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Distribution of notes in chords.

The normal order of sounds or the natural harmonic scale:

may serve as a guide to the orchestral arrangement of chords.
It will be seen that the widely-spaced intervals lie in the lower
part of the scale, gradually becoming closer as the upper register
is approached:

The bass should rarely lie at a greater distance than an octave
from the part directly above it (tenor harmony). It is necessary
to make sure that the harmonic notes are not lacking in the upper
parts:

The use of sixths in the upper parts, and the practice of
doubling the upper note in octaves are sometimes effective methods:

When correct progression increases the distance between the
top and bottom notes of the upper parts, this does not matter:

But it would be distinctly bad to fill in the second chord this:

Not good:

Hence it follows that the distribution of intermediate parts is a
question of the greatest importance. Nothing is worse than writing
chords, the upper and lower parts of which are separated by
wide, empty intervals, especially in forte passages; in piano passages
such distribution may be possible. Progression in contrary motion,
the upper and lower parts diverging by degrees gives rise to the
gradual addition of extra parts occupying the middle register:

When the voices converge, the middle parts are eliminated one
by one: