e distribution of chords in close
three-part harmony is self-evident; any grouping of three instruments
of the same timbre is sure to sound well:

[Music]

also: [Music]

[Music]

Overlaying of parts is the best method to follow in writing close
four-part harmony; three instruments of the same timbre with a fourth
instrument of another. Crossing and enclosure of parts may also be
employed. Correspondence of timbres and the progression of remote
parts must be kept in mind:

[Music]

The method of using three instruments of the same timbre in
widely-divided three-part harmony is inferior:

[Music: Not good Better Better Not good Better Better]

But if the third instrument is of low register (Bass Fl., Eng. horn,
Bass cl., or C-fag.), the resonance will be satisfactory:

[Music]

In chords of four-part harmony, three instruments of the same timbre
should be combined with a fourth instrument of another:

[Music] etc.

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):

[Music]

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

[Music]

_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:

[Music]

[Music] etc.

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:

[Music] Here the arrangement [Music] is bad.

Duplication of timbres.

A. If the wood-wind is in pairs it is a good plan to mix the doubled
timbres as much as possible:

[Music: Excellent],

also: [Music]

In chords of four-part harmony the classical method may be adopted:

[Music]

In this case, though th