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According to Ives, the string part represents "The Silence of the Druids-who Know, See and Hear Nothing". For example, The Unanswered Question by Charles Ives opens with strings playing a widely spaced G-major chord very softly, at the limits of audibility. Some chord voicings devised by composers are so striking that they are instantly recognizable when heard. This spacing is as extraordinary as the spacing of the first chord, but with the opposite effect of super-clarity and consonance, thus resolving and justifying the first chord and all the horror of the miry clay. When the tonic C major finally arrives, in the last movement, its root is doubled in five octaves, its fifth is left to the natural overtones, and its decisive third appears just once, in the highest range. The opening staccato blast, which recurs throughout the first movement, detached from its surroundings by silence, seems to be a perverse spacing of the E minor triad, with the minor third doubled in four octaves while the root and fifth appear only twice, at high and low extremes. The first and last chords of the Symphony of Psalms are famous. The first chord is sometimes called the Psalms chord. The two chords that open and close Igor Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes. The chords that open and close Stravinsky's Symphony of Psalms