f. Ex. 243).

No. 103. _Legend of Kitesh_ [[8]]--Harmonic basis in the strings.

" " " [[240]]--(Cf. Ex. 21).

" " " [[283]]--Harmonic basis in the strings
(cf. Ex. 2).

No. 104. _The Golden Cockerel_ [[4]]--Basis in the strings.

" " " [[125]]--Undulating rhythm in the
strings as harmonic basis (cf. Ex. 271).

In a _forte_ or _sfp_ chord, where one or two of the upper notes is
held, either sustained or _tremolando_, the balance of tone must still
be maintained, as in the following example:

[Music:

Vns I
VnII
Violas
D. basses]

Wood-wind harmony.

Before entering upon this section of the work I would remind the
reader of the general principles laid down in the beginning of the
chapter.

Harmonic texture, composed of plain chords or ornamental designs,
simple or contrapuntal in character, must possess a resonance equally
distributed throughout. This may be obtained by the following means:

1. Instruments forming chords must be used continuously in the same
way during a given passage, that is to say they must be doubled or not
throughout, except when one of the harmonic parts is to be made
prominent:

To be avoided: [Music]

2. The normal order of register must be followed, except in the case
of crossing or enclosure of parts, which will be discussed later on:

To be avoided: [Music]

3. Corresponding or adjacent registers should be made to coincide
except for certain colour effects:

To be avoided: [Music]

The second flute will sound too weak and the oboes too piercing.

4. Concords (octaves, thirds and sixths) and not discords (fifths,
fourths, seconds and sevenths), should be given to instruments of the
same kind or colour, except when discords are to be emphasised. This
rule should be specially observed in writing for the oboe with its
penetrating quality of tone:

To be avoided: [Music]

Four-part and three-part harmony.

Harmonic writing for the wood-wind may be considered from two points
of view: a) instruments in pairs, 2 Fl., 2 Ob., 2 Cl., 2 Fag.; and b)
instruments in three's, 3 Fl., 2 Ob., Eng. horn, 3 Cl., 2 Fag., C-fag.

A. _In pairs._ There are three ways of distribution: 1.
_Superposition_ or _overlaying_ (strictly following the normal order
of register), 2. _Crossing_, and 3. _Enclosure_ of parts. The last
two methods involve a certain dist