Principles of Orchestration Part 18

Overlaying of parts is the best method to follow in writing close four-part harmony; three instruments of the same timbre with a fourth instrument of another. Crossing and enclosure of parts may also be employed. Correspondence of timbres and the progression of remote parts must be kept in mind:

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The method of using three instruments of the same timbre in widely-divided three-part harmony is inferior:

[Music: Not good Better Better Not good Better Better]

But if the third instrument is of low register (Ba.s.s Fl., Eng. horn, Ba.s.s cl., or C-f.a.g.), the resonance will be satisfactory:

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In chords of four-part harmony, three instruments of the same timbre should be combined with a fourth instrument of another:

[Music] etc.

Harmony in several parts.

In writing chords of 5, 6, 7 and 8 part-harmony, whether they are independent, or const.i.tute the harmonic basis, the student should follow the principles outlined in the previous chapter, dealing with the progression of wood-wind instruments in octaves. As the 5th, 6th, 7th and 8th notes are only duplications in octaves of lower notes of the real harmony (in 4 parts), instruments should be chosen which combine amongst themselves to give the best octaves. The process of crossing and enclosure of parts may also be used.

A. Wood-wind in pairs (close distribution):

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In widely-divided harmony chords in several parts are to be avoided as they will entail both close and extended writing:

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_Note._ In the majority of cases this distribution is employed when the two upper harmonic parts have a special melodic duty to perform--this question is discussed above.

B. Wood-wind in three's:

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[Music] etc.

Overlaying of parts is the most satisfactory method in dealing with close three-part harmony. Crossing of parts is not so favourable, as octaves will be produced contrary to the natural order of register:

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Duplication of timbres.

A. If the wood-wind is in pairs it is a good plan to mix the doubled timbres as much as possible:

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also: [Music]

In chords of four-part harmony the cla.s.sical method may be adopted:

[Music]

In this case, though the high _C_ in the flute is fairly powerful, the resonance of the _G_ and _E_ in the oboes is softened by the duplication of the 2nd flute and 1st clarinet, while the _C_ in the 2nd clarinets (not doubled) is feeble in comparison with the other notes. In any case the two extreme parts are the thinnest and weakest in tone, the intermediate parts the fullest and strongest.

B. _Wood-wind in three's_ admit of perfectly balanced mixed timbres in chords of three-part harmony:

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These timbres may even originate from three-fold duplication:

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Remarks.

1. Modern orchestrators do not allow any void in the intermediate parts in writing close harmony; it was permitted to some extent by the cla.s.sics:

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These empty s.p.a.ces create a bad effect especially in _forte_ pa.s.sages.

For this reason widely-divided harmony, which is fundamentally based on the extension of intervals, can be used but seldom and only in _piano_ pa.s.sages. Close writing is the more frequent form in all harmony devoted to the wood-wind, _forte_ or _piano_.

2. As a general rule a chord of greatly extended range and in several parts is distributed according to the order of the natural scale, with wide intervals (octaves and sixths), in the ba.s.s part, lesser intervals (fifths and fourths) in the middle, and close intervals (3rds or 2nds) in the upper register:

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3. In many cases correct progression of parts demands that one of them should be temporarily doubled. In such cases the ear is reconciled to the brief overthrow of balance for the sake of a single part, and is thankful for the logical accuracy of the progression. The following example will ill.u.s.trate my meaning:

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In the second bar of this example the _D_ is doubled in unison on account of the proximity of the three upper parts to their corresponding parts an octave lower. In the fourth bar the _F_ is doubled in unison in both groups.

4. The formation of the harmonic basis, which is essentially in four parts, does not by any means devolve upon the wood-wind alone. One of the parts is often devoted to the strings, _arco_ or _pizz._ More frequently the ba.s.s part is treated separately, the chords of greater value in the three upper parts being allotted to the wood-wind. Then, if the upper part is a.s.signed to a group of strings, there remains nothing for the wind except the sustained harmony in the two middle parts. In the first case the three-part harmony in the wood-wind should form an independent whole, receiving no a.s.sistance from the ba.s.s; in this manner intervals of open fourths and fifths will be obviated. In the second case it is desirable to provide the intermediate parts with a moderately full tone, choosing no other intervals except seconds, sevenths, thirds or sixths.

All that has been said with regard to the use of wood-wind in the formation of harmony, and the division of simple and mixed timbres applies with equal force to sustained chords, or harmonic progressions interchanging rapidly with _staccato_ chords. In short chords, separated by rests of some importance, the arrangement and division of timbres is not so perceptible to the ear, and progression of parts attracts less attention. It would be useless, nay, impossible to examine the countless combinations of tone colour, all the varieties of duplication and distribution of chords. It has been my aim to denote the fundamental principles upon which to work, and to indicate the general rules to be followed. Once having mastered these, if the student devote a little time to the study of full scores, and listen to them on the orchestra, he will soon learn when certain methods should be used and when to adopt others. The pupil is advised, generally, to write for wood-wind in its normal order of distribution, to take heed that each particular chord is composed entirely either of duplicated or non-duplicated parts, (except in certain cases resulting from progression), to use the methods of crossing and enclosure of timbres with full knowledge of what he is doing, and finally to concentrate his attention on close part-writing.

_Examples of wood-wind harmony:_

a) Independent chords.

No. 105. _The Christmas Night_ [[148]]--Cl., 2 f.a.g.

No. 106. " " " beginning--Ob., Cl., f.a.g. (crossing of parts).

_Snegourotchka_ [[16]]--2 Cl., f.a.g.

" [[79]], 5th bar.--2 Ob., 2 f.a.g. (cf. Ex. 136).