Nikolai Rimsky-Korsakov · section 46 of 100

Harmony in several parts

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):

In widely-divided harmony chords in several parts are to be avoided as they will entail both close and extended writing:

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:

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.
[Listen] | | [Listen] |