Writing backgrounds for low-middle register melodies

I would like to know what kind of techniques (in both orchestration and arranging) you would employ when the melody is in the alto-tenor register so that the harmony is not stacked-up (is this the right expression) in the muddy, low, registers (if one chooses to put all the harmony below the melody)??? Or have the harmonic lines steal attention from the melody when they are located in higher registers than the melody??? :)

I believe that the choices for the background would be a) to play softly, b) to be careful not to have the background move in the registers of the instrument playing the melody, c) to employ static voice leading (not much movement, long, held notes) for the background. :angry: Do you have more techniques to share? Also, when would it be ok for the background to move in the register of the melody? Is it just for instruments that don't sustain notes (like the piano, or the harp)?

What such techniques would you use when writing for solo piano? For a chamber music ensemble? For a full orchestra? :)

PS. Sorry for my english, I am not a native english speaker. I hope you understand.

Mano,

Welcome! Here's some thoughts:

Timbral color can play a major part. The obvious examples: woodwind melody, brass background; brass melody, string background and so on. Other things to consider are the myriad of mutes available to brass players; doubles (saxophones, bass flute, etc).

Voicings - for harmonic parts (i.e. voiced pads and such), be aware of how particular voicings can affect how they're perceived by a listener. Close voicings and dissonance may bring out the background; or build an interesting texture behind your melody.

Rhythm - Long slow melody? Try short, quick backgrounds. A strong rhythm can add momentum and direction to a piece, while not detracting from a melodic line.

...all told, it's a balance of contrasts. Listen a lot - what do you like about the pieces you listen to? Assimilate and absorb, try things out.

Have fun.

You need the melodic part to come through so you organise the accompaniment to allow it - there are countless examples in scores to look at from Beethoven to me and beyond. Other than that, the question is impossible to answer in just a few words.

As you've had to ask it, can I assume you aren't thinking of a full orchestral tutti yet? (That needs a fair bit of thought especially if you're scoring the stretto of a fugue where parts come in all over the compass and you must mark their entry etc...)

Otherwise, reinforce the sound to make it prominent. Choose the right octave and unison doublings. And/OR, thin out the surrounding texture, setting only a bass deeper, the rest of the harmony above (if necessary).

Avoid instruments that need special consideration, like low flute/alto flute - they sound loud when soloing but drowned out by almost anything.

Think about making the melody the lowest part with the harmony above.

Think about a sustained melody with the accompaniment lightly broken into rhythmic figures above and below - say pizz basses marking the beat with light chords 'answering' above.

Mark the melody parts at least one dynamic level higher than the rest.

You'll find lots of examples in scores like:

Brahms: Symphony 1 last movement.

Elgar: Symphony 2; the Enigma Variations.

Ravel: Daphnis & Chloe

Beethoven: Symphony 9 3rd & 4th movement

Vaughan Williams: Symphony 6

Holst: Planets Suite.

Schubert's Unfinished (a couple of examples)

in fact, I can't think of any composer who doesn't write tenor/bass melodies.

robinjessome, hello! These are some wonderful suggestions. :laugh: The idea about the voicings seems very interesting! But, what do you mean? Voicings in registers above and below the melody, the melody being sandwiched in-between? Just above/below? Specific types of voicings (e.g. with fourths, polychords, upper structures etc)? Dissonances are a great idea in parts where the melody rests, I believe?

You need the melodic part to come through so you organise the accompaniment to allow it - there are countless examples in scores to look at from Beethoven to me and beyond. Other than that, the question is impossible to answer in just a few words.

As you've had to ask it, can I assume you aren't thinking of a full orchestral tutti yet? (That needs a fair bit of thought especially if you're scoring the stretto of a fugue where parts come in all over the compass and you must mark their entry etc...)

in fact, I can't think of any composer who doesn't write tenor/bass melodies.

Montpellier, excellent suggestions! :blink: The question obviously doesn't have to do with a tutti, even though it would be quite interesting as a composition challenge. I was listening to the Enigma Variations this morning! I can't think of any composer either. But writing such melodies is one think, providing an excellent background for them is another! And your suggestions prove your proficiency for such an undertaking, regarding a full orchestra. What would you suggest for smaller ensembles? Piano duets/trios?

The idea about the voicings seems very interesting! But, what do you mean? Voicings in registers above and below the melody, the melody being sandwiched in-between? Just above/below? Specific types of voicings (e.g. with fourths, polychords, upper structures etc)? Dissonances are a great idea in parts where the melody rests, I believe?

I mean the voicing itself. Taking into consideration:

register (both in relation to the melody and on the instrument - high on trombone may still be lower than the melody, but can 'sound' high)

density - how many different notes. Two or three, five of six...ten or eleven? Density also relates to how close the notes are together. C, D and Eb will sound vastly different if they're voiced close (i.e. within an octave) or open.

The quality of intervals included will also affect the overall sound. Seconds, sevenths, ninths vs fourths, fifths. Tight, loose. Close, open.

...

I mean the voicing itself. Taking into consideration:

register (both in relation to the melody and on the instrument - high on trombone may still be lower than the melody, but can 'sound' high)

density - how many different notes. Two or three, five of six...ten or eleven? Density also relates to how close the notes are together. C, D and Eb will sound vastly different if they're voiced close (i.e. within an octave) or open.

...

Excellent advice! :thumbsup: Don't forget that different intervals will sound differently in different registers (eg. a minor second played in the lower registers of the piano). :o I tend to keep forgetting, when orchestrating that bass/tenor instruments sound really high on their higher registers (the trombone is an excellent example). :laugh:

Maybe we could begin a thread and arrange a contest/quiz/game for harmonizing tenor/bass melodies??? ;)