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:
