The illustrative music-action relationships are most evident in Penderecki's use of performing forces. The comic and grotesque scenes are usually set in chamber music, characterized by pointillistic textures and discontinuous motifs. Furthermore, the chamber ensembles portrayed in these comic scenes often feature rather disjointed timber combinations, thus resulting in an overall comical effect. In the contrast, the music depicting the dramatic scenes is scored for larger forces, featuring thicker textures and darker tone colors. To achieve these dramatic massive textures, Penderecki relies on the use of stationary tones, glissandos, and various sound clusters. The chaotic sonorities, resulting from Penderecki's sound-mass techniques, are used in particular to convey the demonical possession of Sister Jeanne.