orchestra, but have no place in the scope of the present
book.

[Footnote 9: A Russian instrument which, like the balalaika, is better
known abroad. (Translator's note.)]

Pizzicato.

Although capable of every degree of power from _ff_ to _pp_,
_pizzicato_ playing has but small range of expression, and is used
chiefly as a colour effect. On open strings it is resonant and heavy,
on stopped strings shorter and duller; in the high positions it is
rather dry and hard.

Table D on page 31 indicates the range in which _pizzicato_ may be
used on each stringed instrument.

In the orchestra, _pizzicato_ comes into operation in two distinct
ways: a) on single notes, b) on double notes and chords. The fingers
of the right hand playing _pizz._ are far less agile than the bow;
_pizz._ passages therefore can never be performed as quickly as those
played _arco_. Moreover, the speed of _pizzicato_ playing depends upon
the thickness of the strings; on the double basses, for instance, it
must always be much slower than on the violins.

In _pizzicato_ chords it is better to avoid open strings, which
produce a more brilliant tone than of covered strings. Chords of four
notes allow of greater freedom and vigour of attack, as there is no
danger of accidentally touching a wrong note. Natural harmonics played
_pizz._ create a charming effect; the tone is weak however, and they
are chiefly successful on the violoncello.

Harp.

In the orchestra, the harp is almost entirely an harmonic or
accompanying instrument. The majority of scores require only one harp
part, but in recent times composers have written for two or even three
harps, which are sometimes compressed into the one part.

_Note._ Full orchestras should include three or even four
harps. My operas _Sadko_, _The Legend of the Invisible City
of Kitesh_, and _The Golden Cockerel_ are designed for two
harps, _Mlada_ for three.

The special function of the harp lies in the execution of chords, and
the florid figures springing from them. As only four notes at the most
can be played by each hand, the notes of a chord should be written
close together, with not too great a space between one hand and the
other. The chords must always be broken (_arpeggiato_); should the
composer wish otherwise he should notify it (_non arpeggiato_). In the
middle and lower octaves the resonance of the strings is slightly
prolonged, and dies away gradually. In chan