In reduced scoring, invent some illustrations of overlapping: (a) between woodwind and string choirs, (b) between
the three choirs (woodwind, brass and strings), and (c) between two melodic voices over an accompaniment (homophonic texture). It is desirable to have interesting varieties in overlapping. That is, as in polyphony, the entrances must not be too monotonously regular or mechanical. The freedom and variety of the overlapping action of cloud forms, as they pass through the sky, will have an affinity to the values of overlapping in orchestration.
For practice in this technique it is best to use choirs of sound rather than single lines, although overlapping succeeds equally when applied to melodic lines. Study some of the examples of overlapping listed in the chart of examples for reference (see Table IX in the Appendix on page 220).
Study as many other scores as you can, to find and analyze examples of overlapping. Ability to apply this principle should result from skill and insight acquired from ordinary contrapuntal studies. The scores of Sibelius, for example, show very little formal polyphony, but they have a wealth of the larger polyphony of overlapping (entrance and departure of the various choirs and design elements); this is an important element in any scoring.
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