= When an orchestral score is condenced down to it's bare essence of individual lines minus unison and octave doublings ...........
I have always been under the assumption that an orchestral score is an orchestration of the four lines SATB , but after casually browsing through
some scores and shrinking them down in my head I am a little confused
because I am finding instances where there appears to be more happening
Can someone please explain a little theory of what is going on in a score
when there is more than SATB ?