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