Before entering upon this section of the work I would remind the reader of the general principles laid down in the beginning of the chapter.
Harmonic texture, composed of plain chords or ornamental designs, simple or contrapuntal in character, must possess a resonance equally distributed throughout. This may be obtained by the following means:
1. Instruments forming chords must be used continuously in the same way during a given passage, that is to say they must be doubled or not throughout, except when one of the harmonic parts is to be made prominent:
4. Concords (octaves, thirds and sixths) and not discords (fifths, fourths, seconds and sevenths), should be given to instruments of the same kind or colour, except when discords are to be emphasised. This rule should be specially observed in writing for the oboe with its penetrating quality of tone:
Harmonic writing for the wood-wind may be considered from two points of view: a) instruments in pairs, 2 Fl., 2 Ob., 2 Cl., 2 Fag.; and b) instruments in three's, 3 Fl., 2 Ob., Eng. horn, 3 Cl., 2 Fag., C-fag.
A. In pairs. There are three ways of distribution: 1. Superposition or overlaying (strictly following the normal order of register), 2. Crossing, and 3. Enclosure of parts. The last two methods involve a certain disturbance of the natural order of register:
In choosing one of these three methods the following points must not be forgotten: a) the register of a particular isolated chord; the soft and weak register of an instrument should not be coupled with the powerful and piercing range of another:
b) In a succession of chords the general progression of parts must be considered; one tone quality should be devoted to the stationary and another to the moving parts:
When chords are in widely-divided four-part harmony notes may be allotted in pairs to two different tone qualities, adhering to the normal order of register:
It is possible to lend four distinct timbres to a chord in widely-divided four-part harmony, though such a chord will possess no uniformity in colour; but the higher the registers of the different instruments are placed, the less perceptible becomes the space which separates them:
NOTE. These diagrams are given in semibreves. They do not include percussion instruments of indeterminate sound or the human voice.
NOTA. Ces exemples sont donnÉs sous forme demi-schÉmatique, en rondes. Ils ne comportent ni les instruments de percussion À sons indÉterminÉs, ni les voix humaines.
Note. In Mozart and Salieri, which is only scored for 1 Fl., 1 Ob., 1 Cl. and 1 Fag., wood-wind chords in four-part harmony are of necessity devoted to these four different timbres.
The same rules apply to writing in three-part harmony, which is the most customary form when it is a question of establishing a harmonic basis, the lowest register of which is entrusted to another group of instruments (strings arco or pizz., for example). Chords in three-part harmony are generally given to two instruments of one timbre and a third instrument of another, but never to three different timbres. Overlaying of parts is the best course to adopt:
B. Wood-wind in three's. Here the distribution of chords in close three-part harmony is self-evident; any grouping of three instruments of the same timbre is sure to sound well:
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:
In writing chords of 5, 6, 7 and 8 part-harmony, whether they are independent, or constitute 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.
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.
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:
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:
These empty spaces create a bad effect especially in forte passages. For this reason widely-divided harmony, which is fundamentally based on the extension of intervals, can be used but seldom and only in piano passages. 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 bass part, lesser intervals (fifths and fourths) in the middle, and close intervals (3rds or 2nds) in the upper register:
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 illustrate my meaning:
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 bass 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 assigned 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 assistance from the bass; 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.
