. Modern orchestration and instrumentation : or, The art of instrumentation ; containing detailed descriptions of the character and peculiarities of all instruments and their practical employment. PjZ^- -^) 1. Tenor i -(^-^^_c)- .a- (^-^-g- Rt ■- i 1 (S2) ^2. 1 .1, j^y-^) 1 Choruses for male voices demand an elegant,correct style, flawless harmonic progression, ap-propriate tonal-shading, and simplicity and goodtaste in particular; too many modulations, disso-nances, and complicated chord-progressions mustalso be avoided. I have already mentioned how much isdependent upon correct and flowing h
. Modern orchestration and instrumentation : or, The art of instrumentation ; containing detailed descriptions of the character and peculiarities of all instruments and their practical employment. PjZ^- -^) 1. Tenor i -(^-^^_c)- .a- (^-^-g- Rt ■- i 1 (S2) ^2. 1 .1, j^y-^) 1 Choruses for male voices demand an elegant,correct style, flawless harmonic progression, ap-propriate tonal-shading, and simplicity and goodtaste in particular; too many modulations, disso-nances, and complicated chord-progressions mustalso be avoided. I have already mentioned how much isdependent upon correct and flowing harmonicprogression, and dwelt upon the importance ofnot exceeding the real compass of each instance, should we desire to arrange theAve Verum, originally composed by Mozartfor a chorus of mixed voices, for male chorus,and endeavor to retain Mozarts charming treat-ment of the voices, the third part (first Bass)would come to lie much higher than the firstTenor, and in consequence of the close positionof the triad-intervals, the harmony producedwould be a dull, indistinct, and disagreeableone, as shown in the following examples: — AVE VERUM. \ W. A. Mozart. ^^^pmmm^f^wf. 282 KLINGS MODERN fNSTRi/MENTATION AND ORCHESTRATION. Arrangement fur Male voices f^- J_J J J \_J ! I JJJ^ !
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