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Aug 25 '21 at 17:47 comment added Kim Fierens Thank you; interesting. Come to think of it, I believe we can generalize your observation: if there is a dissonance anywhere in the written parts that is also notated in the continuo part, then doubling is inevitable, because the resolution of dissonance is more or less unique (in the Baroque style at least).
Aug 25 '21 at 15:11 comment added phoog @KimFierens and I don't see a reasonable way for a continuo player to realize that cadence without doubling the 7-6 suspension in the soprano and the B-to-A♯ resolution in the alto.
Aug 25 '21 at 15:02 comment added phoog @KimFierens funny, I was just looking at Messiah as a sanity check against some of the assertions in this answer. It's fascinating, in fact, how the orchestra jumps into and out of doubling the voice parts. At the opening of Worthy is the Lamb, the first violins, doubled with the first trumpet, are independent in m1, doubling the soprano at the octave in m2, and doubling the alto at the octave in m3. By the cadence in mm6-7, the first trumpet and second violins are doubling the soprano at the unison while the first violin is doubling the alto at the octave.
Aug 25 '21 at 14:47 comment added Kim Fierens Thanks a ton! Exactly what I wanted to know. Yes, I was mainly asking about very full textures, such as the tutti sections from Handel's Messiah.
Aug 25 '21 at 14:10 history edited phoog CC BY-SA 4.0
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Aug 25 '21 at 14:05 history edited phoog CC BY-SA 4.0
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Aug 25 '21 at 13:59 history answered phoog CC BY-SA 4.0