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.