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McKay, Creative Orchestration

George Frederick McKay · section 36 of 111

Project 3

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Write a number of brief examples illustrating chordal texture. Begin with the natural spacing of any trio or quartet combination and continue the spacing consistently through a short chorale-like phrase: e.g.,

Example: (Woodwinds) or (Trom.) or (Strings)
Fig. 137 · Play this example in the reader ▶

Following this, experiment with the combination of two groups at once or write a short freely experimental composition in chordal texture for any available performing group. Whenever possible divide the instruments into choirs of similar timbre, but if only a few mixed instruments are available, divide them into any groupings for which one of the commonly used spacings is practicable.

Example: chord spacing — Fl., Oboe, Violin above; Trom., Bassoon, Cello below
Fig. 138 · Play this example in the reader ▶

Beginners in composition should keep the rhythms hymn-like and uniform in the two groups. Those with more experience in composition technique may attempt some of the rhythmic variety and motor interest suggested in the general discussion on chordal texture.

Almost any standard masterwork will have some manifestation of chordal texture. Find several instances of chordal texture and analyze the harmonic spacings used.