Many of these pieces have never been translated into English before; some only appeared in small journals or the popular press and have never appeared in a book; and none have ever been collected in one place.
The study of orchestration is a key part of all students of music theory and composition. Orchestration provides a much needed resource for these students, filling a gap in the literature. Robert Schumann sketched his First Symphony in only four days--a remarkable feat for an artist poorly versed in the genre. In this study, Jon Finson examines these sketches to show how the composer's experience with symphonic composition and his autodidactic course in orchestration assisted in the rapid fashioning of this symphony--a work deliberately calculated to establish his reputation as a major artist.
Finson also provides examples of the autograph score and subsequent editions of the Spring Symphony to reveal Schumann's empirical method of orchestration and his concern for the exigencies of performance. The essentials of accomplished orchestration - the combining of diverse instrumental qualities in ensemble performance - are covered in the next two chapters.
Here, step by step, Blatter proceeds from the basics of musical lines to scoring for various instrumental groupings. Chapters ten and eleven explain the techniques of transcription and arrangement while chapter twelve discusses the performance dynamics of chamber groups and larger ensembles.
The appendixes provide quick access to essential technical information: transposition of instruments, electronic sound modification, MIDI, the harmonic series, and fingerings. The Art of Digital Orchestration explores how to replicate traditional orchestration techniques using computer technology, with a focus on respecting the music and understanding when using real performers is still the best choice. It sheds light on the technology and musical instrument foundation required to create realistic orchestrations, drawing on decades of experience working with virtual instruments and MIDI.
Bringing together the old and new, The Art of Digital Orchestration is an excellent resource for anyone using software to write or compose music. The book includes access to online videos featuring orchestration techniques, MIDI features, and instrument demonstrations.
Demonstrating not only how to write for orchestra but also how to understand and enjoy a score, The Cambridge Guide to Orchestration is a theoretical and practical guide to instrumentation and orchestration for scholars, professionals and enthusiasts. With detailed information on all the instruments of the orchestra, both past and present, it combines discussion of both traditional and modern playing techniques to give the most complete overview of the subject.
It contains fifty reduced scores to be re-orchestrated and a wide range of exercises, which clarify complex subjects such as multiple stops on stringed instruments, harmonics and trombone glissandi. Systematic analysis reveals the orchestration techniques used in original scores, including seven twentieth-century compositions. This Guide also includes tables and lists for quick reference, providing the ranges of commonly used instruments and the musical names and terminology used in English, German, Italian and French.
Behind Bars is the indispensable reference book for composers, arrangers, teachers and students of composition, editors, and music processors. In the most thorough and painstakingly researched book to be published since the s, specialist music editor Elaine Gould provides a comprehensive grounding in notational principles.
This full eBook version is in fixed-layout format to ensure layout and image quality is consistent with the original hardback edition. Behind Bars covers everything from basic rules, conventions and themes to complex instrumental techniques, empowering the reader to prepare music with total clarity and precision. With the advent of computer technology, it has never been more important for musicians to have ready access to principles of best practice in this dynamic field, and this book will support the endeavours of software users and devotees of hand-copying alike.
The author's understanding of, and passion for, her subject has resulted in a book that is not only practical but also compellingly readable. This seminal and all-encompassing guide encourages new standards of excellence and accuracy and, at pages, it is supported by 1, music examples of published scores from Bach to Xenakis. Strauss, Don Juan, mm. Strauss, Till Eulenspiegel, mm.
They can sound thrilling, especially if the skips are from the extreme low register to the extreme high register, but iy one must realize that a soloist can execute this sudden shift more accurately than a whole section. The difficulty is that the entire left-hand position has to be completely altered, and sometimes strings have to be crossed silently yet smoothly, or a very high note must follow an extremely low one on the same string.
Most skillful players can give a fairly good impression of legato playing when performing a skip, even when there is a string intervening in the skip, but simply hitting the correct pitch can be difficult.
Some of these difficulties are demonstrated in the following passages from orchestral violin parts. Note that recordings are misleading, for when the section does not clearly articulate the skip, the passage is retaped until it is perfect.
Wagner, Die Meistersinger, Prelude, mm. Bartok, Divertimento, first movement, mm. Berg, Lyric Suite, fourth movement, mm. All chromatic notes from the low G on the G string to the highest register can be produced easily on the violin. Usually, a player fingers a chro- matic pitch using the same finger that normally plays the nonchromatic equiva- lent.
For instance, in the following example notice that the finger that normally plays F is also used to play Ft. Chromatic Scale Fingering Sometimes the performer will choose not to risk the portamento that is in- evitable if the chromatic scale is performed as in Example The viola is the alto voice of the string orchestra and its playing technique is similar to that of the violin.
There are some issues to keep in mind when writing for viola. The most obvious is the size of the instrument. It is quite a bit larger than the violin, sometimes as much as three to four inches, and this means that the hand must stretch more to get the intervals in tune. The tension on the left hand is also greater, especially in the higher positions. There are variations in the size of violas, and experts do not agree on the ideal size for the most beauti- ful, characteristically dark-hued tone quality.
Today, violists pick their instru- ment in proportion to the size of their left hand. Even though trills, bowings, harmonics, arpeggios, double, triple, and quadruple stops are just as successful on the viola as on the violin, this instrument has been undeservedly neglected by many great masters of the past. There may be two principal reasons for this: 1.
The eighteenth-century masters rarely wrote for four independent string voices. For a long time, most violists were converted violinists and did not always enjoy the full trust of composers.
Although Bach, Stamitz, and Mozart wrote occasional solo or concertante works for the viola, Berlioz was the first to give it a truly independent voice in orches- tral writing. Tuning wv ae 0 1 SS os Viola music is usually notated in the alto clef, but to avoid ledger lines, the upper notes are sometimes written in treble clef.
The viola bow is slightly heavier than that for the violin. The strings are thicker and more resistant to the bow, which necessitates a firmer stroke to produce a full sound. Lighter bowings are also possible but are more difficult to produce. Harmonics are easier to play because the thicker strings produce them more reliably. Similarly, all the points already discussed for the violin about half positions, chromatic finger- ings, pizzicato, and other coloristic effects pp.
Passages Performed Exclusively on a Single String The C String The only string of the four viola strings not found on the violin, it is con- sidered to have the most characteristic viola sound. Hindemith, Sonata, Op. Bart6k, Concerto for Orchestra, fourth movement, mm. It combines beautifully with woodwind instru- ments and, in some cases, doubles well with soft trumpets and trombones. Because of its carrying power, it has been used a great deal in solo viola passages.
Hindemith, Der Schwanendreher, first movement, mm. Multiple stops can be performed divisi by the viola section of the orchestra, similar to those written for violin. These triple stops are all played in first position. A passage that demonstrates the use of the viola as the bass of the string section occurs in Example ; one that is typical of the many filler passages so common in the orchestral literature occurs in Example An example that couples violins and violas in octaves is found in Example , and one that successfully cou- ples violas and cellos in Example Berlioz, Symphonie fantastique, first movement, mm.
Beethoven, Symphony No. However, after that period, except for the Sinfonia concertante of Mozart for violin and viola K. In the twentieth century, however, the viola achieved an almost equal status with its relatives in the bowed string group.
Scriabin, Poem of Ecstasy, mm. Strauss, Don Quixote, Variation 2, Vivace, mm. Viole d'amour FR. Besides the seven strings that are bowed and fingered, seven sympa- q thetic strings, made of steel wire, lie just above the belly of the instrument and directly below each of the bowed strings. The sympathetic strings are generally tuned in unison with the bowed strings. In order to allow the sound of these sympathetic strings to be heard freely in keys other than D major, alternative tunings have been used.
The most common alteration is to lower the Ff string to F4, thus producing a D-minor tuning. Tuning for Hindemith, Kammermusik No. Chords and arpeg- gios are easy to play, especially in keys related to the tuning used.
Natural har- monics are also easily obtained up to the fifth harmonic. Hindemith, Kleine Sonate, second movement, mm. The cello is both the tenor and the bass of the string section. Whereas the violin ; and viola rest on the left shoulder and i are supported by the chin, the cello, be- t cause of its larger size, is held between the knees while the player sits; addi- tional support is provided by an ad- justable peg that slides out of the bottom of the instrument and reaches to the floor.
Today, all cello parts, whether notated in the bass, tenor, or treble clef, sound as written. In first position, the normal compass between the first and fourth fingers is a 3rd, with the second finger used only for chromatic intervals. As the hand moves to higher positions the physical distance between the intervals diminishes and all four fingers are used more often, similar to the fingering on the viola.
In seventh position, the left thumb leaves its position around the neck and therefore is able to finger higher notes. With the additional use of the thumb, the cellist can stretch to octave double stops on adjacent strings with relative ease, although double stops larger than a sixth are difficult in the low register. The D is the most musically captivating string on this instrument, exuding a warm and lyrical quality. The A is the most brilliant and piercing; the G is the least strong and carries less well than the others.
Because of its weight and thickness, the C, the lowest string, is a richly sonorous bass. Wagner, Tristan und Isolde, Prelude, mm. Harris, Symphony No. Rossini, William Tell, Overture, mm. Strauss, Also sprach Zarathustra, 18 mm. Quadruple Stops allt ST ppd es oF] OIF ou eu esl eugls HERE The ways of obtaining natural harmonics on the cello are identical to those for the other string instruments; cello harmonics are even more secure because of the greater length and weight of the strings on this larger instrument.
Harmonics on the Cello a. Corigliano, Phantasmagoria beginning The Sole Cello in Concertos and within the Orchestra The cello literature is rich in concertos by the major composers of the Baroque period through the twentieth century.
Strauss, Don Quixote, mm. Suffice to say that the cello doubles well with many instruments in all the orchestral choirs. The most widely used doublings are cello and double bass, cello and bassoon, cello and clarinet or bass clarinet, cello and horn, and pizzicato cello and tim- pani. In the following example the second cello doubles the first viola. Barber, Essay for Orchestra No. Strauss, Also sprach Zarathustra, mm. Every composer or orchestrator should know at least the number and tunings of the strings, the range, manner of performance, and notation for each of these plucked string instruments.
The harp has a very long history as a solo and accompanying instrument, being one of the earliest instruments known to humankind. It has gone through a se- ties of alterations that have gradually increased its overall size and number of strings, without changing its basic conceptual framework.
The immediate predecessor of the double-action harp was the chromatic harp. This instrument had no pedals but instead a string for each semitone. The sheer number of strings presented a challenge to the performer, and this, added to its rather poor tone quality and inability to accommodate a dia- tonic or chordal glissando, led to the development of the double-action harp. The pedals on a double-action harp, which can be placed in three dif- ferent positions up, middle, down , allow all manner of tunings and new ways of playing.
Range The top of each of the forty-seven strings is attached to a tuning peg and the bottom to a pedal, which when put in its lowest position that is, down can raise each note one whole step. The three positions of the pedal perform the fol- lowing functions: 1. Pedals all the way up give the original Ch major scale. All C strings, for example, or all G strings, to take another example, are con- trolled by one pedal each, so that if the Cb is depressed one notch, the entire se- ries of Cb strings a total of six strings becomes a Ct series.
Thus, one has to think creatively in writing for the harp. The composer or orchestrator could write the C as a B4so that C and Cican be played on separate strings and therefore controlled by two different pedals.
The lowest twelve strings of the harp are made of steel core wound with wire; the rest of the strings are made of gut wound with wire. Each C string is red and each G string is blue.
Tuning a harp is a tedious task, so the harpist is usually on stage or in the pit preparing the instrument long before the rest of the orchestra players arrive. The harpist uses a key to turn—that is, tune—the pegs at the top of the harp around which the strings are wound. As with all string in- struments, the pitch of the strings needs frequent adjustment. Consequently, the lowest D and C, and pos- sibly the highest G, could require manual retuning if a change in pitch is called for during the performance of a work.
Before the piece is performed, the harpist usually tunes these pitches to the first pitch that is required. All other strings, however, do change pitches automatically when their pedals are manipulated. However, pedals operated by differ- ent feet, such as the D and G pedals, can be changed simultaneously.
Just before the beginning of a passage, it is best to indicate to the harpist how the pedals should be set. This can be done in one of three ways, listed below; the first two are preferred by harpists.
The graphic representation is given in a score without the string names, which are in- cluded here in parentheses simply to highlight the altered pitches.
Dy he ch GAD 3. By alternate letter representation, which gives the setting for the first pedal first, then second pedal, and so on, on each side. The pedals in this version are numbered from the inside out, so that E is number 1 on the right-hand side, B number 1 on the left. This third setting is not as common or as clear as the first two. It has stuck with me and enabled me to remember the sequence of the harp pedals with no difficulty. In this case either the F would be spelled E or the Ft spelled Gh.
Highly chromatic music must be carefully handled; studying the orchestral works of composers like Debussy, Ravel, and Stravinsky and the solo works of the great harpists like Salzedo and Grandjany can offer many clues about writing idiomatically for the harp.
Harpists are quite willing to try out new ideas as long as the composer has a well-grounded understand- ing of the instrument's basic constraints. Tone Color The tone color of the harp is somber, dark, and sonorous in the lower two oc- taves, and lightens progressively farther up the range. The middle two octaves are very rich and warm, while the top two octaves and a half are light and clear. This upper portion does not have a great dynamic range, sustaining power, or carrying potential; the fortissimo at the top of the range is like a mezzo forte in the middle.
Because the string is longest when it is in flat position, the flat keys have more sound potential, but a good harpist can make any tonality sound well by the power in his or her hands plucking the strings.
Mozart, Concerto for Flute and Harp, K. Example a gives the notation as it is found in every orchestral score, Example b as most harpists actually perform it. The story goes that the harpist who performed this cadenza at the premiere, with the composer conducting, sug- gested this revised performance style, which every harpist from that time on.
Since the harpist uses only the first four fingers of each hand to play the little finger is never used , an eight-note chord is the maximum for the harp. Three- and four-note chords per hand can most effectively achieve a very full sonority. The distance in an octave is much smaller than it is on the piano; for that reason tenths are quite simple to reach. If there are no arrowheads on the wavy lines, harpists will roll the chord from the bottom up.
Here are two chordal passages that are notated as if the chords are to be played unbroken, but both are played at least slightly arpeggiated. Since the tempo of the first example is fast, most harpists perform the passage with a fast roll on each chord.
Bart6k, Violin Concerto, first movement, mm. Brahms, Ein deutsches Requiem, first movement, mm. The player touches the center of the string at the node with the lower por- tion of the left palm and plucks the string with the left thumb.
The player touches the center of the string at the node with the outside of the knuckle of the right index finger and plucks the string with the right thumb. The right hand can play only single harmonics; the left hand can play two or three harmonics at a time as multiple stops , but the pitches have to be all sharp, all flat, or all natural.
Harmonics are usually notated with a zero over the note and sound an oc- tave higher than written, as in Examples , , and Some composers write the note at sounding pitch and put a circle over it. This can be confusing unless the particular method used is explained somewhere in the score.
For best results in employing harp harmonics, two factors should be kept in mind: 1. Harp harmonics are very soft and to be heard must be accompanied by a very light orchestration or played solo. The rhost practical range for harp harmonics is between A? Banjo FHa. Gould, Foster Gallery Suite throughout J.
AND FR. NSN The zither is an ancient instrument mostly used today for special coloristic ef- fects as can be heard in the main theme from the movie The Third Man. Since it was widely played by folk musicians in southern Germany and Austria, com- posers like Johann Strauss in Tales from the Vienna Woods used it to evoke the lo- cale.
Not until the latter part of the nineteenth century was a practical modern version of the instrument perfected. Melody Strings :. The accompaniment is played with the right hand on twenty-four accompa- niment and bass strings tuned in the following manner: EXAMPLE All the zither strings may be retuned at the composer's discretion.
The tunings given above are the most usual ones. The instrument lies on a table or stand. The left hand fingers the melody while the right thumb, wearing a plectrum or pick, plucks the strings.
The ac- companiment is performed by the other four fingers of the right hand, which pluck the accompaniment and bass strings. Preview only show first 10 pages with watermark. For full document please download. Ships from and sold by Amazon.
Gift-wrap available. Pre-order Price Guarantee. Add to List Written by a renowned composer whose works have been performed by major orchestras around the world, The Share Study of Orchestration is the only text that explores the characteristics of orchestral instruments and shows students how a master composer approaches orchestration.
The Fourth Edition invites students to experience the instruments through online audio and video recordings and now offers more coverage of writing for band. This content was uploaded by our users and we assume good faith they have the permission to share this book.
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