Nikolai Rimsky-Korsakov · section 41 of 100
Number of harmonic parts—Duplication Read and hear this section in the playable edition →
In the very large majority of cases harmony is written in four parts; this applies not only to single chords or a succession of them, but also to the formation of the harmonic basis. Harmony which at first sight appears to comprise 5, 6, 7 and 8 parts, is usually only four part harmony with extra parts added. These additions are nothing more than the duplication in the adjacent upper octave of one or more of the three upper parts forming the original harmony, the bass being doubled in the lower octave only. The following diagrams will explain my meaning:
A. Close part-writing.
Fig. 30 · See it in the reader B. Widely-divided part-writing.
Fig. 31 · See it in the reader Note. In widely-spaced harmony only the soprano and alto parts may be doubled in octaves. Duplicating the tenor part is to be avoided, as close writing is thereby produced, and doubling the bass part creates an effect of heaviness. The bass part should never mix with the others: Bad: [Listen]
Fig. 32 · See it in the reader On account of the distance between the bass and the three other parts, only partial duplication is possible.
Good: |
Fig. 33 · See it in the reader Note. Notes in unison resulting from correct duplication need not be avoided, for although the tone in such cases is not absolutely uniform, the ear will be satisfied with the correct progression of parts.
Consecutive octaves between the upper parts are not permissible:
Bad: |
Fig. 34 · See it in the reader Consecutive fifths resulting from the duplication of the three upper parts moving in chords of sixths are of no importance:
Good: |
Fig. 35 · See it in the reader The bass of an inversion of the dominant chord should never be doubled in any of the upper parts:
Good: | | Bad: |
Fig. 36 · See it in the reader Fig. 37 · See it in the reader This applies also to other chords of the seventh and diminished seventh:
Bad: | | Good: |
Fig. 38 · See it in the reader Fig. 39 · See it in the reader The rules of harmony concerning sustained and pedal passages apply with equal force to orchestral writing. As regards passing and auxiliary notes, échappées, considerable licence is permitted in rapid passages of different texture:
One texture: A different one: |
Fig. 40 · See it in the reader One texture: A different one: |
Fig. 41 · See it in the reader A certain figure and its essentials, in simplified form, may proceed concurrently, as in the following example:
One texture: A different one: A third: |
Fig. 42 · See it in the reader Upper and inner pedal notes are more effective on the orchestra than in pianoforte or chamber music, owing to the greater variety of tone colour:
Fig. 43 · See it in the reader In Vol. II of the present work many examples of the above methods will be found.
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