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Rimsky-Korsakov, Principles of Orchestration

Nikolai Rimsky-Korsakov · section 42 of 100

Distribution of notes in chords

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The normal order of sounds or the natural harmonic scale:

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Fig. 44 · See it in the reader

may serve as a guide to the orchestral arrangement of chords. It will be seen that the widely-spaced intervals lie in the lower part of the scale, gradually becoming closer as the upper register is approached:

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Fig. 45 · See it in the reader

The bass should rarely lie at a greater distance than an octave from the part directly above it (tenor harmony). It is necessary to make sure that the harmonic notes are not lacking in the upper parts:

To be avoided: |
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Fig. 46 · See it in the reader

The use of sixths in the upper parts, and the practice of doubling the upper note in octaves are sometimes effective methods:

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Fig. 47 · See it in the reader
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Fig. 48 · See it in the reader

When correct progression increases the distance between the top and bottom notes of the upper parts, this does not matter:

Good: |
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But it would be distinctly bad to fill in the second chord thus:

Not good: |
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Hence it follows that the distribution of intermediate parts is a question of the greatest importance. Nothing is worse than writing chords, the upper and lower parts of which are separated by wide, empty intervals, especially in forte passages; in piano passages such distribution may be possible. Progression in contrary motion, the upper and lower parts diverging by degrees gives rise to the gradual addition of extra parts occupying the middle register:

Schematic Example: |
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When the voices converge, the middle parts are eliminated one by one:

Schematic Example: |
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