tion is possible.

Good: [Music]

_Note._ Notes in unison resulting from correct duplication
need not be avoided, for although the tone in such cases is
not absolutely uniform, the ear will be satisfied with the
correct progression of parts.

Consecutive octaves between the upper parts are not permissible:

Bad: [Music]

Consecutive fifths resulting from the duplication of the three upper
parts moving in chords of sixths are of no importance:

Good: [Music]

The bass of an inversion of the dominant chord should never be doubled
in any of the upper parts:

Good: [Music] Bad: [Music]

This applies also to other chords of the seventh and diminished
seventh:

Bad: [Music] Good: [Music]

The rules of harmony concerning sustained and pedal passages apply
with equal force to orchestral writing. As regards passing and
auxiliary notes, _echappees_, considerable licence is permitted in
rapid passages of different texture:

One texture: [Music]

A different one: [Music]

One texture: [Music]

A different one: [Music]

A certain figure and its essentials, in simplified form, may proceed
concurrently, as in the following example:

One texture: [Music]

A different one: [Music]

A third: [Music]

Upper and inner pedal notes are more effective on the orchestra than
in pianoforte or chamber music, owing to the greater variety of tone
colour:

[Music]

In Vol. II of the present work many examples of the above methods will
be found.

Distribution of notes in chords.

The normal order of sounds or the natural harmonic scale:

[Music]

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:

[Music]

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: [Music]

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

[Music] [Music]

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

Good: [Music]

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

Not good: [Music]

Hence it follows that the dist