Nikolai Rimsky-Korsakov · section 47 of 100
Duplication of timbres Read and hear this section in the playable edition →
A. If the wood-wind is in pairs it is a good plan to mix the doubled timbres as much as possible:
Fig. 81 · See it in the reader Excellent
also: |
Fig. 82 · See it in the reader In chords of four-part harmony the classical method may be adopted:
Fig. 83 · See it in the reader In this case, though the high C in the flute is fairly powerful, the resonance of the G and E in the oboes is softened by the duplication of the 2nd flute and 1st clarinet, while the C in the 2nd clarinets (not doubled) is feeble in comparison with the other notes. In any case the two extreme parts are the thinnest and weakest in tone, the intermediate parts the fullest and strongest.
B. Wood-wind in three's admit of perfectly balanced mixed timbres in chords of three-part harmony:
Fig. 84 · See it in the reader These timbres may even originate from three-fold duplication:
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