University of Virginia Library

Wood-wind harmony.

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:

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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:
  
  

  To be avoided:

2.

• The normal order of register must be followed, except in the
  case of crossing or enclosure of parts, which will be discussed
  later on:
  
  

  To be avoided:

3.

• Corresponding or adjacent registers should be made to coincide
  except for certain colour effects:
  
  

  To be avoided:

  The second flute will sound too weak and
  the oboes too piercing.

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 emphasized.
  This rule should be specially observed in writing for the
  oboe with its penetrating quality of tone:
  
  

  To be avoided:

Four-part and three-part harmony.

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),
  

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  2. Crossing, and 3. Enclosure of parts. The last two methods
  involve a certain disturbance of the natural order of register:
  
  

  Overlaying. Crossing. Enclosure.>

  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:
  

  

  Overlaying, Crossing, Enclosure,
  Oboe too piercing, Low notes of the flute too weak, Bassoon too prominent

  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:
  

  

  Good:, etc.

  Any other distribution will result unquestionably in a grievous
  lack of relationship between registers:
  

  

  To be avoided:, etc.

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  If one tone quality is to be enclosed, it must be between two
  different timbres:
  

  

  Good:, etc.

  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:
  

  

  Fairly good, Better, Still better

  The use of four different timbres in close four-part harmony is
  to be avoided, as the respective registers will not correspond:
  

  

  Bad, Better, Still slightly better

  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:
  

  

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  The use of crossing and enclosure of parts (which in a way
  amount to the same thing) must depend on the manner of their
  progression:
  

  

  Enclosure:

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:
  

  
  

  also:

  

  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:
  

  

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

  

  Not good, Better

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  But if the third instrument is of low register (Bass Fl., Eng.
  horn, Bass cl., or C-fag.), the resonance will be satisfactory:
  

  

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

  

  etc.

Harmony in several parts.

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.

A.

• Wood-wind in pairs (close distribution):
  

  

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

  

  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.

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B.

• Wood-wind in three's:
  

  
  

  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:
  

   

  Here the arrangement

  is bad.

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:
  
  

  Excellent

  

  also

  In chords of four-part harmony the classical method may be
  adopted:
  

  

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  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 timbres may even originate from three-fold duplication:
  

  

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
  classics:
  

  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:
  

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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 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
  

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  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 Fag.
  • No. 106. "     "     "     beginning — Ob., Cl., Fag. (crossing
    of parts).
  • Snegourotchka 16 — 2 Cl., Fag.
  •      "      79, 5th bar. — 2 Ob., 2 Fag. (cf. Ex. 136).
  • * No. 107. Snegourotchka 197 — Picc., 2 Fl. (tremolando).
  • No. 108.      "     204 — 2 Fl., 2 Ob. (high register).
  • No. 109. Shéhérazade, beginning — Total wood-wind in different
    distribution.
  • * Russian Easter Fête A — 3 Fl. tremolando (cf. Ex. 176).
  • * Tsar Saltan 45 — Ob., 2 Fag.
  • No. 110. Tsar Saltan, before 115 — mixed timbres.
  • No. 111. "     "      115, and other similar passages — very
    sweet effect of wood-wind in three's.
  •      "     "     177 — 2 Ob., 2 Fag.

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  • Sadko, Symphonic Tableau 9 — Ob., 2 Cl., Fag.
  • * Sadko, Opera 4 — Eng. horn, 2 Cl.
  • "     "     , before 5 — Total wood-wind.
  • No. 112. Sadko 72 — Chords in three-part harmony; simple
    and mixed timbres.
  • * No. 113. The Tsar's Bride 126 Full wind.
  • * No. 114. Legend of Kitesh, before 90 — Enclosure of parts
                                  (Ob. I in the high register).
  • No. 115.      "     "     "     before 161 — Wind and brass
                                  alternately.
  • No. 116.      "     "     167 — Full wind except oboe, with chorus.
  • Legend of Kitesh 269 — Fl., Cl., Fag.
  • * The Golden Cockerel 125 — Various wind instruments, 4 part
                             harmony (cf. Ex. 271).
  •      "     "     218 — Ob., Eng. horn, Fag., C — fag.; cf.
                             also 254.
  • No. 117. The Golden Cockerel, before 236 — Mixed timbre;
                             2 Fag. form the bass.

  b)

  Harmonic basis (sometimes joined by the horns).
  • The May Night, Act III L — 2 Fag., Eng. horn (cf. Ex. 18).
  • Antar 68 — 3 Flutes.
  • Snegourotchka 20 — 2 Cl., high register.
  •      "     before 50 — 2 Fl., Fag.
  •      "     187 — 2 Ob., 2 Fag.
  •      "     274 — 2 Cl., low register (cf. Ex. 9).
  •      "     283 — Fl., Eng. horn, Cl., Fag. (cf. Ex. 26).
  • No. 118. Snegourotchka 292 — Widely — divided harmony and
                             doubling of parts in the wind.
  • No. 119.      "     318-319 — 2 Flutes.
  • Shéhérazade, 2nd movement B — 2 Cl., Fag. (sustained note in
                             the horn) (cf. Ex. 1).
  • The Christmas Night 1 — 3 Cl.
  • Sadko 1 — Cl., Bass cl., Fag., C-fag.
  • No. 120. Sadko 49 — Ob., Cl., Horn, Fag.
  •           " 99 — 2 Cl. (cf. Ex. 289, 290).

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  • No. 121. Sadko 144 — Cl., Fag.
  • No. 122. "     195-196 — 2 Cl., Bass Cl.
  • The Tsar's Bride 80 — Cl., Fag.
  •      "     " 166 — harmonic parts in motion, Fl.
                             and Cl. (cf. Ex. 22.
  • Servilia 59 — Cl. (low. register), Fag.
  • * No. 123. Kashtcheï the Immortal 80 — Ob., Fag. muted.
  • * No. 124. Legend of Kitesh. 52 — Fl. Fag.
  •           "     "     55 — Fl., Ob. (cf. Ex. 197).
  •           "     "     68 — Eng. horn, Fag., C — fag. (cf.
                                  Ex. 199)
  • No. 124.      "     "     118 — mixed timbre: 2 Ob., Eng.
                             horn and 3 Cl.
  •           "     "     136 — harmonic parts in motion:
  •           "     "     before 185 — 3 Fl. (low register)
                                  and 2 Cl.
  •           "     "     223 — Fl., Ob., Cl. (cf. Ex. 31).
  • * No. 125.      "     "     247 — 2 Cl., Bass cl.
  •           "     "     273 — Eng. horn, 2 Cl. and Bass
                                       cl., Fag.
  • * No. 126.      "     "     355 — Eng. horn muted, Cl., 2 Fag.
  • * No. 127. The Golden Cockerel 3 — Cl., Bass cl., Fag., C-fag.
  •           "     "     40-41 Bass cl., Fag.; Fl., Cl.;
                                  Cl., Bass cl.
  • * No. 128.      "     "     156 — harmonic parts in motion:
                                  Fl. and Cl.