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Number of harmonic parts — Duplication.

In the very large majority of cases harmony is written in four
parts; this applies not only to single chords or a succession
of them, but also to the formation of the harmonic basis. Harmony
which at first sight appears to comprise 5, 6, 7 and 8 parts, is
usually only four part harmony with extra parts added. These
additions are nothing more than the duplication in the adjacent
upper octave of one or more of the three upper parts forming the
original harmony, the bass being doubled in the lower octave only.
The following diagrams will explain my meaning:

A. Close part writing

B. Widely-divided part-writing

Note. In widely-spaced harmony only the soprano and alto parts may be
doubled in octaves. Duplicating the tenor part is to be avoided, as close
writing is thereby produced, and doubling the bass part creates an effect of
heaviness. The bass part should never mix with the others:

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Bad:

On account of the distance between the bass and the three other
parts, only partial duplication is possible.

Good:

Note. Notes in unison resulting from correct duplication need not be avoided
for although the tone in such cases is not absolutely uniform, the ear will be
satisfied with the correct progression of parts.

Consecutive octaves between the upper parts are not permissible:

Bad:

Consecutive fifths resulting from the duplication of the three
upper parts moving in chords of sixths are of no importance:

Good:

The bass of an inversion of the dominant chord should never
be doubled in any of the upper parts:

Good:

Bad:

This applies also to other chords of the seventh and diminished seventh:

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Bad:

Good:

The rules of harmony concerning sustained and pedal passages
apply with equal force to orchestral writing. As regards passing
and auxiliary notes, echappees, considerable licence is permitted
in rapid passages of different texture:

A certain figure and its essentials, in simplified form, may
proceed concurrently, as in the following example:

Upper and inner pedal notes are more effective on the orchestra
than in pianoforte or chamber music, owing to the greater variety
of tone colour:

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In Vol. II of the present work many examples of the above
methods will be found.