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:
[[Listen]]
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:
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:
[[Listen]]
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 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.
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]).
[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.