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Timbre factors mainly into Another topic for the composer is ''arrangement choices more than fundamental composition; however, at some level, composition is determined by timbre, and timbre determines what we actually hear and how it is percieved''. For example, Arrangement describes applying some musical idea into a melody designed for flute cannot be played on drums, and a drum beat cannot be played on fluteselection of instruments. It may technically be possible, but it will lose its meaning. Similarly, each Each instrument has a rangeof 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.
→Timbre
Some have more overtones than others. <u>Overtones</u> 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.
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