Nikolai Rimsky-Korsakov · section 46 of 100
Harmony in several parts Read and hear this section in the playable edition →
In writing chords of 5, 6, 7 and 8 part-harmony, whether they are independent, or constitute the harmonic basis, the student should follow the principles outlined in the previous chapter, dealing with the progression of wood-wind instruments in octaves. As the 5th, 6th, 7th and 8th notes are only duplications in octaves of lower notes of the real harmony (in 4 parts), instruments should be chosen which combine amongst themselves to give the best octaves. The process of crossing and enclosure of parts may also be used.
A. Wood-wind in pairs (close distribution):
Fig. 75 · See it in the reader In widely-divided harmony chords in several parts are to be avoided as they will entail both close and extended writing:
Fig. 76 · See it in the reader Note. In the majority of cases this distribution is employed when the two upper harmonic parts have a special melodic duty to perform—this question is discussed above.
B. Wood-wind in three's:
Fig. 77 · See it in the reader Fig. 78 · See it in the reader Overlaying of parts is the most satisfactory method in dealing with close three-part harmony. Crossing of parts is not so favourable, as octaves will be produced contrary to the natural order of register:
| Here the arrangement | | is bad.
Fig. 79 · See it in the reader Fig. 80 · See it in the reader ← Four-part and three-part harmony All sections Duplication of timbres → More Playable Books Forsyth, Orchestration A witty, thorough guide to every orchestral instrument, with the original pages. Fux, Gradus ad Parnassum Learn how independent voices work together, one species at a time. Goetschius, Exercises in Elementary Counterpoint Build independent melodies through graded exercises, with 471 recorded examples. Goetschius, Counterpoint Applied Study imitation, canon, and fugue with 393 recorded examples. Kitson, Counterpoint for Beginners Strict counterpoint in two and three parts, species by species, with every example playable. Prout, Analysis of J. S. Bach’s Forty-Eight Fugues Follow Prout through all 48 fugues of the Well-Tempered Clavier, every example playable. Rameau, Treatise on Harmony Explore the foundations of harmony, composition, and accompaniment. Rimsky-Korsakov, Practical Manual of Harmony The classic harmony course, newly translated from the 1910 French edition, with all 640 examples playable. Tchaikovsky, Guide to the Practical Study of Harmony Tchaikovsky’s Moscow Conservatory harmony course, with playable examples. Fenaroli, Partimenti Six books of partimenti, with playable basses, contrapuntal exercises, and bilingual rules. Reger, Supplement to the Theory of Modulation Explore Reger’s modulation method with 100 analyses and 102 playable examples. Cutter, Harmonic Analysis Learn to name every chord and non-harmonic tone in real music, from Bach to Wagner, with the passages playable. Schoenberg, Theory of Harmony Read all 22 chapters, with the original German beside a new English translation. Forsyth, Choral Orchestration A whole Te Deum orchestrated bar by bar, with Forsyth’s reasons, the full score and the vocal score playable. Berlioz, Treatise on Instrumentation Berlioz’s treatise on the orchestra, revised by Richard Strauss, with the original pages. McKay, Creative Orchestration Ranges, transpositions, texture and balance, taught through projects, with the supplied examples played by orchestral samples. Sanganeria, Arrival Build jazz lines that land, with 30 original playable examples. Bona, Complete Method for Rhythmical Articulation Practice rhythm through 120 graded studies, with playable notation and original scans. Hanon, The Virtuoso-Pianist Practise all 60 exercises with playable notation, original scans and supplied Mutopia playback. Mathews, Standard Graded Course of Studies, Grade I A first year of piano: 136 short pieces by many composers, every one playable, with Mathews’s teaching notes. ← All Playable Books 
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