Overview
Contents
Introduction
The difference between instrumentation and orchestration
A quick glance at the history of orchestration
The significance of Viennese classicism in the technique of orchestration
Teaching methods
About this book
About the classification of musical instruments
Acknowledgements
Part I Theory
Chapter 1 String instruments
General information
Characteristics
Instruments and their parts, bows and strings
Violin
Viola
Cello
Double bass
Ranges
Clefs
Methods of sound production
Fingering (stopping) techniques and positions
Leaps
Bowing
General information
Non-legato (separate bows)
Legato (slurred bowing)
Aesthetic factors
Technical factors
Types of bowing
Slurred on-the-string bowings
Legato
Louré (Eng.: brush strokes, bow vibrato; It.: portato, separato; Fr: piqué)
Slurred staccato
Separate on-the-string bowings
Détaché (Eng.: separate; It.: sciolto)
Martelé (martellato)
Staccato
Off-the-string bowings
Spiccato (saltellato)
Sautillé (balzato)
Staccato volante (flying staccato)
Jeté (Eng.: ricochet; It.: gettato; Ger.: Wurfbogen)
Arpeggiando (bouncing arpeggios, bariolage)
Multiple stops
General information
Writing multiple stops
Double stops
Triple stops
Quadruple stops
Fingering of multiple stops
Further possibilities for multiple stops, only for the cello
Arpeggio
Division of the strings
Special effects
Vibrato
Variants of vibrato in music of the twentieth century
Trill
Tremolo
Bowed tremolo
Unmeasured bowed tremolo
Measured bowed tremolo
Non-rhythmic bowed tremolo
Fingered tremolo
Unmeasured fingered tremolo
Measured fingered tremolo
Non-rhythmic fingered tremolo
Undulating tremolo
On/over the fingerboard (It.: sul tasto or sulla tastiera; Ger.: am Griffbrett; Fr.: sur la touche)
Flautando
Near the fingerboard
With little pressure
On/at/near the bridge (It.: sul ponticello; Ger.: am Steg; Fr.: au chevalet)
Near the bridge
On the bridge (on the string)
Behind the bridge
Glissando
Variants of glissando in music of the twentieth century
Glissando and pizzicato
Glissando and multiple stops
Glissando and harmonics
Undulating glissando
Microtonal glissando
Glissando on the string (glissando with the right hand)
Glissando and col legno
Glissando sul ponticello
Glissando with constant change of bow
Tuning peg glissando
Portamento
Col legno (Eng.: with the wood; Ger.: mit dem Holz; Fr.: avec le bois)
Col legno battuto (struck with the wood)
Col legno tratto (stroked with the wood)
Variants of col legno in music of the twentieth century
Col legno at various places on the instrument
Col legno in combination with other effects
Pizzicato
Further types of pizzicato
Left-hand pizzicato
Pizzicato of multiple stops
Bartók pizzicato
Fingernail pizzicato
Buzz pizzicato
Pinch pizzicato
Pizzicato glissando
Pizzicato tremolando Banjo pizzicato
Pizzicato tremolo
Pizzicato bisbigliando
Pizzicato “al mandolino”
Pizzicato with plectrum
Pizzicato with other objects
Pizzicato and stopping
“Hammer on” pizzicato
Pizzicato effleuré
Muted pizzicato
Silent pizzicato
Pulled pizzicato
Other pizzicato techniques
Pizzicato techniques in combination with other effects (examples)
Muting (It.: con sordino; Ger.: mit Dämpfer; Fr.: avec sourdine)
Special muting techniques in music of the twentieth century
Muting with the left hand
Dampening (Fr.: étouffer)
Other techniques
Harmonics
Natural harmonics
First partial
Second partial
Third partial
Fourth partial
Fifth partial
Sixth partial
Notation possibilities of natural harmonics
Artificial harmonics
Glissando with harmonic tones
Variants of harmonic technique in music of the twentieth century
Pizzicato harmonic tones
Half-harmonics
Alternation between a harmonic and the fundamental tone
Timbre modulation
A harmonic built on another harmonic tone
A harmonic tone glissando col legno
Highest possible harmonics
Pulledbent harmonics
Scordatura (abnormal tuning)
Fingering effects without bowing
Stopping tones without bowing
Trills and tremolo without bowing
Rolls on two neighboring strings
Other special bowing effects
Effects with bow pressure
Bowing on unusual points on the instrument
Effects with the hair of the bow
Changes of bow as a special effect
Arbitrary changing of bow during sustained or slurred notes
Circular bow stroke
Elliptical bow stroke
Rotating bow
Other effects with the bow
Techniques with microintervals
Vibrato with microintervals
Glissando with microintervals
Trills and tremolo with microintervals
Scordatura with microintervals
Cluster chords
Percussive effects
Notation with x-shaped noteheads
Tablature notation
Prepared instruments
Amplification
Historical string instruments
Viol family
Viola da braccio
Descant viol
Alto and tenor viols
(Tenor-) Bass viol
Special forms
Viola da gamba
Descant gamba
Alto and tenor gambas
(Tenor-) Bass gamba
Special forms
Lira family
Lira da braccio
Lira da gamba (lirone)
Chapter 2 Wind instruments
General information
Range
Transposition
Woodwind instruments
Classification
Classification by instrument families
Classification by mouthpiece
Classification by form of the vibrating column of air
Woodwinds in the Classical and Romantic periods
Flutes
Flute
Piccolo
Alto flute
Bass flute
Flute in E
Oboes
Oboe
English horn
Oboe d’amore
Heckelphone
Baritone or bass oboe
Soprano oboe in E
Clarinets
Clarinet
Clarinet in E (piccolo clarinet)
Bass clarinet
Clarinets in D, F and A
Bassett horn
Alto clarinet in E
Contralto clarinet
Contrabass clarinet
Bassoons
Bassoon
Contrabassoon
Sarrusophone
Saxophones
Brass instruments
Classification
Classification by instrument families
Classification by mouthpiece
Classification according to transposition
Classification according to the availability of fundamental tones
Factors influencing the timbre of the brass instruments
Mouthpiece
Mensuration (Ger.: Mensur)
Tubing
Bell
Brass instruments in the Classical and Romantic periods
Richard Wagner: The Ring of the Nibelungen
Richard Strauss: Also sprach Zarathustra
Gustav Mahler: Symphony No. 6 in A minor
Igor Stravinsky: The Rite of Spring
Historical development of the valve instruments
Natural instruments
“Inventionshorn”
Introduction of valved instruments into the orchestra
Valved instruments
Old and new notation
Horns
Modern (valve) horn
Stopped notes (It.: chiuso; Ger.: gestopft; Fr.: bouché)
Echo tones
Brassy (It.: suonoi metallicoi; Ger.: schmetternd; Fr.: cuivré)
Flugelhorns
(Soprano) flugelhorn
Alto horn
Tenor horn
Baritone horn
Bass horn
Cornets
Cornet
Piccolo cornets in E and D
Trumpets
Modern (valve) trumpet
Trumpets in F and E
Piccolo trumpets in D and E
Piccolo trumpet in B
Bass trumpet
Trombones
Descant or soprano trombone
Alto trombone
Tenor trombone
Bass trombone
Tenor-bass trombone
Contrabass trombone
Valve trombone
Methods of sound production on the trombone
Glissando
Tubas
Baritone
Tenor tuba in B (euphonium, bombardone)
Bass tubas in F and E
Contrabass tubas in C and B
Double (contrabass) tuba
Wagner tubas
Keyed horn (keyed bugle)
Ophicleide
Sarrusophone
Saxhorns (bugles à pistons) and bass tuba in C
Saxotrombas
Mellophone and mellophonium
Helicone
Sousaphone
Cimbasso
Notation of the wind instruments
Some additional observations
Methods of sound production and special effects
Air consumption and breathing
The importance of rests
Circular breathing
Alternation of identical instruments
Breathing at the ends of phrases
Register
Dynamics
Tonguing and articulation
Flutter-tongue
Variants of flutter-tongue in music of the twentieth century
Vibrato
Variants of vibrato in music of the twentieth century
Trills
Tremolo
Glissando
Variants of glissando
Slide glissando
Bent tone
Overtone glissando
Key glissando
Irregular (broken) glissando
Half-valve glissando
Various jazz glissandi
Mutes
Horn
Trumpet
Trombone
Tuba
Mutes which alter the airstream
Straight mute
Cup mute
Mutes which redirect the airstream
Harmon mute
Solotone mute
Whispa mute
Mutes which block the airstream
Bucket mute
Plunger
Hat or derby
Playing in the stand
Variants of muting techniques in music of the twentieth century
Harmonics
Whistle (or whisper) tones
Microintervals
Altered fingerings
Altering the embouchure
Hand stopping
Slide changes
Tuning the instrument higher or lower
Beats
Multiphonics
New fingering techniques
Enharmonic trill
Broken (unison) tremolo
Double trill (colortimbral trill)
Half-valving
Vocal effects
Breath and air sounds
Possible types of breath and air sounds
Breath sounds
Other air effects
Noisy attack
Combinations with other effects and techniques
Rotating the instrument
Effects with the mouthpiece and resonating tube
Mouthpiece
Resonating tube
Wa-wa effect
Ghost tones
Dismantling the instrument
Vocal effects
Percussive effects
Effects produced by the tongue and the breathing apparatus
Striking the instrument
Clicking or clattering with the keys or valves
Other effects
Sympathetic vibrations
Bells up (It.: campana alta; Ger.: Schalltrichter auf in die Höhe; Fr.: pavillons en l’air)
Rotating the bell laterally (Doppler effect)
Structural modifications on the instruments
Amplification
Wind instruments which are seldom used in the orchestra or are obsolete
Instruments with freely vibrating reeds (free reed aerophones)
Accordion
Diatonic button accordion (melodeon)
Concertina
Bandoneon
Other free reed instruments
Recorders (It.: flauto dolce; Ger.: Blockflöte, Schnabelflöte; Fr.: flûte douce, flûte à bec)
Historic wind instruments
Shawm (It.: cennamella; Ger.: Schalmei; Fr.: chalumeau, chalemie)
Pommer (bomhart, bombard, bombarde)
Crumhorns
Cornetts (It.: cornetti; Ger.: Zinken; Fr.: cornets-à-bouquin)
Serpent
Chapter 3 Percussion instruments
General information
Beaters
Idiophones
Idiophones struck directly
Plates struck with a beater
Suspended cymbal
Sizzle cymbal
Chinese cymbal
Tam-tam
Watergong
Gongs
Steel drums
Bell plates
Lithophone
Anvil
Auto-brake drums
Beat-board
Bars or rods struck with a beater: wooden mallet instruments
Xylophone
Trough xylophone
Soprano trough xylophone (range: c-g)
Tenor trough xylophone (range: a-d)
Bass xylophone
Marimba
Bass marimba
Xylomarimba (xylorimba)
Keyboard xylophone (Klaviaturxylophon)
Bars or rods struck with a beater: metal mallet instruments
Orchestra bells (glockenspiel)
Keyboard glockenspiel (Klaviaturglockenspiel)
Celesta
Vibraphone
Metalophone
Triangle
Tubes struck with a beater
Tubaphone
Tubular bells (chimes)
Vessels struck with a beater
Slit drum
Log drum
Wood blocks
Temple blocks
Cylindrical or tubular wood block
Wood-headed drum and wood barrel
Bell
Cup bells and hand bells
Shepherd bells
Almglocken (AlpineSwiss cowbells)
Cencerros and agogo
Cowbells
Musical glasses (glass glockenspiel)
Idiophones struck together: wood plates
Bones
Whip (slapstick)
Castanets
Hand castanets
Paddle-mounted castanets
Machine (concert) castanets
Idiophones struck together: metal plates
Crash cymbals
Hi-hat
Antique cymbals (cymbales antiques, crotales)
Finger cymbals
Cymbal tongs
Idiophones struck together: concussion sticks
Claves
Idiophones struck indirectly
Shaken idiophones with a frame
Sistrum
Flexatone
Cabaza
Shaken idiophones with a vessel
Maraca(s)
Shakers: chocallo and kamesu
Sleigh bells, bell tree and paddle-mounted sleigh bells
Shaken idiophones with a set of individual pieces
Chain
Bamboo or wood chimes
Shell chimes
Glass chimes
Metal chimes
Shaken idiophones which are struck
Quijada (jawbone)
Vibra-slap
Shaken idiophones with a sheet
Metal foil and thunder sheet
Idiophones that are scraped
Ratchet
Sandpaper blocks
Guiro
Reco-reco
Bamboo scraper
Idiophones that are plucked
Idiophones that are bowed or rubbed
Musical (singing) saw
Glass harp
Glass harmonica
Membranophones
Kettle drums
Timpani
Timpani and their ranges
Stick drums
Tabor, or drum of Provence (It.: tamburo provenzale; Ger.: Tambourin; Fr.: tambourin)
Long field drum (Fr.: caisse roulante avec cordes)
Parade or short field drum
Military drum (It.: tamburo militare; Ger.: Militärtrommel; Fr.: tambour militaire)
Tenor drum (Fr.: caisse roulante)
Snare drum (Fr.: caisse claire)
Bass drum
Frame drums
Tambourine (It.: tamburo basco; Ger.; Schellentrommel; Fr.: tambour de Basque)
Tambourine without jingles
Hand drums
Bongos
Conga (tumba)
Timbales
Tablas
Darabukka
Tom-toms
Modern (jazz) tom-toms
Tom-tom set, classical and modern roto- (Remo-) tom-toms
Tom-tom set
Classical roto-toms
Modern roto-toms
Chinese tom-toms
Japanese tom-toms
O-daiko
Taiko
Native American tom-toms
Drum set
Friction drums
Friction drum
Lions roar or string drum
Cuica
Chordophones
Cimbalon
Aerophones
Wind machine
Lotus flute
Whistles and sirens
Automobile horns
Cuckoo call and bird whistle
Toy trumpets and horns
Notation of percussion instruments
Clefs
Notation on five-line staves
Notation in tablature
Noteheads
Rests
Slurs
Supplementing notation
Rolls
Unmeasured roll on a single tone
Unmeasured roll on two tones
Measured roll
Grace notes and ornaments
Special effects and methods of sound production
Muting
Dampening
Different points of impact
Circular rubbing or scratching
Dead stickdead stroke
Playing with two beaters
Tuning of instruments of indefinite pitch
Grouping the percussion instruments
Score layout
Notation
Division amongst players
Instrument symbols
Beaters
Music parts for the players
Chapter 4 Plucked instruments
Harp
General information
Registers and their characteristic timbres
Let vibrate laissez vibrer
Sons étouffés
Hands on the strings
Feet on the pedals
Enharmonic notation
Notation
Indication of pedal changes
Functions of the harp in the orchestra
Short history of the harp
Chords and arpeggios
Trills, tremolo and bisbigliando
Near the soundboard (It.: sulla tavola; Ger.: am Resonanzkasten; Fr.: près de la table)
Near the tuning pins (Fr.: près des chevilles)
Glissando
Aeolian flux (Sz: flux éolien)
Oboic flux (Sz: flux hautboïstique)
Falling-hail effect (Sz: flux en grêle)
Xyloflux (Sz)
Aeolian rustling (Sz: bruissements éoliens)
Gushing chords (Sz: accords en jet)
Effect of snare drum without snares (Sz: effet de tambour militaire sans timbre)
Aeolian tremolo (Sz: trémolo éolien)
Thumb tremolo
Ascending aeolian chords (Sz: accords éoliens ascendants)
Descending aeolian chords (Sz: accords éoliens descendants)
Thunder effect (Sz: effet de tonnerre)
Whistling sounds (Sz: sons sifflés)
Sliding the hand: rapid whistling sounds
Sliding the hand: slow whistling sounds
Scratching with the fingernail: rapid whistling sounds
Scratching with the fingernail: slow whistling sounds
Pedal glissandi
Tuning pin glissando
Muffling (dampening) and muting
Muffling (dampening)
Muffling tones as part of normal playing technique
Isolated sounds (Sz: sons isolés)
Muffled sounds (Sz: sons étouffés)
Muting
Xylophonic sounds (Sz: sons xylophoniques)
Xylophonic sounds “a la chitarra”
Vibrant sounds (Sz: sons vibrés)
Muting with other objects
Harmonics
Xyloharmonic sounds (Sz: Sons xyloharmoniques)
Plucking with fingernails and other objects
Effects with the pedals
Metallic sounds (Sz: sons métalliques)
Pedal tremolo
Irregular pedal changes
Esoteric sounds (Sz: sons ésotériques)
Scordatura
Microintervals
Effects with the tuning key
Fluidic sounds (Sz: sons fluidiques)
Rocket-like sounds (Sz: sons en fusées)
Buzz effect
Other effects
Effects with the tuning pins
Percussive effects
On the strings
Tam-tam sounds (Sz: sons de tamtam)
Between the strings
On the body of the instrument
Timpanic sounds (Sz: sons timbaliques)
Anvil effect (Sz: effet d’enclume)
Other effects
Guitar
Methods of sound production
Glissando
Harmonics
Muting
Microintervals
Scordatura
Percussive (and similar) effects
Other effects
Other plucked instruments
Mandolin
Sound production
Mandola
Mandolone
Balalaika
Banjo
Hawaiian guitar
Zither
Historical plucked instruments
Lute
Theorbo
Chitarrone
Cittern (gittern)
Theorbocittern (ceterone)
Chapter 5 Keyboard instruments
Piano
General information
The registers and their characteristic timbres
Strings
Pedals
The function of the piano in the orchestra
Chords, arpeggios, trills and tremoli
Clusters
Clusters of specified pitches
Clusters of approximate pitches
Cluster glissando
Tremolo inside the piano
Glissando
Glissando on the keys
Glissando on the strings inside the piano
Horizontal glissando
Vertical glissando
Rapid sliding with the hand
Slow sliding with the hand
Rapid scratching with the fingernail
Slow scratching with the fingernail
Muffling (dampening) and muting
Muffling (dampening)
Muting
Harmonics
Pizzicato
Effects with the pedals
Half pedal
Gradual pedal change
Pedal noises
Percussive effects
Percussive effects on the strings inside the piano
Percussive effects on the body of the piano
Scordatura and microintervals
Echo effects
Sympathetic vibrations
Celesta
Harpsichord and other quill instruments
Harpsichord
Spinet
Virginal
Clavichord
Organ
General information
Technical mechanism
Bellows
Wind chests
Action mechanism
Console
Supporting framework, case and façade
Supporting framework
Case
Façade
System assembly
Acoustic system: pipes
Flue, or labial, pipes
Reed, or lingual, pipes
Ranks and their colors
The organ in orchestral music
Special effects
Cluster chords
Mechanically held notes
Motor onoff
Other aerophones
Harmonium
Portative
Positive
Regal
Claviorganum
(Piano-)accordion
Part II Practice
Chapter 6 Exercises
Introduction
Important guidelines for the exercises
Further information about the condensed scores
The design of the score page and notation
About the symbols and different notation techniques used in the condensed scores
Orchestration and form
Terminology
“Right and wrong”
Reference table for the selection of specific exercises
Exercise 1
Joseph Haydn: Symphony No. 104 in D major, 2nd movement
Exercise 2
Wolfgang Amadeus Mozart: Symphony No. 40 in G minor, 2nd movement
Exercise 3
Wolfgang Amadeus Mozart: Symphony No. 41 in C major (Jupiter), 1st movement
Exercise 4
Robert Schumann: Symphony No. 1 in B major, 2nd movement
Exercise 5
Robert Schumann: Symphony No. 2 in C major, 3rd movement
Exercise 6
Peter Ilyich Tchaikovsky: Serenade for Strings, 1st movement, “Pezzo in forma di sonatina”
Exercise 7
Peter Ilyich Tchaikovsky: Serenade for Strings, 1st movement, “Pezzo in forma di sonatina”
Exercise 8
Peter Ilyich Tchaikovsky: Serenade for Strings, 2nd movement, “Waltz”
Exercise 9
Gustav Mahler: Symphony No. 9 in D major, 4th movement
Exercise 10
Joseph Haydn: Symphony No. 100 in C major, 2nd movement
Exercise 11
Joseph Haydn: Symphony No. 104 in D major, 2nd movement
Exercise 12
Wolfgang Amadeus Mozart: Symphony No. 40 in G minor, 2nd movement
Exercise 13
Wolfgang Amadeus Mozart: Symphony No. 40 in G minor, 3rd movement, “Menuetto”
Exercise 14
Ludwig van Beethoven: Symphony No. 5 in C minor, 1st movement
Exercise 15
Ludwig van Beethoven: Symphony No. 5 in C minor, 2nd movement
Exercise 16
Franz Schubert: Symphony No. 8 in B minor (Unfinished), 1st movement
Exercise 17
Johannes Brahms: Symphony No. 2 in D major, 3rd movement
Exercise 18
Johannes Brahms: Symphony No. 3 in F major, 3rd movement
Exercise 19
Peter Ilyich Tchaikovsky: The Nutcracker Overture
Exercise 20
Antonín Dvoák: Symphony No. 9 in E minor (From the New World), 2nd movement
Exercise 21
Richard Wagner: Tristan und Isolde, “Vorspiel”
Exercise 22
Gustav Mahler: Symphony No. 4 in G major, 1st movement
Exercise 23
Richard Strauss: Also sprach Zarathustra
Exercise 24
Claude Debussy: La Mer, 1st movement, “De l’aube à midi sur la mer”
Exercise 25
Alexander Scriabin: Poem of Ecstasy
Exercise 26
Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Tuileries”
Exercise 27
Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Promenade”
Exercise 28
Wolfgang Amadeus Mozart: Symphony No. 41 in C major (Jupiter), 1st movement
Exercise 29
Ludwig van Beethoven: Symphony No. 1 in C major, 1st movement
Exercise 30
Franz Schubert: Symphony No. 9 in C major, 1st movement
Exercise 31
Johannes Brahms: Symphony No. 3 in F major, 3rd movement
Exercise 32
Peter Ilyich Tchaikovsky: Symphony No. 4 in F minor, 1st movement
Exercise 33
Peter Ilyich Tchaikovsky: Symphony No. 4 in F minor, 3rd movement
Exercise 34
Peter Ilyich Tchaikovsky: Symphony No. 4 in F minor, 4th movement
Exercise 35
Peter Ilyich Tchaikovsky: Symphony No. 5 in E minor, 1st movement
Exercise 36
Peter Ilyich Tchaikovsky: Symphony No. 5 in E minor, 2nd movement
Exercise 37
Antonín Dvoák: Symphony No. 9 in E minor (From the New World), 2nd movement
Exercise 38
Nikolay Rimsky-Korsakov: Scheherazade, 2nd movement
Exercise 39
Richard Wagner: Das Rheingold, Scene II
Exercise 40
Gustav Mahler: Symphony No. 1 in D major (Titan), 1st movement
Exercise 41
Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Promenade”
Exercise 42
Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Ballet des poussins dans leurs coques”
Exercise 43
Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “La Grande Porte de Kiev”
Exercise 44
Claude Debussy: La Mer, 1st movement, “De l’aube à midi sur la mer”
Exercise 45
Claude Debussy: La Mer, 2nd movement, “Jeux de vagues”
Exercise 46
Igor Stravinsky: Petrushka, Scene 1, “The Shrovetide Fair”
Exercise 47
Igor Stravinsky: The Firebird, “The princesses play with the golden apples”
Exercise 48
Arnold Schoenberg: Five Pieces for Orchestra, Op. 16, No. 1, “Vorgefühle”
Exercise 49
Anton von Webern: Six Pieces for Orchestra, Op. 6, No. 1
Exercise 50
Ottorino Respighi: The Pines of Rome, 4th movement, “The Pines of the Appian Way”
Chapter 7 Scores and analyses
Score and analysis 1
Joseph Haydn: Symphony No. 104 in D major, 2nd movement
Score and analysis 2
Wolfgang Amadeus Mozart: Symphony No. 40 in G minor, 2nd movement
Score and analysis 3
Wolfgang Amadeus Mozart: Symphony No. 41 in C major (Jupiter), 1st movement
Score and analysis 4
Robert Schumann: Symphony No. 1 in B major, 2nd movement
Score and analysis 5
Robert Schumann: Symphony No. 2 in C major, 3rd movement
Score and analysis 6
Peter Ilyich Tchaikovsky: Serenade for Strings, 1st movement, “Pezzo in forma di sonatina”
Score and analysis 7
Peter Ilyich Tchaikovsky: Serenade for Strings, 1st movement, “Pezzo in forma di sonatina”
Score and analysis 8
Peter Ilyich Tchaikovsky: Serenade for Strings, 2nd movement, “Waltz”
Score and analysis 9
Gustav Mahler: Symphony No. 9 in D major, 4th movement
Score and analysis 10
Joseph Haydn: Symphony No. 100 in C major, 2nd movement
Score and analysis 11
Joseph Haydn: Symphony No. 104 in D major, 2nd movement
Score and analysis 12
Wolfgang Amadeus Mozart: Symphony No. 40 in G minor, 2nd movement
Score and analysis 13
Wolfgang Amadeus Mozart: Symphony No. 40 in G minor, 3rd movement, “Menuetto”
Score and analysis 14
Ludwig van Beethoven: Symphony No. 5 in C minor, 1st movement
Score and analysis 15
Ludwig van Beethoven: Symphony No. 5 in C minor, 2nd movement
Score and analysis 16
Franz Schubert: Symphony No. 8 in B minor (Unfinished), 1st movement
Score and analysis 17
Johannes Brahms: Symphony No. 2 in D major, 3rd movement
Score and analysis 18
Johannes Brahms: Symphony No. 3 in F major, 3rd movement
Score and analysis 19
Peter Ilyich Tchaikovsky: The Nutcracker Overture
Score and analysis 20
Antonín Dvoák : Symphony No. 9 in E minor (From the New World), 2nd movement
Summary: chorale instrumentation of the woodwinds
Score and analysis 21
Richard Wagner: Tristan und Isolde, “Vorspiel”
Techniques of highlighting a melodic line in an orchestral piece
Techniques of polyphonic (contrapuntal) orchestration
Score and analysis 22
Gustav Mahler: Symphony No. 4 in G major, 1st movement
Score and analysis 23
Richard Strauss: Also sprach Zarathustra
Score and analysis 24
Claude Debussy: La Mer, 1st movement, “De l’aube à midi sur la mer”
Score and analysis 25
Alexander Scriabin: Poem of Ecstasy
Score and analysis 26
Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Tuileries”
Score and analysis 27
Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Promenade”
Score and analysis 28
Wolfgang Amadeus Mozart: Symphony No. 41 in C major (Jupiter), 1st movement
Score and analysis 29
Ludwig van Beethoven: Symphony No. 1 in C major, 1st movement
Score and analysis 30
Franz Schubert: Symphony No. 9 in C major, 1st movement
Score and analysis 31
Johannes Brahms: Symphony No. 3 in F major, 3rd movement
Part A (starting with the upbeat to m. 1): beginning of the main movement
Part B (starting with the upbeat to m. 13)
Part C (starting with the upbeat to m. 41)
Part D (starting with the upbeat to m. 99)
Part E (starting with the upbeat to m. 111)
Part F (starting with the upbeat to m. 139)
Score and analysis 32
Peter Ilyich Tchaikovsky: Symphony No. 4 in F minor, 1st movement
Summary
Score and analysis 33
Peter Ilyich Tchaikovsky: Symphony No. 4 in F minor, 3rd movement
Score and analysis 34
Peter Ilyich Tchaikovsky: Symphony No. 4 in F minor, 4th movement
Score and analysis 35
Peter Ilyich Tchaikovsky: Symphony No. 5 in E minor, 1st movement
Score and analysis 36
Peter Ilyich Tchaikovsky: Symphony No. 5 in E minor, 2nd movement
Score and analysis 37
Antonín Dvoák: Symphony No. 9 in E minor (From the New World), 2nd movement
Score and analysis 38
Nikolay Rimsky-Korsakov: Scheherazade, 2nd movement
Score and analysis 39
Richard Wagner: Das Rheingold, Scene II
mm. 1-2
mm. 3-4
mm. 5-8
mm. 9-10
mm. 11-12
mm. 13-16
mm. 17-20
Score and analysis 40
Gustav Mahler: Symphony No. 1 in D major (Titan), 1st movement
Score and analysis 41
Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Promenade”
Homogeneous (blended) tutti
Heterogeneous (unblended) tutti
Score and analysis 42
Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Ballet des poussins dans leurs coques”
First section (mm. 1-8)
mm. 1-4
mm. 5-8
Second section (mm. 9-16)
mm. 9-12
mm. 13-16
Third section (mm. 17-22)
mm. 17-22
Trio
mm. 23-26
mm. 31-34
mm. 39-42
mm. 47-50
Score and analysis 43
Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “La Grande Porte de Kiev”
mm. 1-12
The basic scoring principles of chorale-homophonic tuttis in Romantic music
Summary and classification of tuttis and semi-tuttis
According to compositional structure
According to tone color
Score and analysis 44
Claude Debussy: La Mer, 1st movement, “De l’aube à midi sur la mer”
Score and analysis 45
Claude Debussy: La Mer, 2nd movement, “Jeux de vagues”
Score and analysis 46
Igor Stravinsky: Petrushka, Scene 1, “The Shrovetide Fair”
Score and analysis 47
Igor Stravinsky: The Firebird, “The princesses play with the golden apples”
Score and analysis 48
Arnold Schoenberg: Five Pieces for Orchestra, Op. 16, No. 1, “Vorgefühle”
Section A (mm. 1-6)
Section B (mm. 7-14)
Section C (mm. 15-23)
Section A (mm. 1-6)
Section B (mm. 7-14)
Section C (mm. 15-23)
Score and analysis 49
Anton von Webern: Six Pieces for Orchestra, Op. 6, No.1
Score and analysis 50
Ottorino Respighi: The Pines of Rome, 4th movement, “The Pines of the Appian Way”
Chapter 8 Summary and a further look at the scores of the twentieth century
Summary
Instruments
Instrumental registers
Orchestral registers
Dynamics
Articulation
Methods of sound production
Alban Berg: Three Pieces for Orchestra, Op. 6, No. 1, “Praeludium” (1914)
Henri Dutilleux: Symphony No. 1, 2nd movement, “Scherzo” (1951)
Luciano Berio: Laborintus II (1963-5)
György Ligeti: Atmosphères for large orchestra without percussion (1961)
Pierre Boulez: Notations (1978)
Witold Lutosawski: Chain 3 for orchestra, 1st movement (1986)
Krzysztof Penderecki: De natura sonoris (1966)
Beginning to rehearsal number 1
Rehearsal number 1 (first five measures)
Rehearsal number 1-2 (last five measures)
Rehearsal number 2-3 (mm. 1-6)
Rehearsal number 2-3 (mm. 7-10)
Summary
APPENDICES
Electrophones (electronic instruments)
Classification
Brief history
Use
Limitations
Tabulation of the ranges of the frequently used orchestral instruments
String instruments
Woodwind instruments
Brass instruments
Percussion instruments
Plucked instruments
Keyboard instruments
Names of frequently used orchestral instruments in English, Italian, German and French
Frequently used orchestral terms in English, Italian, German and French
Works consulted
Index
