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In music composition and arranging, a voicing is the instrumentation and vertical spacing and ordering of the pitches in a chord: which notes are on the top or in the middle, which ones are doubled, which octave each is in, and which instruments or voices perform each. Voicing is "the manner in which one distributes, or spaces, notes and chords among the various instruments" and spacing or "simultaneous vertical placement of notes in relation to each other." For example, the following three chords are root-position C major triads voiced differently: All three voicings above are in root position, while the first is in close position, the most compact voicing, and the second and third are in open position, which includes wider spacing. In triadic chords, close root position voicing is the most compact voicing in thirds which has the root in the bass. Open and closed harmony are harmony and harmonization constructed from open and close position chords, respectively. Many composers, as they developed and gained experience, became more enterprising and imaginative in their handling of chord voicing. For example, the theme from the andante movement of Beethoven’s early Piano Sonata No. 10 (1798), presents chords mostly in closed position:〔https://www.youtube.com/watch?v=InpfJ_HwncU〕 Whereas in the theme of the Arietta movement that concludes his last Piano Sonata No. 32, Op.111 (1822), composed some twenty years later, Beethoven presents the chord voicing in a much more daring way, with wide gaps between notes, creating compelling sonorities that enhance the meditative character of the music:〔https://www.youtube.com/watch?v=Ndv73B-pVas〕 Philip Barford (1971, p.147) describes The Arietta of Op. 111 as "simplicity itself … its widely-spaced harmonization creates a mood of almost mystical intensity. In this exquisite harmonization the notes do not make their own track – the way we play them depends upon the way we catch the inner vibration of the thought between the notes, and this will condition every nuance of shading."〔Barford P. (1971, p.147) ‘The Piano Music – II’ in Arnold, D. and Fortune, N. (eds) the Beethoven Companion. London, Faber.〕 Ravel’s "Pavane de la Belle au Bois Dormant" (Pavane for the Sleeping Beauty) from his 1908 suite ''Ma Mère l’Oye'' (Mother Goose) exploits the delicate transparency of voicing afforded through the medium of the piano duet. Four hands can cope better that two when it comes to playing widely-spaced chords. This is especially apparent in bars 5-8 of the following extract:〔https://www.youtube.com/watch?v=nGUoEQMeEuE, an orchestral version can also be heard at https://www.youtube.com/watch?v=T5oVgqIbOqw〕 Speaking of this piece, Austin (1966, p. 172) writes about Ravel’s technique of “varying the sonority from phrase to phrase by telling changes of register.” 〔Austin, W. (1966) Music in the 20th Century. London, Dent.〕 The two chords that open and close Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes.〔https://www.youtube.com/watch?v=LUGyAtcEFy8, the closing chord can be heard at 21:57 of this recording〕 Austin (1966, p. 334) remarks: "The first and last chords of the Symphony of Psalms are famous. The opening staccato blast, which recurs throughout the first movement, detached from its surroundings by silence, seems to be a perverse spacing of the E minor triad, with the minor third doubled in four octaves while the root and fifth appear only twice, at high and low extremes... When the tonic C major finally arrives, in the last movement, its root is doubled in five octaves, its fifth is left to the natural overtones, and its decisive third appears just once, in the highest range. This spacing is as extraordinary as the spacing of the first chord, but with the opposite effect of super-clarity and consonance, thus resolving and justifying the first chord and all the horror of the miry clay."〔Austin, W. (1966, p334) Music in the 20th Century. London, Dent.〕 == Doubling == Melodic doubling in parallel is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movement〔Benward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0.〕 while octave doubling (and doubling at other intervals, also called parallelism〔Benward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.〕) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above). Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.〔 Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).〔Benward & Saker (2009), p.106.〕 Some pitch material may be described as ''autonomous doubling'' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.〔Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.〕 抄文引用元・出典: フリー百科事典『 '''Melodic doubling in parallel''' is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movementBenward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0. while '''octave doubling''' (and doubling at other intervals, also called '''parallelism'''Benward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above).Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).Benward & Saker (2009), p.106.Some pitch material may be described as '''''autonomous doubling''''' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.">ウィキペディア（Wikipedia）』 ■'''Melodic doubling in parallel''' is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movementBenward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0. while '''octave doubling''' (and doubling at other intervals, also called '''parallelism'''Benward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above).Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).Benward & Saker (2009), p.106.Some pitch material may be described as '''''autonomous doubling''''' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.">ウィキペディアで「In music composition and arranging, a '''voicing''' is the instrumentation and vertical spacing and ordering of the pitches in a chord: which notes are on the top or in the middle, which ones are doubled, which octave each is in, and which instruments or voices perform each.Voicing is "the manner in which one distributes, or spaces, notes and chords among the various instruments" and spacing or "simultaneous vertical placement of notes in relation to each other."For example, the following three chords are root-position C major triads voiced differently:All three voicings above are in root position, while the first is in '''close position''', the most compact voicing, and the second and third are in '''open position''', which includes wider spacing. In triadic chords, close root position voicing is the most compact voicing in thirds which has the root in the bass. Open and closed harmony are harmony and harmonization constructed from open and close position chords, respectively.Many composers, as they developed and gained experience, became more enterprising and imaginative in their handling of chord voicing. For example, the theme from the andante movement of Beethoven’s early Piano Sonata No. 10 (1798), presents chords mostly in closed position:https://www.youtube.com/watch?v=InpfJ_HwncUWhereas in the theme of the Arietta movement that concludes his last Piano Sonata No. 32, Op.111 (1822), composed some twenty years later, Beethoven presents the chord voicing in a much more daring way, with wide gaps between notes, creating compelling sonorities that enhance the meditative character of the music:https://www.youtube.com/watch?v=Ndv73B-pVas Philip Barford (1971, p.147) describes The Arietta of Op. 111 as "simplicity itself … its widely-spaced harmonization creates a mood of almost mystical intensity. In this exquisite harmonization the notes do not make their own track – the way we play them depends upon the way we catch the inner vibration of the thought between the notes, and this will condition every nuance of shading."Barford P. (1971, p.147) ‘The Piano Music – II’ in Arnold, D. and Fortune, N. (eds) the Beethoven Companion. London, Faber.Ravel’s "Pavane de la Belle au Bois Dormant" (Pavane for the Sleeping Beauty) from his 1908 suite ''Ma Mère l’Oye'' (Mother Goose) exploits the delicate transparency of voicing afforded through the medium of the piano duet. Four hands can cope better that two when it comes to playing widely-spaced chords. This is especially apparent in bars 5-8 of the following extract:https://www.youtube.com/watch?v=nGUoEQMeEuE, an orchestral version can also be heard at https://www.youtube.com/watch?v=T5oVgqIbOqwSpeaking of this piece, Austin (1966, p. 172) writes about Ravel’s technique of “varying the sonority from phrase to phrase by telling changes of register.”Austin, W. (1966) Music in the 20th Century. London, Dent.The two chords that open and close Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes.https://www.youtube.com/watch?v=LUGyAtcEFy8, the closing chord can be heard at 21:57 of this recording Austin (1966, p. 334) remarks: "The first and last chords of the Symphony of Psalms are famous. The opening staccato blast, which recurs throughout the first movement, detached from its surroundings by silence, seems to be a perverse spacing of the E minor triad, with the minor third doubled in four octaves while the root and fifth appear only twice, at high and low extremes... When the tonic C major finally arrives, in the last movement, its root is doubled in five octaves, its fifth is left to the natural overtones, and its decisive third appears just once, in the highest range. This spacing is as extraordinary as the spacing of the first chord, but with the opposite effect of super-clarity and consonance, thus resolving and justifying the first chord and all the horror of the miry clay."Austin, W. (1966, p334) Music in the 20th Century. London, Dent.== Doubling ==Doubling (voicing) redirects here-->'''Melodic doubling in parallel''' is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movementBenward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0. while '''octave doubling''' (and doubling at other intervals, also called '''parallelism'''Benward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above).Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).Benward & Saker (2009), p.106.Some pitch material may be described as '''''autonomous doubling''''' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.」の詳細全文を読む In music composition and arranging, a voicing is the instrumentation and vertical spacing and ordering of the pitches in a chord: which notes are on the top or in the middle, which ones are doubled, which octave each is in, and which instruments or voices perform each. Voicing is "the manner in which one distributes, or spaces, notes and chords among the various instruments" and spacing or "simultaneous vertical placement of notes in relation to each other." For example, the following three chords are root-position C major triads voiced differently: All three voicings above are in root position, while the first is in close position, the most compact voicing, and the second and third are in open position, which includes wider spacing. In triadic chords, close root position voicing is the most compact voicing in thirds which has the root in the bass. Open and closed harmony are harmony and harmonization constructed from open and close position chords, respectively. Many composers, as they developed and gained experience, became more enterprising and imaginative in their handling of chord voicing. For example, the theme from the andante movement of Beethoven’s early Piano Sonata No. 10 (1798), presents chords mostly in closed position:〔https://www.youtube.com/watch?v=InpfJ_HwncU〕 Whereas in the theme of the Arietta movement that concludes his last Piano Sonata No. 32, Op.111 (1822), composed some twenty years later, Beethoven presents the chord voicing in a much more daring way, with wide gaps between notes, creating compelling sonorities that enhance the meditative character of the music:〔https://www.youtube.com/watch?v=Ndv73B-pVas〕 Philip Barford (1971, p.147) describes The Arietta of Op. 111 as "simplicity itself … its widely-spaced harmonization creates a mood of almost mystical intensity. In this exquisite harmonization the notes do not make their own track – the way we play them depends upon the way we catch the inner vibration of the thought between the notes, and this will condition every nuance of shading."〔Barford P. (1971, p.147) ‘The Piano Music – II’ in Arnold, D. and Fortune, N. (eds) the Beethoven Companion. London, Faber.〕 Ravel’s "Pavane de la Belle au Bois Dormant" (Pavane for the Sleeping Beauty) from his 1908 suite ''Ma Mère l’Oye'' (Mother Goose) exploits the delicate transparency of voicing afforded through the medium of the piano duet. Four hands can cope better that two when it comes to playing widely-spaced chords. This is especially apparent in bars 5-8 of the following extract:〔https://www.youtube.com/watch?v=nGUoEQMeEuE, an orchestral version can also be heard at https://www.youtube.com/watch?v=T5oVgqIbOqw〕 Speaking of this piece, Austin (1966, p. 172) writes about Ravel’s technique of “varying the sonority from phrase to phrase by telling changes of register.” 〔Austin, W. (1966) Music in the 20th Century. London, Dent.〕 The two chords that open and close Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes.〔https://www.youtube.com/watch?v=LUGyAtcEFy8, the closing chord can be heard at 21:57 of this recording〕 Austin (1966, p. 334) remarks: "The first and last chords of the Symphony of Psalms are famous. The opening staccato blast, which recurs throughout the first movement, detached from its surroundings by silence, seems to be a perverse spacing of the E minor triad, with the minor third doubled in four octaves while the root and fifth appear only twice, at high and low extremes... When the tonic C major finally arrives, in the last movement, its root is doubled in five octaves, its fifth is left to the natural overtones, and its decisive third appears just once, in the highest range. This spacing is as extraordinary as the spacing of the first chord, but with the opposite effect of super-clarity and consonance, thus resolving and justifying the first chord and all the horror of the miry clay."〔Austin, W. (1966, p334) Music in the 20th Century. London, Dent.〕 == Doubling == Melodic doubling in parallel is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movement〔Benward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0.〕 while octave doubling (and doubling at other intervals, also called parallelism〔Benward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.〕) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above). Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.〔 Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).〔Benward & Saker (2009), p.106.〕 Some pitch material may be described as ''autonomous doubling'' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.〔Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.〕 抄文引用元・出典: フリー百科事典『 '''Melodic doubling in parallel''' is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movementBenward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0. while '''octave doubling''' (and doubling at other intervals, also called '''parallelism'''Benward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above).Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).Benward & Saker (2009), p.106.Some pitch material may be described as '''''autonomous doubling''''' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.">ウィキペディア（Wikipedia）』 ■'''Melodic doubling in parallel''' is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movementBenward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0. while '''octave doubling''' (and doubling at other intervals, also called '''parallelism'''Benward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above).Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).Benward & Saker (2009), p.106.Some pitch material may be described as '''''autonomous doubling''''' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.">ウィキペディアで「In music composition and arranging, a '''voicing''' is the instrumentation and vertical spacing and ordering of the pitches in a chord: which notes are on the top or in the middle, which ones are doubled, which octave each is in, and which instruments or voices perform each.Voicing is "the manner in which one distributes, or spaces, notes and chords among the various instruments" and spacing or "simultaneous vertical placement of notes in relation to each other."For example, the following three chords are root-position C major triads voiced differently:All three voicings above are in root position, while the first is in '''close position''', the most compact voicing, and the second and third are in '''open position''', which includes wider spacing. In triadic chords, close root position voicing is the most compact voicing in thirds which has the root in the bass. Open and closed harmony are harmony and harmonization constructed from open and close position chords, respectively.Many composers, as they developed and gained experience, became more enterprising and imaginative in their handling of chord voicing. For example, the theme from the andante movement of Beethoven’s early Piano Sonata No. 10 (1798), presents chords mostly in closed position:https://www.youtube.com/watch?v=InpfJ_HwncUWhereas in the theme of the Arietta movement that concludes his last Piano Sonata No. 32, Op.111 (1822), composed some twenty years later, Beethoven presents the chord voicing in a much more daring way, with wide gaps between notes, creating compelling sonorities that enhance the meditative character of the music:https://www.youtube.com/watch?v=Ndv73B-pVas Philip Barford (1971, p.147) describes The Arietta of Op. 111 as "simplicity itself … its widely-spaced harmonization creates a mood of almost mystical intensity. In this exquisite harmonization the notes do not make their own track – the way we play them depends upon the way we catch the inner vibration of the thought between the notes, and this will condition every nuance of shading."Barford P. (1971, p.147) ‘The Piano Music – II’ in Arnold, D. and Fortune, N. (eds) the Beethoven Companion. London, Faber.Ravel’s "Pavane de la Belle au Bois Dormant" (Pavane for the Sleeping Beauty) from his 1908 suite ''Ma Mère l’Oye'' (Mother Goose) exploits the delicate transparency of voicing afforded through the medium of the piano duet. Four hands can cope better that two when it comes to playing widely-spaced chords. This is especially apparent in bars 5-8 of the following extract:https://www.youtube.com/watch?v=nGUoEQMeEuE, an orchestral version can also be heard at https://www.youtube.com/watch?v=T5oVgqIbOqwSpeaking of this piece, Austin (1966, p. 172) writes about Ravel’s technique of “varying the sonority from phrase to phrase by telling changes of register.”Austin, W. (1966) Music in the 20th Century. London, Dent.The two chords that open and close Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes.https://www.youtube.com/watch?v=LUGyAtcEFy8, the closing chord can be heard at 21:57 of this recording Austin (1966, p. 334) remarks: "The first and last chords of the Symphony of Psalms are famous. The opening staccato blast, which recurs throughout the first movement, detached from its surroundings by silence, seems to be a perverse spacing of the E minor triad, with the minor third doubled in four octaves while the root and fifth appear only twice, at high and low extremes... When the tonic C major finally arrives, in the last movement, its root is doubled in five octaves, its fifth is left to the natural overtones, and its decisive third appears just once, in the highest range. This spacing is as extraordinary as the spacing of the first chord, but with the opposite effect of super-clarity and consonance, thus resolving and justifying the first chord and all the horror of the miry clay."Austin, W. (1966, p334) Music in the 20th Century. London, Dent.== Doubling ==Doubling (voicing) redirects here-->'''Melodic doubling in parallel''' is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movementBenward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0. while '''octave doubling''' (and doubling at other intervals, also called '''parallelism'''Benward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above).Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).Benward & Saker (2009), p.106.Some pitch material may be described as '''''autonomous doubling''''' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.」の詳細全文を読む In music composition and arranging, a voicing is the instrumentation and vertical spacing and ordering of the pitches in a chord: which notes are on the top or in the middle, which ones are doubled, which octave each is in, and which instruments or voices perform each. Voicing is "the manner in which one distributes, or spaces, notes and chords among the various instruments" and spacing or "simultaneous vertical placement of notes in relation to each other." For example, the following three chords are root-position C major triads voiced differently: All three voicings above are in root position, while the first is in close position, the most compact voicing, and the second and third are in open position, which includes wider spacing. In triadic chords, close root position voicing is the most compact voicing in thirds which has the root in the bass. Open and closed harmony are harmony and harmonization constructed from open and close position chords, respectively. Many composers, as they developed and gained experience, became more enterprising and imaginative in their handling of chord voicing. For example, the theme from the andante movement of Beethoven’s early Piano Sonata No. 10 (1798), presents chords mostly in closed position:〔https://www.youtube.com/watch?v=InpfJ_HwncU〕 Whereas in the theme of the Arietta movement that concludes his last Piano Sonata No. 32, Op.111 (1822), composed some twenty years later, Beethoven presents the chord voicing in a much more daring way, with wide gaps between notes, creating compelling sonorities that enhance the meditative character of the music:〔https://www.youtube.com/watch?v=Ndv73B-pVas〕 Philip Barford (1971, p.147) describes The Arietta of Op. 111 as "simplicity itself … its widely-spaced harmonization creates a mood of almost mystical intensity. In this exquisite harmonization the notes do not make their own track – the way we play them depends upon the way we catch the inner vibration of the thought between the notes, and this will condition every nuance of shading."〔Barford P. (1971, p.147) ‘The Piano Music – II’ in Arnold, D. and Fortune, N. (eds) the Beethoven Companion. London, Faber.〕 Ravel’s "Pavane de la Belle au Bois Dormant" (Pavane for the Sleeping Beauty) from his 1908 suite ''Ma Mère l’Oye'' (Mother Goose) exploits the delicate transparency of voicing afforded through the medium of the piano duet. Four hands can cope better that two when it comes to playing widely-spaced chords. This is especially apparent in bars 5-8 of the following extract:〔https://www.youtube.com/watch?v=nGUoEQMeEuE, an orchestral version can also be heard at https://www.youtube.com/watch?v=T5oVgqIbOqw〕 Speaking of this piece, Austin (1966, p. 172) writes about Ravel’s technique of “varying the sonority from phrase to phrase by telling changes of register.” 〔Austin, W. (1966) Music in the 20th Century. London, Dent.〕 The two chords that open and close Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes.〔https://www.youtube.com/watch?v=LUGyAtcEFy8, the closing chord can be heard at 21:57 of this recording〕 Austin (1966, p. 334) remarks: "The first and last chords of the Symphony of Psalms are famous. The opening staccato blast, which recurs throughout the first movement, detached from its surroundings by silence, seems to be a perverse spacing of the E minor triad, with the minor third doubled in four octaves while the root and fifth appear only twice, at high and low extremes... When the tonic C major finally arrives, in the last movement, its root is doubled in five octaves, its fifth is left to the natural overtones, and its decisive third appears just once, in the highest range. This spacing is as extraordinary as the spacing of the first chord, but with the opposite effect of super-clarity and consonance, thus resolving and justifying the first chord and all the horror of the miry clay."〔Austin, W. (1966, p334) Music in the 20th Century. London, Dent.〕 == Doubling == Melodic doubling in parallel is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movement〔Benward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0.〕 while octave doubling (and doubling at other intervals, also called parallelism〔Benward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.〕) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above). Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.〔 Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).〔Benward & Saker (2009), p.106.〕 Some pitch material may be described as ''autonomous doubling'' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.〔Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.〕 抄文引用元・出典: フリー百科事典『 close position, the most compact voicing, and the second and third are in open position, which includes wider spacing. In triadic chords, close root position voicing is the most compact voicing in thirds which has the root in the bass. Open and closed harmony are harmony and harmonization constructed from open and close position chords, respectively.Many composers, as they developed and gained experience, became more enterprising and imaginative in their handling of chord voicing. For example, the theme from the andante movement of Beethoven’s early Piano Sonata No. 10 (1798), presents chords mostly in closed position:https://www.youtube.com/watch?v=InpfJ_HwncUWhereas in the theme of the Arietta movement that concludes his last Piano Sonata No. 32, Op.111 (1822), composed some twenty years later, Beethoven presents the chord voicing in a much more daring way, with wide gaps between notes, creating compelling sonorities that enhance the meditative character of the music:https://www.youtube.com/watch?v=Ndv73B-pVas Philip Barford (1971, p.147) describes The Arietta of Op. 111 as "simplicity itself … its widely-spaced harmonization creates a mood of almost mystical intensity. In this exquisite harmonization the notes do not make their own track – the way we play them depends upon the way we catch the inner vibration of the thought between the notes, and this will condition every nuance of shading."Barford P. (1971, p.147) ‘The Piano Music – II’ in Arnold, D. and Fortune, N. (eds) the Beethoven Companion. London, Faber.Ravel’s "Pavane de la Belle au Bois Dormant" (Pavane for the Sleeping Beauty) from his 1908 suite ''Ma Mère l’Oye'' (Mother Goose) exploits the delicate transparency of voicing afforded through the medium of the piano duet. Four hands can cope better that two when it comes to playing widely-spaced chords. This is especially apparent in bars 5-8 of the following extract:https://www.youtube.com/watch?v=nGUoEQMeEuE, an orchestral version can also be heard at https://www.youtube.com/watch?v=T5oVgqIbOqwSpeaking of this piece, Austin (1966, p. 172) writes about Ravel’s technique of “varying the sonority from phrase to phrase by telling changes of register.”Austin, W. (1966) Music in the 20th Century. London, Dent.The two chords that open and close Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes.https://www.youtube.com/watch?v=LUGyAtcEFy8, the closing chord can be heard at 21:57 of this recording Austin (1966, p. 334) remarks: "The first and last chords of the Symphony of Psalms are famous. The opening staccato blast, which recurs throughout the first movement, detached from its surroundings by silence, seems to be a perverse spacing of the E minor triad, with the minor third doubled in four octaves while the root and fifth appear only twice, at high and low extremes... When the tonic C major finally arrives, in the last movement, its root is doubled in five octaves, its fifth is left to the natural overtones, and its decisive third appears just once, in the highest range. This spacing is as extraordinary as the spacing of the first chord, but with the opposite effect of super-clarity and consonance, thus resolving and justifying the first chord and all the horror of the miry clay."Austin, W. (1966, p334) Music in the 20th Century. London, Dent.== Doubling ==Doubling (voicing) redirects here-->Melodic doubling in parallel is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movementBenward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0. while octave doubling (and doubling at other intervals, also called parallelismBenward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above).Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).Benward & Saker (2009), p.106.Some pitch material may be described as ''autonomous doubling''''' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.">ウィキペディア（Wikipedia）』 ■'''Melodic doubling in parallel''' is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movementBenward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0. while '''octave doubling''' (and doubling at other intervals, also called '''parallelism'''Benward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above).Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).Benward & Saker (2009), p.106.Some pitch material may be described as '''''autonomous doubling''''' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.">ウィキペディアで「In music composition and arranging, a '''voicing''' is the instrumentation and vertical spacing and ordering of the pitches in a chord: which notes are on the top or in the middle, which ones are doubled, which octave each is in, and which instruments or voices perform each.Voicing is "the manner in which one distributes, or spaces, notes and chords among the various instruments" and spacing or "simultaneous vertical placement of notes in relation to each other."For example, the following three chords are root-position C major triads voiced differently:All three voicings above are in root position, while the first is in '''close position''', the most compact voicing, and the second and third are in '''open position''', which includes wider spacing. In triadic chords, close root position voicing is the most compact voicing in thirds which has the root in the bass. Open and closed harmony are harmony and harmonization constructed from open and close position chords, respectively.Many composers, as they developed and gained experience, became more enterprising and imaginative in their handling of chord voicing. For example, the theme from the andante movement of Beethoven’s early Piano Sonata No. 10 (1798), presents chords mostly in closed position:https://www.youtube.com/watch?v=InpfJ_HwncUWhereas in the theme of the Arietta movement that concludes his last Piano Sonata No. 32, Op.111 (1822), composed some twenty years later, Beethoven presents the chord voicing in a much more daring way, with wide gaps between notes, creating compelling sonorities that enhance the meditative character of the music:https://www.youtube.com/watch?v=Ndv73B-pVas Philip Barford (1971, p.147) describes The Arietta of Op. 111 as "simplicity itself … its widely-spaced harmonization creates a mood of almost mystical intensity. In this exquisite harmonization the notes do not make their own track – the way we play them depends upon the way we catch the inner vibration of the thought between the notes, and this will condition every nuance of shading."Barford P. (1971, p.147) ‘The Piano Music – II’ in Arnold, D. and Fortune, N. (eds) the Beethoven Companion. London, Faber.Ravel’s "Pavane de la Belle au Bois Dormant" (Pavane for the Sleeping Beauty) from his 1908 suite ''Ma Mère l’Oye'' (Mother Goose) exploits the delicate transparency of voicing afforded through the medium of the piano duet. Four hands can cope better that two when it comes to playing widely-spaced chords. This is especially apparent in bars 5-8 of the following extract:https://www.youtube.com/watch?v=nGUoEQMeEuE, an orchestral version can also be heard at https://www.youtube.com/watch?v=T5oVgqIbOqwSpeaking of this piece, Austin (1966, p. 172) writes about Ravel’s technique of “varying the sonority from phrase to phrase by telling changes of register.”Austin, W. (1966) Music in the 20th Century. London, Dent.The two chords that open and close Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes.https://www.youtube.com/watch?v=LUGyAtcEFy8, the closing chord can be heard at 21:57 of this recording Austin (1966, p. 334) remarks: "The first and last chords of the Symphony of Psalms are famous. The opening staccato blast, which recurs throughout the first movement, detached from its surroundings by silence, seems to be a perverse spacing of the E minor triad, with the minor third doubled in four octaves while the root and fifth appear only twice, at high and low extremes... When the tonic C major finally arrives, in the last movement, its root is doubled in five octaves, its fifth is left to the natural overtones, and its decisive third appears just once, in the highest range. This spacing is as extraordinary as the spacing of the first chord, but with the opposite effect of super-clarity and consonance, thus resolving and justifying the first chord and all the horror of the miry clay."Austin, W. (1966, p334) Music in the 20th Century. London, Dent.== Doubling ==Doubling (voicing) redirects here-->'''Melodic doubling in parallel''' is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movementBenward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0. while '''octave doubling''' (and doubling at other intervals, also called '''parallelism'''Benward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above).Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).Benward & Saker (2009), p.106.Some pitch material may be described as '''''autonomous doubling''''' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.」の詳細全文を読む ■'''Melodic doubling in parallel''' is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movementBenward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0. while '''octave doubling''' (and doubling at other intervals, also called '''parallelism'''Benward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above).Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).Benward & Saker (2009), p.106.Some pitch material may be described as '''''autonomous doubling''''' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.">ウィキペディアで「In music composition and arranging, a '''voicing''' is the instrumentation and vertical spacing and ordering of the pitches in a chord: which notes are on the top or in the middle, which ones are doubled, which octave each is in, and which instruments or voices perform each.Voicing is "the manner in which one distributes, or spaces, notes and chords among the various instruments" and spacing or "simultaneous vertical placement of notes in relation to each other."For example, the following three chords are root-position C major triads voiced differently:All three voicings above are in root position, while the first is in '''close position''', the most compact voicing, and the second and third are in '''open position''', which includes wider spacing. In triadic chords, close root position voicing is the most compact voicing in thirds which has the root in the bass. Open and closed harmony are harmony and harmonization constructed from open and close position chords, respectively.Many composers, as they developed and gained experience, became more enterprising and imaginative in their handling of chord voicing. For example, the theme from the andante movement of Beethoven’s early Piano Sonata No. 10 (1798), presents chords mostly in closed position:https://www.youtube.com/watch?v=InpfJ_HwncUWhereas in the theme of the Arietta movement that concludes his last Piano Sonata No. 32, Op.111 (1822), composed some twenty years later, Beethoven presents the chord voicing in a much more daring way, with wide gaps between notes, creating compelling sonorities that enhance the meditative character of the music:https://www.youtube.com/watch?v=Ndv73B-pVas Philip Barford (1971, p.147) describes The Arietta of Op. 111 as "simplicity itself … its widely-spaced harmonization creates a mood of almost mystical intensity. In this exquisite harmonization the notes do not make their own track – the way we play them depends upon the way we catch the inner vibration of the thought between the notes, and this will condition every nuance of shading."Barford P. (1971, p.147) ‘The Piano Music – II’ in Arnold, D. and Fortune, N. (eds) the Beethoven Companion. London, Faber.Ravel’s "Pavane de la Belle au Bois Dormant" (Pavane for the Sleeping Beauty) from his 1908 suite ''Ma Mère l’Oye'' (Mother Goose) exploits the delicate transparency of voicing afforded through the medium of the piano duet. Four hands can cope better that two when it comes to playing widely-spaced chords. This is especially apparent in bars 5-8 of the following extract:https://www.youtube.com/watch?v=nGUoEQMeEuE, an orchestral version can also be heard at https://www.youtube.com/watch?v=T5oVgqIbOqwSpeaking of this piece, Austin (1966, p. 172) writes about Ravel’s technique of “varying the sonority from phrase to phrase by telling changes of register.”Austin, W. (1966) Music in the 20th Century. London, Dent.The two chords that open and close Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes.https://www.youtube.com/watch?v=LUGyAtcEFy8, the closing chord can be heard at 21:57 of this recording Austin (1966, p. 334) remarks: "The first and last chords of the Symphony of Psalms are famous. The opening staccato blast, which recurs throughout the first movement, detached from its surroundings by silence, seems to be a perverse spacing of the E minor triad, with the minor third doubled in four octaves while the root and fifth appear only twice, at high and low extremes... When the tonic C major finally arrives, in the last movement, its root is doubled in five octaves, its fifth is left to the natural overtones, and its decisive third appears just once, in the highest range. This spacing is as extraordinary as the spacing of the first chord, but with the opposite effect of super-clarity and consonance, thus resolving and justifying the first chord and all the horror of the miry clay."Austin, W. (1966, p334) Music in the 20th Century. London, Dent.== Doubling ==Doubling (voicing) redirects here-->'''Melodic doubling in parallel''' is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movementBenward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.253. Eighth Edition. ISBN 978-0-07-310188-0. while '''octave doubling''' (and doubling at other intervals, also called '''parallelism'''Benward & Saker (2003). ''Music: In Theory and Practice'', p.133, Vol. I. Seventh Edition. ISBN 978-0-07-294262-0.) of a voice or pitch is a number of other voices duplicating the same part at the same pitch or at different octaves. The doubling number of an octave is the number of individual voices assigned to each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above).Parallelism destroys, creates, or maintains independence of lines; for example, in deference to the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his ''English Suite'' no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part.Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord).Benward & Saker (2009), p.106.Some pitch material may be described as '''''autonomous doubling''''' in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's ''Don Giovanni''.Guion, David M. (1988). ''The Trombone: Its History and Music, 1697-1811'', p.133. Musicology: A Book Series, Vol. VI. Gordon and Breach. ISBN 2-88124-211-1.」の詳細全文を読む ■close position スポンサード リンク
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