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so that the upper parts become doubled or trebled. In converging progressions the tripled and doubled parts are simplified, as the duplicating instruments cease to play. Moreover, if the harmony allows it, the group in the middle region which remains stationary is the group to be retained, or else the sustained note which guarantees unity in the operation. Below, the reader will find double examples of both descriptions. The first pair represents a diverging progression, 1. _piano_, in which the human voice takes part; 2. a purely orchestral _crescendo_. The second depicts two similar diverging progressions, firstly a gradual _crescendo_, secondly _dim._, during which the strings become more and more divided as the wind instruments cease to play. Ex. 258 accompanies the apparition of Mlada, Ex. 259, its disappearance. The atmosphere and colouring are weird and fanciful. The third pair of examples forms instances of converging progressions. In the first (Ex. 260) Princess Volkhova relates the wonders of the sea. Then in the middle of a powerful orchestral _crescendo_ the Sea-King appears (Ex. 261). Both examples include a sustained stationary chord of the diminished seventh. The handling of such progressions requires the greatest care. _Examples:_ No. 256-257. _The Tsar's Bride_ [[102]] and [[107]]. No. 258-259. _Mlada_, Act III [[12]] and [[19]]. No. 260-261. _Sadko_ [[105]] and [[119]]. _Sadko_ [[72]] (cf. Ex. 112). " before [[315]]. * _The Christmas Night_, beginning (cf. Ex. 106). * No. 262. _Antar_, end of 3rd movement. _Note._ A sustained note between the diverging parts does not always allow the empty space to be more completely filled up. _Example:_ No. 263. _The Golden Cockerel_, before [[106]]. Tone quality as a harmonic force. Harmonic basis. Melodic design comprising notes foreign to the harmony, passing or grace notes, embellishments etc., does not permit that a florid outline should proceed at the same time with another one, reduced to essential and fundamental notes: [Music] If, in the above example, the upper part is transposed an octave lower, the discordant effect produced by the contact of appoggiaturas and fundamental notes will be diminished; the quicker the passage is played the less harsh the effect will be, and _vice versa_. But it would be ill-advised to lay down any hard and fast rule as to the permissible length of these notes. There is no doubt t
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