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Some have more overtones than others. '''Overtones''' are frequencies above the fundamental at an integer multiple of the fundamental (2x, 3x, 4x ...). Like harmony, the fundamental and overtones combine to make a distinct waveform; however, since the overtone frequencies are extremely harmonic, they are often perceived as a single pitch - the pitch of the fundamental frequency. Thus, we call these overtones part of the instrument's timbre, worrying only about the fundamental frequency for harmonic and melodic purposes.
Another topic for the composer is arrangement. '''Arrangement'arrangement''. Arrangement describes applying some musical idea into a selection of instruments. Each instrument has a range of notes it is capable of playing, as well as their individual timbres. A composer desiring the use of a certain instrument for a certain part will compose that part within the range of the instrument. For example, if you were arranging a piece for flute, piano, and bass, you would likely have the flute play the melody, the piano playing chords, and the bass usually playing the root note of the chords. Naturally, melody is usually given a higher-pitch than the other instruments, and the root note of chords is usually played in the lowest-frequencies. We could come up with different arrangements that are harmonically equivalent; however, they would likely be less enjoyable to listen to.
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