For a blended sound, we often use integrated “interlocking” voicing, taking care to balance the different strengths of each instrument according to the register conversely, to achieve a different color for each note, use wider spacing. We have terminology for the different types of chord spacing as summarized in Example 1:Ĭontext determines the best choice among these.
Continue to use smaller gaps higher up in the treble clef range.Continue to use larger gaps in the bass register (e.g., the octaves given by cello and double bass notated on the same pitch but sounding an octave apart).We now see the densest packing in the middle.The number and prominence of each pitch, including avoiding the overdoubling of the third in a triad.The inclusion of all (or at least the most important) harmonic pitches.
That’s right, the principles you’ve already learned about chordal writing still apply. For each section, follow the principles you learned in four-part writing. This applies to the large sections (winds, brass, strings), and often also to the smaller sub-sections (e.g., flutes) in the case of larger orchestras where there are greater numbers of each. For most tonal orchestrators, the default answer is a very clear “yes, blend!” Voicing chordsĪs a rule of thumb for tutti orchestration, blend by treating each section as if it were self-contained. To b(lend) or not to b(lend) … that is the question … for “simultaneous” orchestration. “successively” (or “horizontally”) for effects like orchestral crescendos.“simultaneously” (or “vertically” if you prefer) for voicing chords, doubling melody lines, and handling texture.
Ii analyzing seventh chords in musical contexts how to#
We begin by thinking of orchestration very simply in terms of how to combine elements, both:
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