We have terminology for the different ‘types’ of chord spacing as summarized on this image:Ĭontext determines the best choice among these. we tend to see more activity in the very highest registers in orchestral scores than in most other contexts it’s usually best to return to wider spacing in those highest registers.continue to use smaller gaps higher up in the treble clef range.the octaves given by cello and double bass notated on the same pitch but sounding an octave apart) continue to use larger gaps in the bass register (e.g.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 learnt about chordal writing still apply.

For each section, follow the principles you learned in four-part writing. flutes) in the case of larger orchestras where there are greater numbers of each. This applies to the large sections (winds, brass, strings), and often also to the smaller sub-sections (e.g. For most tonal orchestators, 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”) – think melodies.“simultaneously” (or “vertically” if you prefer) – think chords and voicing, as well.We begin by thinking of orchestration very simply in terms of how to combine elements, both:

Principles of orchestration pdf