind of upward glide, the downward direction being less
common. As a rule they are connected to the main note by a slur. In
the strings they should not lead up to chords of three or four notes,
as this would be awkward for the bow.

_Examples:_

No. 254. _The Tsar's Bride_ [[142]]--Anacrusis in the strings.

* No. 255. _Sheherazade_, 2nd movement [[C]]--Short _pizz._ chords.

* " " " [[P]]--Short wind chords
(cf. Ex. 19).

_Crescendo_ and _diminuendo_.

Short _crescendi_ and _diminuendi_ are generally produced by natural
dynamic means; when prolonged, they are obtained by this method
combined with other orchestral devices. After the strings, the brass
is the group most facile in producing dynamic shades of expression,
glorifying _crescendo_ chords into the most brilliant _sforzando_
climaxes. Clarinets specialise in _diminuendo_ effects and are capable
of decreasing their tone to a breath (_morendo_). Prolonged orchestral
_crescendi_ are obtained by the gradual addition of other instruments
in the following order: strings, wood-wind, brass. _Diminuendo_
effects are accomplished by the elimination of the instruments in the
reverse order (brass, wood-wind, strings). The scope of this work does
not lend itself to the quotation of prolonged _crescendo_ and
_diminuendo_ passages. The reader is referred, therefore, to the full
scores:

* _Sheherazade_, pp. 5-7, 92-96, 192-200.

* _Antar_ [[6]], [[51]].

* _The Christmas Night_ [[183]].

* _Sadko_ [[165-166]].

* _The Tsar's Bride_ [[80-81]].

Many examples of shorter _crescendi_ and _diminuendi_ will be found in
Vol. II.

Diverging and converging progressions.

In the majority of cases, diverging and converging progressions simply
consist in the gradual ascent of the three upper parts, with the bass
descending. The distance separating the bass from the other parts is
trifling at first, and grows by degrees. On the other hand, in
converging progressions, the three upper parts, at first so far
distant from the bass, gradually approach it. Sometimes these
progressions involve an increase or a decrease in tone. The
intermediate intervals are filled up by the introduction of fresh
parts as the distance widens,