+ 1 Cl.). The question whether the _tremolo_ in
the strings should be supported by sustained harmony in the wood-wind
depends upon the purpose in view. A composer realises his intentions
beforehand, others who orchestrate his music can only proceed by
conjecture. Should the composer desire to establish a strongly-marked
difference between the harmonic basis and the melodic outline it is
better not to employ wood-wind harmony, but to obtain proper balance
of tone by carefully distributing his dynamic marks of expression,
_pp_, _p_, _f_ and _ff_. If, on the contrary, the composer desires a
full round tone as harmonic basis and less show of brilliance in the
harmonic parts, the use of harmony in the wood-wind is to be
recommended. The following may serve as a guide to the scoring of
wood-wind chords: the harmonic basis should differ from the melody not
only in fullness and intensity of tone, but also in colour. If the
fanfare figure is allotted to the brass (trumpets or horns) the
harmony should be given to the wood-wind; if the phrase is given to
the wood-wind (oboes and clarinets) the harmony should be entrusted to
the horns. To solve all these questions successfully a composer must
have full knowledge of the purpose he has in view, and those who
orchestrate his work should be permeated with his intentions. Here the
question arises, what should those intentions be? This is a more
difficult subject.

The aim of a composer is closely allied to the form of his work, to
the aesthetic meaning of its every moment and phrase considered apart,
and in relation to the composition as a whole. The choice of an
orchestral scheme depends on the musical matter, the colouring of
preceding and subsequent passages. It is important to determine
whether a given passage is a complement to or a contrast with what
goes before and comes after, whether it forms a climax or merely a
step in the general march of musical thought. It would be impossible
to examine all such possible types of relationship, or to consider the
_role_ played by each passage quoted in the present work. The reader
is therefore advised not to pay too much attention to the examples
given, but to study them and their bearing on the context in their
proper place in the full scores. Nevertheless I shall touch upon a few
of these points in the course of the following outline. To begin with,
young and inexperienced composers do not always possess a clear idea
of what they wish t