I apply this name to some orchestral operations which are based on certain defects of hearing and faculty of perception. Having no wish to specify those that already exist or to foretell those which may yet be invented, I will mention, in passing, a few which have been used by me in my own works. To this class belong glissando scales or arpeggios in the harp, the notes of which do not correspond with those played simultaneously by other instruments, but which are used from the fact that long glissandi are more resonant and brilliant than short ones.

Examples:

Snegourotchka 325 (cf. Ex. 95).

No. 275. Pan Voyevoda 128.

* ShÉhÉrazade, 3rd movement M, 5th bar (cf. Ex. 248).

* Russian Easter FÊte D (cf. Ex. 248).

* Enharmonic glissando in the strings should also be mentioned.

No. 276. The Christmas Night 180, 13th bar—'Cellos glissando.