|
I'm not really sure about this metaphor, but I love what Schoenberg had to say in Harmonielehre about choosing voice registers in the parts you write. It never occurred to me how much art went into something seemingly subtle until I read this from him in a section about four-part vocal writing. "Obviously the range of solo voices, yes, even of choral voices, is in reality larger than, perhaps different from, that indicated here, which only aims at a fairly correct average. The middle register, which should be the one chiefly used, lies a fourth or a fifth from the highest and lowest tones, so that we have:" <image of vocal ranges> "Of course the pupil cannot get along with just the tones of the middle register and will have to use some from the higher or lower registers- naturally, at first only the adjacent tones, but then also on occasion the highest or lowest, if there is no other way. In general, however, he should seldom overstep to any significant degree the bounds of an octave whoever wants to write parts comfortable for the voice will avoid, even in actual composition, extended passages exclusively in one of the outer registers. The pupil should therefore enter these registers only for a short time and leave them as soon as possible. Whenever the treatment of solo or choral voices in practice indicates otherwise, it is because the composer sought some compositional or acoustical effects irrelevant to our present aims." "The characteristics of the voices indicate the requirements, supported by experience for their combination in choral writing. If no voice is to stand out, then all voices will seek out registers whose acoustical potential is approximately the same. For, were a voice to sing in a more brilliant register, while the others move in a duller register, that voice would naturally be quite noticeable. If this voice is intended to stand out (for example, when an inner voice has the melody), then it is well that it sing in a more expressive register. But if it is inadvertently conspicuous, then the director would have to rely on shading, he would have to create equilibrium by subduing the prominent voice or by strengthening the weaker ones." |