General observations.
The art of orchestration demands a beautiful and well-balanced
distribution of chords forming the harmonic texture. Moreover,
transparence, accuracy and purity in the movement of each part
are essential conditions if satisfactory resonance is to be obtained.
No perfection in resonance can accrue from faulty progression
of parts.
Note. There are people who consider orchestration simply as the art of
selecting instruments and tone qualities, believing that if an orchestral score
does not sound well, it is entirely due to the choice of instruments and timbres.
But unsatisfactory resonance is often solely the outcome of faulty handling of
parts, and such a composition will continue to sound badly whatever choice
of instruments is made. So, on the other hand, it often happens that a passage
in which the chords are properly distributed, and the progression of parts
correctly handled, will sound equally well if played by strings, wood-wind or brass.
The composer should picture to himself the exact harmonic
formation of the piece he intends to orchestrate. If, in his rough
sketch, there exist any uncertainly as to the number or movement
of harmonic parts, he is advised to settle this at once. It is
likewise essential for him to form a clear idea as to the construction
and musical elements of the piece, and to realise the
exact nature and limitations of the themes, phrases and ideas he
is going to employ. Every transition from one order of harmonic
writing to another, from four-part harmony to three, or from five-part
harmony to unison etc., must coincide with the introduction
of a new idea, a fresh theme or phrase; otherwise the orchestrator
will encounter many unforeseen and insurmountable difficulties.
For example, if, during a passage written in four parts a chord
in five-part harmony is introduced, a fresh instrument must needs
be added to play this particular fifth part, and this addition may
easily damage the resonance of the chord in question, and render
the resolution of a discord or the correct progression of parts impossible.
