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Doubling In Octaves Resulting In A Lot Of Voice Crossing.


ansthenia

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Hello

 

In some music theory books I read they tell you to avoid voice crossing between any two voices to avoid confusion. I make sure to avoid voice crossing between my main lines but then lots of it always appears as a result of doubling some or all of the voices at the ocatve.

 

Is voice crossing that appears as a result of ocatve doubling the lines non-consequential?

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in what ? Choir ? yes avoid it, if you wanna double this might work better...

 

S high = S high

S low  = A high

A high = S low

A low  = A low

T high = T high

T low  = B high

B high = T low

B low = B low

 

EDIT:

 

I meant better for sounding, it will cross anyway

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Well what I mean is lots of books on part writing will forbid voice crossing and voice overlapping amongst the different lines, but then say you can double the soprano, alto and tenor an octave higher and the bass an octave lower for more strength (all doubled at the same time). This always creates a lot of voice crossing and overlapping between one of the different octaves of the tenor, alto and soprano lines, but this overlapping and crossing is never mentioned. Why is it ok to have voices cross in this case but not before you double the lines in ocatves?

Edited by ansthenia
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The cross voicing rule you talk of applies to independent lines of music. Lines double or at the octave or unison are not considered independent of each other but instead one line. What you're learning it pertains to music theory in the creation of counterpoint. What you're asking pertains orchestration.

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Hi plutokat

 

I understand that doubling a voice at the octave does not count as adding another voice, but if you double a voice an octave higher for "orchestration" purposes and this upper octave of the voice clashes and crosses with a completely diferent voice then doesn't that still count as voice crossing?

Edited by ansthenia
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