Contents Preface xi Acknowledgments xiv Notes on the Use of the Book si 1 The Basics: Preparing Scores and Parts 1 ‘The Score 1 Instrumental Ordering and Verscal Spacing 1 Providing Necessary Information 4 Vertical Alignment 8 Rehewsl Leer and Numbers 9 ‘Aids co Interpretation 10 Transposition 11 Transposed Verse Concert-Picch Score 13 Dynamics, Text and Other Information 13 Score Preparation Storteuts 14 The Parts 16 : The Fist Page 16 Shared Versus Individual Parts 17 Page Turns 19 Rests 19 Cues 20 Fidelis to the Score and the Use of Tacet 2 2 Instrumentation: The Orchestral Strings 25 General String Information 26 The Parts of Orchestral Sting Instruments 26 String Bowings 27 Bowed Articulations 29 Pissicato Articulations 32 Swing Effects 33, Swing Selection 33 Harmonics 33. Mutes 36 Col Lene 37 Sul Pontiello and Sul Tasto 37 Portamenco and Glisando 38 Fingered Tremolos 39 Bariclage 39 Vibrato 40 Scordatura 40 Dampening Stings 41 Special Befeces 41 Special Bowing Biles 42. Playing Behind the Bridge 42 Tapping Bees 43,| Contests Multiple Stops 44 Bowed Mukiple tops 44 Broken Chopds 46 Pasi Stops 47 Maple ‘The Violin 49 ‘The Properties ofthe Violin 49 Typicd Violin Scorings $0 ‘The Viola 56 ‘The Properties ofthe Viola 56 Typical Viola Scorings 87 The Violoncello 60 The reper ofthe Vislncelo 61 Thiel Vilonao Seong €2 The Conteabass 67 ‘The Properties ofthe Contrabass 67 cal Contrabae Scorings 69 3 Instrumentation: The Woodwinds| 74 General Woodwind Information 74 ‘The Means of Producing Sounds 74 Terminology 74 Woodwind Avtcucons 76 Otter Tonguings 79 Special Atacks and Altersons te Sustained Tones 60 Special Woodwind Befecs and Devices 81 Harmonics 81 Vibrato $1 Glissandds 82 Flue Bfecw 82 Dovble-Reed Effects 83 Single-Reed Bifees 83 Contemporary Effects and Devices 84 The Flutes 88 ‘The Properties of the Flutes 88 Typical Fate Scorings 92 ‘The Oboes 98 ‘The Fropertes of the Oboes 98 Typical Oboe Scorings 102 ‘The Clarinets 105 ‘The Properties of the Clarinets 108 Typical Caines Seovinge 111 ‘The Bassoons 116 ‘The Properties ofthe Bassoons 116 Typisal Basroon Scorings 120 ‘The Saxophones 124 ‘The Properties of the Sexophones 124 Typiel Saxophone Seorings 129 Consens 4 Instrumentation: The Brasses 134 General Brass Information 134 ‘The Means of Producing Sound 184 Terminology 134 Brass Artcultions 135 Special Atacks and Alterations to Sustained Tones 135 Special Brass Béfects and Devices 135 Vibrato 135 Lip Tele 135 Shaker 186 Giitsandor 136 Brased Tone 138 Bells Up 138 Contemporary Brass Effecss 188. Brass Mates 143 Mudag-qype Devices 145 ‘The Horas 148, ‘The Properties ofthe Horas 148 Typical Horn Scorings 183 ‘The Trumpets 159 ‘The Properties ofthe Trumpets 169 Typical Trumpet, Comet, and Tlagelhoen Scorings 164 ‘The Trombones 169 ‘The Properties of the Trombones 169 T) Seorings 175 ‘Trombone ‘The Tubss 178 ‘The Properties of the Tubas 178 Typical Tuba Scorings 183 ‘The Bugles 187 ‘The Properties ofthe Bugles 188 5 Instrumentation: The Percussion 191 General Percussion Information 191 ‘The Basic Percusion Strokes 191 Other Stokes and Articulations 193 ‘The Nowtion of Durations 194 Notation of Pitch 195 Percussion Mallets, Beaters, and Sticks 195 Percussion Instruments 200 ‘The Percussion Instruments with Definite Pick 202 The Percussion Instruments with Indefinite Pich 213 The Drum Set 231 ‘Typleal Percussion Scoring 283x Contents | 6 Instrumentation: Other sents 242 ‘The Keyboard Saings 2620 | | ‘The Plnoforte 242 The Electronic Piano and Electronic Keyboard 245 ‘Toy Pianos 248 Piano Scorings 248 The Harpachords 261 ‘The Harps 252 | ‘The Double Action Harp 252 Hlup Sconngs 261 The Organs 266 The Pie Organ 266 The See Om v6 The Feted Strings 278 Thc Guts 278 Typical Guar Scosngs 286 The Mandolin 288 The Ukucte 289. ‘The Banjo 290" The Hleewic Bus oe es Gar 291) Pedal See Guns 262 Takats 398 ‘The Free Reeds 294 The Accordion 295. The Harmonica | Re Troubadour Harp 260 Typical 298 The Harmonium 301 ‘The Whistle Flutes 301 | ‘The Recorders 301 The Ocsrinas 302 7 Insrrumensasion: Toe Voice $05 | The Voa! Tnsrument 305 ‘Vocal Mechanisms 305 Problems of Sound Production 307 Tesinara. and Range 307 Vocal Notation 308 | Voea! Qualies 308 ‘Special Vocal Effects 309 ‘Timbre Changes 310 Pitch Changes 810 Other Vocal and Nonvocal Sounds 312 ] ‘The Voices 313 ‘The Sopranos 313, The Mezzo-Soprant 315 The Conusltos 315 ‘The Tenors 316 The Bartones 317 [The Basses 318° Othee Voices 319 | ‘Typleal Voeal Scoring 321 Contents 8 Orchestration: Scoring Musical Elements 329 Musical Lines 329 ‘dentifcation of Musical Lines $29 The Use of Instrumental Color $30 Scoring Prominent Lines 331 _Seoving Subordinate Lines 385. Scoring and Voicing Isolated Chocds 338 Special Scoring Approaches 340 Placement of Prominent Lines 342 ‘Examples of Scocing: Techniques from the Literarure S44 9 Orchestration: Scoring for Various Ensembles 356 ‘Writing for String Orchertra and String Ensembles 356 Standard String Scorings 356 Scoring for Sradent Orchestas and Eneembles 360, ‘Writing for Band and Ensembles of Winds 363 Approacher to Woodwind Seoring 262 Approulies w Bess Scoring 368 Scoring for Student Bands and Winds 366 ‘The Marching Band 369 Writing for Percussion 372 Approaches to Percussion Scoring 372 Waiting for the Set Drummer 376 Scoring for Student Pereussionists 377 Scoring forthe Drum and Bugle Comps 378 Wicking for Choruses and Vocal Ensembles 379 Setting a Text 379 Scoring for Voices 382 Scoring for Sradent CChoruses and Young Voices 383 Other Considerations 384 Instrumental Doubling 384 Relative Loudness 384 Relative High and Low 384 Instrument Substations 385 10 Orchestration: Techniques of Transcribing 388 ‘Two Approaches 10 Transerbing 388 ‘The Fist Approach 389 The Second Approach 389 Points to Note About Transcriptions 389 Selection of Key 389 Meter Signaruze 392 Ornaments 392Sources for Transcriptions 393 Piano Literature 393 Orgen Lierstus Contenss 402. Swing Lierarure 40% Wind Literature 407 Percussion Litereare 407 Vocal Literature 408 11 Orchestration: Techniques of Ar Azranging Techniques 410 Possible Variations 413 ranging £10 12 Orchestration: In Conclusion 416 Chamber Music 416 “Wiiting forthe Chamber Music Performer 416 Instrumentation of ‘Normal Chamber Music Groups 417 ‘Large Ensembles 417 iting forthe Large Ensemble Performer 417 Instrumentation of Large Ensembles 418, Organizing Resources 420 Judging the Work 421 Final Thoughts 422 Appendixes 427 ‘Teanspositions of Instruments 427 Eleewonie Sound Modigeations 421 MIDI 432 ‘Suing Fingerings 438 Guitar Fingerings 445 Guitar Chord Diagrams 447 ‘The Harmonic Seve: 449 Wooduind Fingerings 450 Bras Fingerings 458 10. Trombone Glistndos 471 11, The International Phonetic Alphabet 12, Historie Notation Oddities and Pract Bibliography 485 Index 493 | == 474 cet 476 Preface Like the very sucesrfal rt edition, thie second cation of Invorumentasin sand Orsieratin is wetten to provide a text for radente of instrumencstion tnd oschestraton and to serve aa reference for exachers, composers aan tnd conductor, For the student who may be encountering the problems of ‘writing for inseruments fo che Grst den, this book provides peace informa’ ‘Son on score preparation and parss extraction, chapters on transctibing and ranging, in addition to the wwual information on instrumencal ranges and (Goalies For the school band, orchestra, or chaie dicerar hoving to prepare + {pecal arrangement appropriate to che sudan’ abies, student ranges are ‘aduded in adcion to epecise svggertions for wanaforming musical matedle| ‘om one medium to another. The profesional aranger wil find the detaled| information on les common instruments valuable and che ardcles on wind srculations and vocal characersdcs and Imitaions especially useful, The composer wil End the book to be an indispensable eefeence wodk, a5 it prov vides thorough explanations of such diverse topic as pereusion mallets, instru- rental pitograms, and contemporary techniques and possiilses, and inches extensive Engering charts for most instrumens, information on harp [gissancos and pedalings, 2 chart of trombone glissandos, ad asic informe ‘don on MIDI snd the elecxronie modification of sound. Conductors wll aso End init praced information about the essbiites and limitations of insteu- ments and voices a chare of sandard transposons, and aa arte en unusucl and/or historic notational practices. ‘Older books on instrumentation often cautioned the reader about those things one should not do and the pores chat the intruments id noc pos” sexe, While not ignoring the physica imitans of the inseruments, the spproach ofthis ection continues tobe the encouragement ofthe creator to Concentrate on what a instrument ean do. The list of instrumental possibd {es contin to grow longer while the Lt of impossbilies grows shoreer. No book, with words and clagrams Gozen on the printed page, can adequately reflect the evolving sae of an art. Te is therfore important that che reader remain in touch with the musicians, who ae both the crentors and imparters of this knowledge ie not the purpore ofthis book to embrace or condema any particular ‘compositional or performance gence cr sje. Taerefore, many instruments and techniques often omitted or glossed over in otter reference books ae inchid- ced here. The author has also attempted 09 minimize the insertion of his own,he castes or pefrnces inc the commentary ower, he not 9 ae a8 fo Sele emt nestor seceeded in heater enaeevor “The second edition fester several ew te and when spproprist, change ad reotungs ofvarouscectons, fem svong shee she 3a Sor of Spucsh ter foe al tans ongialy Gentes in Englsh, French, Gerntan nd tian. The stile on the bugle i ew The infortion on the organi onensely revit, Confsing secences and paragraph have been felons wath the hope of improved easy An apgendt on MIDI has been lasd a hu one icing sgulac Sngehng car and another wth guar Short dagum, Infomation On secre inetrments hasbeen adéed and ‘Giued tn the body of the work sod the appenix om eecuorie sud SoSfeason has been opened Also 100 dicen exper ana gre ore ‘lsced wae te pooblons ate end ofthe sectona and chptere ve boon ued own toa fg), but leh, Adina information on varios fercusion aseumens spec one of Arent and/or Aca on, hs te adaee Some no longer sectat coments hate been pice Wh More pus dat obierscons (thee have come spout ust eh occurrence oe sCeneesng popu othe to somone ct) nan appensixcesing wth toe de vartelary woubleome ncndpel pacts ocean comport, pbisers anu penods hse been provides The athoe ha ica to rleee oe ‘ny things dhe nu learned nce te peestion of te See eon ano ‘Spond tte most cmpling of te rogues or saison information tht foe cone Som fend, coleagcs, sh fojow musta Acknowledgments Many db ae ove so many ends and coeagucs wh Bate povided 19 tek hep in he Et and second edn of bok, Pre ng hee Gerda Wace whose propeed te pretend tend al he gh ings toma sre tari was compte. Hs cxjeene san eo ad hs know gens a musthn made the la craton pth books plese Ne Tas ‘Site fly and fends who cree hve Best source of encour spent inferaon sed upper ‘Aopeial group mur be tenowedge the muicans who, a excelent snd ign peformes, sted ther igh nih eb reading tn coms tenting onthe formation peondedsbow hc rapt innmuens, Thi este Jun Bech, Seaford Bery, Rober Blak Jey Boecok, Mitac Bootpun, Pal Cox, Jefbey Ellon, Fpdecck Furclé, Jobe Fore, ‘Thoma dion, Howard Hainen, Devel Ekman, Nas Merkel, Daniel Fens, Guleno Pech , Dei Petes, Leonard Rumery Patil Ses, David Shade, Thomas Swe, George Sn, Sco Wat, and Wms Zonn Th adn ro est, my cnet mus prided numer and pices of intrusion ine huged © cy tome ofthe Erony problems countered. There include ‘Thomas alee, Richerd Aste, Richrdo [verbs Sidey Blanket, Nik Be, Say Bebach Peek Cae Gastre Ee Babin, Fed Drfomns Coy Dubey Rass Forse fin Feng, Robert Gay, Thomas Holden, hard Kolck, Bren Levis, Aur Maio, Richart Mier, Je Mohlenowe; Feder ant, Seven Towel, ised and Peagy Rosen, Ray Suk, Sar Saya Tom Wad Preis “The photographs in the book ae the result, t09, of many effors. Locating the inreruments, nding appropriate space in which to photograph them, and assisting with the tak of eeting up and taking down the objects required the foc of the folowing people: Harcy Begian, Robert Chamberlin, Michiet Chana, Wiliam DeMont, Ron DeVore, Guy Duker, Jobn Ellis, Davis Hickman, Thomas Holdea, Edward Keolick, Cal A. Landrum, Richard B Lask, Acsun MeDowel, Jameson Marvin, Maria Merkelo, James Mot, John ‘O'Connor, Marshall OnofFio, Eldon Oyen, Daniel Perantoni, Thomas Sive, Guy E. Smith, Hugh Soebbing, Runell Winterboxom, and Wilma Zona Spec mention mut go to Fredeick Fairchlé, who spent hos loesting an helping to arrange the percusion equipment; Skip Paul of the 1st Nasonil Guitar Store in Urbana, Iino, who len both the space and th instruments for the fered sings photographs; and David Hruby, who was more chin 3 photographer; he was a creative and imaginsuve att who shape! che pitares fhe Cook also wish ro thank Mack Thomas ofthe W. T. Armatrong Company, inc. who made avalable to me the photograph of the use family, and David Peierion of DEG, who provided the phocograph of the buees. "M. Wiliam Kavinsfead an enly deaf and provided many valuable sugges dons thet have Found sheis wy info the book. Hle hat asm he a cigniant impact on the second edition. The Ser ediion, in an ealy draft, wat thor oughly read by James Eversole, who offered many worthy suggessont, Hs insights Into the ordering of the matedal have stood the test of time. John Melby provided deralled suggestions for the second edition and, along with [Richard Wernick, hss been « strong advocate forthe book sine is Ses publ “The information on scoring for student ensembles was enriched by the observations of Jerzy Jordan and Daniel Kohut. The chars on page 383 was provided by Dr. Kohut fom 2 handout for fis insrumental methods course Fo Paul Vermel, Hevbere Brun, Alberto Segce, sd Luis Bava [offer thanks for huving read and corrected the portions of the manuscript in French, Germas, Talia and Spanish. Their effora and encouraging comments have meant alot to me, Any errs to be discovered in there voeabulares ae my responsibility alone. I am especially gratefl to Lois, the Conductor in Residence and Prineipal Second Violinist of the Philadelphia Orchestra, who offered so much support to me as I endeavored to add « comprehensive Spanish vocabulary to the second edition, Thanks are due aio t9 Alan Morison. ‘Other contributors were Ermt-edtion piste Norma Runner and Oftlia Dawley and Jona Simpron, who helped locwe and reproduce hundreds of examples for the inal publication, Major second edn asstance was pro ‘idee by che Curtis Instrute of Music Library staff Elizabeth Walkes, Kencon Meyer, and Daniel McDougal, Extensive contributions have come, t00, ov the yee fom many orchestration studens, who by their quertons and sc exter helped to shape the original book ‘Conductors under whom Ihave performed—especaly incuding, but noc Limited to—Mark Hindsley, Max Rudolph, Wiliam Smith, Bernard Goodman, and Hans Lampe were sources ofboth inspiration and information. Musicians ‘with whom 1 studied, performed, and communicated—emong wom I #9¢ ally real with fondness Joe Vegna, Ken Grburo, Robert Kelly, EdmundDetering, Dave Fete, Mil Blalack, Tom and Marvin Lamb— have in so many waye Keowledge and insight a zelected in this ‘The books could never have been coms Marilyn, who proofiead every page ofthe fi years put up with outrageous demands upo ‘much 2s anyone, has made it posible. “The mest special chanks of alli reser bor and colleague Paul Martin Zonn, who in various stages of evolution, but who als embryonic ideas, helping me formulate in onships. He ffely offered his advice, c instruments as needed, and created both the thar he hee so Kinely allowed me t pubis A special group of frends and eoleag recs my spsit and sease of humor thar doing 2 second edition. These include Ar J Eioeco, Tom Wieckowski, Ray Brebsch, an ‘Tom Canavan T aeed alan m mention ith grasa} Matthews, and Mel Vildberges, wso were i pledoa of the fst edition, and Richard Cah tnd jl Lecta af Sehiemer Books, who ave ‘oall ofthe above, Tam indebued. With lurray, George Crumb, Tom Kees, pee, polished, and nfoemed my oject ered without the help of my wie, {edition and who as fora these her ime and her patience. She, 3 for my fend and former neigh- 10 only read portions ofthe book speat hours discussing my very fo worde basic concepte an sela- cium, information, lbeary, and oboe and clarinet ngesiag charts cs deserve thanks for helping me fabling me to fice the prospect of bin, Len Cohen, Wale High, Nick ‘my dean, fiend, and confidant, Gordon TB Anderton, Jou pstrumental inthe sucessful com: Jonathan Weiner, Jene Andras, ought about this second edition yt them, there would be ao book. Preface Notes on the Use of the Book Instrumentation and Orchenration, Second Edition is designed to serve a dual purpose: 24a textbook in 2 one: oF two-temester orchestation or arcanging Eourse and as a reference work for stents, teacher, and profesional ASA TEXTBOOK By the ordering of the chapters, the student is frst introduced to the ealeic hd technical charatensucs of the vanows instruments, ana tken tothe pracaces| snd procediares of orcheseation. The order of presentation ofthis materal and the epecisc chapter to be incuded or excluded in a couse of seudy would Be determined by che nature of the courte in which the book is wed. In aa Sdvanced cout, the ardent might dep over the chapters on instrumentation (@ through 7) and start immedacely with chapter 8, the Gist chapter to deal spccifealy with orchestration. les experienced group would probably folow preny clorely the order in which the material presented here, but a teacher [night also hive che stadenteseady’ the material on instrumentation coacuerent- Jy with that on orchertaional techniques and devices, A couse in band aeang- {ng would probably omit the chapeer on etings, or atign it ae extra reading. 15 Ss angle-emerter courte on orchestration, if might be practic to limit the Jntrumente dircuteed to thore in chaptere 2 through 5 ofl. In any cae, chep- ter 1 is fundamental to whatever approach ie decided on, providing 3 does ‘guidelines snd practi information neces to complete the problems that ae isuibuted throughout che tex. The problems provided contain enough mate fl to keep even an ambisious scadent very busy for two semesters. Because of the lengch and difficulty ofthese asignments, the instructor may want to limit for edit them ta more cisely match the time, esources ane persone valable to the students. Alternative asignments of the teacher's own creation thet would more predsly addres the sudens needs are encouraged, From the General to the Specific ‘The assignments found im chapter 1 and chapters 8 through 12 require more ‘general problem-solving techniques directed at the actual approach torches ‘uatoa projecs. The asignments found in the instrumental chapters ace moce specific and deal wth the specifics ofthe inswuments under consideration. Thest Notes on the Use of he Book inscructor i encouraged to “mix and mateh" these tatks to the needs ofthe eadengs and the gals ofthe couse Its ngt intended that a reudent woul do allor exen most of the assignments; they eis in quantity to provide alterna: tee and varen Asa Reference ‘The placement ofthe instrumental chapters together near the front ofthe book isincended to aid the profesional eompores arrange, or teacher who will need the book primarily as reference. Genera information about the characteristics of the choir to which an instrument belong} comes frst, followed by the more specific information about the instrument's family aswell sie specie proper es. (Throughout the book the tm “chole is used to refer to all instruments {hat produce a tone ins similar manner, such as the brass che, whe “araly” is used to refer to instrumencs that are gentricaly’ related, such a the clvinet family.) Specie, rarely needed information ls collected inthe appendices. ‘THE DYNAMIC CURVE, Included with the description of most instrument ip 1 dynamic curve that graphically repcesents che charecterse dynmie properties ofthe instrumen in relaion to its register. 1e is meant tO passe the orchestrator in making reuoaable demands on instrumentalists, but it certinly does not describe {he exact Limitations of every performer Tp the contrary, most professions, performers have spent a Lfecime learning # minimize the effects Ulustrsed by the dynamic curve. Nevertheless, ever] the most competent performet ‘may have more limited Aesdblty in some eepaters that interferes with balance == —— Int ienest rep covered in i aver of poster eyramis power may nave iteuty paying oy) but ic somenatweser (esl | INSTRUMENTAL RANGES Instrumental ranges are given according tothe following disgram system: Neer th Ua of the Bok 1, Large stemless black notes connected by a line within the digrien cep resent» pled juniorhigh school performers ange. 2, Large white notes, beamed together, with stems Up represent Rpice ‘igh schoo! or college performer's range. 43. Large white notes woth stems down and beamed together represea professional performer's ange, 4, Small stemles back notes outside ofthese ranges indicate pts aval ble on some specialy equipped instrument ce walable fo some pe formers who have developed special ski's, (A plas sign (+) indicates that che posollty of extending che ran: beyond the indicates limite exists and is often encountered, though « epresene arther special snaation at ths time 6, For eae instruments, only the profesional range i gven since noapro: fessionals would seldom posses or pay such an instrument. ‘One should remember that an exceptional unior-high-school performer might be capable of performing within «piel high schoo! performers range wale fan exceptional high school performer could be considered professions, College music majore must be considered professionals within the above das Beaton oetem IN CONCLUSION No book can accurately describe che sound of an insrument and the peculiar {qualities ofits various registers. Only by listening to the instruments ean the Sound properties have meaning. Alive hearing is best, but les of ts ecoze ings wil suffice. Ax instrument ace studied, Lntening assignments designed incense the student's exposure both tothe dmbre of » purtcule instrument fhe te some of ite idiomatic wages, both in solo eepevtor and asa member of an ensemble, should be made If posible, the student shosld ave an oppor ‘unity eo tye produce 2 few cones on the various instruments. Ths festa cxpesience is extremely valusbeih THE BASICS: Preparing Scores and Parts ‘THE SCORE ‘The score is tha copy of piece of music in which al parts are displayed simul- ‘ancously and sequently to show he nature of and the relationships among, Sllthe musical event cat conriate that particular composition. ‘A score should efecively fll ee requirements 1. It should serve the composer or orchestrator by functioning as the workbench on which the piece is assembled 2, Te should serve the conductor by effectively communicating the com position to the conductor Buy 3, Teshould serve the performer by communicating to the performer, vi O8, the copyiry, the performer's individual performance instructions. Cees [As long athe fst requirement is the only one har needs to be met the” ome fer in which «sore i prepared isthe concern nly of che indvidvl or Ringe Ge orcheroato But When te second and Wid requremens, coe ir 772mg Communictton, enter the pleure, cerain tadoral pactces axe 74s Sbuerved. Although sess eaconal pacsces may seem abitary (QPP {Gr details notlogie),itisaays ine to anemgt to conform tT Ogie, Gees Modeaons shold ke pe onifitemasalconeepson Vig ng cor orchesencr annot be cipesed within helms oFmadr Vale ox ° ett vag Instrumental Ordering and Vertial Spacing “cay, . Canela, ith “The instruments ot voices should be arranged in what Na sar tem ‘Traditional score order by choisis, ftom top to bowtom: Woodvinds Brastes Percusion (Other Instruments Strings2 ‘Within each choir, the wadtional ordering is, agnin from top to bottom, the highest pitched to the owesr pitched fail. (The determination of which iv higher- or lower pitched faruly is bated/on the lowest sounding pitch of the ‘mort common member ofthe family. Thus dutee are traciionaly above obocs in score order while carners ae below the oboes,) ‘There ae some traditional exception} to what might intuitively seem to be correct score order. The horns, while ceftsinly not che highest pitted family among the brates, are traditionally place! above the other brases in orchestra ‘Hore Voeal parts sre usualy placed below the percussion and above the sings, ‘where one would place “other instramedts,” but sometimes below the violas and abore the violoneelis. [n commercial arrangement using voies, te Yocsl arts ae Bequently atthe top of the pa ‘The following are some typical scofe orders for standard instrumental sroupe Brass Quins Woodwind Quinser Brass Sextet Teamper Flue Teamper ‘Trumpet It Oboe ‘Teampee IL Hom Giasinet Hom trombone Hom! ‘Trombone Tubs Bassoon! Euphonism Tuba Oreherr Concert Band Jase Band Flaes Flutes Sexephones Oboes Oboes Trompess (Clsines Bassoons Trombones Bassoons Clainets Guise Hosne Sexophonet (Conts)Base Trampess Comers Drome Trombones Trumpets Piano Tubs Home Timpani ‘Trombone Percussion Euphoniunte Other instruments Taba Violins 1 Timpani Violins Percustion Viows Violoncello: Contrabasses Somedmes tes wo ae evened * Other intument include harp, pan, celet, organ, voices chor solo iatruments (puch atthe aio vlin part ins viola concert) and sometimes sloghonet) Sane {ete no undidonal location forthe sophope inthe orchese tore, ene ca fad ‘pany vations: lop choice would be Belo the basions and ssove the horas ot beeween elaincd ad basioons. In La Crianiog du Mond, Dares Mild pce he suophone below the 2d von and above she foloncello Prepaving Sere and ares [EXAMPLE 1.1. How a sere page for a chamber pee might spear eae ienogh pci dino apt ce rformer o eps pty andres is ingrved by leaving ex opce Frown coi Tn msc ri accompli by skipping = al (was donein Ex 1) dfoneis wang a computer aomcon program en SF Sicomplatcd sone inal setup the sofrate Scotties cs impractcl ores separ sal for ach pt, a wbich cate one would then combine to ferent pars forthe rn nomen On Soe eal More than two parts on the same sus ot wal peace T oendal that the insvumenstharng «sabe ake, sch as vo oboes (Oboe {and Oboe I) tnd not we ule irument, even iftoy we om the ve femuy (Oboe 1 and Engh hoon). So thts pete ceaing the score my inland which ofthe inrumentsshaing sal st pny, he flowing ‘method is wed upward mem for one performer and dowawatd tems forthe Shier, somedines in conjenceon sath the felling symbian abrevitons: Meaning English French Germase alien Iseputonypiy — Ler(orlére) dae » Ddpertonypisy 2d te x Sdparvony sly Bde bee r acputonly shy th de fe * Dock parts play both 32 pu 2orinscme 32 allthee pars play allthee 23, m3 four pers lfour ike aud 4 allpecformecs play all tous alle fnly one perormer sole aeal din sie Spans er or ero or Ser odor4 f ‘The Baer a illustration of the wie of these methods of notation i given in this xample of two utes sharing the same staff. The smident's attention i alled {0 Oe folowing: the use of" 2” in m1; opposite stem ia m. 3,892" nae Sand 4; and “3” in mm, 4 and 5 EXAMPLE 1.2. Two parts on one Sat? Even when it would be desirable to place two purt on the same real other considerations may make such an arrngtment unwotkable Ifthe seo poco ons «uit independent, or if both cross back and forth benween high and iow arene ofthe instrument's range, the sharing of single staff may not work wel ca could create reading problems asin Example 13 = mes i wil improve claty to allow extra space between nwo staves even if that would not ordinaly be done. Essie 14) bleh che low pitches ofthe clarines interfere wih the upper pitches fake Gar soon, Example 14(b) provides suitable solution to the peeelon, a b EXAMPLE 1.4 (2) sors outed (beat tt. rm conting Oe is mos: likely to encounter this gowding problem inthe ledger line ‘oe above the first violins, below the tus, above the fixe wombore shoe ‘he Bastoon, Below the clarinet, and on sofas occasions above the a’ Providing NecesaryTaforation Thetis great asi of information tha the compo: or orchestrator may ‘ess f camila othe performer ad conser In Se eee ‘ear thre ae cerain lesson hee Sir aden Corer (ror Tie) Page The owing infematon shuld be pte onthe cove page Preparing Stee an Parte 1. The tide of the composition 2. The name ofthe composer 5, The name ofthe orchenaator oranges (ifany) 4. The name of the lyst (any) 5. The genera instrumentation ‘Most ofthese items are self-explanatory: The tle would include say subside, for instance SYMPHONY NO. 103 IN B “THE DRUM ROLL” ‘The composer's name should be as it would appear in a program: W. A. ‘Mozart, aot just Mozart. The genera inetramentston might be writen #8 for Onchsre, ot for Sering Quarter Usaly, itis not standard group and con sin of fewer than eight performers, chen all should be listed: for 2 fuze oboe, guitar aprane, and vols. A larger group might be: for roprana ed 13 ond Flow derailed this listing is wl depend on the nature of the work and what the composer or orchestrator wishes to emphasize, Inside Cover (Second) Page This page would conan any explanations, speci instructions, interpretation of special signs or symbols, of detaed information abou the meseeee te used (sachs «complet lt of percuson instruments nended) 8 cantaton of a tex ifoneis pple, would sls appear ere If se inforonon of ts ‘ature is extensive, sadional pages may oe used. Oa the other hana ee Gal infoenation is reuired, th second page may e lef lank int Page of Muse Tiadionly, cis is a righthand page. On tis Sst page of musi al ofthe information of the cover page wil ppear pls che fit ster of mse? Tht sytem, wit the inseumenn in score onder and signed te speife raven, 2b in Example 1.1, i indented so thst the fil same, part, and eanipotog of cach nsrumen! may appear on is stalin. In soeivon, cet and pe ieee Cations appear along wien any needed key signatares or mete sgnate Th Banle 5 note te patent ofvetos ies Tie sect oom pose’ mumeis above she mi onthe Sight orchestrator’ name just blow The sytem, because isthe feet is indented. Choi reconnect: éd by brackets [, groups ofthe sume nsuument are connected by Gace (, and the nam, part, and wansposiions ae given on the lehand ade of spmem. The key sgnatares ae flowed by the meter dgntare, andthe teope is sven above the system onthe lefhand side (Lis sho commonly eeeaed above the stings Ia lie’ name were involved, would be eae on oe left above che tempo indication, athe sme lo! a he sompesev can {any ofthe performers ae regi to double on other mveuetee this {Asatem it group oF ves forming one complete portion ofthe score a wots for ‘ew instrament, seve stems may spree a gl page, {When a performer piysrwo or mere nsrumeas within acompestcn i isd 0 double. Typical examples are 2d Fut it Paclo, 8d latin at Bas Casa© rae FLAMPLE 15. Teal tst soe cf music information should be included on the frst page of music. All instruments [equired anywhere throughout the compostion, no mater how much later they may appear should be accounted for on the Best page of music or, atleast, 00 {he imide coves page, even beter, include the inforaton at both locations Capyrighs Nowie “The copyright of a piece of music (oF = cor art) is immediately the property of the person who created i. “Copyright is secured auromadcaly when the work is rested, and a work is ‘rested’ when it is fixed in a copy or phonosecord for the fst ume.” For works crested on or after Janvary 1, 41978, copyrighe protection isin effet fegm the moment of creation until 80 years afer the creator's death, There is nd need to afBx a copyright notice to the eeation. However, placing such a nice on your work i highly recom= mended, For works pablised afte March 2, 1989, use of a copyright noice is ‘optional bu again highly recommended. ‘When used, the copyright node should Ye placed on the fi page of msc. Any notices regarding permission to we copyrighted materal should be peed at these locaton alo. Tete ia presubed form for 3 copyright noc, Temas contin 1. The symbol © or the word “Copyright” or its abbrevstion “Cope” 2. The year in which the work was erated 43 The name ofthe perton(s) aiming copyeight 55,5, Guar 3 Coppi Basia, Copii ice, Library of Congres, Washington, DC. une 1995 ‘Tae Uniesl Copyighe Convenion (UCC] weaty wes the same form as ragged above, Te Berne contention fas 9 recommended fom of notice. Tae fy fo ser Satocalcopyightepubleaton within «county, ke the United Stace, hei pty {Shere ceates Protection in any country baal depends upon the national avs of tbat coun, ‘Te Barer NN _Ppaing Sees and Pars [the copy s what the law calls 2 “phonorecord,” that i 2 disk oF 3 taps hen the nonce of protection under the copie las is 1. The symbo! © 21 The year in which the work was created 3. The name of the perton(s) claiming copys [Regisation of one's copyright through the Library of Congress is optional ut recommended, especaly if one seeks tigation in any foc, EXAMPLE 1.8, A late page tom the same sare 2 1.5 Following Pages Systems found on pages after the frst page of music wil unually no be indent 4, wl use abbreviations forthe instruments and wil repeat che organizatio of the system with expect to brackets, braces, blank staves, and s0 forth. Cle Sad key signatures if wed, are azo repeated on folowing pages and systems, bur meter signatures are not. {f the composition has sever movements, each movement will ustally begin on a page sx up a anew Gest page complete with indented fe system fad the fall complement of complete instrument names, The ule of the move rent wil appear on this page, but not the composer’ yrcs’s, or acrange:’s| rane, An exteption would be if subsequent movement used a text bya dif ferent poct and/or iit wae arranged or traneribed bya different person ‘Oem, ifan instrument ie wed in only some movements that instrument will only appear on the fist page of che movements in which itis used. Under there circumstances its name Would appear on the cover page, or the inside cover page, a8 appropriate: | The Bucs PROBLEM 1 | 1. Prepare a cover or title pose, a frst page of music (Me Allegro) and a second page of music for thi composi tion: Violin, 2 Oboes, Sassoen, Viloncele. Cempeser LJ. Obercrmit Tile: Sonata in Bh, Arranged by yourseit Vertical Alignment | “To fcitate reading a score, iis very important thatthe musical events that cesar ache rae ine beled very. Banine Beane 27 ros z 7 ‘DUMPLE 17, score showing oor veal algnment In the above example itis difcae do tell what pitches will be sounded together: The trumpet note in the third imearure appests to be on the tind beat of the bar when in realty iis to be played on the fst beat Example 18, Awellalgned score, is much easier fo real and undersand, ‘Allests and notes should Une up vercealy witha other rests or notes cht EDANPLE 1.8, Aweltalgne sore Preparing Starr and Pa rests, which oceut at the same time, The only exception ie w should be centered in dhe measure of omitted, In the actual process of preparing a score by hand, alignments fclitsted by Ses copying (in each measure) the musical line (pre with the mort notes. ‘There wal then always be room for a half note ora whole note; eying tO squeeze in & group of trry-second notei—afer the fct—is nt abvays posible Affer the line with the most notes hae been copied, it will Become much ceser to align the other parts, Bar ines are placed afer the notes are copied snd should extend vertically ffom the top t9 the bottom of the system With ‘ps benween the choirs. Do not try to draw bar lines freehand, PROBLEMS 2 AND 3 2. Redraw this score, corectl aligning the parts 3, Here are the bass and treble lines forfour contrapuntal measures, Prepare «8 piano staff showing these lies 2s they relate to one anctner. The fst, measure is done caret for you. Rehearsal Letters and Numbers [Rehearsal fetes or numbers are necesssry items and should be placed in the score (and parts.) They serve two purposes: the obvious one i tht of provid- ing starting point within the piece when it is neceesary to stop and restart the ensemble during rehearsals. They ae also necessary for those performers who have long rets during the piece. For these performers the levers or numbers, ‘assuming they ar placed a the beginnings of phrsset or sections, serve assign ‘poss wih which they can keep track oF the muse, A pecformer who finds Example 1.9 inthe part does not necesuly count 36 measures of rest, Many musicians are more likely to listen for three 12° ‘messure phrtses and chen enter at che start ofthe fourth phrase. Thus, teLAMP 1.9. Apres pr og lmao ta! at wo wh inane ee 1 placement of he len by coneponting co phrases the perorme’s Caray nto have indeed vated ebay rue to feces camcnive smb (menue mbes) ced inches or rt the ging of prc oF He bepning of ek cen, Whenerer posite the suber feet) mess inte saves prs ‘Sl pros te gues posible ern in eet nold Schoenberg introduced pair ofsrpbols, HF standing for Haupriimne, s Pa Aids to Taterpretation an sn important line, and N’ standing for Nedenctisome, a subsidiary Ene, Many Tine Ba tin — EXAMPLE 1.10. The use of Maupttime and HabenstinmeIncestens inthe Fourth ovement of Alban Bar's Lye Sut? { Cepmighe 1927 by Univeral Editon, Copyrigh renewed. All Rights Reserved. Used by permision of Buropean American Musie uebutors Corporstan, ele US. and Canad agent fr the Unie Sion, i | ‘The Baer Preparing Sere and Parts ompostrs have chosen to adopt these symbols in order to communicate more lestly tthe performers she nature of the relationships among vaiows lines ‘wikia complex compositions Engle French German Iealian Hauptsimme voce priaclgle Nebensimme voce tcoadara animporanc line voix principale Seabedinry ine voi seconcire In hi Second Sering Quartet, Eliot Cater using cue lines, cars for che performers how thet various fotes are to be pereived in terms f te creason, oF composite lines. =n ee se 70 [EXAMPLE 1.11, The ine shown above the Se vin ar i tobe the perceived cesta of he significant ptnes win the passage. The example stom mm. 453 and 456 of Canars Secon Sting Que” Transposition (One basic sil tha a composer or orchestrator must possess before itis poss ble to waite eftecively for band or orchestra isthe ability to transpose. Most instraments sound the wrinen pitch when they play, but afew sotin a pitch thats different from that whichis written, These ae ced eaneposing inet rents A chart of shem is giten in appendix 1 and hey ate ds theie respective fries in the body ofthis book. ‘Usually an fastrumentis writen asa teansposing instru former may tansfer eyerand-hand coordination skis learned on one family rember to other instruments ia the family. Thus when a clarinetist sees this wren pices ‘the clesinerist covers the holes played by’ the chums and fst three ngerson th lft hand no matter which clarinet being payed However, the pitch that will be heard depends on the phsial sac of the clar- nee that ie accually being played ‘The names ofthese cansposing instruments uswaly include the name of (Copyright © 196% (Renewed) by Associated Masie Pushers, nc (BMI) Spanish wor pr pal2 | the yin which eine pith 3 cline, Bako saopHene and ‘= fr Th ame ayes i conch ta be heen ‘ren Cis performed by she ire. Theres ou arses, ing es Eogeing) she woken © abort wil on B caine proker shay cei 3 on an A cnc aconar Ay of onan Hat eae on Bn es cfroran thes wl ee = 2 | [EXAMPLE 1.12. writen ane sourcing pltenps for (a) Bb clint (0) & clvnet fc) & aio eurinet For most orchestators the eves teghnique to ws i transposition by incr val To eaeulte the interval of wanspasiibn one compas the pitch of che inst sient (By F ee.) to C; the resulting intl wil be the interval of eanspoition The interval between Bs, and Cis a majod second, s the part for the transposing icstrument wil be a major second, or sone ocsve mulple ofa major second, ove the concert pitch desred. Most Capsposing intrnmente ein loner xan soacert pitch and so are wnitten above cdneer pitch. (Among the few commen ‘xceptions are the B soprano carnet andthe D, Band piccolo tumpes.) inet Pech (aos) oes Ped or Bb rm [BRAMPLE 1.13, Compson of sounding or chear pth and wrtn o transposed net tion for 88 umaet PROBLEMS 4 AND 5 4. Conver this transposed score intola concert piteh scere, (Al the instue ments here sounat ewer tran writt¢n) ss oe sagen ap ‘The Bases t 3 YA Ransposed Versus Conesr-Pitch Sere There are suo ypes of scores commonly found: che eansposed score and the Preparing Sere and Parts 5, Transpese these two lines for wo instruments In F(Souncing @ perfect Titth Below concert piten) and place on 2 single stat. Use symbols given on page 3 if sopropriate concere pice icore, The tinction hat f0 do with the notation of pte in score. In the wansposed score, che transposing instruments appea inthe score cexacly a6 they appear inthe performers’ pars. In the concerpitch scores, all parts aze notes woth the pitches chat mun, regardless ofthe notation weed in| ‘he individual parts. The only common excepsions ina concert-pitch score ace fhe pleclos (which ae weitten an octave lower than they wil sound), the eon” leabuses (whic we mises an octave highs dhan Wey wil sual), atl eet percussion instruments such athe celeta and the slophone ‘Trough the concere pitch scores apparent easier forthe composer or orc textos to wie, theese atleast Four restos to recommend the tnepared sore 1. Th copyist nced net know how to transpose and can mesely copy the parts dceely fom the sore 2. Conductors are fimliae with reading from transposed scores; thus, seading rom concert pitch seve usually eequres an addtional proces {forthe concuctor—to remember to forget to transpore 3. Among sever instruments fram the same farsi, mort have the same Eagesings and cesponse charcterties for the same notied pitch erefore, the orchestrator can quickly tansfer knowledge of one insrument to another of che same famly ifthe parts are uansposed racher dhan st concert pitch, 4, Ifthe score and the parts ze writen in the same notation (ie, rane poted), the performer and conductor would be discussing any probleme in the same terms and with respect to the same pitches ducing schesrls, hereby saving time and minimizing confusion Since the waruposed score isthe norm, it ie essential that a concert-pite score contain 2 prominendy placed note tothe conductor calling atenton £0 the face that isa concer pitch score Dynamics, Text, and Other Information Dynamics, including cescendos and decrescendls, are usually placed below the staff in inseumencal writing. The only exceptions are (1) when there is no room below the staff for cynamics and (2) when n00 instrumental pars share the same stiff and have separate dynamics, che dynamics forthe instrument 1Bnotated with tems pointing upward art placed above the staff while dynamics fr the other instrument we placed be Indications of acceerando, rallentaido, and other changes in speed ae also usually placed below the saff, but indications to establish a new tempo or return t0 an old tempo ate placed a4 In vocal music, the text is uaditontly placed below the staff. Howeves if ‘0 voices share the same staff and have cifering tents, the text fr che upper ‘oie is placed above the staff whle the fext forthe lower voice ie paced below. Because ofthe location of the text, dynamics and change of speed notations ae all placed above she staf. Score Preparation Shortcuts eal, well-prepared score will have every mark, note, and dex of every inseramental ot vocal part indicated om its pages. Whenever time and energy alow, this i most desirable. However, there are some ways of lesening the ‘hore of preparing the score ab wel a8 tving time, ‘One method of sving dime is the ufe ofthe one-meature repeat sign: ‘As shown below, this mesns to ply the material given in che fest metsure in ‘iu suceecaing measure contaising the sgn, 2S SS = SAME 1.16 The samen este tne he single-meanire repeat sgn is ein the score it must also be used x sey the me point inthe pay abe vie vse feb move oppropncy taaployed ins componidon wis ita) be used fequeney, ees thon ony ‘When a musi pater oft8o mess tein length so be repeated 00 bar repeat sign 4% aye ee. Thi sgn i placed on the be inet owe clestiy which tw bes eco he repent ESS SSS [AMPLE 1.15. The 2smeasirepatern sob played fou times In all other ways the cwo-bar repeat wor ke the one-br repeat includ ing the eaution given above. : 1 popular ot commercial music one rometimes find a notason indies indisting thatthe materi writen for one instrument (ute) iso be coped into aati jnnrumental ine (ok) ] bo Preparing Sars an Bares vila got ie obo ice! tthe te sat EXAMPLE 1.18, In 2 ecu ‘A related symbol i used when the staff directly below another isto con tain the same materi [EXAMPLE 1.17. Seeend vein pais decal tthe itn mn, 2 and 3 ‘The shortcuts shown in Examples L.14 and 1.15 should be used only in situations where the instruments iavoNed read the same clef, at the same Detave, and ute the sme eansporiion. PROBLEMS 6 AND 7 45. Using the Bach choral prelude "Herzich tut mich vlangen” ven below prepare atte page, the fist page of musi, end the second page of music for 2 transcription forthe following instruments: vain, vel, bassoon, ‘and tuba, Write aut all the pitches. Assign the top (Scpranc) line to the ‘ln in the treble cle; assign the second (alto) line tothe vols inthe ato clef assign the third (tena line tothe bassoon inthe teno” cet; anc ‘assign the pedal (Des) line tothe tuba inthe bass clt. (This combine tion of instruments wil requite no transposition.) Be sure to place the Inetrumente in tcere ore and te align the events vertiealy. include rehesral lettre and measure number, eralch Tut Mich Verlangen, i pn=. yi bie epg rear wae Precsoe in ving J Sige 7. Copy the Bach chorale prelude a att separate staff. Assume tr Dy Betarnets and copy the pitches ven) Assure thet the tenor end copy these lines in tenor ane required), Follow all instructions ‘Tate PARTS Once the score is completed, the next ‘performance set of parts wil contain at found in the score. If some of the pat formers, such as sting parts (n an oe ‘xtra copies of the parts willbe needed, ‘wo performers ie desired | “Te Ree Page | a ghftmaton fund on chef page f matic inthe score slo Sound on commen for pars.) The fs stl (or al piece of information that mutt be the fie page ofthe pare. (Title pages ae ‘eem) of the pare i indented “An ade S55 en above on feur save, assigning each at he soprano and ato lines wl be played accoringly (writen one sta higher than 5 ines wil be played by bassoon and 48 clef respectively (no tanspostion is 1 for goed score preparation, fk ex te pr Aceon iene coy feet Aone tue t0 be performed by sever per tr) or clarinet par in a band), hen ‘Usually, one copy of a pare for very couRSeea [EXAMPLE 118. Fist page of a clarnat part showing usual placement of information ded toa partgageis the name ofthe instrament) andthe prt nuber, en. Bee sale 110 sbove fr «pra a age ofa date pa On ee pages flowing, one ned nt rpeat any ofthe incemation wie ssn onthe page tut a abbreviation of he name an par number of he isouumene along wih 3 page numer might be tse shold the pages cet become separ Extpt a he St sal of che pry the aves are not indented. They gras if one i ed is tepestal on each rah but che meter pnts ‘ope oly ike begiaing or pins of meter change Shared Versus Individual Parts 1a partis copied onto a page so that two diffrent instrumental lines, such as frst and second utes, appear together on the same page, the result is what Weileal shred pare. On the other hand fa unique pars copied onto a page, such as 3 basioon by itself he ces it what we wl ell an dndidual pat ‘There ae adonntages bes ‘The shared partis practical because it only needs to be copied once and then photocopied, or otherwise reproduced, forthe second performer It a slower, more tedious to plan and preqace, but does alow the two performer ‘see cach other's pai, which may be helpful in ifGcule music The individual partis quicker to prepare, les planning is necessary, and in ‘many performance situations itis prefered by the musicians who are weed co seeing this ype of par. Extra copics foi extra stands of players can be produced by photocopying, In the orchesta, aly the percussionists repulacy pecker shared part. The wombone and rubs players, and toa lesser extent the tne [Pets and hors, sometimes see a shared part Jn. band, shared par are usualy gsed forthe oboes and bassoon, horas, snd percussion. Other sharings sre occsionaly seen, ut a someutas nae One method of preparing shared ptzts ures a separate sa foreach inves ‘meatal line, connecting the two ines together into one system by use Of rack ces. This works well when the two parts shaving the sme page are both vey complex, or difer grey fom each othr in term of chaste, or where tay tse totally different portions of the rank or iffecentcleh With thie meshed fone can have different instruments sharing the same page (clarinet and bose larne, trombone and tuba, exe). 254 Danoon stems forthe higher part and downward emu for the lower, and the sevtols found on page 3 whenever spplicble. This docs not work for sv aren, instruments unless both use che same clef rasposition, and the ike, Sven Fe ‘posible, the ue of this method for ewo elfen instruments i very epee EXAMPLE 1.20, Tao seperate arts sharing the same sat Alogi! means of geting the mom hom the shaced pars ppoath gombine the wo methods ducanedsboye, Bangle 12k das The Basics Preparing Serer and Bares EXAMPLE 1.21, Teo eparste pate ehtng 2 ttf, changing Yo each posescng it own sath Se De sta id pes eget aetna ee Syrah vane nepetmer png Eons afar #2 Sefer sep aro ge a See eee ‘Seco renseinernes fo bis one ae ee eementl cer eatin meses . es ‘The best location for a page turn is in the ate ‘of an extended rest ie deed eevee aati terres pera censor fi some tun is nero oe he prormer vo um te page cpecly Sek den yet er age tm te bn Suet onthe pgs tet be ean des ure guy) Seon yd tes see meoracmercuen'ee paix eaveonwes fale hen ey este DXAMPLE 1.22. Te last stl beer a page tur the pertrmer will eect tobe 19 play imeciataly ater ture the page mide of Avo page ture at msielyawlovard moment such atin the a gener pune (G2) Alvo wold having all ofthe weings mae aft page urn the same dime during «quet passage o smile tun during an expesive dole pusige Rest + former a the notes. Rests lasting moze than 3 [Rests areas imporcant to the performer Resse smeasure ae placed into the performer's part differendy tha in the score Exanple 1.28 shows how the rns should pea inthe part Example 1.24 how these same rests appear in the score. Rests in an individual performer's ue should evr be copied asin Example 1.24; alvaye a in Example 1.232 | metas | EXAMPLE 1.23. Rete in ere’ port He Inthe covect manner ‘The Basics ® EXAMPLE 1.24. Fests inthe score. The performs pat shoul nee ck he this Cues There ae three pes of ees commonly used in prformes parc 2 Landmark ccs oa she pertorme in cng oespng the lice 2. Pesfornace coc intended so te peformed in case whee the cued igsrument smising (or seal) 3. Coordination eves ured to asset « perform in dhe scahing of the part with another, very comples line seeesauabes Tne fe ge, o nmi coe, my Snply ean indon in che part ‘towing whee 4 eyes her ce Str ee . EXAMPLE 1.25, 6 incmave cus not using nee “The pefrmance ce would egie he ws of estes ele tan nce miter neRens e rng St) dint ae pce Femsument bring cued. These wl be tenia Be key ed ee eae ‘instrument in which part they appear. si Pe ©.0. ore 2 — BL ALL Ss Wis hla ©, oe EXAMPLE 1.28. & perfomance cue Inte tohbone pan showing the eg tampet pe ‘0 at eter. te thir trumpet nat aval,» rombene ule pay the pases eee _Prgaing Sere end Paves fa fermata occurs in che music anda performer who docs not ply notes leading into or out of the fermata mus aectrstely rejoin the ensemble, coordi- ‘ation eues could Belp. EXAMPLE 1.27, Coot ration cues to ast te bszeoonit in ening the fist ‘Often eve noces are not necded in this situation, and simply inchading enough details within the eess wil serve as wel. rubatg, === [BAMPLE 1.28, Rete to ae he oseeonst insite tit In complicated pieces a coordination cue either on the staff or on 2 sepa race se vill offen clanfy an otherwite swicwaza situation. Ia his due for (1961) Gunther Sehuller provides these coordination cues on a -sparate saifin the tombone pare 2m * a he odes = oa tae; =r tf = (P pobe stace, = [EXAMPLE 129, Cut fre trembonit tour in otc to manisinenzambl in Senulr's Mose fr Brass Guta After any extended series of ress, or after more than twelve measure, o¢ whenever thece ia danger ofthe performer losing the place, landmark cues, with cor without special notes, shouldbe used, Always use many cues in parts. Ics also 2 good policy to number the fest measure co be plajed ater any extended rest. * Copyright © 196 (Renewed) by Aucited Music Publihers Ins. (BM)AMPLE 1.30, Placing a measur n0nM onthe fst measure ater an extendes test Fidelity to the Score and the Use of Tacet (One temptation that must be reise doing the preparation ofthe parts isthe ‘se of any shortcuts not found i re. As a rule the pare must match the SLgat Stluaeeatoaat eres the score and vice versa, (This cautiod fe ee to the single-measure or opeoagan naa ng alle TEDL ott al late eermtstone lly replicated in che pats, Every ff hould have the meaute attber sere the first measure of etch line. Al cs fom the score, along with tempo ‘changes and similar information, must be included inthe parts ‘The major exception ro thir ule eof the tm enact The tern means ‘is allent” andis placed ins pst nform the performer to romain there i is employed in wo ciccumstanctt 2. Wren performer i to rem ent for an entire movement 2. When a performer, having pied in the composion, to ain silent forthe rest ofthe piece or movement When the second situation is encouptred, che indication exec should be placed sera rehearsal leer ov numb Never wee tases when s perionner o ‘expected to reenter ater in te moe PROBLEMS 2-10 8. Copy out the following nensue|ss a ceerdnation cue fer a lust who eins on the fourth gat wth 8 anisine mile cand ot \would appear inthe tube 20 8 tubst Coes nt pay during the mea sure (Only cess wil be regute othe tuba. See Ex 1.28) 9% Gopy part forthe 1st ané 24 Se 65 2NG the 2d clarinet from Haydn's ‘Symphony No. 108 in Mae. Poe each instrument one serorst ens ‘on the same page. Fr the last een measures, give the 26 oboe 9 nor formance cue ofthe vos ine a the clef] and provide a perarmance ‘cu8 ofthe Let oboe pat fr el # 8measues in the 2¢ clarinet, Tee Bases ee10. Copy these tao tute parts onto one sta ‘ieetens, and the use of Ia 2 ete Watch vertical alignment, stem The Bais 2 INSTRUMENTATION The Orchestral Strings oP eoow eroll (curved carved end of instrument PE (ont of four pnt of wood to tune sting) Pepbox (hollow fame that alae pgs) nut (ig over which the strings pas ster leaving pegs) bow hairs — nec (the part ofthe instrument that ‘ suppor the fingerboud) ingerboard (wooden su the fingers wooden pat ‘hole (openings in the front or table oF the bow that allow the round te emerge) bridge (thin wood supgort over which a String pats, rast sound toby) ‘mute (Rott-Sthon type) apiece (device to which al stings are anchored) chin rest pin (to which talpiee i tached) fog hel of be tow26 GENERAL STRING INFORMATION Atshough there are many musical instruments that produce sounds fom vist ing teings, the violin viola, Moloncto, and contabus (double a) ae oe ‘feng instruments commonly atsoitced with the symphony orchens sed oe thereior often ceferred to a5 the ercheseal sings ‘The Parts of Orchestral String Initruments Figure 2.1 shows a picture of a violin with the parts named, It would be of Yulee to the student 10 learn the eames of these pars ofthe invremient a Insramensation he Orta Seringr by plucking, “There are three ways in which 2 sting is ser into vibrato 8 ped eae sen og Wg pagel nr wan eS es SPE SATUER. TER Schatten matt wal lees podtn win he cee a le farsi dau yen be used as wel a peeusion mallet (ae p98) or the pecforme's bow since this knowiedge wil fcifte understanding of the waje ehog sing instruments are played and pedduce sounds Rie Stings on the instruments se identified both by letter namie and by amber, usually expressed as Roman humerals. From high low (asc ce lee, in Fig. 2.1) the stings are numbered I, Il, Il, and IV. The onan cree ‘icings is raneferred through the bridge tothe font or uble sf die ones Sting Bowings BOE er aan aba vobancbo ual cas anon ot een Fkruments In additon, sone now Were svinget acumen ‘bowed ssf ere col conve of ving ober mnngeanaramena swe, “he am a neta he bow Be Howes te we of the bow ie sarumed in the ene of modern orchestral soins, and therefoe {imal wooden cod inside the instrument and perpendiculs tothe feat oot back, Ttis located atthe number Iting end of te brdee Ths flowing rable gves English, French, German, Taian, and Spanish ‘auivalens forthe pars of the sing jstrumenc and cher bee, Buse meh Goan lions re ere rare platens tne dst rsp ‘popeeel teenie Kofesice aap ce Sco eater Sr eter zu Pov wishes the perform! wean to bowed ping sero volute Schecke lua ersicio —carncol or voluta be bow i ade of toner ordre webu: eres on w= bad cherie Webel caviechi or lava ste exe won se, ied tb ks bal od : bischer erpirolo ands larger han th pos end which arower and lights. The fetes ee bral ‘Wiebtkasen eet airy isthe poe? hand eed he awh sh crrosi nd is caed he Hp = - tsatrel ‘eapotasto: ‘or cejvels or cejils ‘There are basically two motions used to Semen Ta one = = SC = gi SE EECoS i oecce ; zs fa oa x Gog, unt apart ofthe bow nearer the tp iin contact doe Seat ‘and is indicated by this symbol m. By stas foertowt ute athe ten Steg Rieter nds eden spiel lebitde — Gethonange pweetane EE Spat pie Sage Eas ton e ae eee a Sood ee 7 2 Seam thncbcds creme) SY ee pasate Shaw he ee er se pn ce sles conter Sseohater Penge Sad sone igh one, re bef of decd we he feve Sidetuee once SE Sos he li pee ut pr feet Sensei Bo = Sine Coed putin eae ana he ome differences, so that they are perfectly See ee er Fe 7 ie pram jena La 9s and down-bow crescendos, However, whenever it is possible : ee Ss daemons marron soctegreeotepee fe ete oe Sop cl bene cure Seg ‘omdsing miners Sucdiamnimee aecey Sct econ porporer or any enendedsnouat of ine, he ptsge wil sem ob eee ics Lael de arco ‘poorly bowed. “ ’2 Becase ofthe crescendo chrcetitic ofthe up bow the up-bow i ional asocted with the upbest ose pcp or nacrans) The cc sth wich one can acenuste notes bygen wth char porto oe Dow cose se the hand lead tothe wactonal fnocnion of te down bow ith he downbest. Therefore, the flowing poping would be Sowed ws nde DDANTLER', (latent bwin: egoigena genni seat vgs be ring wth an upisow The basi prince, sated ave, chat upbeats ze payed up-bow and owmbeasaploed dovrtow The dibuon ef upto ina dom Sout ‘roughouta pece of music isa concert of te composer, conductor and per foc, and is determined by vous edeuiderasone One ofthe mot impo canes that sever notes may be played danng one Bow-suace So ideas this, the following notation is sede : if : BXAMPLE 2.2 Four notes in each bow stoke | 4 ost pling the example above oul ply the fe our note wth « downsbow, te next at th sh up bow snd on, erating poe fue Bet bowsoke coughout the geen pnge, fis importer sonstng Players to undertand tat hoe ached Et cnt sey ny, bute oe ing et ht meta del he ope andere ma at pled ‘ste sane tow-ssok (2 whoa ay change in bow cian} Soe areas changes: Lee a new mark begins. mi ng notes of gal gh 5 pfs cn pay moc ots dings single wp-bow or down-bow suoke a aftr eames tan ca be poco louer yams, The coroay of couse, hr paging fou noes ng 229 sack wil fata the posucson of outer tes Tas bees Ss Flas ofvound proauced bya bowed inscumenns rnsk feo en f the pes applied oh ing te ow and he eed eh oe Sow moves ato the suing. The genes fe bow presure che ae oe bee sg rio ewig mor ace nh. The teow mores arose eng, he eva (ee the shore tw st Thee pres red he moe he bow may eo se offor sim ore these. podudng tomers ae win sees EXAMPLE 2.3. Using toning trinfeee the dics ofa pesace ie Oren Sings 3 they ake advange of te “The Vovings in Example 2.3 work because they tke advantag so eine name a he fore pnegen as have fever notes an be re ceerpe ave more, Node, fo, tat the bowings match the mus Pee a athe vepuion of he mode mate te Bowshg pete ae a practice one wonld nt mak eich up-bow and down-bow as was dont ia Buanpe 23, The down-bow a the begining might be marked, te ei te vio bowing and heared ine take ez fh Song hare emote fre up-bows tan forse down-bows, The Bowing Not algae ofthe numberof wie per bowsoke. When an cven dynamic To be maintained, one dhould design the bowing 1 thatthe number of ls se dawn bow sake eit (rhe equa) the nam text each wpb ake neh Neveu above do not provide ay oration rating fo aces Ga i manner nice ano begin and nes). 1 caer Be SSSelned fom te neo of wpibow or down-bow or fom the not sng fin bowesoke, wieder the ote ar fo be saeat oF Igo Fee onding more deed descriptors of he wclsuons deed, aaerpe dco tne tan bowing ha have been dues Sc cap ows pte tsi Conspt of bowing ous pont, flown 1. Upbeat gener led eptow nd down ae played dowe bow SLEREES pustscer cegure more Bequene bow changes than soir 2 Beet oreymamicconsideraions,o for pec effects the durions Sfugbons and dowrbows win sven pusge should be about squad 4, econ of bow dieeson and tow changes donot eae dest sricslaon Composers who write effectively for stings invariably conceive of the susiel ines tht they create forthe instruments of che bowing to be used. Good sting witing often grows our of she bowings rather than the reverse Bowed Articulations Separate Bows Separate bows, or denchi is the term wsed for alternating up-bows and down: bons, Teds the basic pe of bowing, cecuised above, and cannot be assumed. tbe eicher legato of noalegato, Therefore, since either articulation maybe intended, iris wie t0 specify “legato” or *nonlegato” in the part SS EXAMPLE 24, Neato for separate owe (atacha20 Legato Brings Legato i indicated by the we of the aay or phate mark Whether dar connects tvo note, oF many (sin Ex 2.8), iis assumed vo mean legato, unless dow or line are placed ove the notes] [n Example 2.5, ie is obviously imprac: Seal fo atom t0 use the slurs 33 bowing indications, but dhe performance syle implied is clearly legato. Bow changes will be necessary in Example 2.5, and vil be made as smoothly possible within chese phrase macks. Es EXANPLE25. Legato bowing Se Bru Stroker: A series of notes (often on the same pitch) played within a single bow stroke, each with a sight “push” and all sighdyseparaced, is called brush roter or leur. The effec is somewhat like aferles of sighs. The proper nosstion for ‘this articulation i s fellows AMPLE 26, Brush svete (urd On-theSering Staccato The use of seaccato (..y Staccatigimo (0+), oF accents (A ROE > >>) placed on the notes, regurdies of up-bo, down-bow, or the grouping of notes within single bow-stroke indications, ufualy calls for an on-torsing naccats, sometimes alld mearzelé. When these notations occur in the music, the per’ former will often diner to play onthe ring, though there are other options for interpreting the markings. To be sige that an on-the-string stacesto isthe ‘choice, the word martelé cr the words pr-thevring should be added. [PLE 27, Several notations that maybe nertoc to el for o-nesringsaceato (nates ‘When several notes are marked tacato snd paced under eur (atin the sec: ‘ond measure of Ex, 2.7), to be payed onl the-exing, a ype of boing sometimes called sumed ences is achieved, In contrast to the more Nica onthe sting ssaceato, which usually fenrures a defined stopping and change of bow daecaon berween nots, sured siceato feanures the ropping without a diseon change, In the third and fourth measures of Example 27 isthe noration for hacked foving. Ussay applied to all figures sch as [5 13, Cf ,ce LY ee soton for hooked boning Ef it acy the reve ofthe pcformance ~— “ee Orcheral Sings echaique, whichis to shorten the frst, not the second, note. Both notes are played wih the same bow stroke. Off te-Sering Staccato 1 avery ight, bouncy staccato is desired, one may zk the performer to take advantage ofthe natural stringiness ofthe limber bow and taut suring com Ginuton. These bovangs are caled offshoring staccato, referring to the Pence off of the szing tha tkes place. As a general term, the off'tie-string acca is offen called spizea. pleas un aterasive to on-the-suingstaccatos, Unes the orchestrator gecdes one ofthe other, ch choice beoweca the two wil be made bythe per emer oF the conductor. At extemely fast or extremely slow tempi x may Rot be poutible for the performer to produce an actual spiceam chet i, one caused, Efe naruval bounce ofthe sting snd bow. However, performers can induce 1 ypces like bounce by using thee west to produce the necessary hop of the bow offthe-sing. At very slow tempos this becomes completely ati. At ‘ery fase tempos, pizea is impossible ‘An up-bow ipecat in which several nots are played within a single wp-bow soke is sometimes caled saceusa vlan A down bow spiceatsin which fom oe {2 sr notes ae played in ange Dowawoke & ale ssw, When this feeb deaed it is necesety to specif the face by placing the word alsa in the pat, a vino Bben ae sino EXAMPLE 2.8. Netatins fer (a) utem spicao(stacato volte (8) soitenco Repeated Seroes ‘Az most tempos it is posible vo produce «series of down-ow ar up-bow notes, These would be accomplished by plying 2 note with a single down-bow Sot, fr expe ng he bow ul pasing i eis an en playing the next note, Te provides a very clear separation beeween the notes Fees of sucessive down bows has avery heavy, accented quay while a series of succetsive up-bows possess alight, delicate quality. = oo pn anne % YY YY vy Ley EXAMPLE 2.9. (2 succsevecounsbos [n) successive uo-bows Rieaehes Bowing Ricochet bowing isthe technique of dropping or throwing che bow she ding and then lowing the bow to bounce astaraly (also called jz). The pnomber of forced bounces that can be produced vais, but mone bounce ae possible with a combination of light, loosely held bow and a heer, string than with other combinations. A suggested notion is shows2 ‘As a word of eaution o the compotts or orchestazor there i not univer. sal agreement among sting performerh, conductors, authors, ar dictionaries ‘egarding the exact meanings ofthe ters, especialy those of French and felian fotigin, chat are associated withthe variqus bowstzokes, I is importante for the composer ofa piece of music to have Heard enough examples ofthe bowings desired tobe able to communicate to oe performers just what is called for, Bowed Tremolor | ‘The bowed rremaleis merely the pid alteration of up- and down-bows fon single pitch or dyad, Te may be massured ce unmeasured, [tis important {0 note that what isan acceptable unmdseured tremolo notation st fae tem os may be playable aga messured figure at lower tempos, Taus, an addition. aU sath or to may need to be added v9 avoid confusion . ® « EXAMPLE 2.10 (a) n unreasuted temo (an unmeasured taro at saw temps (2) All bowed tremolos should be excenked using # mach ofthe bow asia nzc essary and uting the portion of the bgw that & convenient If in order Increase the heaviness and thicknesr ofthe effect, one wishes the bowing {0 ‘ake place in the lower third ofthe bow, the instructions “atthe tog” or ta. lone are added. fon the other hand, oe wishes the lightness and transparen. Suasetd ie ppd of Soe taco te 2 punta dares may be added. Pizzleato Articulations When changing fom a to panic, the wantin quicker when th eco gasige ends than Upsow ssoke: This been atthe tad oe po, the performer's eight hand samo at the bape of the insourent sad oe change cn be mage witin one best a a moc tempo, Whe there fom isin to aro, she quiet change nese peiaua pomp lowed bys dovevon, Tis kes facto onger teste oppente ong ‘he normal ici i produced pacing the ing wh the Mek of te finger Ural, one dots oe need i spec “withthe at” To oars smote metalic ect, the otheiator ay ak the pecosmes 19 podee oe Psiaco wid the Eager Thewetlinarucdn er eh ke te feoha and ia ern to a socal pec is dene womeng es Se, Ser “wh te Ses Seiad "The map piscaty ometines a 1 Buk pzseo and nonted 6, calls forthe performer to pul the sting hard enough to allow it to snap back agtinst the fagecboard with a percussive thud, (In vey rapid passages is ib ‘ot possible an in such cases, the perfoemerspiy the snap pizicsto notes as hough they wer hewy scents) efvhand pizseaza is maked with 2 plus tiga (+) over the note Its ‘ed to bring about a pizsicato when th right hand is aot avalable: One muse lestamentaton The OrhealSringe of court, consider the potion in which the left hand ie placed when planning 4 lef-hand pizzieato, frie is nox posible fom every postion, EXANPLE 2.11. Tpet of piston () nrmal [wih the tngnl fe) Emap pizscte (a letnand picts A pitseats rol, or tremolo, ether measured of wamensired, may be called for, The effect is achieved by plucking a string altemately with to oF more fingers, Except for some jazz contrabass players who have developed this effect, mos string performers find it cring. Therefore, i should uewaly be used ‘only for short periods of die, EXAMPLE 2.12. (a unessuad picts treme (t) mestured piste temolo STRING EFFECTS String Selection ‘Assubue but effective means of alteing the timbre ofa sting instrument isto Specify thata passage be played on particular sing, Each sting ofan instr ‘ment has unique tone quality andthe orchestrator ean tke advantage ofthese characteristics by the notation “sul __" or “on the ___ ring” swhece the numberof the string inthe fst example) or the name of the etring in the se fond example) is placed in the blank The fllowing table shows the Engl, French, German, and Spanish equivalents for the Itiaa sul IV and the names of the stings found on crchestal singe in the ve languages, Engle French German ealian Spanish onG corde (in,)—aufderG Ste sul G cszeda sl or sobre el sl Caring corde de ut” C Suite coréadido sabre elDo or obre la cueada Do Gasng cordedevol Gute onda sol sobre el Soler sobre Is ewer Soi Dating cordede re Sate corea ire Sobre ele er sobre Is cuerds Re Awning cordedeTs Suite corda ila Sobre el Laer sobre la euerds La Eseing cordede mi E Sate cords cimi sobre el Mi ar rae a currda Mi Harmonies ‘Harmonics may be used to produce timbral modification of suing tone or to rovide very high pitches relive ro the normal range of the instrument. There se wo pes of harmonics generally called for: natural and artifical,be “The sound of natural harmonics is very uy and devoid of upper patil ‘Natual harmonies ae produced by ight touching te sing atone ofits nodes thus causing the sing to produce one of is partls rather tan its fundamental, By touching the sting, for example, st midpoint, the pitch produced is that of tbe second purcal, one ortve higher than the open ering. By touching asinng st {oie that is ofthe distance fom the gut, oF at a point thi is oF the dsance ‘Bom the bridge, the pteh produced wil be that of the fourth parti, cats, rv ‘Scanes higher than the open zing, Depending on the sil ofthe performer an Ghalg ofthe sing and bow, the scourbal properties of the instrument, andthe bund envizonment in the room of performance, itis posible to prodace har monies dough the seventh eighth, and even ninth partls. fa situations where fis necesary to produce a speci, suable pec, iis wise to imi the natural har torte t0,a¢ mos, the Sih paral. When purely colors, ligree types of eects [re denied, ntural harmonics Gough the eighth parcal may be cled fr. we Viots Asas Vion Geng [EXAMPLEZ.19, Th natura herons, thedgh the sth pari oral erhastal strings {Toobin the hamenics produced by the lop srings these @amplesshclé be tense poses down the approrate numberof craks.) The nhoe nates inceete the tuning of the open sing, The damens-naped ates isente te points on the sing thet are tbe lint ovens nade, Te pen tat willbe precuses shown bythe sil lck notes in paentheses. The faction indicate the dfane of the aoe rom the nut a action of he total egth of tre sing. The harmonics pocuce by te teu points ote let ef ‘he point i) are generally easier to prdice than these shown tote ight, "Anode ina point on «wating sing or body where che vibrating object i aoa say or neal setionaey The noes are ones 3 pots WAL a hy hy Be Joh ihere. ofthe length of the ring fom the autor bridge. The Onur Sings “The traditional notation of natural harmonics is not consistent. Sometimes eis indicated merely by a small "2" over the desced pitch. This notation leaves iteo the perforines to solve che problem of how to play the pitth, seis, which ode on which string, Two alternative notations require = Lele lest problem {olving o7 the part of the performer, These added to the frst fy the string upon which the harmonic should be played. sean iden 2) » exAMPLE 2.14, (natu namenies eatin sowing oly he site tal nsec rotation showing the ited 19 Be Read and te tng fo tia hamenie nlaan showing he pth to De nen and naming the Allof the traditional notations for satura harmonies that are given above leave itto the performer to determine which aode isto be touched to produce the eequited piteh. A recommended nosation from the members ofthe ting commrtee ftom te interavoms Conerciwe un Now Musial Nowaton? 4g, jest the use of open diamond-shaped ances showing the poine on the sting fe be touched, with umall, black temles noce in pareathess showing che Dish to be hewd. To make thie notation mote clear, the addition ofthe name Of the sting is suggested nec ane Z 2 EXAMPLE 2.15. Reconmené statin fr tha mtu harmanis. The ame shows tose that occur en the vieneell's © (NI stn, Te obtain the aotatan for ofr sings. 25 ferample may spl Be wanspesee Areal harmonics ar realy notarial at al. They are produced by the performer simultaneous sopping string with one finger and lghdy touching fhe same string, closer to the bridge, usualy withthe ate Anger’ The point Tighly touched isa node relative tothe length ofthe stopped sting. The most commonly clled for arial harmonic s one produced by ligntly couehing the Sting s perfect fourth above the stopped pitch ofthe string. This produces a harmonic tha isthe Fourth partial wo octves above the stopped pitch Other nodes can also be used for the production of arb hasmenis. “These include touching the sting lghly a major third above the scopped note, ‘which produces a harmonic (the Bfh partal) two octaves and « major third Fhe Invematonal Gnfeence on New Musial Noution was he'in Ghent, Belgium (Ozrober 22-25, 1974, Iwas sponsored by the Inder for New Misel Notson, New “Yorn andthe Uninesy of Chen > tnpostions for playing higher ithe onthe cello an conuabas, the stings stopped ‘wt the dumb 4nd the noe tached wih the ed Ange.36 higher than the stopped note; touching the string lightly a minor third above {he stopped note, which produces a htzmonic (the sth partial) two octaves nd a perfect fifth above the stopped apie; and on the smaller sting instru sents (or onthe higher pitches of the large instruments), and ifthe performer fs big enough hands, ighty touching the sting 2 perfec Sth above the ‘stopped note, which produces a hazmonge (the thi parsl) thet is an octave and a perfect fifth above the stopped note, ‘The notation for ardfiial harmonies is very stalgheforvard. The main note to be stopped i written in the nora fshion, the interval above chi a ‘hich che Sager ie to touch the string lighlyis indicated by an open diamond Shaped note right above it. The harmonic to be produced is usualy under ‘oe, In older editions ie may be show at a sll note in parenthesis above the other to notes EXAMPLE 2.16 General accepts notation of ania amon. Pe stoped isin tad by normal nee; pent at which sing if ght touche Inlet by claron fhaped nets. In erger to make texe example cesar the seal pied produces i ingest by ema reas i parentheses. In lating yur music these sal notes should Unslly be omits ence thay ate reundant touching a perfect fourth above the main not touching 9 maar this above the main wat rs vane) tovening = miner tie above te a tinm ngner (touching pert ita ces a seund a erect eth higher Mates a) he moet common ei harmonies, rooucas 9 sound So ctaes higher) ices sound to octaves an 9 mrt soe rogues a sune two staves and ‘the main note not alas posto) ree Toe Orca Srngs hee ot more seconds fo remove. When using large section of strings, iis bonsble to asthe players to put on thelr mutes one or two ata Gime, causing {he change fom normal to muted tone to be gradual. Cal Lege “There are two parts ofthe bow that can be used for setting the stings into sibration: the bur and the wood, The hairs the normal (normale) or ordinary (ordinera) way of producing tones. Bowing withthe wood (col lao) i spe Ci efece tat abt populae among ting players and yet is found in many pieces both old and new. (The reason cht string players do not lice cot iegno Playing is that i tends to scratch off che varnish from the bow. Many players fen fave a cheaper bow which they use in ea! gro passages.) Bowing wich the wood produces very litle sound, so normally the performer “eeat” abit thd eatehes the ering eth both the wood and the very edge ofthe halcs. IF fe wishes to be sure that na hai is usee, te instruction “wood only” of “no baie should be added, one prefers the whirerth round of the wood being dram actoss the stsng, the instruction to be given ie col agno evaze f the arranger wishes to {ake advantage of the bouncing effet achieved by stiking the strings with the ‘Wood and, by controling the amount and speed of bounce, causing very clear fhythmie gues of a gende, peccussve nature, che instrucion should be sel legra barre, To return to normal bowing (with only the hair the appropsiace instruction is modo ordinars or ordinaria ce or. 2 v “The use of mutes on the ering instruments isa common means of altering the tone quality. The mute isa device that araches to che beidge of the instrument, reducing the amount of vibration tht is wansitted tothe body'of the inst sent. Duc to the reduction inthe strength ofthe upper parle that this damp ete ening brings about, the muted sound i darker than the open sound. The Instructions for applying and removing English French smuted ormute(s)on avec sourdine ‘or with mute () sures) off sae tourdne ‘Tae rwo gypes of mutes normally leather, rubber, bone, or plastic damp German Italian Spanish itDimpfer —consordiaa_—_ con a sordina or consordina fobre Damper senzasordiea sin sordina found in use are the wood, metal, at mus be placed on the bridge, and the “Ma Sihon® or “Roth-Sihon” mute, hich is permanently attached to the strings below the bridge and that may b slid into place quickly (se Fig. 2.1) ‘The traditional camp type of mute requies five or more seconds to arach and HANPLE 2.17. Fores 2a! lego passage inthe lat movement of Hester Series Symphonie Fantsique Sul Ponticello and Sul Tasto ‘Asa means of changing dimbre che sring performer may be instructed to play near the bidge or ove the Sngecboard. The erm used co indicate this are: English French German Italian Spanish eae the bridge conte lechevlet am Steg sul pontcelo sul postcsllo or sobre e! puzate or cee puente* | sean se Cntr rie » Englise French German Italian Spans Tei gnostic on howe en es cover the fingecboard surla touche | am Gaifbret sul asco or sl tasto er sobre sarurly sow deny (dying ou ofthe sound) makes the plsando more suds | ull tasers el butder or oe resis i “To cance either of the above: 3 = = aturl oroedinry ature ratich ow nature oy ordnaio or nacura ie) ‘reine ‘normal normale awe 21 Tw ikea natins ying nex the bridge rover he fgrbond cn be done citer bowed or Pe eons scans iid ath snare harmonise ie Pertamennt siding om one pth 14 econ pitch, Fis produced 2 EEE ny mee srching qui Sul aos aso unfocused We by oo eatermer lang te ethan Eager that ated sop thes pick res le bog Of te vars fewands (be) is ded vo SURE Ee sing ta pone atone or selon above or below te secon pth corer toe ply nfm, Tas pec ele prone aeason see ent tte second pcs to sand he ding Enger act caching the Macey aay that cheers of tee Teor eSncer dger gully pred down) changing he viesng eng Ess Suing to he lenge needed rhe second pac The phys proses = SON in'Eeaapie 220) aed he rl nomen sed foe pore Bortamento and Glissando Spon in Example 220(6). “These terms always create problems foc the conduetor, composes performer, Gechesuator, and scholar because the definitions gen in the devonarcs and 8 agente Opt he day-to-day usage by mort muscans no longer agree (stl peslups thoy never did) “According to the dielonaien porremente signifies the siding ftom one plech to another by completely fling i ald che intervening pitches the entire ich continuum benween the two oubide pitches, In contrast, glisando i Eefined as very rapid scale-like pasage connecting tve pitches and itself con- EXAMPLE 220, Poriament: (a the iat ligarse fom Fe th grace rie B: nese ond frger thn sop C (the wua ntti fer porarent {aoning simited, countable number of yeehes. One can produce a pica gis Portamento is normal aspect of string cechnique and che slide may be done ‘endo on the piano cr harp; a portamehto is produced by & trombone oF by sendy or made audible, Since this choice is usually made by the performer, poe Sliding 2 Snger dong a sing ofan orchestral sing instrument. famentor may be sed to pasages even when they are not speccaly notated, Te prachce these two definitions are ofen ignored or coully reversed, Glisando has become more all-inclusive] whe partamenco has been Limited ro 1 few special voea and string effects, The use in this book wil reece the prac Piaget Tisolet tice rather than the ideal. Thevefore, glifando wil be defined as the subsursing ‘The fingered temolos invoive the rapid change of pitch, with or without ofall intervening pitches when conectiqg two pitches that frm an inter of bowed eemoles, The alteration called for may be messured or unmessured Steempting to 4080. Ths applies to all erformance medis, nt ony sings, ‘The effec may be achieved by alternating berween the stopping of one pitch “The current aotadonal practice for glsaados assumes that except for an snd then the stopping ofa second pitch on a single suing or by alerting seit pause to establish the suring pita, the glssando wil take up the entire benween pitches on evo different stings. Unies instructions specifying the ‘alse of the note. In older miu, this may not be the ease and the actual length particular strings) are included, the choice i left co the performer, Of the glssando may be the subject of spme debate regardless of the notated dlaraton. Ione wishes to snow the seral length the intial pitch isc be held nd to indicate the glisando's durstioh, then a noration like that given in| \ Example 2.18(b) is used. TAMPLE 2.21, (e)vomaasured fingered eral (8) measures fingered tem Baiolage BXAMPLE 218. ues lsd notin] The we othe tem gece li. This string eect may be used to faite che performance of « passe 6+ ‘pina (2) gisand notation stoning Bate also begins on te scandal ef he purely for + color elect. Xt involves the sltematon between two Or more feeend quater ct te fist measur ane nes fr the second half ofthe Fat quate of he strings, on the same instrument'(ofen with one ofthe stings being open) vend measure The terme glazando or ls coud be acced ‘sing the loner-runed sings to produce the higher pitches and vce versyauple 2.22. an eal ot parclac, Neve he we ofthe "ta inciat "pen sig Vibeato Contemporary string playing techniques assume vibrato tobe inherent co the arene lotrument Ta rapidly mofing passages, litle or no vibrato may FEREaSa fo ehe shoreer note values, bu ll longer notes zecive an inflection Sicteed by moving the stopping Sagi back and forth on the Engerbond Freee Mherefore a pitch undulation, the speed and width of which is con- olind by the performer, a greater oF lesser amount being wsed as the per Sean Plas is appeopriae. Compoters ray sometimes wish to call for more of| aera re Po tmcrease the amount of beat, the trm rare vibrato or mae eSpaais used, one wishes the performer o obtain the stark, white cone 380" “eves wh eibratles playing, dhe appropsiate instruction is no vibrao ot senza SHes piaslesto picches deny capil, ish the smaller instruments poiesing cree Taped decay than the corssabus| The decey sme may be invented by Tadiesing molte vibrato on the piaicatd pitches ‘When playing an open string, a pesformer may add vibrato by Singesng, boc ne sounding a univonpiteh on the nex lower string (othe octave aBOV= che next higher string) and adding vibrato co the Gngered pitch an cxchesertor oF composer Wishes, after specfing a certain Kind of sibeto, to setann the decision egarding wrato to the performer, the appro paste instruction is normal vibrate “Sace ue taminology genera allows only the extremes to be exly in cated womporen often we a symbol Uke Myr to all for vibrato, The ‘fmol, whieh wil have ro be explained tothe performer inthe insructions aia hen be used as an analog to the ddzed effect. It shows changes in both the speed and the width of the vibrato. EXAMPLE 223, Symbot showing wbrte chang tom sow an marrow 1 fast ard 8 rom to fast and wide to siow and wide to ro vba Scordarura ‘Tuning the instrument t0 other than its normal pitches is elle seordaesure (Breach: serdaturas Geran: Skordesur Iran: serdarera; Spanish: ordati- Jo) This fs seul specified so thatthe range of che instrament may be extende 72 downward by a semitone of tone in order fora passage otherwise too low {Be the inverument to be performed. Other rearont for scordarur include the faciinon of special multiple ops and timbral effees. Among the Later are Insrumenssion he Orel Songs the slo violin par inthe Mahler Fourth Symptony where all our sings of oT euned a whole step higher e produce the sound of toy fiddle, and we pbace Macabre of Saint-Saens whece the highest string ofthe violins nened sas a semitone so chat the unique open sing sound of she interval ofa fone ay be used to repcesent Death's Sale “Genvzally, most performers do na like to change the tuning of a sting inacenent by more than a whole step* Another problem sociated with the insane wordatur isthe mater of retuning during «performance. This is often aod by unig &secone instrument in these esuned pasigcs “She insursction for scordatura i simply 2 statement such as “tune D t0 ar Oe muy also choose 10 daw a ref showing the tuning ofall of the Tings, with the instruction #9 tune in this manner, a EXAMPLE 2.24, An ateatve ottion thot can Be w Dampeniag Stings “Aker te srings have been setinto vibration, they may be allowed o decay nat Gily of be dumped, The indication co dampen the string(s) is shown in {Enamnple 2.28 and isthe sume symbol used for harps, guitars, and piano strings. Fhe Eeench name is Eoaffr (Geeman: dimpfong Tian: velar Spanish: ars Houar or apagar), The sume sign, paced where the note begins, is wed 10 indiete a mufed sting, EXAMPLE 2.25. (a) dampen th eng () mute te tore [Note tha the sign is placed over the atact of the note forthe mufted string effect (achieved by Ughely touching + string with the left hand, woiding ‘Shetned harmonics) bur is placed over the relene point of the note tind fa dampening To darmpen the sing, te left hand touches che sting, caus ing the vibration to cexse. SPECIAL EFFECTS “There area wide varery of special effess that can be produced on the orches: ‘tal sings, Although one could nd creative ways ro use many ofthese effects in special wvangements of common practice music, they are more usualy asso Tex may be some debate about the stl harm exused by scordatua. I gener ‘ning a rein lower x coniere lv Grnaging than tuning 2 sci highec wih ‘Shetalene heree in tension. The ue of ordatur i, howeves 2 very common technique on folk instamenss (such 8 gla, banjo, ct) See ao chapter 6 aa | ciated th, and have often been generited by the demands of contemporty cate ee Thus, one should careful naming the esthetic reguzements of prey determine the appropriates ofthe or other effec. (NB, Al oh Peeler and devices discussed below will require an explanation of che er elgue and notation inthe part orth score [or both] beenure one may not Yer assume these to be common prac rexhaigucs.) Speciat Bowing Eifees er” ‘Bowing om the Bridge“ y..c 99° ae weenie weasel srt ce sev tpt pg ti ei eye i tl Sencha, wang bcced sua conan 4 ES xAvrLé 2.26, (a staon fr bowing onthe bide (neato or bowing he tiie (@ arate tone nctation Playing bebind the Bridge Playing behind the bridge means playing the strings between the brid and the cae ere the stings ace very short and the pitches produced are very high Txd not peedable The notation does fot try t0 speci the pitches to be ro- cea, but rather indieates the ering tbe played. The rone may be produced Sitherby bowing, including spices, lego, or cicocher bowings, or by Basco 7 » © as <= ie 4 eS SS ES = EXAMPLE 227. Notation fer layin Deine the edge (2) tation on a el Heine Feat notation using foun stat eeregnting the fur strings of the instant ‘ates netaton using fousine sat The ghoce fusing te pteh names ore sng one’s to deri he sings i ett the ompeer ‘Te Orbea Soins Tapping Bffees ssiene” Fingering ‘pe eet st ell on the peforme to ingee vas pees with hee a Doing ox lucng theses fater than spl sopping he arn ee yommal ping, the lehane fingers come down nud on ie Sa Nan che gerard, vu: Uke sal Hammers. The techni i Sin erate dmachord, Since tis ia very delae eer, it cult bene Sion electronic ampliestion “Tapping the Instrument Dor to the nanurd resonance of he sing instrument + vary of iteresng a can be proced by taping vrs place on the body of te inument. rere Caripe and Sngerale may be wsed as well atthe thumb, koucke, cng ee pee fein However some performers wil blkat appig thei inerumen's wobec ke sings and dager thc ae ard and may scratch the fish Sorkin she Sorings ‘The singe may be struck with the palm ofthe performer's right (bow) hand Jroducing» singing sound. The left hand may Eager various pitches Tes not sik aoe ceca for the performer to suike al ofthe strings, but selective ‘ng a veal only practes on the contrabass. the Bow ‘Not oly can the instrument be tapped, butthe bow can be used wo sp 0 OF aera the sui mand asin Ronin’s Overie 10 I igor Brain, Example Sg nor the various parts ofthe bow may tp vans pars of the insmumest ©. EXAMPLE 2.28, Passage from he Overt to I! Siar Brushine aling on the second ling ota the musi stand wth the owrs Totramenin ‘i reer ing 7 “The Rosin pssage docs not xpi eal for tepping the msc and, but hat equre ewe Sagered notes ae playable so long st both nots are within nar has been the enon interpreton sRe toh of he performer’ et hand (see appendix). ‘ Teipl Sipe hese tnee-note combinations vary in difficulty from very exty to impose “Tobie nope cannot be produced at soft dynamics, or with very bully ff Paani wo of the singe involved re open, the tiple stop becomes a ey etfs exist double stop. If ony one string is open, then one needs 10 becom B xanPus 228, (retain fe sie nga (retain ftp 60 inant ae ea ee ee Ser Sete lef hand. fal eee strings mast be stopped, then the technical if MOETDLE stors ArSipis amon at gests wich quadruple op. Bowed Muliple Stops Qnecruple Steps i “The caretere ofthe bidge enables hp sing performer co play ay 20 ad Faure conkioont ma fet in seal cco ngs ih ge tks of is ow and Pad ur feb rere) cynamics, The more open sings involved, the exter the core cen ng hn our nrenang enor pre of te Bow guy at any ras Joe PD) Tr evo comnaon cae x doe age ig (ee mere pcre Bom the wis, Sus caning De Mating Mulizope Payable pe tee Rho Secme sigh eure # Fane se sepgs ie nang neo of Bo" Pr isang eo nt at aon 2 Henao ote cows crf he be an he reo eh is pest lf oe te a Oe coaee sero ne Citare 2. When vcd i ts marae te pecoomes iss ast Tee Seng whe rowing shove se rscurcins Pee ns of the highe: thee singe, The performers second finger stops sting IIE ty arosdng above the nonsounding portions of wings If and T, and so on FIGURE 22, Sow uncer fexmal presse FIGURE23. Sow uncer iereasee pressure ee featene Wo snes sengssing tee tras = bination becomes, ‘To facta teple or quadruple stops in which several stopped pitches ar pee we aitisconvenien so voice the Cronus ou dat each suecestive pte from the 1 the bow is subjected to more pfesmute, enough curvature may be crest ‘ cs ce Teel non see pocuang gn p y patna. Att ee rs end wes ped yume ee Tope op sane ere ts Fp tan dutenop od guage ops wee bute of eee ae oe ma te ny ead re ay too al ate | alffcae to obtain chee pitches ang! impossible to obtaia four. Triple and oe eS spr el poynegn Oe comes combatant pu Tor Risar en pram BEES come Ee “The simplest multiple stop to produces the double stop, Two notes being pro- eer Pearse Fiachiwent weet pane a andi ne ge er une 25. Aas nly wth pretense sn este a ee nos Seng sane oo pare semen. Dose Sree spy op ey San aspen ao ie i dato cou ap ae ue cree ne ge ‘The nd top shoving 25 ot ech ape B ce 25 sot ese ele Bat tan nay eae fon cy need sige Te sis elt none dg tan de came stow m gue 26 | produce the combination shown in Phe 2.5 the performer's second, third, 2 furch Gages mur uch ver and hot ouch enge IT and TT An ed station, Unless one cn tel he plybly of «pe or qucraple Top by aking an cxpecenced sing pefoomer, tit we co folow te proto ‘Spe ven in gue 2.4 and avoid cra vied lie igre 2 ne nesds to know 0, when plang mil ops, atin the lower postions the performers hand ean sppn a fourth onthe vl and vila but Eniys mje ied onthe cllo. On the contabasin the oer postions, Pe ‘aoe cat only span a aor scond Geren the Sint nd fourth Snes Broken Chords Since the possibilities of playing quadruple stops are Limited to oly certain insuruments and at louder dynamic lel, most uadsuple stops ar played as broken chords (arpeggiations). In fact i one does zor want 2 performer to sspesgiate a quadruple top, sie necefary to matk the chore(s) no arpegyo or veibous arpeagio (French: sans arpize} German: chne Arpeagicy Ueian: sea ‘rye, Spanish: zim arpepa), Often|the notation for arpegginted multiple ‘ope wil eect the ditecdoa in which the chord is to be broken, but—wvitr (oat inreuecons wo the conirary—sun} paler wil beak the chosd fom bottom eo top. one wishes the srpeggiaton to be from the highest pitch ro she lower, his symbol is used: 4 EXAMPLE 2.30. Typical breaking of quadruple tps. The ot ne ofeach pir rnrsents ‘he usual pataten the gt one, tre approximate pererance In the beef excerpt fom the Ssring Quarrer 1981 by Ruth Crawford (Seeger) (fcing page) we see the use of broken multole stops specie in both Gisecions (violins upward; viola and eqlo downward) weble clef notation for ‘both the volt and ehe cello (cello to syne at written pitch); and unusual bat inerenting scoring. By utliting the same hand postiogs and the same fingering precautions at for wiple and quadruple stops, various fylindealy piel sing Sgures are poe sible. The most common isan arpeggijted chordal gure. oe Orca Sings ¢—— — a [EXAMPLE 23. rum. 75 and 76 ct Ruth Crmloe Seogert Sting Quartet 1931 EXAMPLE 2.32. A reuentlyencuntred erg fit identical to broken qusarle sep. ach measure requres «ert hand poston Pirsiato Maltpe Stops ‘hen a dat, ee ox quan op ie writen tbe ped pain wi Ihe Bearpesgted bom tc owen: pith the ihe ph anise pec inae Sate ae te coneary ac pe fone was hae ow or mor of the pshes be SSanded smutaneou abc maybe see. The se bol gen ov or te emward upeggaton of bowed tnlitope cn bee fr peo pees Sone rs ysl equred forthe up pepsin, te ean [ev abesward apeggaton, dus bed |The repented aterason beoe=t, Te ipeud ind dowd wpeggin i eled integers When qua guts ‘rca above he muss one Red nif rn te tao Ad htc be Uhnimed unl te Sigur pins wth donrard apeggation [EXAMPLE 2.32 () two pees tobe sounds tguter(b) hods tobe pegged a8 show (c) wo ways to wie 2 quas-gutas passage TB 1981 Meson Misc fac. Used by Perision of he Pubess | snpnagescaing fx gun uta sts mayb sec, ALU en RE in oe eanpned to pk te we ofthc vl cE a cing ge laon, The we a a Ean ror pane pee OU IO eae penile | i a ented guna pusage, vain and vil pyen a es ene nan amo hontoned poston in font of he, fe hale en aco jn reel they ate shed 0 a a eugene tur alo be broken 2 [FIGURE 26, The orchestal sings (countereckvise fom lowe let contrabass, Fen Ele bon, Germans bow velo wih bow iin bow and vii; vel Bow ane Bln Note te relative snes ofthe varius istuments, the ping reves of he care ‘Wobtn ond te low G extension on te crass. Bath he wloneleané the cota case cupon en pine whieh estan verily Gown fom te baton of the Body, wee biaved. (Photo by Davis Hruby) downward, its more coaveient forthe performers to Reld Be x nk doen ort ofthe, omen ke ene Sn ince fon epegpsing Em hgh ro low he more stir acon ras VIOUN English viotn (ve) French Germar Healian Spanish vYoline or Geige violin (ea) (Wier Ge) ‘Wiolnen or Geigen (Win, er Gen.) sings viol (von sion (vi. voting (0 (in) ons (sons sion (80) “re Deoperties of the Violin “Previa te highs pitched meber ofthe ing chi Teproie bon Te a te do parang senile wing Te ln SPS Ee he eghebnd ofthe performer orb pasing he INS Wh erie hand, The insane paced Bene ts = shoulder of Ba eer eld he pine eon Bevo tes oo BOP STE she panes we asonbie Suadom vo be sno rywhere bec he Bn sae oe cosas, the von both he os expensive a AE CEL vi compacmes of design aes irtiono performance Ss XANPLE 2.94. The fw sings of tevin ae tune a show “To specify the iis ofthe in range iti neseray to ve a ghost snd fe cach suing, These limits, not including harmonics, ae enim seine xamnts 2.35. (0) 6 ating (2 D stn (UI) Asing (0) Estrin CD -The lowest sting, G, i ich and dark in tone quality, becoining less wel focuned berth an increased intensry ia the higher range. The D sting isvery Secuned Deven "fuzzy" in quality, possessing the most introspective tone aa Tee or the ceings The A ssing bas & unique expressive qulisy datsmore mellow than the Esing when played in the same range. The E sting is ‘the most brian and has the bes carrying power of che four stings Timed sofiy ic an rake om an almost unoridly sinmes ‘The bow used to play the violin i longer than che istrument itself ‘ery responsive to both the pressute applied bythe performer andthe sarc of the strings. It lenges provies|the player with fealty in selecting bow ‘ngs, The choices are more vaied than with any other string instrument Plazicatos re common in both solo and aecompanimental writing forthe fstrument. The only technical prdblem in playing pizsieato on the viola i in the performance of repeated strurmed chords srpesgiated om high to lows ‘These can be made workable by mpving te velin out of ts usual performing Position and holding i either in thd players lp or verueally in ont ofthe por formes, Simultaneous performanct of two pizziato pitches may be secon plished using one finger per string|or, i ehe notes wee on adjacent stings, by ‘one Singer catching both stings For professional performers tere ae very few performance linittions. For sent performers, notes up tp a perfect th above each open fing re ‘287 for high school performers, a geventh above the open swing i acre sinch for che concersmaste). ‘When compares: or So who are not suing performers frst atnpt 0 wr for sng they tly wntansdnnte te key ote tee petormen. Almost say one-line Sgure tat rman wotin the cnge oP lnsvument i poabie ‘he exible bow and small sik wock together 1 make guadesple stops posible at dynamic of forte and above, A wie assortment of dionede ao, bie, mile and quadruple stops arp eu produced, provced ae salons given earl are heeded (se pp. 44-46) Insoio and chnber mse onion ‘esos inthe violin pars expeded and normaly Bee All azul harmanics up though the eighth pre payable wth the lower partials being less suszpuie to vutatons duet iting bows oe soe mak vrbles Arcicil harmonise cellent Co, a due the sal ofthe insurers, ven the aril fareonic requsing he leo ache sere « pect fh above the stopped nee are any fo aon a advances hye. The won an expresive instrument cpabe of performing the most complet line. Te has excellent solo tad ensentie guaiten fer es oe Coe sstetve, even over a fll orchena or dstenely hidden behind cher eet = LY . =P + Ee C= EXANPLE 258. S02 vias pat fom Ela fr tape ane vil by Henney ‘lice: Carter begins the third mavement of his Suing Quarter Ne this very idiomatie viola ine, The example begins in m. 286, ssi) | = es ean — ~ > —vy——___» rw Ts, =F fe op Sp vp EXAMPLE 257. Begining ofthe hed movement of Carter's cond Sting Guat” PROBLEMS 13 AND 14 13. Rewrite the transcription you ai in Problem 11 fr two veins and visa Use double stops as require, Have thi new terssristion glayes 14, Invent 2 passage fer vol vila and vin in which several of the special ltfetscscussc inthis chapter ae used. Have yur pies performed ‘THE VIOLONCELLO English French German Ieslian Spenite ‘iryaler viloneello —_oloncelle Violence! —violonelo.—_viloneelo (ve) (ule) way AUsleelo) velo) or sioionclo rehelo Plursl violoncello violoneer_—=—Violonccle-—volonceli-—vialontlos ives) (les) (Wee) (Geet) (vetee) * Copyright 1971 by Media Pres, Ine. ™ Copyright ©2955 (Renewed) by Asso sign IL. All Rights Resered Used by st Mase Publisher, ne (BM ‘he Orca Sings ‘the Properties ofthe Violoncello “The oloncelo,wsuily elle snnply cll ie the bass of the string chote Tei ‘tehed an octave below the viola and possesses a ich, wacm, clear tone, Ie isan ‘ecient bass, hazmonic, and melodie instrument. Like the other modern suing {averuments, it hs four sings and splayed both witha bow and by plucking, [EXAMPLE 2.5, The four stings ofthe eae are tuned a8 shown “The limits forthe range of ce cello, given in ezms ofeach string, ae EXAMPLE 2.58. (2) © Seng (090) 6 Sirng 0 Seng 0A Seong 0) ‘The low C string has a heavy, sch tone quality the G string, though of a sinular sound, i litle Ughter, At louder dynamics thee sings afer 3 greet, deal of power, but at softer dynamics are amazingly easy to cover up. The D suing has very Lede bite and is gute eangui in quali. The & string is very ‘spre, power ich and melodious, peta the mos power expe sive sing on any sting insteument. [Higher notes for the cello are written in che tenor clef though one should avoid changing ciel for only one or to iglated pitches. Passages that {50100 high for the tenoe clef thould be writen in che weble clef, (One some- {mer finds older cello parts Written in che ueble clef an oetsve above the intended pitch. This pracdce isto be avoided.) “The cello i supported on 3 peg that holds che body of the insuument off the door, Performers steady the cello with the knees whe cs neck ess agains ‘he left shoulder. This gives the performer's eft hand great freedom of mation. [Because the stringe are significantly longer than those on the violin oF viola, pitches are father apart than on the emale instruments, Tarefore, the composer or orchestrator should avoid very wide temolos and remember that melodie leaps may require litle mare time to execute. (see appendix 4: Suing ‘ingerings). The extra thickness of the body of the etlo also makes ir acces sary for pitches chat are a tenth or more above an open sting to be played in 2 diferent manner than the lower pitches. To produce thes high pitches the celist mus place the left hand thuml on the fingerboard (coward the aut and sway from the bridge) anc stop he singe with the feet, sezond, and thd Sn {gers In these higher postions, the closer spacing ofthe pitches on the stings snd the addition ofthe chumb, for ably and reference, make wide laps and sesfcial hrmonis easier to perform, Ie requires only a very shore moment to place the thumb for te higher notes or ro rerurn to the lower positions‘he role ofthe eelo in most ensembles that ofa bass as well a that of 8 alo, tenor, and even soprano voice. For its size and pitch range te colon avery gale instrument. Is standard repertoire consis of vat) of Spee sive melodic ines, apegatos, and complex and inteateEgures Asa bass, is cles, well focused, and capable ofthe most subtle nuances ‘anges. The bow used on the cli slight and responsive and the cele can cus ly match bowings with the violin or viola It is common to fin the cello soe above the vol, for in that area of is range itis very assercve The cello plazicato is quite succesful, having excellent ringing properties and wide dynamic range, The pizicato technique i light and rapt ood Gee ills speed in pizicao is equal to the higher stings, The pick ie ned focused and centered, Piszieatos on the natural harmonics are good wdloce tain well Aca dynamic level of forte, tiple stops ae playable. At mezee fort and Jewer ynanic levels all wile cops are broken. Othernise, maltlc wags areas cay as on other suing instruments, and the performance ef techn chords may be more idiomatic t0 the cello than to any ofthe other che singe ‘ouch th swing a perfect th above the stopped note are difielé me loo otitions. Once the thumb positions are in we, then al aia hemvonee become readily payable. Such fects as ponte and sul rao are more effective on the ccllo chan fon the other stings The cello doubles other instruments well, and in larger ensembles the eal. ‘ction is regulary divided to provide two or more iadependens ines we ‘Typical Violoncello Scorings Gnit example fom Fel Mendelsohn's The Hebrides Overeue Op, 26 shows ‘he cello in both a melodic and an accompaniment tele Allegeo madera igs — = = = Inseumentaton ——— Toe Oro Singh except the pefomance ofthe broken chord requis cwo open ain oN andl) pls «stopped E onthe D scng. Fol ep Oy Rep ough the pasage oberving hw the Gagerng eadully changes whe Bee nat, hand poston [EXAMPLE 2.61. & typical cl arpeeio Faure Asan illustration ofthe wide range over which the eco is write, te fl lowing example ftom Ale Sprach Zarathurra by Richard Staus is given She leat und echwangvotl doa) — [EXAMPLE 2.6, An except rom Strauss Also Sprach Zarathuta showing 8 wide cello Nels ped on the A sng an ofen tne te ul oc, The following melodic line begins the second movement of Brain's Secon Symphony, and the rest of the orchestra, scored moderately fully, is pited agsinst ie. The cellos come through clea Adagio non teopp0 2 ¥ ‘HAMPLE 260, Vcore wring inthe opening of Mendelschn's The Hebrises Be eae gttbresd:bepaning st leer Hae Sse movement) The 2, “Necisslmona cele clcé, very exsy to piy and very efftctne A the bag EXAMPLE 2.62. Thame from the second mavemant of Brshne's Second Sympbony. sing Primary thecal & ting This Allegretto (second) movement of Shostkovich's Symphony No. § segregates Spoon No. § towne below cate: wt)fa Tnseumentation Allegeetod = 135 ssa ord ag BAANPLE 2.54, Operngot re scons meverant of Sypany Na. § by it Shstakoich ‘This ello passage is hom “Nacht” che eighth section of Schoenberg's Plroe Lemaire (ram. 16-19). Ieisates the wee of pone in mim. 16 with unmeasured ‘bowed tremolo, sain mm. 17-18, and narul harmonics in am, 19 (see Ex2. 14) Tempo t feat te #25 r y AMPLE. Ar reo westih-ceuy clo wing an xe Hom Seherbar Perot inaie® ‘Seeve Reich in his plece The Detert Mute call for the cello section to be tvs by eicec and chen assigns this wo-measure passage which wll be sepest ced. The example begins in m. 333, t slecte EXAMPLE 266, Calo ostinto thet bagns in m, 389 of Reich's The Desert Muslé* ' Coprighe © 1989 (Renewed by G. Shim, Ine (ASCAP forthe US, Canad, snd Mesco, Used by permision. Boosey & Hawes Mase Publahes Lc, Sle Sling Agents of Anglo-Sores Music Past London for Gret Bin, Se andthe Bash Comen, wealth (except Canad); Le Chant du Monde, Pai pourls France, Segue, Linemtoug tes Pa Eancophones de VAque; Eason Fane, Hekind for Flan, Rison Ce Mie pe ass Univeral Edition AG. Wein fr Oneich:Zen-On Vase Cerny Lid, Tego for Jape; and Masinedtag Hans Sor, Hamburg fs de Bundexepobie Devischland, Diners, Goathennd Isard, lr, Neder ante Norwegea, Foie, Spanien, Scheden, Stes und Turk * Coprtght © 1939 Renewed by G. Schirmer, Ine (ASCAP) forthe US,,Canada,and + Meso, Permision by Zes-on-busie Co, Lid, For sein pan "Cong 1888 ty Hendon Muse, In,» Boca & Has Copan Ud by prison, he Orr! Songs 6 From Yehuda Yannay' pe fIX-FIX PIX, tis excep lustre the very sigh ange ofthe cello leis an example of echnical demanding but payable {elo wring. Te compose is well aware of the properties ofthe cel, and has provided invauable performance guidance forthe performer. “Tis symbol. "is used to indeae “sertch fone.” “TTT that the per former should make an accelerando; the severe indicates ralentando. This sign # means W tone sharp, sch eaante z mevenonebeat of LAMPLE 2.57. A centesaray cell passage rim. 40-87 tom Yana pref Feu “The following example is fom Thvenody ov she Victims of Hirshime by Keapsztof Penderecki, The piece is scored for 52 strings including 10 cellos. ‘Among che symbol found in this passage that are defined by the composer are these: 7 meaning to sharpen by atone; £ meaning to play the highest por- sibie pitch; + meaning to ply berween the bridge and the tapiece, P meaning 0 play an axpeggio on the four strings behind the bridge; and (baz, meaning cal egne bats [EXAMPLE 2.68. The expat in. 6 of Pencereckts There othe Vetins of Mies! © Copyright 1972 by Media Pres, Ine. Champsign, TL. All Rights Reserved, Used by peemision Ree '* THRENODY FOR THE VICTIMS OF HIROSHIMA, by Krayztof Pendececk (© 1961 (Renewed) Deshon Misi, inc. and PWM Editions All Righs Reserved. Used by peemision WARNER BROS. FUBLICATIONS US. INC, Miami, FL 32014ia Isesmenraion PROBLEMS 15 AND 16 15. White out a solo cello part, based in total on the lowes ine inthe fllow= Ing Cnopin Prelude in 8 Miner. Discuss the problems inharen in this t= and the likely solutions. PRELUDE IN B MINOR Lento ss F Chonn O62, 6 p iota vase ‘a . z. — a 16, Write a short composition for violin, vol, and cello using several ot the traditional and conterseray sting etfects ciscussec in this chapter, Have your piece performes, I he Orcas Sings THE CONTRABASS English French German Tenlian Sponith singular contrabuss(cb.) conte base Kontraba®—corcrabhaso —eoninaajo (eb)or (®,) (cxbas) (chi. ourrbase plurst ——contrabases (eb) conte base conmbbasi—coninibajo (ed) (enbasi)——“(ebon) ‘The Properties of the Contrabass ‘The lowest voice in the srng choirs the contabus. tis also known asa double bas, bas vie, bas, or sing bas. In contrat to che other orcheszal sings the concrabas isa cescendene ofthe vols, not the Violins. The key characteris that sepuae vis fom violins ae the shape of the body and the runing eter, The ta tional contabas as sioping shoulders and i tuned in fourths, The von, vol, snd violoncello have shoulders with no lope and are tuned in Bits (se Fg, 2.6), (Over the yess some contrabases have beep constructed with a shape more simar to that ofthe other orchestral sings, Howeve, the tuning has semaine in four. Teles lage instrument, more han sx fect in height, played bya performer whe ithe sits on a tal stool or stands, Because ofits ie, the citance tata performers ‘hand must encompass simply 2o play wo pitches a semitone apart is mich greater ‘on the contabass tan onthe other sings, In it, ach age distances ac involved fon the contrabass that a performer ean ony pan the interval of & major second berween the fst and fourth fngess inthe lower positons. Tung the sings a fourth ater than a Sith apart somewhat compenste ort lmtaions caused by ‘he ysis sie ofthe insrument. (ee also appendix 4: Suing Fingering). ‘The contrabass isthe only wansposing orchestra ring instrument, sound. ing an cetve lower than notated, The four strings are tuned to these pitches las Sa Oe tan EXAMPLE 2.89, The four stings ofthe vase are tuned as shown ‘The avaiable pitches on cach sing (not including harmonics) are (a writen come AMPLE 2.70.08 Sing 9A Sung nD Sena No p SHE ‘The E String is very dark and somber. The tone i ie dl and forebod ing, The A suring has more buzz to ic but is el quite ponderous snd 96 band. The D sng emuch more mellow cedy and rich. The highest sing, the G. as avery ach quality and hrger ange ofexresve characeass, Tis cps Sco producing melodious or aggresive eff wth equal se. This sing en tial ayy sang nthe oshers for expresive plying, and yet need not be of thy puta poston, Tel dap afta the muse requireens. Fnimany sores, one Gade pitches wren forthe eortabas that we Below the E suing, These very low notes are not avaiable on al instruments and are hee- fore of necesty omited or replaced by a pitch an Ocave higher chan writen ‘There we thee vay in which eae low notes ay be performed: one way though Seldom pracical, ib the tie of cordarra. (The contabas has tuning pegs that dec peed, her thin presuree, andi thereby somewhat eae to tune snd ferune than the other suings) Another way, found amos excel in Burope, [Behe we ofa fveing intument where the Bh sings tuned othe low C. “The mor common means of obtiing ese pitches in the United Sres ity wwe of low € extension (eee Fig. 26), One verion ofthis device replaces the E Seng withs sting lng enough fo prods the ow Cand mechanism with four levers Bach ever contol a mel Singer heh in un ope he ing, These four ys ae foc E, B, D, and Ds each stoping the stings the apropste poi. Mas ofthe time the mechanism locked so atthe E key s copeing he wing 2avlesecvey making teinsrumens uring the aormalA,D, G combination ‘When ee appara is ued the ke are all lensed inteasing the fete length ofthe sting down to C. As each Key depressed is metal gee sops the snag atthe approprte point to prodace the reuied pth. Once less, the eyo ar aping loaded an consequently co aot top te stg unless eld down Disadvantages to the ow extension ae: takes a second or at tock coc scene the mechanism, and when one of he Kees depressed its vira- Sly imposible to sop another suing (in any usual manner, thus nung fn fcting possiblities and resucting the we of mulsiple eps to double sips Involving the Eating andthe open A sing. ajc orchercasofen have leat hal ofthe contabases equipped with low C extensions, Other organiztions may ave none 50 equipped, oF st Mos fone or ovo, Tt is awaye tee provide an alternative (esi) par for the bss Swlthout low C extensions whenever using chese low notes. Pastges that become too high onthe conrbas tobe writen in bas le re sul wien in enor de (ike he cele) and very high pasages maybe wen inthe ueble cet A consent fearure of convabsaoution tat al pasages ‘waten in any clare ween an ove higher than the sounding pitch, The one rotble exception eo tk price isthe notation of barmonis inthe ueble de, Which ave ntaed 2 sounding pitch avoid ledger nes. However, because some Contemporary compoer ave not fellowed ths radon pace, fs Ways ‘eto provide a note caring the notion of thee harmonics. ‘The contabus bowis shore and henry. This design provides the necesry mise rosette hg sing into vbron bu the shores ofthe bow requires Bequest deecon changes. Ports reason t's nt always posible wo mach the bow chan ‘ofthe cna eo thot of the higher pitched sng instumens. Peguent, sab te bow changes are needed to obtain the ame efficacies bythe sal sing Jnvrumens within asinge rooke and to produce the faa, but nce idioma is conmabus Egue the long pel tone. In secon of eel commabuses, 525° sexed bow charges are wed If only one performer spying, the some conser {Bless needed eo change bows with ao aue breakin the ine Inseumensaion ‘he Orchesrl Serings “The contrabass pizsicato is one ofits best assets. Due to the length and thick ess ofthe sings andthe resonance ofthe large body, the pizzicatos are warm, fal, pd well eurtined. In varie of situations, loud or softs pizzcato can provide ihe only necesary underpinings ro an ctherwie complex toma srucrure. Jazz thse players have expanded the plzieato resources eo include double stops, remo: dbs farmonice, andro on, nota special devices usable by ony a few virus! but as ‘sundard techaiques within the expabtes ofl professional payers, "The size of the instrument makes the peeformance of artical harmonics, in ‘which a node a perfect Sth, perfect fourth, or major third above the stopped note Js toached, impossible for most plyes. (Pays with large hands can obtain thes in {Ge higher hand postions) For mos players, only the aril harmonic produced bp cosching the node + minor third abote the topped note canbe used and this nly nthe higher postions. On te other hand, the natural harmonies onthe sing fhssare more effecdre and more easly obrained than on aay other orchestral sing. “The anges ofthese harmonics place chem inthe middle ofthe suing choir tsi ‘a, ming there harmonic especlly good as alternatives to other string tones. "An efiect developed by modern bassist is the pulled or bent barman This isa natural harmonic produced by the performer both touching and stretching 2 scing at the node (fee Ex. 2.13, p. 84)/As the suring is distended, the pitch Ufc hasoonic raves in « portamento spe of effect “For all practical purpotsr double stop ae the only usable multiple stops on the sing bass, These work ber if one of the notes involved isan open string. Tike the violoncelo (qs), the contrabass fingering technique requires the performer to shift to a thum® positon when notes higher than a tenth above the open sting ace played. In these thumb positions, ocher multiple stops, inchading some tiple tops, become playable. Use ofthese rather special mul tiple stops requires the compoter to work cloely with an experienced bass a the specifics of a score aré worked out. Special effec, including bowing behind the bridge and on the tall piece, are al possible. In addition, such standard colorations as cul ponticla and aud ano are even mote effecve on the string bas than on other instruments, ‘Typical Consrabass Seorings The most obvious function for the contrabass co pay the bass line or 10 dow: ble an ensemble’s bass an éczave lower than most instruments. A typical ine is this one in the fourth movement of Beethoven's Ninth Symphoriy. While the cellos and vilae play the cheme, the base adds this line: Allegeoassi Pe BUNPLE 271. (re, 126-28) In Richard Strauss’s Don Juan, this bassline uses}pitehts lower than the low E, Suauss assumes thatthe extended range basses wil be avalabe. 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Sas ne = ‘one og woo ono oF 8217 aogavsuasst oen Tastrumenston ee EXAMPLE 2.76. Fom Jon Deak’ Cot oun; tne is prepariona™ Stuer, Al notation i an estave higher than i Hire is a pasage ftom Pendereck's Tirenady ro the Vietns of Hirata for 52 strings written fortwo of the contrabasses. Some of the special syribols 18 exlained by che composer are: play a hh tone sharp; + play beoween bridge and exlpiece; and Leazr which stands for col legno bairue r |e Orehearal Sovinge ” PROBLEMS 17, 18, 19, AND 20 17, Add to the violin and vila parts you have writtan for the Beethoven ‘sonating Problem 11 (p. 58), a viloneello pat ang 8 contrabass part so that you totaly replace the piano 18, Add tothe cello part created in Problem 16 parts fer 2 violins, e vol, and contrabass. Have the result performed 19. Nake a version ef Chepin’s Prelude in C Miner, fr an ensemble of two vc- lin, viola, oloncella, ane contrabass. Use your judgment at far as assignment of instruments to lines and use of higher or lower cetaves than the erginal. Dicuss in class problems of range, double stops, use of piaziato (how can contrast be produced between the second and thir rases?) and ther Items. If tall possible, have the piece performed, PRELUDE 20 IN C MINOR [BAWPLE 2.78 Min. 26 trcugh 37 trom Penderek's Threrecy Ts shows the to copie 196 Met Pre, I, Chane, IL Al ihren, Cid cen > THRENODY FOR THE VICTIMS OF HIROSHIMA, by Koyo Pence 6 Iba Baneves econ Ma In ana FHM Steen A tpl Renee Ud Sy peninca WARNER AROS FUBLICATONS Us INC. Mle, FE DOLE 20. Compose a type of canon or round in which varous contemperary string techniques and special effects are interchanged between the varius instruments. Score it for vein, viola, calo, and contrabass. Have the result performed.3 INSTRUMENTATION The Woodwinds (GENERAL WOODWIND INFORMATION ‘The Means of Producing Sounds ‘Woodwind instruments use one of these dee methods of producing sounds 1. A stream of sc is dicected over the edge of an embouchure hele, soit fing she seam into gw0 parts. One of these parts continues past the ‘Edge, The other, smaller pat is directed into the hole, where i sets up Sibraion. This is how sound is produced in Burs 2, A pur of curved reeds, made from cane and separated slighty ae set ine vibeation aguinse One another producing a eather nasil buzz. This is how sound is produced in oboes and bassoon. 3, Angle fat reed made of cane is atached ro a mouthpiece by means of igance, and vibrates agsinet the mouthpiece with a “squawky” or “honky” ‘guar. ‘This is how sound is produced in clarinets and sexophones. ‘Terminology [Flues are blown through an embouchure or blow hole located in the head joins, The head joint is closed at one end and possesses a tpered (or conical) ore, The body of the dute has a clindscal Bore and pads to cover various tone holes. On “closed-hole” utes, the Singer holes are covered by ful, solid pads, On topenrhole” Stes these Eager holes possess donutshaped pac, Ene openings in which ae covered by the performer's fingers as the pads are being depressed. "Tae double reedi—oboes and basioonsare conical bored and have an ‘octave key opersted by che performer's thumb. The reeds of the obve arch to the body while the reeds ofall other double-reed instruments axach t0 2 bocal, which in turn attaches to the body. They ll terminate i a bell "The catinets and suxophones aze single-ceed insraments. They have a mouthpiece co which the coed i atached by means ofa ligature. The mouth ie Wate 7 piste of he sxepone Ss onto «cone mera ach! which in cn attaches Pe real metal body while the carinct's mouthpiece ataches co a burel {e reand chen to an upper and a lower joint ending with 4 bell. The clvinet Jet jineicl, The pesformer's left chum operates a thumb or register key ‘Phe saxophones have an octave Key (like the oboes and bassoons) and also enc wvigh abel. English French German Tialian Spanish embouchure emboushure——-Mundloch Iimbocearurs embocadurs blow hole peadjost—corpssupercur Kopi estas boca or de Goved hole wou ferme eschlosenes ——Forochiuso—_oifieo ceri ‘Gafloch cpenbole -rovauere —obffenes Gil foroaerto__ oso abiero pe tampon de cié —Klapenpoliter—cuscizeto—_almohaila de ve orcampone —erzapaill tone hole eo TToaloch foro oie del tone ublereed anche double dophelies Rohrblast ancia doppia lengetadobie er cotial bore perce conique —-‘Koniche Bohrung foro conico_perforciin cca oawekey de eoeave Olav poravoce lve de lorena boa boed axes ce boedl orale tell prvilont erbonne Sehalbecher ppadigione —_campana o pel orStiee ercampans seed sche Robie lenguets areas rmovtipiece bee Schnabel boguila or Mundstack beso ar bocchino becca liproe Tigace Ligetuklammer —epatura or gad fiir bret tet or bares Biene bariono ——barnete wpperieiat comps de Oberstek peo pleza orcoerpo oF main ganche fsuperore parte superior lomerjoint corps dels Unters pesto lets oreuerpo oF ra dice infeioce “part infor india bore perce gindrique aylindrische foro elindicoperfracién clini Bobrang register key defdu pouce -—-berbaslappe-—porenoce lave para a ores ey ef appe cise sve fngerhole ou Gafloeh buco agujero or oiicio of Teco leyhole wou de clef Klapenloch forodet gee dea lave cisve "Ti ewo muller rnophones have no neck On these the mouihpieeamaches cect we bod% Woodwind Articulations “Te major components involved in wind articulations are the breath and the tongue, The interacon ofthese two clements provides ll of the various nes we aletions available 10 wind players. The working of the system can be broken dovin into thee pases 1, Antack The tone begins when the tongue ofthe performer moves away om the back of the teeth, opening a passageway forthe ar through pune lips. It is somewhat ike saying the plioneme “t.” 2, Sndy-azate The air For the player's langs rushes into the instéument Sedan the reeds) aad air column into vibration. The one will conti te a long a5 the Low of air continses 3, Release The Dow of it ceases and the tone stops [At every step the performer may introduce vavitions that modify the seach, seady-rate, of eles ofthe tone. Among these modifiestions a the aC snows locations for te tongue and changes inthe shape of the tongues EE speed, quanuiy, and direeon of the ar fow the size and shape of the aa aecte hrost unl the enethod by which the ae aw ic stopped. The Dos ible modieatons and varations are certainly more vast than the number of| Srdcalaton syenbols that the composer has avalabe, Therefore, the various SReculatons that are described inthe following secon are to be taken 38 aver+ ‘So ardeuladons. For example, there isnot just one type of near each instr ae eis own characteristic staceato tha it will produce naturally. Tn spite af ihe sarety of acestos produced by 2 mixed group of instruments, good crcisble is ell possible because performers can overcome these differences fhe match eich other's areulaons ‘There ae three main classes or types of articulations to be found in wood- vind musie, These three ae legate, nonlegat, and sacoars, Exact classification Iho ehese three categories, however, is often not zo simple, fer the extremes ‘Ghthin each of the thzee classes, when heard in another context, may be judged to belong f0 another class of articulation, [EXAMPLE 3.1. Netation of te three main classes of wondvind aiuto: (a) agate (2) rong () s2ceato Legato Legato articulations ar those in which, once the intl tone is started, the per formers tongue plays no audible cle in the staring of subsequent tones. The ‘ones ofthe pasage sound smoothly conneeted and one percsves no break of [cpuston berween pitches. Ia addition, one does not hear any percusive Silk or tare to the noses, The notation for legato articulation for wind play cesieasluc Insremenaton ‘ Wodindr Nowlegat Nonlegito arculations ace characterized by each note bing started by the efit very alg ecparatins between the notes, The separations ae ws “Gray long enough for the player to reposon the tongue so thatthe next Sg maybe stared (3 very rapid operation even for less experienced pay). Pie ain distinction beoween lego and nonlegaco articulations has to do with ‘Regn of ar instead of using 2 constant, uninterrupted scam of ar asin ‘Boe paying, nonegsto ia consanc but inerrpted stream ofr which Be (Seb aote a separste atack and release. Seca Ssaccato artealaon is neaty the extct oppose of legit. In practice, itis an ‘SGkrne example of nonlegato, Stccato notation is somewhar ambiguous. The fever we watten Gill alc, but the notason instruc the performer t inset Sees bervecn the nots. Sues the performer mut place the beginning ofeach ei ait spproptiate moment in me itis therefore obvious tha to achive a stac- ‘ho the player must shoren the notes ro provide the necessary spaces. Therefore {he sacesto version of the passage in Example 3.1 may sound as follows: IAMPLE 32, One possible staccato perfomance tn slow passages problems of interpretation arse. A famous example isthe opening to Beethoven's Egmont Overture where the fll orchestra has: Soxenio 0 oppo : eieteeae tet a AMPLE The thm and ain fund in, 2 ae ef exhren'sEemart ontre Because of the slow tempo yx rte long note ales one may well wonder Encly what he scents marking mens, How long shoul those half notes fz Po soi uth prblems, ta goodies to be more exact when nest ing he lenge of nots and space aa aceao passage ures the epecd of the sie apd enough to ake sch erences negli Lega Shading “Modication ofthe basic legato articulation is often desired, To achieve a vari- ‘ey of accuations, senuto marks (-) and dotsare used along with the slurs men tioned above. Although there is not universal agreement as to the “correct” interpeettion ofthese notations, and interpretation without regard to historical tnd seylate consideration is inapproptite, ce following iseussion represents ‘ppicl eurcent thinking and suggests usage that is practiced at this me a“The tenuco mask applied to note in isolation is generally understood to add 2 ures t0 that note and often 10 extend che length of the nore. When finced vera series of notes, all of which are under a slur, tenuto marks i ee chat the phrase isto be played legato, that is, as connected articulation in Gch cach aote is slighty stressed ut no discernible separation is heard Penveen notes, Often the rongue is used co produce the stress, but dus to the sof quick stroke involved it may aot be perevable, and for this reason the Ercculaton is sometimes called legato songuing, “The dot, eadiionaly associated with staccato as discussed above, may De undemood vo represent an implication of separation in arBclaton. Another aif egatotonguing often used is indicated by notes wit stacato-type dos, Pee ced under a slur This usally understood to mean 3 legato articulation ir ivhich each note is gently tongued witha short but perceptible space between ‘Re now and ao special suessastociated withthe tongue stroke, This ariculs: bon s more separtted than normal legsto, bu nota separated as nomleg3. ‘Berwcen these last two types of legato tonguings isa third type Chat is notated with a ine and a dot under a sior, This interpeetive marking call for both the delicate sess astocated with che tenuto mar and the separation Shvtiated with the doe, Sut a ide less of each EXAMPLE 4, (eto trgung with are sss, Sut ro spaatin (2 sate engi Serve sean some sepreton (leg tongue wine sess but percentile sepatin Nonlegato Shadings ‘The teauto mark andthe dot used together are also employed to obtain shad ings ofmorlegato articlaions. As mentioned above, the tuto mark indicates, thats aote is to be scesied and a times lengthened. Therefore, when viewed SHSs artelaton, the tenuto mark calle for a note to be more stressed and ibages than + simple nonlegato note. Butt is also to be cleaely tongued and separated in Keeping with its nonlegato charactes. “Adding the dot emphasizes the teparatenest of tis stressed nonlegato by increasing the space between the notes. This produces a note that if almost as Short ae staceato but more weighoy. Staczate Shadings “The only shading that is wally assoiaxed with staccato is stacatssimo, The ind Caionis he use of a wedge (1 ) over the note. This is interpreted robe a short Shote tha the novmal saceato, but neither more nor less accented oF stressed, EXAMPLE... (a) sessed rorlegt 0 stress and saparstednonlgnte fe stxrtisine Tie Winds ‘50 tht the relationships berween and among these various articulations may be more extly seen, the follwing chat is provided. Remember that not {performers and conductors will agree wich all ofthe details ofthis char, but Jedoes generally relect current practice. YAMPLE 28. A char of varios itd aniculators tn snudying symbols used for wind articulations it must be remembered that many composers who Were violinist or pianists have simply used suing. bowing sjmbols or plano srdeulstion syrituls for wind puts: Une Wisse ci Gumstinces, other interpretations than the ones given in Example 3.6 will be {ppropsate_ One especially troublesome symbal forthe wind performer isis usted in Example 37, EXAMPLE 3.7. (a) an often encountered tation (0) and c) te itfeent perfomance fesse ter that netton Since either (b) of (¢) are equaly plausible interpretations of notation (3), the orchestrator is advised to avoid (2) entirely and to use one ofthe other to instead, depending on the effect deied, Ambiguity will thus be eliminated. Ix is aways advisable to apply only wind articulation conventions to wind music and to woid sting oF keyboard symbols altogether. Other Tonguings Double and Triple Tonguing ‘The discussion of articulations hat up to this point dealt only with single tonguing techaiques, Double and tiple tonguing ae alzo commonly avslable but may be assumed to be standard only on utes and brass instruments Double and eile ronguing are posible onal winds and can be assured tbe available fom al profesional wind players Double and tiple tonguing take advantage of the fice chat to create esh seeck, one ony needs to interrupt the ar columa. To accomplish this it is not slovay necessary 9 wse the tongue position represented by the allble “,"so ‘hati, putting the tongue agaias the back of the eeth, Any means of inter- ‘rupting the ar column wil do. Thus, che arculation of either “ta” or “ka” wll ‘rants the effect ofa note being tongued. Double tonguing consists of the a= Inble sequence of (spproximately) tcka-ta-ka-etc. and ciple tonguing consists ofeither urkats,tekits, ee, or ka-tka, Ketek, or more commoniy, t-s+ ka, ova. “The choice of whether to single, double, or tiple tongue is usually leftto the performer, Accomplished performers can execute either technique 2t ‘most any tempo and wll choose co use one or the other (or neither) accord: ing to the musical requirements of the pasrage If che comporer-orchestator wwhhes to specify that a passage be double o- wiple congued, itis a simple mat ter of wring such an instruction inco the Flaster Tonguing “Flares tonguing is possible on all wind instruments, aldhough i « more kom: ‘mon technique for the brses, Stes, and saxophones than iis for the clarinet tnd double reeds, In Burtertonguing, the performer allows the tongue © vibrate ‘much a aroled “i produced in some languages ora children sometines imi taze the sound of machine gun Icisdificul for less experienced players to do 2 furersongued pasage ae softer isan levels ce in the extremes ofthe ranger (of the insrumens (either high or low). Bus te use ofthis artzulaion xt sof dynamics o eange extremes should not be considered impossible. The dificlis cncountered a thete eczemes are more nosceable at the sar ofa furertongued passage, bat become less 0 asthe passage continues. Therefore, an atack aa fore Envclofs duce tongued note maybe flowed by 2 diminsendo to pianisimo and sll be very playable even for younger musicians, we the opposite coulé be quite ‘eat, I fic, for lu elle players, an atack ta pianistme dyramic may pre+ ‘lade the performer om inating the fuer tongued rl. Slap Trngwing Lf the performer reposiions the tongue against the teeth or the reed to stop the air dow, a rather hard release is created. Common pracce instruction suggests tht except for the double reeds, chi is not an acceptable practice However, the performer may be asked to produce this effet, even exaggerate icso thatthe release i expecially hard and audible, to create an effect known as slap tonguing. The instruction to the performer Would be simply sap tongue ‘Special Attacks and Alterations to Sustained Tones “The wind instrumentalist regulaly modi thee attacks by he use of various [phonemes on the atack rather than the traditional “ta” of "8." Among these [ternative phonemes sre "ds" of "du," which are commonly used to produce tongued legstor and nonsccented steaks. Other consonants may be calle for fon the arac, such at “tech” or “k" to produce altered attack envelopes. These Special acacks are most effective on the Hut, somewhat effective on the saxo [Phones and brass, and rater less effective on the other winds, where the effect becomes subtle 1 Some performs produce the Suter tonguing rll inthe throat. Other performer may aot be able to Gute tongue aa Insrumension se Wounds a ‘A peformer vsaly scempts co Keep the Cot and mouth as unob: 1c pen a posse wale soaring a ote 08 wn insane se ee es qty tee, Shy and war, However, enon, eo ore of the on cy and modizaton of te pact of i a Send one can sien change she au Po ca ely verze ofee tone. To secompio hs the pe ee erie ape of he mows by asusing the postion of the seme Ee fe, at ough wo prose: diferent owe br Wihone vbg Pe ore om of consnat ouns to te end of ENE NP Ser yng nonstandard les” » a i (pheseotah ‘AAMPLE 9.8 () enconats acest attack changing rae eving petormance ita ssiained pith ©) aeing consonant release ness woopwasn HerECTS AD DEVICES i yan rrr ingrmen can roduc hie phe hte pe sna A rode i ches nga win owe ee ok ea aon of pred ye eo eat ll th nme ad ep re erp te kg em of TEE, Fe eed cooling te lua 1 a te of eng, ep ore Ny eae a prt eb eed» bemone ssimbeom ar re obs prague suet low fen moni ore Spam rye hao eh the Ca omc The nonionic () oe Se raed pi) LIAMPLE 38, Hamoncs oe prodeile cn and above the writen pitches shown here Vibesto Vibeato is posible on all of the woodwinds and to varying degress is 2 stan~ dane pec of woodwind tone qualiy: There ae three types of wbrato com only produced: Te wold unbiguy one shoud wte ambos ftom he International Phonetic Apbabet (Gucbin sppendix I), Since ost wind phyers will aot know this ipbabes, as (Ets explanung the meaning ofthe symbols must be incided,2 1. Diaphragmatic vibrato is produced by 2 pulsation of the air columa ‘contoled by the player's diaphragm. 12, Jaw vibvata is produced by Ughtening and loosening the embouchare “eound the reed as controlled by the jaw. 13, Mechanical or insorament) vibraze produced by repeatedly moving the instrument ait is played, producing a constant disturbance of the sir column, Cf these three Hypes, one is more likely ro hear a diaphragmatic vibrato vwsed on the Bute while a jaw vibrato is used by saxophonists. The mechanical ost has been uaditonaly held to be inferior to the other two, but i does fronide an alteinacve sound quality tht can be either subtle or extzemely Fough and erratic 35 desired. Sone may specify noc only what ope of vibrato is wanted, but als the speed and depth of the vibeato (se p. 40), I not specified the decision to use of not Re viento aad the spe of vibeata used willbe left up tothe performer, The Compose is also warned that not all performers can execute che diaphregmst+ ie vbeato—aot even all Duis. ne instruction to cancel vibrato ie “no vibrato” or Re bras Glissandos “Therg are wo common, and often coexistent, means of producing woodwind lsundos, These ace: 1 Indecting the pitch by altering the embouchure and air eoluma wale Chansing the Engetiags chromaticaly: The speed at which ehe fingers ‘change depends upoa the speed ofthe gissando, 2, Moving the reed info or out of the mouth, with or without ateing the arcoluma or embouchure, (On the Bute, a rotation ofthe embou hare hole towaré or avay fom the payer’s lips wil produce a silar pitch change) (Of these evo types the formers uble over a wide ange, even the entire compass of the instrument, and may be performed rapidly oF slowly, ascending tor descending, (Ascending is urvally considered to be exser) A famous exam lei the dasinet solo ac the beginning of Gecsbwin's Rhapsody in Blue. “The second type of glisando is moce imited in range, usualy covering less ‘han a major cond. Tt may, however, be employed at the beginning and the ted of a wider glsando to smocth out the execution. This second type may Slso be used co produce mirotonal infections (see pp. 141-42), For addtional dscusion of gssandos and norton, see pp. 38-89, 136-38, lute Befects “Breath res are produced by broadening the stream of sir thereby losing the normal focus of the tone. The effec is 2 subule timbre modification that {ncreaves the white noise component af the tone. The result isa masked, witpy one quality chat seeme to have no clear physical location in che environment. While somes ace extcemely delicate, pure, nd quite soft notes produced by Insremenston ie Wide ae peformer barely cctinga smal seam of int the us. The sound it be Peter ikea person whistling wo vce between the teth, Not all Buss see toyloped the slur to achieve hese sounds. The dari eves imited and softer sen Tone AMPLE 10. () Vocal otatin fra beth fone) a tative ttn, whieh (ould equre an explanation in the part “The head join on all utes and almost all piecols is removable, and ifthe performer play nthe head joint alone, a rather uneontoled tone is pro: rary Tra dowel rod or sralar device (drumstick, performer's finges, Slnced into the open end ofthe head join, the pich of the tone cen be con cated: Ar che device i moved into the head joint, ward the embouchure ran the pitch is ised as the device is removed, the pits is lowered, This (erie very much ike a slide whine, Double-Reed Effects One ofthe woodwind effect thats unique to the double reedsis the anack rm, Chun can be produced by sucking on the eed ina very noisy mannes. The effect (Ray be achieved on various pitches chroughout the range of the instrament LKAMPLE 3.11. Reconmended smack ena notin An exanston nthe part willbe equ “The piyer ofa double reed instrument may remove the reed and pay on icalone (Ehe Doel #9 which itis attached may be removed with i). A vaiyy of guns can be produced this way, and by cupping the performer's hands ‘Bind the reed or bocal, and changing the amount of opening and the size of {he cup formed by the hande, modifatin inthe tone of the reed may be pro {doced. The pitch range and dynamic range of the reeds are rather limited the iager reeds produce lower but not accesary louder sounds, On occasion the double reeds have been atzached to other instruments such 25 horns oF tom ones, often with special apparanae in order to asture a good joine between the eed nd the instrument, The Suzzing reeds wil, of course, prosuce the char cctsde dovbleeed squawvk tone, but the amplification and fterins pro- duced by dhe attaced instrument wil eretean entirely new simbre, Single-Reed Effects ‘Suésonesare playable on both the dlsinet and the saxophone. These are vst cacy produced inthe lower register and are often used asa means of achieving equicd piswisima However, hese represent such an extremely soft sound4 range that subtones are more often tested in modem music as special timbral tffecs. They can be easly covered, so earful scoring is required. To obriin ‘hee sft tones, sub fone, mezzo vos or 29 yoe should be writen inthe part. Ta much the same manner asthe detachable red (or reed and boca!) ofthe double reeds, the mouthpiece and reed can be removed from the clarinet of Ssnrophone and played by itself Again, the hands may be cupped around the ‘open end of the mouthpiece to modify the tone and pitch. The mouthpiece tay alo be atached to another insirument 10 produce special effec. (One Sch i the atachment of a clarinet of ssoghone mouthpiece to 4 wombone tnd buzzing the reed while moving the slide, The effect is somewhat like the oar of s propeller-dsiven aigplane.) "The opposite effec, in some respecs, isthe buzzing ofthe lips on the bat celof the caine after the mouthpiece has been removed. The buzzing just ike the lip buzzing of bras players, transforms the clarinet into a strange “Keved- bugle device that can play paras lke a brass instrament (see appendix 7) and have its length alzered lke 4 woodwind, The same technique could be applied to the saxophones or flutes, With the suxophones (or utes with the headjoint removed) 2 modification of the opening of the tubing would be required to keep the performers ips from being ext. The use ofa regula of modified brass Jaggument moumplece suggests Ief anc leads wo ute: idew (such «9 the frtachment of brit mouthpiece to an aboe or bassoon, et.) There is proba bly no end tothe possible special effees one could develop. "The eeassembly of standard woodwind instruments into different config- urstions may oF may not be a special effec Almost every young clarinenst rast hive at some time assembled and played the instrument without the Upper (left-hand) section. This produces 4 sor of piccolo clarinet producing a range se. The devi hasbeen we in mprovsnton and could Contemporary Effects and Devices Maes -Mutes are not as common on woodwind instrument as they are on brases, bat they do exist. Handkerchief inserted partway into the bell of an oboe saxo phone, or bastoon have long been ured eo help control the assertiveness ss0¢- fed with the lowest notes of these instruments. More sophisticated versions of these mutes have been made of cotton or othet absorbent material and equipped ‘with “ingecs” or hooks for secsring the mute into the instrument, Other P= ‘of devices, usally soft snd slighty smaller than the bell opening, have been used fon carine’s and saxophones, Flute mutes seem to be generally uncalled for, but = piccolo mute, made fom 3 found tube into which the instrument is inserted, “wat the head joint on the outside and with cloth-covered holes cut ro allow the performer's hands to hold the piccolo in 2 normal playing position, bu inside the tube, has been used to reduce the loudness of exsemely high notes. This same approach could be applied to other woodwinds ‘Up to now, most mute usge for woodwinds has been devoted to the seduction of loudness rather than, a in the brases, tothe alterton of timbre. Expeiiments in the later area should prove both interesting and rewarding. aa pie ete ey a ee of the inrument The sly eee fen 50s rode ss Clgner to the mouthplece, rsd, or embouchure than the deeds dae ice nes soaneeoea aati eB ay Se Re taomant and thus les easy utlized. Electronic ampliation greatly Soap a Sec cunt é co Fie IAMPLE 3.12, Reommendednetations fr (pitch key 8p () Key po vspec Pach (ey sap assed to frmal pitch (Key slap wth embouchure ole clseé Siam entouetor pale mF ‘Tinabral Teile “Timbrl or key tls are producible on all woodwinds and only requite that che dante affected be high enough in pitch within a given register 30 that there Set aye ox oles let uncovered when the pitch is performed. To obtain «key Sai the performer merely tile key or hol, which modifies the timbre of the cee Rirout signidearcy “fecting the pitch. The closer to the lowest ‘Giprised Ginger the hole o Key co be riled is located the more obvious the SiEE crecadens wil Become; the farther away, the lest notesble the pitch Ehange although the mb varation wil also be more subse Double Till Double ers are producible only when an instrument has at east owo Separate Prete, one playable by exch hand, chat wil ative the same pitch. Thus, fa Tiley Bom G to Ab exis forthe right hand and another, diferent ey or this wl cos for he left hand, «double tril may be playable. The process is wrsight= Forward, The phyer Singers che main note G and tis Ai in the normal way, find atthe sume time also tls fom the G to che A by moving the appropriate fey ith che other hand. But he second hand is inety degrees qut of phase with Ter Rie hand, thereby doubling the speed at which the tl is producedEXAMPLE 13. (a possible notation fer 2 yl (0) another statin fora hy il (©) suezesed notation fra double il (al wl equ anexlanaton nthe rt) Air Tones ‘Air tones are rounds produced by blowing ar through the instrument with or Mthour producing a more conventional tone. It may be dane withthe mouth: ieee (of fed) removed or in place. IF the normal tone production system is ied with air tones, the composite effet is one of adding a windinest (white spose) ro the main tone. Some performers are capable of going gradually frdm duce sr sounds to normal tone and back, The teesaigue i especialy cary on ANE faces, sxophones, nd clarinets. On the double zeeds there is more likely fer be an sudible stack as the reed begins to vibrate, but the transition from Sere Jo ar tones often works very well, Fluce breath tones ae an example of Er sou (0cep. 83). is also posible 2 whisper, sing or speak chrough the instrument, using che resonant qualities of the instrument to ampliy or modify the vocal sound. ‘Screams and other peimidve sounds work wel, but for real intelligibility 2 Ghai range between a whisper and norma speaking levels best. Eleewonie Smplifeaton ean make this even more effective = - EXANPLE.14, (ai sounds acted to nara ra (8) whispesrg teu instrument — re nara sunds (natin wil gure explanation) “The alsrnation besween sung and played pitches may be made to sound much like svaiant of che instrement’s Smbre resembling a sort of timbral ‘counterpoint Multighenics ‘AY woodwinds can produce mulsphonics. There are at least wo diferent approaches to the production of these sounds 1. Playing one pitch and simultsneously Aumming another. Tis produces two pitches wth or without summation and diference tones (esutans).* 2, Blowing and comuoling the air columa and/or the venting ofthe col ‘oman in ch a Way 38 f0 produce two or more simultaneous pitches. “Tyiia owe tone of dierent fequency tert with one anothey, summation and Sf freee tones rere Given tone of 600 Here (ibraon er econ) and ances of (50 Flere, she mummmaion tone wil be 1250 Hz (600 + 650 « 1250) andthe cfr nce tone orerltans, wil be $0 Hz (650 ~ 600 = 50), texeruensaion | se Woodwind ne poise combinon of pes produce + muon oo i eens i ingeanet a fom SNM © ges ae eed ae coment rls meen Sine oe scampi abe omg ali he fecha ee pay apo fe pac nga rd eg em SS en of he el on of Pe memes ak st int ih (ot of i rd win te aphorism aw Be erorme 2 ashes tg apo tht conan Se EA) XANPLE3.18. ca ntan of magne wre aarp tes 2 TS Rar os) ntaton of oeerinate mation (@ reas o muenics © Athen some pitch cote i spec tent in the malt- “The composce who wishes to have speci piteh 62 hots ands to work else with he woodwind pnt sho 8 perform the her cn ng such «pee, inortant wo reac ht Snes Pe lec Wy obtsin totaly cfeceat res, ever with the sae ingens YAMPAE 316. Netaton of mutlonoris tat be eompser were eu ith = Peet arr ites earth specie ehes dase, inluing mietonlnetons od 1 etn att Denis Eonar Paapraed ft ween sie (le Pe fmm. 178-83), Microtones “The we of micotones wo inet and ornament modi ines bas been PSR Pike use of many eres and ses hough not ual Coos ie Ta pat ofthe performance tradtons of Western European mit {au aed, copecal in vocal peformance and in some insrumeril ce ere otumeny of te woodwind choir Rave the ability ro Be piche To copplgin 1972 by Mets Pres, tne. Champigs Ie All Righs Rete Used 97 pemision,88 indected by the performer and can therefore produce microtoncs. In jazz per formance, the use of microtonal inflections has long been a standard part of the performance syle. Microtones can be created by altering and controlling the Er column through adjustments in the orl eaty and the tongue position as tvell as the throat opening, and by adjustments ia the postion of the ceed or ‘mouthpiece in the mouth andthe amount of “bite” pat onthe reed by the jas ‘and lips of the performer. In the case of the fute, the rolling of the ‘embouchure hole toward or away from the player's mouth wll exeate pitch ‘modifeations of almost a semitone berweea the extreme postions Tn adation, special Angering may be ulized. By the use of forked finger: ings (se appendix 8) chromatic tones may be produced on woodwinds. IF sddidonal holes ace covered below the fork, the pitch of the chromatic alter- Sion may be lowered by venting or half vending other, normally covered holes, the pitch may be raised + ‘One car obtain microtonal fingering charts for the various woodwinds “However, because the actual use of microtones in music varies greatly (some ‘composers want microtonal inflections of unepeciSed size; others want even> tempered quarter or third tones; and sel others want pitches that form specif ie intervalicratioe with other pitches, it should be clear that no one set of| tnicrotonal Gngenings wil produce all of these posible results and that culy sczarate microtones in a given context are dependent on the performers ears nd nota specific fingering. All of che instruments of tke woodwind choir pos: ‘ese mierotonal posibltes, The players may tequite special preparation, ‘THE FLUTES English French German Ttalian singular Sore.) (grande) tte (f.) _—_(groSe) Foe (ge. ) ato (2) ‘paral fee (Q,) (eandes) tes 2.) (grode) laren (gr. FL) aut (2) ‘The Properties of the Flutes ‘The flutes represent the highestpitehed (soprano) family of tke woodwind choir. They are buieally cylindrical bore inseraments, Older utes were made fof wood while modern instruments are generaly made of metal. Wooden pic: ‘colos are el to be found, and are prefered by many players. The ute family ‘onset ofthe following inrrument: 1, Flute (or concert ute) in © 2. Picola in C (French: bie piccolo pie faze; German: Pitkelafése or lene Foe; Telian:ebzavin or flauso pica; Spanish: feusin) 3. Alto Gute in G (French: fle alto on sol; German: Alyn Taian: law 1 central; Spanish: lta contrats en st) 4, B Sate (Erench: fies rere; German: TerjltysLalian:fleutotrzino in mis Spanish: flance tercere or leuta tercerla en mi bemel) 5, Bass ute in C (French: fide dase; German: BaSfite; Talian: lato ‘a; Spanish: flauta ba) “In older Bech sores and books, one my Sd heat Fite ously ced a bass ute, Obviously, here bo reason to condaue this practice. Inscrumentitin Spanish fauca (f.) fauts (2) x | [IGURE 3.1. The fates rom eft 10h: peal nC: Ets Cite with open hoes and foc: ao ut nG: and ba ‘mang Company. ine. Elinor, nana) ‘With two exceptions, the flutes have the following written range ee [BUMPLE.17. Range of ft family shat win ose tls ute in (Peto courtesy WT.so “The exceptions ste the pccolon which hae forthe lowest aote: $=, and te concer ft, which sometimes as a “low key” Th" key cannot ye be considered to be a sandard feature and the composer should always provide an ossia passage for performers whose instruments do not pos sess the lw B, lets Beaty ee Tt a agra 4. shri pase hi ae we Si ine ow et tt J IAMPLE 9.18. The win anges, sounding ranges, and tanspstons forte es (8) ‘ute ence fae nC sounds as writen )piza9 in Ci: sounds an acta Neher than ite (ato ute (Gh souns a our over than wren a) ft: seunss 2 minor ‘Bite higher than write () bass fte (nC); Saunds an octave lower tan writen “The dutes have the following natural dynamie curve: AMPLE 3.18, Dynamic cuve cf fates he lower range has ¢ warm, dark quality, but with Sd sity to pene true. The mide ange beige and cre el. The higher regis bal. lant, peneeaing, and when seeded sh. The aby of he Bate player to overcome thee nturd chances i dependent on the pecformer al, Bur lye qualifed by the innate proper ofthe fseuent The ftes are very age rumen, capil of the fest pose acs Jasons and runs: Double, pe, and Suter tonguing se standard techniques forall advanced ples, and rapid sls or wae less present 0 problem, although downed leaps cepond sit slower than upward lap Al fut fequie gat amoun ofa and opportune to breathe mathe provided inthe muse. The ger the dre, the mae ths Uesh problem and she ob lem of playing lua i the low egies) in evidence, The so bas Bes present che osseous problems in tea Of breting nd for ir fon, Toe Wostwinde aioe solos must have exremely transparent accompaniments, For the same sy, bass fies ace ofen head with electronic aplication while playing “Stsoky shor pire. Exended passges, without gaph cn only e Per eld by ewo of more utes, alternating and dovetaling with one another. ll ferend wemolor’ are posible with the fllowing exceptions (as written: SSS EXAMPLE 5.20. Tils an remoos not playable co the fate Flussts have gret ability to contro] intonation over most of she range of the instrument. However, above = this control diminishes. Also, be aware chain this highest egiter light pitch variations berween two utss pro sat obvious bens! (more noticable in perfect fifths and fourths ess int Sha skths), In addition, even well-vaned intervals produce audible results ie aze clearly perceived ina ghd scored texture. In orchestra or band fit, {he eesultang ae usually not apparent. Te writing for ute, remember thatthe instrument tends tobe easly cov xed below and, although in ths range it sounds fll when played ‘inaccompanied, i is nexly inaudible when insruments pitched below it are producing sounds rich in harmonics, One should never expect the ue to bl Eee with other instruments when i is scored in its lowest register, If such 2 oicng is desed, the Huge must Be marked at dynamic level significantly Jouder than the othe instruments ‘To increase the sense of warmth and to produce a more velvey fone, (WO OF more fates playing in unison may be used in the lower register, The additional oc however wil not materially increase the ablity of the Ustener to perceive ‘he lin unles the background i t wansparenly scored as is required when only ‘one ce is used. Tn contac, the use of more than one lute ona nein the mid de and higher registers wl ineeare mass, penetration, and carrying power. The Piccolo 2 “The pizolo has many ofthe same qualies of the Gute and i fanyehing, more agle and capable of fate ariculatos. All effects are possible and is less exs 4) covered in the lower octave of ts range than the flue isin its comparable regince? The dynamic cuve of the piccolo i ike that of the thes, but with ‘Fulbvoke ony major and minor seconds wemelos ar all wider ntcvals * bens are lw tequeney vibrations (fwer than 6 vibeations per second) caused bythe reinforcement and cacelaion of two or more audible pitches, "Tis is probably rex of the Keennes of che man ear in the egueney ange tacompused bythe pcclo's lowes ceiten, which san octave figher than the com panble Gute ange,2 smote exaggeration of the contcats, For sheer billance in the ensemble, the top octave ofthe piccolo cannot be suepasied by any natural acoustical instr ment. In addition, solo piccolo in the middle and lower registers i an interet- ingand valuable voie, sounding litle colder and more breathy than the Bute. ‘Te Alto Flute ‘The alto Bute, duc to its larger dimensions, is a tle less agile than the ute, bur in the hinds of good player, tie irtinction is hardy a problems. The low ct ceginer, below wiiten J, is dark and rich and a lirde mote able to balance other instruments than isthe Sut in its comparable register, But ies, aivoice that needs to be accompanied with care. Played toy inthe lower regi. ter the ako But takes on almost a muted hom- riled. Breathing is the chief problem, fallowed closely by lack of power. Amplif- «extion can be used to overcome che lar, and for this reson more examples cf bas Aare curently appear on recordings than one hea in lve performance. Another problem which may seem ro the arranger o be supercal, but most atsaedy isnot to the performer, isthe probe of weight. The base fute (and to a lesser degree the alto Bute is much heave and longer than the dite ofthe piccolo, In addon to the obvious embouchure and finger adjustments, the matter of holding up a more bulky swevard instrument creates 2 igue fictor that must be conselre. In pare for the lege futes, longer retsberween periods of playing, to alow the pesformer to set down the instrument, ar appreited Other Fits Jp ale band scores oe en encoun pr for Dh pil and Ds struments, which we dor obs now ae pening suet pitched minor second above erica snd above ce concer ft epee, Sel Ina other naye they ese, ‘Typieal Flute Scorings ‘The ts ae equaly st home inthe performance of ow gto peg ‘id highly font Spurr. Axa my hey ae cent nose in Wee 93 Te Winns sg coe wi i a ef el fo Sa ee aia Be jen 2 >—1—_— os ¥ t =e 7 $= = for EXAMPLE 3.21. Excerot tom Oars 21.5 by Edgar Varese iustating low eepstr fat toe rim. 1-7) ring the ae In Blze's opera Carmen he woe ti pasge demonsetng pe eee whch ce shoveue the ea, melogeproperies Feber ccompane by ov harp Andantino qe alegre 2 RAMPLE 322. A midele-pper range ft sla from Carmen rom Tehuikorshy's Tae Necoraster comes tis example ofa ute who, Notice that the balance berween the theee utes is good, eventhough the third parti ute low. This e beesuse among themscves, utes balance each other well no fer what ranges ae employed. The orchestral accompaniment is Hight and ‘vthou great mass or strong colors and thereby docs not interfere with the ues, Gai_sii 6 rossi P 2 =. — Sr EYAMPLE 3.23, Whiting for three utes tom Tehalowsiys Nutracker: “Danse ees istons trim. +8) 7G 1946 by Colfane Muse Publishing Corp, New Yous by persion.‘The fourth movement of Mendelssohn's Symphony Number Four, the “tralian,” i¢ + Salzerelo marked presto, At the usual tempo taken in modern performances, this date duct i 5 vireuoro passage. (Ie i doubled an octave below by che clarinew,) EANPLE 3.24. Flute ple torgung fram the last movement, mm, 14 te 23 of erdesiohn's "alian” Symahony ‘An interesting we ofthe date and piccolo together it to be found in Sorodin’s Pelotinn Dencsfrom the oper Prince lor Here, ardng 8 mea sures before C, the piceolo and fists alternate che gus. The cones between the two tone quale rib but audible, Nouce the use of dovetaling to bp te hf of tuo ae Begin te Sth acne ote cxample given below both instruments ares ply creating an octave doubling with the piccolo an octave above the flute, oo : * EXAMPLE 325, Fute an pecolo doetaling in ecu! tom Borodin’ Polotsian Dances Becate ofits clear voice and high register, the Gute i often used to provide 8 decorative counterpoint ro the ensemble, Elere Beethoven uses the fute t that end inthe slow movement of his Pantorale Symphony. The passage besins in m, 57. The staccato articulations in mm. 58 through 61 allow the Bure to be heard through the texture even though is pastagee begin in the low register, ii) oo ‘ie Woodinde EAAMPLE 3.20. tu. G7 though GT fom the s¢eend mavemant cf Beathovan's Symaheny fo. 8 Ths s an example ofthe fate’s ait fer tonal contrast to an erste of tings an the oer wins tn “Well Purse” for Gute and piano, Paul Zonn has written this passage, which is tpiel of the whole piece. This excerpt begins withthe last system om page two and ends vith the econd system on page thre. The fist igure in fares an aecelerando; during the sustained C flutter tonguing is added, vs Sallcitcle over the By indicates s harmonic; the low Ff inthe Best mliphon- iris a resultant pitch; and the psssage ends wth a multiphonic eremolo. Time ie propordional POG OS Ontiias mong p mp we Sore mp dim. [XANPLE.27. Excerpt rom the tte pat of Zones “Well Pused™ “Two short examples ofthe billance that can be obesined fom the piccolo are shown in thee pasages fom Tehakovay’s Symphony No. 4 They occu in the third movement. The fst i doubled an octave below by the 0 Hates. All are marked forsvima and the pusage is payed twice in succession. Te second igure isa piseolo solo and is marked piano but always shines above the whole ores, ‘Copyright © 1974 by Paul Zona. All Rights Reserved. Used by permission ofthe compose.96 Instrumentation ha ? [EXAMPLE 2.28, Two Tehstovly pattges fr pecla. The ti tom mm, 162 to 166 tne tho secon rom mi. 94 0197 ofthe thd movement Symateny Ne, &. Te tema , is bet 132 quarter notes per minute Hee isa passage for thece utes and aa alto ute ftom Penderec’s St. Luke's Peon. Ie begins atthe Pit vivo after reheatsal number 4, The symbol ‘elle the performers to play the highest note posible 7 EXAMPLE 3.28, From KayanotPenderck’s The Paton and Ceath of Our Lar Jesus Chit Accozng to St. Luke cares ts passage for three ftes an an ato ute n this vnc the composer aes one ono fue fo double ut, ale ut, and piccolo, Even ‘hugh tis isnot unutus is coniared to be 2 ecu double due ta the exer lembouehur differences betvaee pizza and a fe In Lex tera George Crumb cals fora bass ue. (The peeformer also doubles on soprano recorder) Beginning one measure after rehearsal no, 3 and {going until four measures after rehearsal no. 4 ths is what the bass ute is tsven, Note the use of futer tonguing and the cimbral ell produced by the tue of harmonies 1 1067 by Mocck Veriag © renswed Al Right: Reserved. Used by peeision of European American Musie Ditibuters Corporation sole US, and Canadian aget for Mocck Verag ‘Te Wendin ” legis sim Sessa pS Pe EXAMPLE 3:30, Base ft pasage tom Crumb's Cur tema PROBLEMS 21 AND 22 ‘2. Score the fst 21 measures ofthe Cemenice Scarlat sonata below for wo ecrt tutes: Reise the pitch love ofthe louar notes in mm. 2-8 one octave fo accermodate the fate's range. Wren moe than two pies ae present Inthe orgie, select Ue pines to be used inthe duet fr musical reasons. Prepare a score anc, it at all possible, have the reautperarmee. SONATA oS =~ © Copyright 1972 by CF. Peters Corporation. Reprint pecmision granted bythe opy- she ower.ie 22, Wit a short pasage for solo flute that uses multistoncs, ter tonguing, air tones, and other special effects. Heveit performed fer you. FAGURE 3.2, The oboes (tem left to rghts Hestlphone,bartone oboe, English hem, ‘bee damere, and ober (Pate by Davié Hruby rs onons esih meh rm Tian Spi | singular ‘oboe (ob.) ‘hauebois (hautd,) Oboe (Ob.) ‘oboe (cb.) oboe (ob.) | ‘plaras ‘Oboes (obs) autbois (haut) Obven (Ob.) _oboi (ob,) _oboes fobs.) | The Pops ofthe Oboe one ene te ues ete fay oe ond cn es aSepeh Musee oeteena eva cine See ee cy con fe eves eines | ‘ L ‘re Westend! » 1, Oboe in 2B Shgtsh hoen in F (Pench: cor anglais German: Exgliciors Tele: forma ingle; Spats: corsa ing) 45, Obor damore in A (French: hawabois davon; {fabian ebve Pantone Spanish: oboe de amar) 14, Bait oboe in C (ate) (French: baatbois baryons German: Bar ‘Oboe Telian:ebvebaritono; Spanish: obve barons) 5, Heckelphone in C (ere) (French: beckephone; Getman: Heeeipbns Tealan: Heckelphos Spanish: beakephon), Wich cwo exceptions, the oboet posses the following watten range: German: Lictson; [EAMPLE 2.31. Range of cboe fry “the exceotions are the oboe ise which has a Low By (Chis low Bie foun! on see aera ip aot a special key)" ana the Freckelphone, which has both alow a aagT low A. Example 3.32 shows the wetten ranges, sounding ranges 29d vanapositions forthe oboe me eObcedamee auntrector °. —— o * | [EXAMPLE 9.32, The writen ranges, sourcing ange, end transpesiins fr tn oboe. fa ope in Ch; sounds as rite (0) English horn (nF; suns ith fmer thas wit a cbve clamor in Ar sounes 2 ior hie lower ian writn {6 arene cb ra owe! h ssunds an etave lowe than wien () Hckelpone (in Ci; sures an than wtan TT Gome veadent models do not poses the low Be key, but these are corehern or band oboes.100 “The oboes have the following narural dynamic eueve: [BAMPLE 3.23. Dynamic cure cf oboes Oboe tone is dependent to a great extent on the syle of the reds wed. Te sa taretoredifieale to precict exact tonal characteristics, However, in genétaly tuelower range has a ich, eely quality tha is difficlt to subdue. The middle Doron of the range = clear and posiesses good ably to pencizate gu eer teatures The highest Sfth or sixth of che range becomes thinner and Tnuch fe chin harmonies. In thit range the oboc’s tone is not as character [Ru asin the lower ranges but penetration is sl extremely good. Because many wel: known pastages forthe oboe ae low and expressive, one ‘fier forgets thatthe oboe is Very age instrument. Whle they are pepe not he ducting performers the duter are, the oboes ate By no means siaggals + ow: Double tiple and ducer tonguing are not considered standard oboe tech fugue, but canbe achieved by some performers The obocs ar capable of ery sranodh legato, even when wide leas ae involved as well as preise staceatos Rapid scales, a vane of tlle, and ornaments sound clear on the oboe, Vibrato is aseandard clement of oboe fone and is used both at a means of modiffing the fone qualty and also ae a method of intensifVing the tone and shaping asanccs “Al tlls and teemolos are possible on the madera oboe (see appendix 8). However tremolos wider chan perfect fourth ae avioward and speed may be 2 problem. Bren if the performer discovers altermate fingerings to be wed on {kee eremolos, the pitch may sll be inaccurate or poorly defined. Ta eontatt to the fates, the oboe requies very lle breath to play and oboirt offen have the problem of Snding themlves too fll of ais atthe end Sfehe panage, Rests are needed to enable the performer to exchange exces Sale al for Bea a ee con ofthe oboe's ange, up co SES is very fill end état co play at cyan less than meats fos. Orchesaators ced t0 be Soave that te following pasege pou in theory on np Poe eR BANPLE 3.34. A vitualyimpossoie oboe paseat “The cou performance will be louder than the indicated dynamics. BY making the appropriate adjustments in the dynamics ofthe accompaniment and by controling the amount of vibrato used by the oboist, the effect may be ell succesful, (Sturring the whole passage would make it etsier to produce, too.) ‘he Hinde se Bel Hors a rrrin hrs as ee ed 0 cen low pon wing ot "i ee hoe yes ofp enh tn seen ce dee he pene ES Seine lion ctor waco ego Ae le nd rouned sound ta Fr ee ined sats tin oper pc 2 pene eons vel uo gen, The ses ae Se a ene alow hte i seal oa aed omni of sr ean mara ts ag) SS he Obve Amore “The oboe d'amore is not encountered soften the oboe o the Engh How? ree tee ce forin work by Bach, R. Stas, Debusn and Ravel among of but as aoen a recent ebrth nits poplar. The oboe d'amore i 8 nls Su-Pikan de oboe and looks ikea small English hora. Tn tone quate i dae erg om either eo justify more frequent usage, Te is darker and cir Sou than the oboe, but beghter and mere spegty thas che Engl ote ae Moun an expressive solo Yee in partigrs of 2 tanguil naare and teonsve and exible in forid or rapidly tongues passes. ona amie curves ofthe English hom. ané oboe d'amore resemble the curve ofthe oboe, but the lowest portion ofthe ranges more easly consoled ‘The Baritone Obee “The baritone oboe would seem to be 2 potentially valuable addition to the se eu, bue stone is very thin and stu, especaly inthe lost regi coer Roopa hirtoreally old instrument, ite wie bas been made of icin either rere able scoring. Inthe hands of ale performer i ean provide 28 Wee ei solo voice anda colorful tenor tothe double reed section. ‘The Heckelphone “The Heckelphone has fall, rey sch tone quality that provides both an excl- chee toche oboes and a puagent treble tothe buisoons. Ie isan agile insu Harpe good ele toagaing expabities, In mos cass, it has been wsed ae ar solo instrament, ro exploit is rather unfamilar voice, of as an extra eee deo fil out the doublereed furl. Is expressive and technical prop” sere simlar to the English horns. In is lowest register i as a dar, fore Eding quality ac is hauneing. In the upper register, its tone becomes more Sane it hoa. The Heckelphone hat seen some use in orchestrl works By Richard Stats, rio by Hindemith, and in motion picture scorings Otker Oboes In older works, especially from the Baroguc, one sometimes encountegs the Sholete oboe da eaceis, which is wally assumed to be equivalent co the English hom and is replaced with the Inter in modern prac. Tn addition, thas isan Br miliary oboe wed in Europe but not found inthis country. eis pltched a minor third above the normal obec. 101i 02 Tstrumentaion ‘Typial Oboe Scorings A. good opportunity to hea che oboe in its midéle-upper register isin the fourth movement of Beethoven's Tied Symphoay. Ti BAPE. Ooze wo on Sesbnran’ Thi Smphoy Youth movemert, mm, 373-77) ‘The oboe’ middle lower range is feaured in the famous solo from the tesinsing ofthe tied movement of Brahm’s Second Symphony Op. 73, a cody that exploits the pastoral quality ofthe abe lac srzion (gus anda) 2 [EXAMPLE 3.38, Ob08 290 tom Beane’ Second Symphony Inthe chird movement of Robert Schumann's Symphony No.2 is this 9p- ‘za lyical oboe soo. Tes accempanied by sof strings and a bassoon counte ‘nso Ia spite ofits gentle harcter che passage does cover 3 fil wide ange ‘Adagio expressivo pesntabile Lee == 2 DDAUPLE 3.57. Thies movement of Scumann's Seta Symphony mm. 18 “he oboe has good alias shown inthis passage from Dennis Bbeshard's woodwind quintet Parapiras, DIMPLE 3:36. Some ot wos quintet ry, 240-42)" this pasage tem Eberhard’ 0 Coprihs 1972 by Media Pre, tae. Champaign TL Al Rights Reserved, Used by penitecn stra x08 A cxunded a eptenive we of te obo slo caps is shown 1 corte aT twough 2 of few suena of Talo a er Sh The ere ecntinet in ocean, et en seg Sapbeny Ae ote cboewie rang of cl tn sem co be much Sevens patna inode zm ‘sao Pnptce, ma grasion EXAMPLE 3.39, Fourth Symohony, second moverant oboe solo fom Peter. Tebehovsny ‘This example, a duet from Bart's Concerto for Orchestra, ist seedy uly of evo oboes in thirds: Allegectn rherzsndo Joe XAMPLE 3.4. Weng fortwo Does rom Bank's Concens far Ores (second more rent en 25-30)" ‘Most famous English horn solos tend to be sow and expressive. The for lowing excerpt ftom The Pine of Rome by Otorino Respigh (beginning + mes- suret before no. 19) demonsoares both the English hora’s expressive qualities sad its Lexis. ° Copyright 1946 by Hawkes & Son (Londos) Led Copyright Renewed Used by pt miss of Boosey &e Hawes, In108 [EXAMPLE 81. English brn slo rom The Pines of Rome by Respgh” Probably the most famous ofall English horn solosis the ne from Antonin DvoHik's Symphony No.9, Prom the Neo World Here are the fst five measures of tht sol: EXAMPLE 3.42. English nan sla rom Dati’ New Wore Sympheny (eeconé movement, “The oboe d'amore ie festured in a duet with the soprano soloist in the aia “Quis respeit” from Johann Sebastian Bach's Magnificar: remember that the cbse d'amore is pitzhed in A co it sounde& minor thud lower than notated, Adagio 3, EXAMPLE 3.43, Fem Sot’s Magnifint an coe ds PROBLEMS 23 AND 24 23. Using the Bach chorale relude given in Problem 6, page 16, scereit for ‘wo oboe, eboe amare, and English hor (or you may substitute a second English hornfor the oboe e'amor). If possible, have the result performed. 24. Male up a 6 er &measure duet for oboe and English horn that makes ‘extensive use of special effects including smack tones, timbral wills, and ‘ruttipnonics. It possible, nave it playec. % © Copyrighc 1925 by Casa Ricord-BMG Ricordi Spa. Used by permition of -lenden Muti, Ine. 2 Boosey & Hawkes Company, Sole Agent, [RGURE 9.2. The cainets (rom left org: Bb contrabass clarinet, contra ao ci inet (soetiescaledEcantrabss. tas linet, & allo caine, A clint, ea lot © clarinet, (sore) cirine, A Seranira caine, and bazet ham in F (Photo by cid Hey) ‘THE CLARINETS English French German Tealian singular carne (cL) clarinet (¢L)Klsinett (Kat) eainetto (¢,) prs! riness(els.) carinenes (el) Klanineten (Klar) dlaviners (el) ‘The Properties of the Clarinets Tre clarinet is normally considered to be the alto or tenor member of the wood: wind choir, but because of the many ses of clarinets avaiable and the wide ranges ofeach, a clarinet may be utlized in any role fom soprano to bass. Clarinets ate ctindsca-bor, single-ceed instruments made of wood. Due to the acoustical properties ofthe elindrial boresingle reed combination, clarinets behave lke ‘topped pipes, overblowing atthe rwelth rather than the octave (see 8). ‘The members ofthe elazinet family are: bias 1. Band A clarinets (French: sib or Ja; German: Bor A; Italian: si of fa Spanish: sor 1s), "Un German. he pitch Bi cled B whe B i called HE hus, Keine in B means lane in Band not carne in 3. - ‘ “ os Spanish inte (4) siainets(clt.)108 2, By bas clarinet (French: clavinere bce em sh; Geeta: B Bafllerinstss Italian clarinets bas in sis Spanish: elavinete baja on 3 bem! 3. B and (are) D (soprano) clsiners (French: cerinese en mb of v8 German: EF or D Klavinere; Tian: clarinero pcclo im mis ot Spanish: clerinece soprano en mis or 70) 4, Eyal clarinet (French: clarnste alto on mils German: Er Allert; Italian: clavincetocontralia in mil; Spanish:clavineteconsralto on mil). 5. Bh contrabass clarinet (French: clarinete contrebase en sy German: B Kontrabafhierineme;Ialian:clarinere conzrabeace ni; Spanish: elar= fee consrabajo 7 ) 65, contra alto clacinet (French claincrte contrebase n mi; Getman: Er Kontvabafitleriness; Uelian: elavinersy consrabbase in mil Spavish lavinere cantrabajo emi) 7. Basses horn in F (eae) (French: cor de base; German: Baserstyrn: Tralan:cormo oi bazesta; Spanish: coro ai bases). ‘The writen range ofthe clarinets, with three exceptions, i BYANPLE 2.44, Range ef elaine tomy ‘The exceptions are the buss carines, which routinely postestes a low Bb (most professional players own instruments that can play all the way and the By contnbus hrc and the ba be eles) sethorn, which posers watch low B,D, Ds and ¢: —== Example 3.45 shows the written anger, sounding ranges, and tansposi sons for the clarinets. Note tht all clarinet ae writen in weble clef no mat™ ter what the sounding range, 2 casas ‘Ste ie (unis) Teeumentaton (oo res} Gconsinued) ie Wun 107 one ep bu Cinet “tveneny Geng DAR ‘ones ou fo ae & T el ele Conta Ao Carnet (ety Goats) Beet Hoon (etn) 1. 98 conntas Caries, ‘sons ‘oct! (oman ff PAAMPLE 945, Themis anges, suring gee, and api Ue ln te caine: sounds a mao second lower than wren (9) A clarinet: sounds 2 minor ths love than wen () ass carne saunas a alert ower tan writen (2) sopana {ezinat (im Eb an nD sours 3 miner this anda mj eecne niger tan wien) 5 sis clarinet saunas a mae sath awe than weitan() & conraba elaine, unde wo eta plus 3s sac lower ran wien () E cena at lant sounds an octave plus 2 moje eit lower han writen (Fase hm sounds tit lone than writen ‘The dynamic curve for all ofthe clarinet is EXAMPLE 3.48, Oynamie euve of carrats “The lover part of the range, fom writen Ew SSS called the chalumean register and is very dark and sch in quality. The notes G, Gy A, and Bb ae the throat tones and are quite pale and simost “fuzzy” in quality. Profesional performers learn to overcome this snaural imitation so thar the Listener is not undaly aware of a change in tone cual in this egier From C upwards to about igh © $= the108 larinetrone becomes bright and lively; this range is called the clarino register: ‘Abote high C the tone becomes inveasngly uteike in quay and may be shrill ca dyaamie level of forte and ssubscute forthe Bute when played softy (One usualy considers the clarinet to be the second mortage instrament in the wind section afer the dute, However, moder performers have expanded the Feniblityand technical resources ofthe clarinet ro the point that, in the bands of «good performer, i just as age as ate Single ronguing and smooth legatos are idiomatic for the instrument, but double, ciple, and Gutter tonguing are also possible. The stxceto of the ear {ne is not as pointed” as that ofthe double reeds and may need to be com. penssted for when used in combination with oboes and bassoon ‘A major second and minor second els axe possible on the clarinet. ‘Tremolos are good, but there isa slight tendency for smaller incervalc remo+ losto be easier than wider ones in the higher zegister, although the 2etul pen md ee conc othe contary, oning he beak 8 oS ‘sno problem. "The dynamic range of che clarinet is greater chan any other wind instew enti tetme of extremes. This is du to te incredbly soft piamirino that is joule on the instrament, This extreme piassianeo (often specitealy called for bythe instruction eco, 218 zane, co vee, or mezzo 20e) can be procuced by al moderstly advanced pertoemers anc ie walabe inal registers. A note may be attacked so tofly ato be inaudible and may then be followed by 2 crescendo to a very penewting forrsime. The process may be reversed with ‘equally good effet. ‘Avery charectersticarculstion found in rapid pasages isthe combination ‘of owo slurred notes and two tongued nos: a= EXAMPLE 3.87, Type clin ‘This ie a elainee Clché. Although iss use may aot be creative, it will pro vide an immediately recognized effect that in many conventional contexts rounds “ight.” ‘While writing solo pages for the clarinet, one should consider the sig igcanediference between the carines eeguters. No other woodwind or bras inerument offers sucha vaiety of tone colar posbiltes In ewo-or-mare part wating, one may exploit these differences by placing a leading line in one fe ister and an accompaniment Sigure in another, The register chosen for each Eunexon ie simply a matter of tat, since the djnamie range avulable allows an appropriate balance to be maintained no mater what voicing is selected, With the wide pitch range avalabe, dee and even four separate clarinets may be ‘used rogether, each within its own territory and, therefore, each with its own Cleatly perceived ine. Carnet, in spite of thei distinctive tone color, blend with other instru ‘ments more readily than any ether woodwind. For this reaton, one often Sind Ioserumentaon Ee ‘oe Woxtinde dhe eatin) doubling atthe octave or in unison with other instruments or the finatons of instrament, The effect, when the lower range of he clarinet ‘2rtlaed, is general one of aed warmth or body, When the upper range is ieegy eb effect is one of added bilnce of focus. Oen the presence of the sie) inthe ensemble fs not readly apparent, but ifthe caine were to eremoved, the contrast would be striking, Tie Band A Clarinets “These ae the most common cariness. The By elaine is the main woodwind of Bre concert band, and both are co-equally important inthe orchests or wind EB Gmble. The By elaine i preferred to the A clarinet, when both are aval Sai in peforming works in at keys, The A carne, onthe other hand, serves Seaar in shap keys, Many composes, orehestators, or performers express a rence for one over the other for reasons of tone quality, This i not a inate point The A clarne isin general slighty dasker in quality han the By ‘Garnet in the hands of the same performer. However, there is generally as ‘Gach contrast between twa diferene players as there is between the A and Bb = avalable on the Bi clarinet, Selection of one over the other often results trom fh analysis of technical Gemands; for instance, a player will choose the instru- ‘hen that provides the simpler Gagering requirements in an important passage. * The Bs clarinet sounds a major second lower shan writen; the A clazinet sounds {minor thied lower than wetten The B Bass Clarinet “The bass charinet has a rich, dark, and mellow chalumeau register that fs very Useful in many mosial stations, Like all the other clarinets, ite quality changes fom regszeeto register. The throat tones are transparent and the claino regis~ teriscitfsed and windy The base azine’ agli is almost equal to that ofthe By clesine, and inthe hands ofa good player ic provides one ofthe most weful tnaemble voizes and one of the mort distinguished solo voies (in any range) ‘Nalable among the woodwinds. 1 sounds a major ninth lower chan write." Tie Band D Soprano Clariness ‘These high clarinets have all the characteristics ofthe Bb and A clarinets, but the brighter more penetrating ques ofthe higher ange are amplified and fewer of the characteristic chalumean gules are avalabl. ‘The Eb and D soprano clarinets are ofen called for in scores, but the D lssinet is usully only found in professional ensembles, and sometimes not fen there, These evo cepresent & matched pai. The Eb clainer is more at home in keys employing fats while the D is more suited for keys employing, * Older scores ofen show base arise parts writen inthe bas ele, This notaon, sometiner elle German notation, dete that the bus arinct sto sound a major ‘ctond lower chan wetten, The treble clef notation, which standard i this coury. fee teeaealed Pench nonton and ithe notaon used here. Is the only notion resomnmendes!sharp. In spte of this logical rangement, th lack of avalabilty ofthe D clar inet means that many famous passages written fori, such a in R. Strauss's Tid Eulenpiegeh, ace coutnely played on the Bs elaine, cus losing al the “key” advantage. The lower range of the B clarinet sounds Like a very pale version of| the chalumeau register of the By clainet, and the highest note, when played 2t louder dynamics, can be very shrill with clerlyreedy quality The Eb carnet ‘is usefil in the band, where i expands the range of the clarinet family upwards. ‘The instrument is agile and has an incisive staceato, The Es clarinet sounds 2 minor third higher than writen; the D clarinet sounds 2 major second higher than waite, Toe B Alto Clarinet ‘This instrument is primarily Found in bands or clarinet choirs, where i provides 4 valuable tenor voice. Ie ha a sich, reedy tone quality, not as datk a the base & ¥ ca [BAMPLE'.50. passage by Jeon Tower that ues the ful range of he earn ‘This duet Between swo clarinet is found atthe beginning of the Ttio of the Minuet movement of Mozart's Symphony No, 39 in E>, When listening to * Coprighe © 1988 by Anocated Music Publishers, In. (BME) = —_— — se Wind separ i oe ep ey [AMPLE 351. Arnal example of wrtng for wo canes ta takes acantage ofthe etrang quay of erent rests, em Mazar’ Symphony No. 39 Inthe frst movement of Tehaikovsy’s Sich Symphony (Pashétinue in B ‘nino, the clarinet has this familar, expressive solo. The composer exploits the ‘Riumene’s ably to play softy yet maintain a iguid and warm tone quality By adding the second clainet in mm. 331-384, Tehakovsky manages t0 use (hessely the chalumest, throat, and caino registers ofthe instrument. | Meso dew : ima me esoreS5. 4 z FOOUF Pa Fp PB PB DBANPLE 2.52, Caine ete Teta Sich Symphay (fst movemenrm.325-34) “To begin the third movement of his Symphony No.1, Brahms writes these lines for the catiners, This melody is only played by the frst lainet until the pare tists in ms 11 when the ins aze doubled by the futes an octave above {nd the bussoons and octave belo Pelee eo Se az=| a we ope péalee > Se [BUNPLE 2.88. Marked Un poco Allegretto € grazos, the tied movement of Bras's Fis Sympnenybezine wih tis eal clasnet writingLee Inserumenason J yy Windinde us ‘This D clarinet pasage is usualy played on the ES soprano clarinet. It is om the last part of Richard Strauss Tl Eulenspiegel’ Merry Pranks and ep resents Tis lst exp. Very tively me 3 Ree ino era EXAMPLE 254, O Carinet ele rom Tif Evenpiege! by R. Sause = 7 EXAMPLE 2.57. Rare Doss clarnet dus, rom Strvinshys Rite of Serine ‘This farnous B clarinet melody i ons of the fest appearances ofthe instru rmentinan orchestral score and is one of the most characteristic examplerof Carine welding. It is from the last movement of Berlioa's Sympbonie Fancar ‘gue beginning at rehearsal no, 63. Cea rae fe Schumann ile Hurting Son” fr an linet, to Bar Be Tan ra: Pp ere an» part Hn he i f ccemble wen povouee Wnen trea feve tan fot | eltsatnhae tare he iets pram te sare age Treat sone esi you wa to change he osave #E tee ol the tae pa 23 te Boal te, dete EXAMPLE 355. © Cisne! cls rom SymahenieFantsetioue by Hector Serie ) A LITTLE HUNTING SONG “The fact that buss cluinee passages need not be slow and stodgy is shown, eee in this excerpt fom Groft’s Grand Canyon Suite (This pasage is fom the sce tion called “On the Trail” and begins eight measures before leer C.) oe, poco rit EXAMPLE 358, Bats clarinet solo rm Grand Canyon Suite by ett® In Igor Stravinsky's The Rite of Spring thece is ths bas laine: duct that lspays some of the bass clariner’s Qudity. (The passage begins two measures before sehearsl no. 141.) contin) © Copyright© 1952, 1943, Renewed 1960, 1971. Robbins Music Conporton, Used 3 Gopyaghe 1012, 1991 by Haves fe Son (London) Ld Copyright Renewed, Used penis Al eh rood bypemion of ony fe Hoey, ne shie A Lite Hunting Sng” eontued) Inseumentain ieee 7” 25. Compose a short plete for wo dierent lrnets that ues special ects rr meant feehniues. Have the pertomers perform oh satis Imei instrument aswell asthe ene instumentconecty ooseen on ‘THE BassoONS Englich French German Italian frat” — Exon) basa on) Fee (Esp) gare ig) Pienl sons (bs) basons (boss) Fagone (ig) BES (ag) ‘The Properties of the Bassoons Fee yelon i the natura bast ofthe woodwind choi Zt ss conical ‘ore, oublereedinserument wually made of map ‘The sandard members of the basioon family re 3, bassoon 2 Sasatusoon (tench: contrebacon; German: Kontafagory Tan ‘conorsfagore; Spas contrafags) . ‘The wren range ofthe Gecman se bascon usally found in his coun is However, the use ofthis we a iis ade byt eter nd he si bl wl ane engage ‘when th lower note ae required, The second exeeption slow gE Spanich faore) (i) fagoues (.) FIGURE 3.4, The Basscon: (lt the centabassoon and ight basicon The cot bas ‘200i te socalled opera model, which is very compacts that wil ct potas fon the orcas pit Phe by David Hraty The low Ais called for both in bassoon and contrabassoon pats in some scores, ‘here is an extension made for the contabascoon that enables it to reach low but ther is no such extension for de bassoon, Therefore, basooa pastges that include the low A require the performer to insert a tibe of tae oes length into the bel. Since this makeshift extension affects the tang and one {Ridley ofthe other low notes, it is usualy inserted during the prfornoncs ood ‘cpt in just forthe passage where i is needed. With no opprtny te check and adjust the tuning, the effects usually one of poor intonation. fitch accu-us ‘gy is nota particular concern, o if an opporunity exists to insert and tune the extension, it use becomes an addivonal resource. Note hat with the ‘extension in place, no low Bb is avaable onthe instrument. ‘The conuabsiso is x wanpsing instrument in C, which sounds an es coon = ‘than written) ze c_| Met 388. Rng fn 9 nese ; ZT soe inthe higher range of he baton and conuabasoon ae we ‘en in che tenor lef. Part for less experienced bassoonists shouldbe rites in the bas le, Profesional performers read both clef with equal ete, so parte, with a igh tesiura should be written in enor clef for them Avnid eqns let change, "The dynamic curve forthe bastoons is ANF 2.60. Dyramic cur for Bassoons ‘The lowest reise is britde and dey in tone quality, with s very rch har sonic structure. Soft atiacks and rr pianitimar ace almost impouibe in tas ‘ange. The middle range, from 25 to + is more “hormlike” and ‘wanspurent, Passages in this range blend well with almost any instrument or contintion of seamen. rom HE spwad the tone very fue i has a. cei me ‘quality that is unique. Ir is a quality totally ale any ocherintcaments and an eedent slo wee Tessas, poet benefits from delicate accompaniment. “ i fe ‘The bstoon a ery ape ivrment wth the exception of pid nates in the owes: Sh ofits range Sco FE and shove high Jere Sagerings are awhwvard and the response is not always cellable. Wide dtc ore Seta mn SPY om fe ree ls du imate) F > and a + the bassoon can be as exprestve of ie Treason FE yininds us ve dori a any vind, In thin tvs ic wl old fis own agua al but od aes. dowd wre tonguing is the usual technique employed by basooniss in all but he a pages but double pl and Bec tongungs a posible on the ef can te payed gute eal 8) some peter Very fod ot seer page ny cere fequere Bets and oe should be allowed a te ote . ‘Trills and tremolos involving notes from low G downward are impossible, arueizls on al DP, Bs or Fs or on gh A sare ire 8/2 0 te [AMPLE 361. Ts (major or minr second) on these pitches ae imposible ‘One should also avoid rap technical passages below low F, When such puunges ere naceetay they are mort effectively writen hy dividing she paeage emeen to oF more performer: [EXAMPLE 2.62, Bassoon pat blow ow vide beta to players Adjustments in the embouchure can provide small amounts of contcot of the intonation, but i is necessary for bassooniss co change bocal i the tan ing level of an ensemble alters by much. For this reason, most basooniss cacy {evera bocals with them at all tines, and may even change bocals in the mide dle of» concert if the pitch level dit to high or t00 low Tee Contrabacoen Pitched an octave lower than the bassoon, the contrabassoon isthe usual cor ‘uabass woodwind found in the symphony orchestra, The contrabssiogn is slghuy less agile than the bassoon, bur wen well played is expresive, faci, aud posseses a wellfocused, if redy, tone. The tone quality ofthe contrabss soon is more growly than the bassoon's, and its highest register is even more lkely to be covered. Nevertheless, it dds an unobtrusive pitch center ‘asemely low string base pazeagee and is an execlent bass to any sof to mod: ‘rately loud brs or woodwind ensemble 7 Otter Basoome ‘Among older forms of busoons sometimes mentioned, one finds the tenoroon, | quarefigort, and quintfgore. The tenacoon was a bassopn pitched a fith above ‘the modern bassoon. The quartésgott and quineiagot Were older instruments0 Ineramentai, pitched s fourth and a th, respectively, below the modern instrument. Later these ame names were sppled to small instruments pitched! a fourth and Sf, respectively, above the bassoon, All ae now obsolete ‘Typiea! Bassoon Scorings An example of the bassoon's solo voice is provided in cis excerpt from Rimsky- Korsahov's Scheberazade: sedanipo Ds we tee, as vcd Eee 52S 2 aug SS doice ed eapressiva et EXAMPLE 3.63. Bassson sla tom Schehraidl(s8coné movement im S21), ‘The da, foreboding quality of low-cegister bassoon played softy i heard sr the beginning of Tehatkovsiy’s Sith Symphony. The pusage s scared as ow ss posible withovt forcing the performer into that portion ofthe range that it bard to control dynamical. Adyso dose Be Spe pe a EXAMPLE 3.64. Oseing of Thsiowy’s Sit Symphey v.31) In his Academic Festival Overture, Brahms introduces the following theme ith owo bassoons. The ability ofthe instruments to perform stccats gives this pussageasprighty quality that is cypical of much bastoon waiting. (The excerpt, begins with the pickup to che ewenty-rst mearize after echeaceal letter F.) opimate as P sempre EXAMPLE 3.65 Basscon cue! rom Brahms’ Acodemie Festal Overture Tee ete gly ofthe oon a2 ol ee seed ae ‘susoon solo nea the nd of go Seville Toe Find Benning schearsal no, 186, the solo bassoon has this plaintive melody: e hi. = AAMPLE 368, Lesetabaztoon so or The Feb by Stravinsky ss usc dts fund te dlr mal ode nee end fhe aa ee mg Ng vng nt coarse bao Hg 2mccato qualtes within 2 pitch range the highlights che instruments eee alee Pe 7 t cat o i o [LUMPLES. 87. Basszon suet by Fei Mandessae. Fram A Mzeummers Nights Ores In Schoenberg's Theme and Variations for Band Op. 43 this pusage for wo banoont shows off the qualities of the instruments lower-middle range: EXAMPLE 3.68, Midleow aiter wing fr two unison bassoon, tem Scheendees (0p, 438 (mm. 227-33)" (On page 3 of preFXFIXC- ru FIX for bassoon, horn, and violoncdllo, Yehuda ‘Yannay wntes this patage chat shows the vetuosty and ality ofthe bassoon S910 venion 7 Used by permission of Belmont Masi Publshers, Lo Angeles. California 9049 (Copysght © 1944 by G. Sehimer © Copyighe 197 by Meda een. Champs, A Righs Reseed, Ved by permission ;mm 7 eve Sve = = SRP SF aa oe EXAMPLE 3.68. Contemporary bassoon passage (tempo it proporienl wth 36 srmere reas per minute) In his Bighe Enudes and a Fanzary for woodwind quartet, Eliott Carter ‘wrote this chromasc and wide eanging line forthe bassoon that exploits both the lower and che middle existe of the instrument. Tae postage begin nm. Gof the Fansay® EXAMPLE 3.70, An effecive use of te asssen's ower se mide regis” The primary uncon ofthe contabuoon as ben od boon ha bee double the eon thu ton and he alos inthe ona below Trea dove bee el neuen wives ane eH el te ound, Heri an ep of ts cle fom man 4 age 3 the last movement of Beethoven's Symphony No. 5. Soa ‘Copright © 1955 (Renewed) by Assocted Matic Publisher, Ine. (BME) ie Woninds surie2.1. corvbsesn ine ton eat noverntet Baers th tit i tave below the celles and in unison with the contrabasses, fenton an {In che tied movement of Brahms Symphony No.4 in E Minor, the con- ‘gabussoon has this exposed bass line: xaMPte 3:72. A rare ooite contra basson ine, ton Brass Fourth Symphony (third movant, lst len measures) PROBLEMS 27 AND 28 27. Sear the follwing excerst or a Mozart Sonate fortwo Bearints ane vo bessons. In general, asign the carints to the upper two lines and the Das ‘soons tthe ever wc. Howeur, snot necessary tohaveal the stunts lay al ofthe tine, ti ao posible to nave two (or mare instruments play the fare ln in the same or dierent octaves. Perform your wor, at a posse SONATINA Andante =, iF, = ae ao She Istrementon Senatina (continues) —_ P P Campos 2 shart pace for te, oboe, clarinet, and bastoo, Use only mpliched sounds or effets for mhich the pitches are not spevfeg eoey 45 “ary multiphonie"), Have your piece pertormec. ru saxorHonss Bris Erendh man aton gant fuer ssophone (ms) ssophon im) Suephon Sx) saat an) eet mato a Hat sero (a) ssipons (nt) Sapo x) sion) tere) ‘The Properties ofthe Snophoacs ‘The saxophones are conical-bore, single-reed wind instruments made of brass.” Tern by Adolph Sax inthe nineteenth century, tn saxophone eu FIGURES. The saxophones \csutececevis rm wer et Eh entrabes; 8 bas, ES Srp of ene Covnsg te pk cage ee turtnewih on Ay Stun Bat 8 sere he Sas ee tetova mio in othe equal as conan Tce scorn i po ns te wy ee Psa a Bana.) (Proto by Davia Hruby) alo: Talan: xoptone air mis Sune eo ge 43 ioprane ssophone enh: sap moran oni Germs B Bec a Scrap ea: app apans Spa rapier 7 enor ssxophone (French: saxephone sénor on sik; German B med i Tnorashes sa: sangre ee Sant oe 5.5; [us ophone (exch: apne fast om th, Germans 8 srr) Batrpion Ilan: phon bac nh Spah sn eh 8 Bbsone ssophons (Seach: ssepten aren on mil German: Zs 6. sopinino sxophone (ce) (enh melon pres peReneeeephon; Tian: sazophn baritone mm Speasie sasafn German: : Sopraninonsophons Talan: tghono sopanino i fevtone or sas barton n md) Spas asin pci ah,226 Tseurentite 7. contrabass saxophone (rare) French: sesophone consrebase em mil German: Es Kentrabafiasaphon; Ucalian: ecephoneconsrasbase in mi Spanish: sauafincontrabafe in mi) = ne HD it fase: 2 Ee ere vee a EIANPLE78, Ao strophone exert fom La edeton cu Monde by Darius Mihavd™ 6 copys 1929 by Hawkes & Son (London) Led Copyright and Renewed. Used by permis of Boosey Hawes, lc. . © Copyright 1936 by Hawkes & Son (London) Lud; Copyight Renewed. Used by permision of Boosey & Hawkes, nc. "1926 Batons Max Big. Used By Pemision Of Thies Sole Repraense USA. Theodore restr Comps conned)130 AMPLE378. (continvec) Instumensien eS See {Clos Chives cl for a quartet of sexphonet—a soprano, seo ako, and 2 ‘Saari hs otchesea work Caspulepe Here an example of is witog fr ‘hese instruments, begining in m. 183, The vo Se empo indication is Tempo di Yair. { CBAPULTRREG fragt Orem BM in eA Rene Seat oe PUBLICATIONS US Ne Se kL Tie Wain 131 In hs Symphony in By for Band, Paul Hindemith hes scored this alto saxe cophoae line: Andantino geniono dese) ars =y SCO EXAMPLE80. ate saxophone line tom Hindemit's Symphony or Sand (second move ret 255% Jn the concert band, the tacltional ssxophone quartet is composed of two altos one tenor, and one baitone. Some edition ffom around te beginning of the owenteth century were stored for a quartet of one soprano, one ate ne tenor, and one burtene, This later grouping iss ce mont commonly found surophone quartet an ensemble cat has become quite popular over eke las eighey years. In the Bist movement of Hncemih’s Symphony for Bandy this paonage fo four saxophones is heard prominently. Notice the use of eniion fod foaae scorings, hich ae typical sxophone voiings avo £ F = = BUMPLE.81. Soiootare quartet om Hindemith Symphony ar Band st movement, rm. 35-407" Many interesting exemples of saxophone writing are found in jaze-andjazt- ‘ck arrangements that are unpublished and generly unevadable, Hee has ‘28 i an alto sax solo by Charlie Parker in his reoreing of Now'? che Take The ‘empo is quarter equal r0 138 and the excerpt begins tee meavires before he Second chorus. The chord changes are given as they appear in an part, 1 Seb erin cope Anes Mae. Cop 151 by See 8 Te —1s Iseumentaton EXAMPLE 3.82. & portion of Chari "ard Parkers sls rom his Ven recoding of ows the Time Another improved solo by Patkeris this one fom Parker's Moos, which was released by Savoy records. In this slow blues (quarter note equal to 76} we ser the BAMPLE.53, Ato saxophone sol tram m. 7 though m, 18 cf Parkers Meac™ "Now's the Time” by Chute Paker © Copyright 145~Adancc Music Corporaton © Renowed & Asigned 1973 Avance Muse Coponiten, Al Rghs Reenee ‘Insemasonal Copyright Secured. All Right For The United Sauce Contoled hed ‘Administered By Atanic Music Comporson. Al Rigus For Tae Bex OF The Wood (Conzoied And Administered By Screen Gene EMI Msc Inc Uses by perniason 1 Paker’s Mood” by Chase Pater © Coprighe 1948-Aante Music Copontion. © Renewed & Asigned 1976 Atanse Masic Corpention, Al ight Rexeved essen. (Coprigs Secucd. Al Rghs For The United Sates Conoled And Adiinsceed 3y ‘Adancc Music Conporation, All Righss For The Ret OF The Wold Contelled Ang ‘Adminis By Screen Gems EMI Mus Ie. Used by petmisson he Wands see fl chr Bran 3.82 and 3.8 show th srt fue hate idioms ioe inaruent ands fect on Pers om musa sean eae Much ofthe icv and ening erie ing herd nj cxog canes oth a of te etophots inion ot in ees, When ces {toc t common diiboton wo on ad one tenor On the upper En ‘Gd one tear ands buttons on be lover ine Chord ees sed fr grounds sod puncstons of eine: When eho do peas, pe pie rom opto boro) steno a, en and atone, Sb Bo rele vey do inerring ccs arate onthe sxophone is de proses of "cop" pig” te lesan Ths done by totaly cheng the bait boks ot Erion or te performers lp fr rampl: When sopped, the saophone Gan pode a pchatenitone ower hari noe love ph. The op Fog only wots when the lowes ph &Sngeed ed pled PROBLEMS 29, 30, AND 31 28. Using the Mozert Sonatina given in Problem 27, score I fora sarophene ‘quartet consisting of two alto saxophones, one tenor, and one baritone, if possible, have the quartet performed “30. For an ensemaie ct one soprano, two aoe, che taner, one bartene, and fone bass sexophone, core the Schumann “A Little Hunting Song” given in Problem 25. Do not have allof th instruments—especially the bass, soprano, and second alto—plying all f the time. Rather, alternate among several combinations, saving the ttt forthe forte passages of climaces, 31. Compose a short piece, 8 t9 10 measures long, for a saxephone quartet cf one soprano, alto, tenor, ang Oaritone each. Use some of the special effects and tonguings ciscusse in this chapter. Use slap-tonguing, mu tiphonies, ang air tones among ether. Have your piece performed. 1334 INSTRUMENTATION The Brasses GENERAL BRASS INFORMATION ‘The Means of Producing Sound ‘All brass instruments produce sounds by means of the performers lps vibes ing together, producing a “buzz" somewhat lke a double seed. The mouth- piece ie placed apainet the performer's ips, or embouchure, and eolects the buzz and the air, which are directed inco the instrument via the leadpipe. The inetrument act 2 a resonator for ths buzz, amplifing and modifing i. "The tubing of the instrument is made of bree, The haens, lugelnorns, tubas, and related instruments, have conical bores (except through the valve scctionjwhere the twbing is lindrieal). The wumpes and combones hive Glindsieal tubing most of thie lenges. AU! modern brates have cabing that fares atthe end, terminating in a bell that helps to radiate the sound, ‘By changing lip tension the performer ean produce diferent pitches. The pitches obtained by this mechod are the fandamental and the natura harmonics fof the instruments tubing. (2 appendix 7). Depending on the skill ofthe per focmer and the chavacrenstice of instrament, pitehes up to the steenth partial sd higher may be obtained. in addition to dis bugle-ke svies of pitches, other pitches may be pled by lengthening the tubing, Trombones ate equipped with Slides for chis purpose; che other brases use valves ll bras instruments ae sup plied with one of more runing sides to make ine euning adjustens ‘Terminology English Bronch German Tsalian Spanish mouthpiece embouchure Munn bocchino or bogus er ico ‘imboceanie leadpipe boca ‘Mundeobr perzodimbocarun boc vals pistons or Vensle piston stones or elindros finds ide coulse 2s pomps mobiles ware oulive tuning side corps de recharge Scimmbogen or pompa accord _tono de reeablo or Krie vara de sfnaciin ett pavilion Schalsttck or Sterzecampana pabelén or xmpana ae ie Brae ‘Beast Articulations For the moe part all that wis sid shout woodwind articulations is equally applic- ‘hero brsses (ie pp. 76-80). There ae, however, two mince qualifications 1. Double, triple and flutter torguings are if not easier than on most woods winds, at least mere commonly developed anéexploted. Most nigh schoo! brass players can execute flutter torguing, and many can double and triple tongue. Among professional performers double and tile tonguing ae standard tecnaiques 2, Tromborists use the various legeto tonguings to e greater extent than other instrumentalists, due fo the nature of the slide and its operation. if the air flow wave net interuptes during some slide changes-—speciically these that lengthen the slide to obtain a loner pitch or shorten the side to obtain a higher pteh—a glissando would result. Ifthe glssando is not desired, the performer must of necessity step the air during the slide change end reattack the next note. If the effect sto be perceives as lega- to, he reatacking must be 2 form of legato tonguing. Its not usually the composers or crchestrator's problem to indicate these speciic legato tenguings. Marking 8 ombone passage legato is suticient. The performer will do te rst. Special Attacks and Alterations to Sustained Tones ‘The bras instruments ace capable of rerponding to a variety of aeacks just 2s rz the woodwinds, The steady state of the tone and the release can be inflected, to. The discussion on pages 80-81 i equally applicable to the brases, SPECIAL BRASS EFFECTS AND DEVICES Vibrato Except for poplar and jazz sples, vibrato is not considered to be a normal spect of brass performance, However, brass players can produce three types of ‘ato: diaphragmatic, jay and mechanical (te p. 82). Few bras players have ‘cea wel developed bresth or diaphragmatic Vibrato to use. The jv vibra tos usable an ean produce avarety of effec, fom s micro tonal undulation ofthe pitch eorough a shake of ip wl, to a raucous alteration in pith cover ing & perfect fh or more, The mechanical vibrato can be produced by mov- ing the instrument while playing—most succesful on the wombone, witere 2 rapid movement of the aide ean create a subtle wibraco not unlike that employed on orcheetal strings (22° p. 40) Lip Trilts Arefined version ofthe jaw or ip wibrat ie the lip sill Thi i traditionally st0- cisted with the horns, but may be executed by al brasc. Te is accomplished by canging lip tension, which allows the pitch produced by the instrument 10 alternate between two adjcent partials (see appendix 9). When done rapidly on Darts that are a whole step ox half step apart, the effects that oF awl. When ‘secuted on parle with mide epacinge, the effect it (as in Mozart’ ‘Macca! Joe), Not all bras players can perform effective til. “y 13s136 Tasumeatation Shakes A less controlled version of the lip tril, one that is esis to perform then the ip ell buc moe cifficule chan the lp or jaw vibrato is the sabe The performer achieves the effect by alternating between two adjacent partials Since che effect, is not intended to be subtle, the shake is obtained by moving the Ups, jam, tongue, or instrument as necessary. The shake is commonly heard in jast con texts, fused in other situations, che notation could be confused with an invert. ced mordant. Thus, an explanation of che effect desired would be necessary. == EXAMPLE 4.1, Notation fra shake Glissandos ‘There are theee main types of glisandos that brass players may use. These Include the folowing 2, Valee glissandoe 2. Harmonic series of lip gltsandos 3 Slide gissandor Tee Valve Glicando This elisando is porsble on all valved brssses. It consists basically ofthe per frmer suring from the starting note co che ending not in avery sloppy an nex while moving the valves rapidly and at random. A common variation on the valve gissando isthe halfvalveglstando, in which the vaves ae depresied part ‘way (ome or all of the valves may be ured) while the tone is beat by the gay «e's lips from the starting note to the ending nove. Both of these glstancos are plyable in an ascending or descending direction, Teis posible o call for a valve or hal valveglistando tha follows a specif: i contour by using analog notation. eS EXAMPLE 42. (notation fra valve gissando ()notton fora hal-alieglasanco (6) ‘sraloe notation fr ava gecando that follows» cent ‘The Harmonie Series or Lip Glitaando Teltionlly «horn wchnigue, ches lssandos may be produced on any of the sss instruments, These glssandos ae obtained by slusring rapidly up or dome, the harmonic seis of the instrument, Tradional notation for these feet the ‘method of production by showing the series of pitches :o be produced The ie Brass pitches may be those produced with or without valves depressed (or alte fended). The paras ofthe harmonic series are much close togcthes within ‘he normal playing range of the horn and therefore the effect, when produced 6a the hoen, is one of strange, semidiatonic sae, On the other brass, xcept in the highest registers, the effec ie more likely to bea apid dominant seventh oF ninth chord Being urpeggiated, ‘The jaz “tip” gissando is 8 combination vale and harmonic series glis+ sando, the amount of each depending on the range being played, the instru rent, the performer, and the style of the music, The posible confusion beeweea the notation forthe rip and the analog notation for vale plisand is obvious. For this reason, in situations where there could be doubt ss to which ix desired an explanation tothe performers b advisable, oF w [AMPLE 4.2. (a) uaslloral rexzvon ter an matric ties glskande (9) notation for an harmonic series glssando recommended by the Ghent Conference [mun iseanaenotton Even if one uses the traditional notation fora lip glisando, or otherwise species in the part that an harmonic series glisando is vied, there no guarantee that & harmonic setics plissanco will be employed. The performer ‘may be playing a different-sized instrument than the one for which tne part» watt and may therefore be unable to produce the specified glistnde However, mos profesional players are adept at substituting an interabsng valve, halvale, and harmonic series glieandos while sell obtaining the sonic ualtes require Toe Slide Glinande Tis chance technige ofthe trombone it pole only berate of the coninaan of pthes sialic om one poston to Se ace inca noe pom to pode anny sic Huns Tacs ‘ide being trend, sts pone wo rotue a deceeagg wae Btsando ula he aie Seg lengunened The componente feeds to be ue that the wontons ean uaa th tae eee ae bdo onthe equied pases yong te ae eestor ope Sots) Teint neesary fra side gendo to coer wide nero be ee the Glaundo of ola minor cond wouk Soy el “To avery imted eters, cunpea, abaya aptonns with move sabe etanng ds cen obin aga starve hace ae nase She te glsndo on the insmentss uly eedoe os ease les er wd dvs ‘138 Insrumenttcn EXAMPLE 44 (2 playable sce slissand, Tne seis being Shonen fram th pee tion te eecondpetion() an unplayable se gasnda. The ection of ach motions Lpwars Buti i imessinie to satan the side fem fet postion andthe wien Bis only payable in fst poston (c) an effective, sort side gissando Foston in which ots ae pipes Vr or further discussion of glssindos and glssindo notation, se pages 38-39) and 82. Brassed Tone : ‘Actimes, for added excitement, a composes wil al for an eect chatin English is 6ranet or brasy (Feench: cuiver (Jerson), Gesenan: sebmerern; Ilan: me sllizzave tsuont or produrve suomi metallic; Spaieh: prosucir rides metdli= (9). Thisis a stident,foced tound with a very metalic quali: One ean almost hear the brass vibrate. Since this is a forced effec, the dynamic must be forte (of louder, or the instrument must be muted. (The effece is commonly tr0ci sted with “stopped horn.”) Bells Up ‘This effect, which may or may not appear with braseed tone, isan additional, means of providing excizement. Ia many cizcumstanses the performers metely lif the bell ofthe instrument so that points more direct coward the audi ‘ence, This may mean to lift it over the stand or, in the case ofthe horn, to Hf the ball off ofthe performer's knee (or away ftom the body, depending on how icis held). The effect alters the tone quality, by directing te as ofthe sna sent at the listener or towards a reflecting rurfice. The visual impact is also worth considering. Horn players do not remove their hinds from the bel in the process. To do so would exuse certain of the higher pitches to become so unstable as t0 be unplayable and al pitches to become thes, “The instruction for this effec is, in English: bells up; French: pavillon on ei, Gecman: Srirze hoch or Schellicner anf, Ualians pedigtion! iv alto Ot ‘campans in aria, and Spanish: pallial air or levantar campanat, ‘Woodwind instruments, especially oboes and clarinets, ean also play “bls vp" and are asked 10 do so in several of Mahier’s Symphonies, Contemporary Brass Effects Air Sounds ‘Among the contemporary effects, one can call on the brass players to blow sir hough the instrament, to whistle, hum, er sing into it, of 0 reverse the mouthpiece and blow through the back end, All of these produce sounds char acterized by 2 high component of white noise ora hollow, empty resonaace (or Doth). These are classed ast sounds (sce p. 86). _ -_ — — [AMPLE 4S. (3) whispering through isument (5) bawig alr rough instrument wth (ut pratucing namal toe (c) isting it irsrument are obtaining specie pitches Smacking Sownds ‘these are produced by smacking the lips agninst(kising) the mouthpiece. ‘These ere also ciseusted under special double-teed effects (p. 83). Some brass performers have extended ths technique to include the production of a sus- ined tone by the vibration ofthe lpr while inhaling through the instrument. ‘The sound is no a fall asthe normal tone, but itis possible to play short Lines and figures this wa: Simbad Trtls “Thete are the brats equivalents of woodwind key wills (p. 85). The timbales toe proctced diferent on the brasee, These fils are possible on any pitch for “shih there are S00 diffrent ngeringe. The performer alternates berween E00 (or more) Sagesings. On the trombone, dimbral wil are posible when evo ai ferent positions are avalble to produce the sume pitch. The performer then ‘changes berween these postions while legato conguing at she wl speed. A Linde thought and examination of the information in appendix 9 wil reveal that din= bral tls are moc iely eo be possible in the upper registers of bras instruments. Gets Various types of licks can be produced on the brases. One common elick is the oale click, which ie the sound of the valves being rapidly depressed and released, creating a sort of rae or clacer. Tis sort of sound is more effective fon instruments with piston valves and can be made louder by having che insru- ‘mentalist loosen the top valve caps. “Another type of cick is produced by striking the instrument at various points witha fngeral, ing, mouthpiece o similar device. Iisa quiet, metal- li, percussive round that may prove effective (On the trombone i is posible to obtain a elcking sound by jerking the slide into fest (completely losed) position gg tio * 7 Sian itso ves [EXAMPLE 45. (2) smack tan () tea tl showing flgring to be uted (random vale eliks()eicking the ball wit arg Mouthpiece Pop By slapping the top ofthe mouthpiece withthe palm of the performer's hand, a popping ound, know asa mouhpe pop, canbe produced Dieent pitches cinwy be obtained, but these depend on so many variables cutie the control ofthe composer of orchestrator that the notation of relative pitches is probably cxzet ‘enough. However, in theory, st least, the pops may be changed by changing te valve combination depressed and the roel number of unique valve combinations available wil be the total nurnber of diferent mouthpiece pop pitches avalabe Slide Pop Another kind of pop is available on the wombone: che side pop. By separating the bell portion from the slide portion, the performer can sel both ends of the tubing leading to and from the latter section. After thie i done, the side may be rapidly disengaged fom the internal tubing, producing a eesonant pop ‘The sume effec, but one that is much softer, can be achieved by rapidly ‘removing vale slides on other brasses without depressing the valves. However, these slides are not nearly as easly moved as the trombone's lide, and thus the fect is more difficult co place precisely in time. An obvious problem with all slide pops i che time required co cisttemble and reassemble the insrument eitaH ie EXAMPLE 4.7, (a) notation fr mauthpiee pep of urspecitie’ pan 2) meutpice pea of specified itches () posible notation fora sige poo Mattiphenics ‘The beasses can only produce one rype of multiphonic: the performer pays one pitch and hums another. The technique is quite old, having been asked for in {the cadenza from Carl Maria von Weber's Concertino in E for Horn O>. 45 (composed in 1808 and rescored in 1815). When intervals such as perfec Shs lor minor sevenths are produced between the sung and played pitches and the performer, 2s much as possible, attempts to match their vocal timbre to the inscrument’s timbre, recognizable chords and wads are produced, Various inversions of msjor and minor chords can be played. When other intervals are produced, ther curious sonortes appear. All of these are the reult of sum ‘ation and diference tones (se footnote 4 on p. 86). Of all the brastes, the taba, because of it large mouthpiece and bore, ‘scems to be the easiest on which to obtain muliphonict, However, performer (on all ofthe brasses have shown an ability to len the technique, giving the ‘composer another valuable compositional device ‘The recommended notation is to use small, cue-sized notes for the sung Bitches end normal sized notes for those to be played, I is assumed that the ‘octave in which che pitches ar ro be sung is optional unless specidealy sated. Alternating singing with playing isa very usable technique on the brass, {it s done rapid, the effect ean be one of interesting counterpoint. Novia for special vocal efecs (see chap. 7) can be altenaced with notial of special brass sounds. However, che level of virwosity avaliable to the composer nil very greatly among performers, Insrumentstin ae Tempo rbtotdew = oe ee [AANPLE 4.8. Notatien of playing and singing tcpsher fom the autho “Camene for fou alone” Sol rote are hurme, lage nates ae played Mrotones (fll che brases the trombone isthe most ideally sited to the performance cfmizrotones. The in nite variably of the wombone's slide allows the tron bonis not only to play very well in tune but also to produce any pte that les slong the length of is side ‘However, she hora, to0, ean prodice microtones, Through a combination flip adjustment sad a change of the hand's position inthe bel, the hornet {an obtain any piteh within exe chromatic range of the instrument In the case of the horn, chough, a price must be paid. ,The insertion of the hand further into the bell to lower the pitch also modifies the tone color. Ia passages where pitch is more important than timbre, the method works well. If umbre is Important, then the amoune of miccotonal infection available is Lite, Generally, members of the trumpet and tuba families are more limited ia theie ables to play microtones than are the horne and trombones. But, ‘ntzuments constructed with valve or tuning sides that may be moved ducing performance—and this would include most of the professional models—can (obtain small pitch infections. 1F tae main tuning side is adjustable by means of some type of trigger, then any note played could be changed, If, on the other hand, only some valve sides are so equipped, then only pitches in which those. valves are used can be altered. ‘The amount of pitch change cha can be crested varies among performers, specific medels of instruments, and in diferent ranges, In general, bras play” cm ean bend or ip" a tone downward farther than they can lip itp, For the snajrity of players the difference is three or four times a8 fr down as up. In the lower register, he amount of inletioninereases over that which is avail ble in che upper regiser, For example, on the second partial mort hors play ers ean lip the piteh down a perfect fourch or more® (a teciaique specfealy called for by Beethoven in his Sonata for Horn and Plano Op. 17) On tie bvelth parti, very few can lip downward even a minor secon. The ust of ‘sible slides or the hand of che performer thus becomes 2 vluable and nee cssury factor in the production ofan infnie assortment of microtones, "© Copyright 1974 by Media Pres, tne. Chagaign TL, Al Rigs Resecved. Ue by permisuon * or more information the intrested rade is elite to “The Merton Capsiity ofthe Horn,” a DMA thesis by David R Whaley, Univer of Ilinos, 1975. 41 Inseam, Ia is piece One Man, written for Stuart Dempster, Ben Johaston exploits the tombone’s ably to produce mirotones. The compose el fo the se formance of intervalc relationships involving “jus chromatic semineee “diatonic commas,” and the different euning ratios fouad between the vonrs pltches found in te harmonic sees. Although extremely demanding, on be performed because ofthe trombone’s ability co achieve an infinite Sumber of pitches within the limit of is range, ——————<—<— 79 [XANPLE 48. The opting of Ben Johnston's One én fr ano trombonist Key te natin the Roman numer incicate torone sie asten,enecled rumen ndats Fata men represents lowering etch by 24 cons, represents ering te oth ae ents represents lowering the pitch by 115 eens, E™ and epesets oneing be oer by 184 cents. These reoreset gia, muscaly gonestedpich-uning retain Choe ied acount of Ineo theane of pitch an tangs Bjand seas af EEURE 41. Bas mats: Gack ew fom lf) strint mutes fer tuba, euphonium, bats fumbene,teor vomton, hom, Gor € trumpet, pleco trumpet tent ow fon ton, am transposing mate; mutes othe trumpet: at, plunger, sltone, bucket lop, too {irmin mites—one wth stem in and ene with stem part way et ia, and ep Phe by Davis Hy) JCopyTeh Smith Publeations, 2617 Gynndsle Ave, Baltimore, MD 21207 USA. ‘Used by permision, = - = fe ieee eos es uel wtiere dees emcee a fesse. ee a amtpe mee Soe cant eardiiten Serems oy teonemetece Nejiaclar bcos acttsoed star cetseateea ots bas = EXAMPLE 4.14, (high hen range (ist and third horn pats) (ow horn range (ezend aed forts hor pars) In important solos where the instrument is exposed, che given ranges should serve at guides, but the tesitura ofthe solo should determine whether itis assigned to s high ot low hoznist. Thus, a solo that goes “too low” for a high hornist would sel be assigned co high horn if te vesiura were more In che high hornist’s range. (The given ranges do not mean tat the high hora 182 sins canno play the low pitches of vice ver indeed they can. But thei ‘nici of high or lw horns ie within one range or the other) In non {ola staion, citer part may be given notes ouside ofthe eal range pe. ial if thee note are also doubled inthe other hon) “The normal voicing of fourote hora chord is [AMPLE 4.15, Tato! enor woeing forfour home This is sometimes ced inteockng voiig. In profesional steations i should be sed stall mes, excep fora spec mused need, such comple. ingaline witha he ame hi “The fest and second hom part are tected asa matched pin profesional cosenbis, Likewise the thd tnd fourth hors form anoteer pur The bigh fange solo ar anpned tothe frst horsis about 60 ro 7s percent ofthe tne, sis she remsning hig nor ol staged othe ted bovrat Dhe cian tf i low hor anos Servcen second an foxsth hors is mre equ, with ne ‘ery low solor amore nye given to the fourth hor andthe sighty higher ed more age weloe gen tothe second hon, Seng in move proesal crchentss and band, at wells good high schol, colege, sad communiy organisation, ae bed on matching thir atibsion of signmente co the ‘vag sbldes ofthe nor player. When wikng hom paren the bss cle one teats he hats len the ane manner cone ining fr the pano, (Ther isan ot notion foc tas ‘ef notes ofen found in parts writen forthe histo azar ews i sien an oarve lower tan the notion died ty modern poses and thou never be used by a contemporary we forthe hrm) “oem plgers do not end high notes notated inthe ba we. Ther fore, one should never waite notes above G SEE in che bas clef, Alto Horn, Mallophone, and Meboponinm These a al bea the same instrument. Thea ornis the conto mem: ber ofthe sexhorn fi an she mellphonets mpi veson of ha iat sent tit tele to rezmble «hoon sather tan stubs th ae fingered wath che ght hand nd nether require the we of one hand in te bell Toe rund it more blatant and sggressie than the hor and one i mote ey fo fecounter these inraments in a marching band. Tse ae the Bh aes fr hich mach ely band muse was scone (in place of horns) “The melophnin are vans ofthe above intument- They ae played “Escoal thes are elated tothe old keyed bugles, The keyed bugle without hee teucwith valves became the fugethor, or epranetaxhor, or soprano bugle hot. Ia Beka today, and in chs country during che Gol War, the name for the Bveon of ‘he valved Bugle was B tenor, whe on the continent india eaent American usage, {Be name is Bao, ie Braves re pen i ees el nig oe Thee ed spor A fa were ineroduced bythe late Stan Kenton, but ae now being wed inset parcing band as a major inner melody instrument ager Tat a of ame, thee ze hrs and aot abla we Know them The Ia ot edn Wagar Rg ane we wana ye by sees tse ample of cong fx gre rb ein wos BY Aron rr Se Wages abuse bein oo ae and B. The Bee hoo somevi hr ho af hat of te ao Boo ‘exphonium. Except for professional situations, such as major ore \estras OF eri Tv ocn payers have cvs sen 0” played a Wagner fobs (Tec fi ‘model of euphonium that looks ie a Tepes ‘tuba in cote due to a eee mow ons a the ae ntcumen Sac amar ened rng eb at ae a pe, De Real, sy eer an eae de By (on) fas od + hss nn henna wed y Dror HS ce sca lve ee afte Rag beng (ee) he fash bee rect pessoa ate sun, when et ihe bree, trues ed seer and or ond lowes omer) : eB cre nou! te naraments 0 ate sas enon bor sounding arin loner andthe F (bus) ruse ounding = a re nme nondon Wager edn Coedsnnong. ‘Typieal Horn Scorings ° cpr nc is move of Beatowen's Seventh Symphony this dot =p sa ee nchigh eps rs coieea wo Ue ely tech SEPaNpe cen on modern aed numa ‘vvace (d= 10) [DAAMPLE 4.18. Hor duet parcge tom Beethoven's Seventh Symtery (ist movement frm. £6.96). This elective but high pateage was scored fr natural hors in A. The ues Tine snows Beethoven's onal notation fo natural hers. Te second fine stows the ‘tees thatthe medern ham lays play onthe F ham. ThApottem line sows te com (et ites that ae etal Pes 1831s ‘The verdieal sonoritics created are typical of writing for natural horns ‘Many musicians refer to this ype of passage a8 being written in “hor he” due to the unique bu cocrecr voice leading to and ftom the one perfect fh ‘hat is produced. To capture this characteristic eighteenth and cay nine. teenth-century horn sound, the following intervie suecesions shoud be bused, transposed inco the key of the muse ———— LUMPLE 4.17. The usa! intervals use with naturel noms, net ed as nough in Caer The second movement of Tchaikovsky's Fith Symphony features one of the most famous of al hom solos Andon entail, con scans licensa dolce con molio esiressione. EXAMPLE4.18. Andante catatil soo tom Tenarak' Fith Symphony seconé mave- ‘ert mm, 8-12) In the third movement of Brahims's Thre Symphony, the folowing hoen passage is found. The horn is heard prominently, although it is doubled in the (oboe atthe octave above and in the flute two octaves above. (The excerpt is fiom the pickup co rehearsal leter B.) lscumentiicn XAMPLE419, Lyset hor ine om Brahms Td Symphony In her pices for orchestra Sequsia Joan Towers writes this solo for hoon {cis in the highest octave ofthe horns range and is consequently archer exes ing passage. The example begins in measure 321. g = SS S=s 2P—— of ce am - —— (continued) cree. ato Mf enpasionaes panels So Gace vi Vii) EXAMPLE 4.20, Hien, ial nem aaa fem Sequel by Joan Towe® ‘The Overture to Srmiramide by Rotini opent with this horn quartet, Nocce the interlocked voicing and division of responsibilities Between high snd low horns. 11 typical of horn voicing. nda aS i = Vr [= [i FT orig rTP marr, rey EXANPLE4.21. Hom quart writing fom Rosen's Semiamide Overture ‘This passage, which sears with aslo bythe chied horn and builds up until the ful section is playing, is from Richard Strauss’ Til Bulenspigge' Merry ‘Pranks The high note in this example ar easy 10 obtain due to the unison and ‘octave doublings. Since the composer expect this tobe heard through the fall orchestra, he has doubleg the final gesture atthe octave. This is a good scor- ing practice when one wishes the horns tobe heard. Lively we mercale EXAMPLE 4.22. From R Strauss Tl Eulespiege!(beginirg at rehearsal ne. 28) cin seis UU sl156 Insirumens In A Short Ride in a Fast Machine, John Adams writes this passage for all four horas which isto be played bells up. Te begins in m. 168 ce Ee Le ES EXAMPLE 423. Sel up noms tom A Shoe ide ina Fatt Machin, Job Aes? ‘This pusage fom Jan Bach's Four 2-Bit Conmrapion for fur and hom shows the posible spl and fexiblity one could requie ofthe horn. Tei dificult pas sage, one chat many good horn players would Sind chalenging t execute up to tempo. The excepts fom the begining ofthe secand movement, “Calliope” Deo Pere feos [EXAMPLE 426, An example of her agility fom Jan Gac's Four 2.8 Contactos? tn PPP pe Smite Shostakovich wrote this plaintive horn solo in the last mavement of his ‘Symphony No. 5. The example begins in the third measure afer rehearsal 20, 112 and ends the measure before reheara! no. 112. The solo lies ia what has long been considered the mos effeceve colo register ofthe insrurmeht EXAMPLE 4.25. Hom slo em the lst movement of Dit Shsteove' FithSympheny* "© Copright 1986 by Hendon Music, Inc, a Boosey 8 Hawker Compiny. Uied by permigon © Copyiight 1970 by Highgate Pres, In Used by permision of ECS Publishing, Bosoa, MA. * © Copyright 1939 (Renewed) by G. Schirmer, Inc. (ASCAP) forthe US, Cana and ‘Mexico. Used by pension. Boosey & Hakes Mase Publishes Lad Sele Sein AgEOS of AngloSovies Music Pres, Londen for Great Brinn, Ere andthe Bash Common. eat (xzpe Canada); Le Chant ds Monde, Paz pourla France, Befque, Laxemboug , {les iy Fancophones de Afigue; EdsionVapr, Hes for Plan ©. Rcd Ch ‘Mano pr an; Univeral Elson A.G., Wei for OsercchZen-On Mis Company 1, Togo for Japan; and Masivedag Han Srl, Hamiusy fie die Buncaepadin Deutschland, Danemack, Giethrland nnd, lane, Nededande, Norwepen, Pores Stunen, Schweden, Sebueis ond Tih | ebrase (One of she works tha cls for Wagner tubs i Brushes Seventh ony Here carte beginning of the second moverten, ane can ese 4 Sree of evo B tenon and two Phaser. The instruments re paed bythe fp, sith, seventh and eighth horns singe 28 tow | RES - p ereie ee BoE CAAMPLE 4.28, Bepinong of the second movement of Bricine’s Seventh Synaheny PROBLEMS 32, 83, AND 34 32, Scere “Daly's Funera” by Tehaikowsky for hora quate. In keeping with the mock tragedy ofthe piece, use muted ang stopped hom devices. Be ure to voice the horne with fret ang thirs hovne mostly higher than tec fend ang fourth. Altea the melodic interest at least between first and third Hf possible, have the result performed. DOLLY'S FUNERAL Andante "188 “Do's Funeral” (eantoues) 2 38, Write a second harn part fr this fist hor part using “horn fits” (see x. 4.17), Have two horns play the resut. What harmonic progression is implied by these two lines? 34, White o short passage of aout 12 to 20 measure in length in which vous hom devices suchas muted and stopped hon ip ils, glesengos, at sons, ee. ae used enciusivey. Have your compostion perormed if at al posse RURE 43. Te trumpets comets, nd fet: (enter te ets, an fluetom: (enter tp) piel bump ia Rec et pt baton & tune Dtunet Ctnmoet & tunel & bat tonees Sess traToR Foo baton & exe, came. & ahr Pot by Cae econ a re - asia Instrumentation se Brass 159 ‘ye TRUMPETS English French German Italian Spanish ringuar cwompec tpt.) women (womp.) Trompete (Te) tromba (i) trompet tp.) oral wompes (ipt.) ttomperes (romp) Trompeten (Te) tombe (x) wompets (ape) ‘The Properties of the Trumpets ‘Trumpets, comets, and Gugelhoens are the soprano an alto members ofthe brass choir These instruments are made ina variety of sizes including the folowing 1, Trumpet in Bb, C, D, or Eb French: en sy do (ut), 7, 0F iy German: in B, G Dor By Tealian: in, ds, ve, or me Spanish: 2, do, re or ma). 2.Piecolo tamper in Bh or A (French: tvompette pico ew sot las German: Pittloompete iv Bor A; Teisn: romba piccolo ins oF Ia; Spanish: svompeta pico en ab ori) 8, Buss trumpet in Bb or B (French: srompere baste en mis or sy German BaGtrompcte in Ef oc B; Ualian: tombe baa in mé or ob; Spanish: ‘womete baja on mi ot 1). : 4 Comet in Bh or Es (rae) (Erench: comet or cornet & piston em sb et Im; German: Korner? or Pinon in B or Bf alan: covmerta or corti 4 psn in 08 i; Spasieh:cornete in oF mi) 5. Blugelhorn in B, (Feench: bugle» pron em oi Geeman: Figen in [B elisn: lormo in rs Spanish: fiacorn or flicorna in 28) “The most common writen ange ofthe trumpets is EXAMPLE 4.27. Range of the tet fay ‘The exceptions to ths range include pitches up to an octave dbove those ven, which are playable by many performers; avalabllty of these pitches 55 mie only by the sill ofthe individual player. In addition, the piceolo ‘sumpets and some dugelhoens are equipped with a fourth valve that allows the player to play these (writen) lower notes: SSS Added to ‘these exceptions is the possible performance of the low F & by the use of movable cuning sides (available on professional-qualiy thres-vahe trumpets and comets and the performance of pedal tones. These pedal tones, wren se posible on all trumpets. (Some performers have devel ped the ability to produce sub pedals, which are an octave below the pedals shown shove.) Pedil tones are casero perform on the high-pitched trumpets snd the dugethoras. °160 Istrumtatig ‘The ranges for these various trumpes,cornes, and Dugelhoens are as follows a Tampa 1b Transt Doin Core i BH) Tre inD ede ‘coe ‘oouns td Br (Gedo ey ee an aay ey etme as =i eS ae =F SSS oe] ii fa [EXAMPLE 4.28. The writen anges, sounding anges, ang transpstions af me tums (3) trumpet in: sounds as writer (0 trumetin bland come in ),seunds a whe sep lower than wien (6 tum nD; suns @ whole step higher tan writen @) ture tin & (ane cene in sounds a minor tid higher tan write a) plecle tuple in and in sours» maj sath ano a miner seventh higer than writen (he tare pts in & and Bi: sun a maor sata ane majr ninth les than writen ip fesshon in seunds a wale step lower han writer" The epee havea natural dynamic curve, elative 0 the writen ray that looks like this: as - - ] Tie Brass ‘The diffrence in power between the lower and higher notes is more a mater ofthe atontion-getting quality inherent inthe high notes on any brass insu sent wen the physical effort required of the performer becomes evident the Ustener. The trumpet has the ability to command artention in any range and can cary tough any unampliied texture. ‘Traditionally, wumpets were cyincrica-bore brat instruments fom the ‘mouthpiece on for only two-thirds of the engeh, while the lat third ofthe eub- [ng leading to the bell was conial. Cusent designs produce an instrament with 2 conical bore for dhe fst and last third ofits length, wile the middle thitd « ‘llnricl. The tone of the crumpets i bright, penetrating, and clear Trompe: players have long considered the acguistion of dazzling sec aigue tobe an imporsant aspect oftheir tsining, and consequently the eum pets ae 26a cats the most agile of the brases. This agilsy is manifest in all specs of performance, especialy she Sngering of rapid passages, the Desibil ‘shown in wide leaps, ascending or descending, and in rapid tonguint, including dovtle, wipe, and Qutter tonguings. This highly developed techni cal prowess is faclitared by the eelavely shalow, cupped mouthpieces, the ligh, fs: piston valves; and ehe shore eubing. All majar and minor een rile are povibe on the eampeten Teemelos of sminor third and larger ae nce easy to execute quickly but ate posable i both pitches ean be played with the same Sngeing or with two clo related finger {ngs (ie, ngerings in which only one finger moves berween the ovo Sgn) Othe, etsy Eingering parecas that wil also falitate wile and tremolosafe those fngerings in which fwo or more fingers move together while the othe: fingers) remains Bed. The mos dificaleGngesings ae “eros ngerings” in which one Sa sr must be depressed whe another is released. Cross Snigeinge can, in the ease ofles experienced players, limi the speed of til or wemolo (eee appendix 9). ‘All slurs are possible on the trumpets, with thore greater than an octave ascending and those greater than a seth descending being particularly chal” lenging. Upward slurs are relasivelydfcule while downward slurs and leaps are sore attra. Solo writing forthe trumpet is very strxightforward, Almost any coaceiv able ine that es within the range ofthe instrament is payable by a good per former. Although dificult, even planésimo entrances on higheepitehes may be called for and executed. In general, lines that Lie well and are eatly performed willbe those that move stepwise of that contain intervals found in the natura harmonic series (se appendix 7). ‘Whiting for ewo or more tumpess presents no special problems. Lines that employ good voice leading, and that le well for the trumpets indivi, wll otk well together. Closely spaced dssonances berween two erumpeus are pe aly biting t dynamics of mezzeforve and louder. However, three trumpets of ‘more playing glosely spaced dissonances actually provide lst bite. ‘The trumpet is noted for its brillant and commanding voice, whic ean dominate an orchestra or band. Butt also possesses a delicate pian |s very usble ° B, GD, and B Trumpets ‘The By trumpet is the standard rampet found in the bind but though sil e- quently found, i is becoming less common in the orchestra where the sightyree berighcer C eumpetis becoming the standard, Sal, one wil more likely encounter the C eumper in advanced seident and professional situations. The eifeences between the to cumpets lie mai inthe dlignty more biliant sound of the C ‘mumpec and consderatons having todo with Sngerng problems, cae of wanspo" sition, or response of pec ptches, Regarcles ofthe requests ofthe compose or lrchessator, the choice betveen these two instruments is made bythe peroemer| The D and B trumpes, although sometimes selected bythe performer to facliate a certain pateage, are more likely to be wied when specifed by the composer or orchestrator. These are both brighter, less mellow instruments than the 3) or C trumpets. One would use ether ofthese smaler instruments to obtain greater ease of performance and a litle more edge to the sound in the upper registers. These trumpets have very cles, clean tones. The selection of the Bhover the D (or vice vera) would be determined by technical concerns ‘Another choice—made by the performers or the conductor—is the section of the tictional American piston valved trumpets or the European rotary valved instruments, Both instruments are bull in the same keys and possess the same ranges, but the rotary valved instrument seems t0 offer more uid, less aggresive articulations. At che extreme the piston valved instruments should bbe more facile but performers who regulary play the rotary valved trumpets do ‘Rot seem f0 be at al anaiespped by the any ofthe instrument's chaserens tics. Again, this is 2 selection over which the writer has very litde control. Aer B Plecole Trumpess ‘This i realy single instrument equipped with an adjustable led pipe that, when extended, tunes che erumpet to A; and when pushed in, tunes ie to Bh ‘The piecolo rummpeshasasmaler, more compact sound than the Eror D trum: pets. When played at moderate oF soft dynamic it becomes almost Suteike; at louder dynamics it can be strident and even sii. Originally intended to face inate performance of works such as Bach's Second "Brandenburg" Concerto, the piccolo trumpets aso find use in making some extended high pastes ea, ier t endure forthe performer, and as 2 unique instrument i its own right BB and Bs Bass Trumpeer ‘These care instruments are only seldom called for in standard literature, The Eb ‘base umpet (sometimes called an alto trumpet) is pitched a perfect fifth below the B eumpet. It has duller sound than che B of C trumpet and slide less agiiy, Stravinsky cas for this instrument in The Ritv of Spring. The Bh bass ‘wumper, pitched an octave below the regular Bh rrumpen is dark and posses fal, sonorous quality." Band B Cornets ‘Be come ia compeomise instrument, being constructed in sucha manners, to bein between the rumpet and the soprano eaxhorn (Hugelhora) in design and tone. In conta to the traditional wumpet, the waditonal cosact had the firs third ofits eubing cylindrical and the last two-thirds conical. Modern cor. Tie asec eal uni sono opin player, Inseumentiin re race sc ave te sine spporioanent of endl and conic ing atthe Seapets but vith a sight smaller bore and a shallower and saber Sell. The Coe more ew than te umpera tne tn wel sped ep cane wane ung ane ede oy and ow cone bathe aretha bund te coed aa = ‘Nineteenth-century composers, especially French composes, often called ge Ul ofenes dong Wah «pa of weapon in ek orchard vers Bea Ss clacd 1 Gel conan ht we expe wt med ee igboogt Paper br ing che aed comes tt pode per net te ath Pda nanal wepea (verve pple tocar bse a TaMGd long ocr vane wee eppedo he sunpet) Cipekcieic! capuiiecceueien seats tcp sect oak conc diag by he depe ofthe a pipe loop comet see pers pg, hich ps dun below te boron of heaves and op lols et ach eth shape und te tp of epee sa ee mune narren arate eo ot oF esa Gir ces fees acreage ad soe esos ‘The small Eb cornet is rare, usually’ being found only in larger Salvation za bad andi oe ban hat pce te Engh Bos Band ea sereltptahed urs furore be coset Bugelborns ‘The ugelhoen (or soprano sazhotn) is a valved desezndant from the old keyed bugle. This instrument is, except forthe shore portion of tubing that is found widhia the valve mechanism, a purely conical-bore bras. It is quite mellow and Aionally associated wich the wemboncs. Listening to che pasage wil provide 2 good aural sense of wombone articulstions. A study of the voicing wl veal ‘hata vari of chord voicings are elfecve on trombones, Mego Péblee Pale [AMPLE 4.48, & trombone chore passage fom Brahms’ Fist Symphony ‘The folowing grombone line, divided berween two performer, is found in Mahler’ Fifth Symphony (Grst movement, beginning at reheazsal no. 17), Because ofthe overlapping ofthe two parts, one never hears a break inthe line "A model of the valve trombone has been bull that includes both aside and the set of ‘aes Ba isnot common found. . ae Ws76 Insramenaog (This bel up inswuction is often understood so mean that the performers should stand.) DUUMPLE 4.47. One in divides between to tmbnes rm Maher's Fifth Symphony ‘The fourth movement of Robert Schumann's Symphony No, 3, the {BBenith” features a very moving trombone chorale. Bven though ici dow ble with horns and bassoons, the significant voices heard ae the uombones Ty 2s sored for alto, tenor, and bast trombones but for many yeas the peaciee was 0 use two tenors and a bass, Currently, one often hea fe wieh the ong Feieich J = 54 Faces Fonte Trontone HAMPLE 448, The fst si measures of te fourth movement af Schumann's *Rhenish* Sympreay Ja Be Bren Savy mate te ofthe ay of the combone to po dice glisndes. In pit of the ux of tho defy de congene e AAMPLE 4.49. Tire trombones begining areata ne 179 in Tho Fibind The tls inthe seventh and eighth measures ofthe except ae lip els ‘The ull inthe second trombone wil be played in postion VI(E to G). The silon the A maybe in I or postion (Ato B aural (se aso p 135) ‘An interesting example of contemporary woitng forthe trombone i he ‘slowing pasage ftom Morgan Powell's naeabads for trombone anssomp sed. The X notes, eeled or enced ae to be sung H double ems ore ‘ached thoy ae to be both sung and played The page begins with «har Spun en si, ut win de we onenee Pe seal Sa teping the mote withthe stem. (The excerpt ie fom the second and dnd oy toe ofthe pice) cox moto sie por

Some wind player, especialy rubies, have developed the silty to czcular beste ‘The technique cls fr the inalng of se trough the nose wile tuetasing the tone byte ue af sored in the pevlormer's check, By thir method stone may be su ‘nd fr several mutes without an interaption, The numberof performers who do this Rowe, i intease subs, but it is sil the most clear-pitched and dynamiealy varied bass voice of the Band or orchests, Tn theory, these pitches are avallable on professional model tuba SS powever, ‘or ll performers can produce them, or may not be ble to produce them in a manner that they find satisfactory If these tones are salable at all, they ar bes approached sep wise, on if approached by leap, should be within cempo rubass a lira. Allegro ae ego Instrument = EXAMPLE 455. (8) an almost imposible approach o contra C () 2 playable passage using contac In wating fr the taba, one should tune use Ledger ines forthe fw sores Do not write the put an ove higher chan cS ed eg geefomer to pay ic inthe lowe octave fhe tba accuconcd sae, the edger lines and is nor acntomed so changing cca The compote need not ses the tube on hich a pen partis tobe per formed. The choice of insament is aly « dockon ade y he perree The CC taba andthe Fabs can lay he same ptener wo he eee Oke sade cathe bt of tone guaiyeiference relate toe bl eden coe of ageing certain pases, o nd wth ot inumens Al ce chon, being cans Fata ba Bt Seve in quay nae CO Ser eee ‘ies dence feist aig to br of concsmn oe congue? ‘The abas may be sored fr in a ancy of way disougs oe on usage ofthe inteumene plang the bas ine & bing ae ha eo ive loner chan the gener pc levels depenuahe Pete ae lew smooth and potently poet solo vows Weoughoni ce be ed ‘anges. The ue of ore shen one tabs ince, bt the nanos ek od wih cil other and te envi scieved by two oF more ee toe However, when wang inthe lowest oem for ovo tabs agen wea val Beoveen the bu ofl thans tho sie, exept eel ee Tee Eaploniom Jn the Uale Sates, the names barton rs nd ean hve been inexcgebl forth sane inane Avene tea ink calle «toc hor, one vay of which as packed a Be te eptenn butpowusingsamal bre There was ass fegeboreinnimen or noe * Asis oe the ere, vch vanbes asthe Piece and concept ofthe idea tuba tone all las than he performer's embouchute, choie of moud- combine to ereate more varatons Bescon ‘araton lily tobe observe between instruments Beas 183 | ea brine orbs brn Se tet a abou elted tthe aba Bee came tne abn ar been dr ough ae myn ‘eer aay apple to a numen fhe sme pltch wat very lege Sect a mach dike sound (we fig 4.5,p 179) Over the ea, mens [Pie old bantoe and ld tenor hora hae gral merged ino anise ow analy called uplonium ; ie capo mere end ee ti te ei a and xs mgote lowes oper whee Te noble nd sonorous nut SER oven in ae the modern nd eve though fe we nthe orcher reenter Stan anbigy consign poperier ded ete combination of enphonsin aod tbs in commonly head in ban, west sete, and bre chy. Tradidonaly, the two intruments ae wed Sgeter wt bus Ine, wth he tba and the euphonium plang the same ‘Seed in ome. Ar othe ney che euphonim may prove 3 tenor vee Bike exetle A gure of so or tice ub, snd two or one euphonlums Shut cermaly bea pone und majese bat veccon thet would contest Std wit the tombone chi ands depending on the dynam lev, cher Bind or conan wih the Bors : ‘Typical Tuba Scorings Near the beginning of the third movement of Mahler's Fist Symphony, one of the presentations of the canon theme is asgned to the tuba. (The excerpt begins 7 measures after rehearsal no. 2.) The general range of the passage indi cates thar it would work well for F tuba [HANPLE 4.56, Valoiewiting forthe tbs from Males Fst Symahary ‘This pusage for two bar Gom Richard Seaus's tone poem Ale Spach Zarathusra demonseates some ofthe cube's agi. (It begins at rears n0. 10.) J SeSaofp Pe Cae ee fe XANPLE 4.57. Weng fortwo tbas tem Also Spach artnustra A wellknown example of solo tubs writing occurs in Wagner's Peelude to Die Meisersinger. Beginning 9 measures after rehearsal letter J, the rubs ‘artis an important line ofthe counterpoint, which culminates ina famous vba tel.1 Modenste tmp S Wf mareaiorine AMPLE 458. Famous tbs line tom Die Meltersinger This eather high solo fom Seravnshy’s Perushka is intended to evoke the mage ofa bear dancing and therefore is most eflective when played on one of the larger instrumencs. (Te excerpt is from the third measure afer reheaal ‘no, 100 inthe fourth tableau.) Girne =F DXAMPLE 458. Very high ube psssge from Petunia” ‘This solo from Rave’ scoring of Moussongely"s Pieter az an Exhibition Js ftom the “Ox Cart” movement. It ie often performed on the euphonium instead of the CC oe the F tubs i, Sempre moderato pes BP cresc. poco « poco IAMPLE 480, Tuba slo rom Ra scaring of Pitre st an Exiition™ In Midnighe Realities for cuba unaccompanied by Morgin Powel, the petfoomer is asked to sing and play simultaneous. The notation system wet XS for sung pitches, while stem down fom an X indicate: wo play and fing the note atthe same time. (The excerpe consis of the late tw0 systems of the piece) 5 Capri, 90 by Haves Son Londen) Coppi Rene Ud ty pernon of oony & Hanes, Ine ie ™ Copigh 1923 ty Hove Son London Ld Cop enced Used by pen: mission of Boosey & Hawkes, Inc. sccaieasinte ree PAAMPLE 1. Wiongne Relies by Mergen Powell™ ‘A sense ofthe tuba’ agility may be obtained from study ofthis pasage for the euba written by Gunther Seller, The example is taken ffom m. 52 f0 the ad ofthe fest movement of Schules’s Muyic for Brass Qvinser (1961) i a ‘ = as— [YAMUPLE 482. Tuba pottge featuring wide leaps staccato atelations and even 2 t+ tertongues nate In Gordon Jacob's asrangement of the Gils Peraaby Suite for band, this ‘euphonium solo fetazed in the veventh section, "Tell Mee, Daphne,” begin ning at rehearsal letter B. 5 © Copyright 1974 by Brass Muse, Led. Al Rights Reserved. Used by permision, Copyright © 1961 (Renewed) by Axociaed Mic Publier Ine. (BMI)186 Andance con moto 3) & aa =e Zz = a EXAMPLE 4.63. euphonium sls by Garden Jab ‘Aa effective cuphoniua solo wing the portion auocated wih the instrument's warmest souns ste Sie Se Gest Fle’ Stn Suit in fr Hiitary Band The eagle eee aie {he pickups to lester Ein the fist monemens te se : he range traditionally EXAMPLE 4.64. Characteristic euphonium soo Tempo i about 120 hai noes per minute from Hols: Second Suite tor Band, Tre cuphoniums ae caled fer in Schoenberg's The end Vernon for band, Op 8. Tisimporanc du: begin m 62 efrien ee Atego mig dun FRAMPLE 4.85, Writing fr to eupheniums by Schoenberg 2 9 Copyright 1970 by Bootey&e Hawkes, Musie vs ct Baa 970 Bote Has, Mase Puke 18, Used by pemision 2.8 Gopright 1922 by Boceey te Co, Les Copeighe z oF BaSET M922 y Boor Co Lad: Coppi Renewed. Us 2,Died by permission of Betmont Music Puen, i CR amin of ein Publishes, Los Angeles, Cains 90049, te by permision A: oe a 17 pOBLEMS 41-24 4. Score the Bach harmonization of Christ lag in Todesbanden given in Prablem 38 (p. 176) fer two eupheniums and two tubas, Tanspose the criginal down a major thre for your setting. Have the result olayed 42, Score “A Little Hunting Song” trom Problem 25 (p. 115) fortwo trum: ets, ne horn, one trombone, and 2 tuba. Double lines, chenge ectaves, and use mutes as you desie. Have a brass quintet perform your work, 43. Write @ duet for tube and euphonium that uses multishories and other contemperary effect and devices, Have the cust performed. 424. Using as many mutes as ae available anda wie vatity of special fects, compose a short work for tumpet, hor, trombone, and tuba, Prepere & store and parts and have the piece performes, [AGURE 4. The buses (ett right canvass, euphonism, batone, melophen, ‘ora, and lage bore eonrabass (Pate ceutesy Dovid Pteron, DEG Corporation, Lake Genera) THE BUGLES English French Gorman Teatian Spanish buple —cordechase or Jaghorm, Hifthors,or corned eatcia cur. romp bugie | Sipators de eaan 0 bugle18s ‘The Properties of the Bugles Bugles ae distant relatives of the saxhoen and fugelhorns. They are cupped mouthpiece instruments with coniel bores. Traditionally they were vaneless and associated with the military: Over the years valves have been added} at first just one, later two. Modeen bugle, lc many of the other branes have thee valves, The bugles come in ciferent des and shapes. The stndard 1. Sopeano 2, Mellophone 3. Baritone 4. Euphonium 5. Contrabase All bugles are pitted in G and possess the following writen and sound fing range: ® Sopanotusieing Poteet b. Metegtiee bac ing . ‘rien sounds 2 © Baton expheniom buen #8 EXAMPLE4.68, The writen ranges, sundingranges ond transpositions forte ble ely (2 spare bugles sourds aout ion than writen (t) mellophene Supe sends footy los han writen (¢baritene and euphonium bugles; sound an orien sfeurth iver than writen () te conraboxs bugle; soures two otaves and out lene hen ies A Tnstrumentin = he Braes BAUPLE 465, (conus) 4 Coantns bglin sounds ‘The bugles are tactionally writen in the weble lef but there has been a recent wend toward writing the lower bugles—berifones, euphoniums, and contrabusser—in the bass clef. When written in the bass lef the bugles are ‘ues as wansposing instruments and scored tis way ot = = = 2a [EXAMPLE 4.87. Bats cle notation fr the bugle) the sounding pitch (0 as writen. a (he reblclt, forte bastone bugle) a writen inte bass ee, fo the bartoe Bula One should not write bugle pars in che base clef unles it is definitely ‘known that the performers involved wish ie done this way. Treble clef novation remains the noe ‘The bugles, being conial bore brases, have a mellow and very smooth timbre. The natural dynamic curve is really very uniform over the range of the instrument .—— facia) [AMPLE 4.68, Natura! dynamic cune ofthe bug ‘The soprano, baritone, end contrabass bugles have similar tone colors, eprescating the various voies within one family of sound, The mellophone bag, with its shape more like a horn or a mellaphonium, is a more bron, horn-like variant of the principal bugle sound, The euphonium bugle, wi 8 larger bore than the baritone, adds a cello-like, rich bass or bartonc sanged voice with a distinctive sound that serves ae an eflecive contrast 10 the baritone,190 ‘The family of bugles produces « unified tone qualiy due tothe fct that they all poset the lc oni bore. Because they at al pacheé Ga tcsbilty of intonation across the whole ensemble is gutranred, Wet Cee, Tes Rnconing rat Ike other tre valved bruse (ce pent 9), hey ‘present, ouside ofthe dum corps tradition, a eeetely unerced bord filly functioning brass instruments eee eee alk = ‘ sete te 7 |. INSTRUMENTATION The Percussion (GENERAL PERCUSSION INFORMATION Percussion instruments are traditionally defined ae those instruments that pro- duce a sound when struck or shaken. However, composers have Fegulaly asigned the production of additional special round effets to percussionists and pereussion performers have gradually added moce types of sounds and pro. duction method: to their repertoire so that itis now diffeult to define percus. sion exaely.Percussionists may be called on to blow a whistle, crank 3 aren, bow s cymbal, turn of a tape player, or break glass, in addition tothe traci tonal methods of producing sounds ‘The Basie Percussion Strokes ‘The basic sound-producing gesture in percussion music is the single stroke. ‘This consists simply ofsiking a sound producing object once with something capable of sering the object into vibration. By various combinations of these Ja- Sale strokes, a set of common “sickings” may be assembled: English French German Talian Spanish Single ucke coup simple cafacher Schlag _colposingolo solpe simple fam fam infacher Vonclag colpo preceduto ds fam or golpe scsaeeturs precede a de una acharadura (aecaceatr) rag ang DopplterVorchlag gruppetn di due note golpe doble ae wif stecficher Vorchlag ruferrulo redoble ple open roll roulement ouvert offener Wirbelralorimbaleato sedeble ereciado loved rll or roulement fermé ciewer Wibel lo sreto redoblecerado bute ral er ruth ral 19192 “The fam s pid combinsion of to single suokes, one payed by each hand. The noon i J. The dag isa rapid combination afte soe, notated lke tier 22 and url played ether vigbrvinirl ov lish righ (abbroned RRL and L-LeR), Rep double woes os wed in the Gag ray ck hy cay ad pecon at ater eepon. Ar alower pede and in ceria conte where effec is more importantes acer, cous stokes ae 00 problem ‘The shree-troke ruff is notated this way: 24 and is usually performed RLROLRL! Some pecuionine defn ral ss consisting of duce or more seoks, while other dene a raf conaing of four ov mot soies ‘The pia noaion fa four or mocesroker wold ber BL» foursoke rf, BL = esvoke ruff. Typical performance would be LRCL-R and RL-R-R, ceapectehy oe the revere. Rafare genera considered tobe to api for dole arabs bat there are some exelent performers who we ReL-L-R skin wih good eee The rl is contoledskeration of sila or hands that produces he effec of continous sound. Thre ae ovo spe of tls ted by peresion, ins the Ge ype i ealed the oper ra it rocens by wang he muses fons inthe rns of te percent to Conse and lute koa thestcs to one per stoke. The second wpe of alte a, bso ck ral, which inoleseting the sce achieve «near male bounces ee Sruck surfer The ped ofthe bounce and the conconars tara i in fice for another soke i eted both tothe loudncn and to the wip ofthe hands on the els, As th other perunion sche, the ped anderen of rebound is ago afcted by the reslengy of the suck sac and the mat ‘pansnes of the sicls wed. Dasng 2 closed rol a lent rw Sonne wl be Produced per stoke to shiv the eit of comnuows sound Normal composes have not specised the pe of fl deed anche choice hasbeen le the pesfrmets The notion for shsr ge obs foo £ ce LL and wo fm, depending on te sine vue. (The numberof hes though the note tem or over the hed shouldbe enol to gearnte an unmenuredrythmic figure, Coaly ce sues enough Atslower tempor when the thes cou be read as perce ree Gnd nots, our des woul bebe Ending the Roll one wishes to hear a clea, accented stop on the end ofa rol (a final, single stroke), then this notation should be used: ¢ £4). If, on the other hand, (one wishes the rol simply to end, with no accented stop, then this notation is tobersed: $424 or £- >with no accent indicated, there will be very « Many composes and pecformers make no deinction between a drag and a dhe: stroke ru therefore the double sking ofthe dog may oe wed inte vail "Rudiments drummers wll end every rl, no matter wha notation sued, wih clear ‘0p stoke, andthe only ind of rol they wl pay to oper 0, Rs Instron se Peewsion see pce becnen the roland ver ie rteson athe beginning ofeach se woul cal for mace pce bates cach rl and mote stslaon Ta older musi til sign was uid to ndieste aro This symbol should sever be wed for this purpose since fs posible to play ells on many fercuson instrument, and therefore the wil sgn should be reserved for Sch ase ullson Two Tncrusents ‘roll on two instruments employs the aeons of «pial ol but instead of Zeematng stokes on «sage instrument, ehe player sukes one instrument ‘te ef hand an notes ineumane ih he et and Fb nse Then produce pood bounce, the effets very smart that of co separte ‘pert each voling oe of he ncrmene wh x nora oss a The pe ee (When soft males are used, double stroke rolls on two diferent instruments sre nat possible.) Other Strokes and Articulations Dead Sticking = [A special variation on the single sroke is kagwn 38 dead icing. This involves the use of the muscle contol inthe wis of the performer to stop a sroke fom resounding. The sick hitethe instrument and remains in contact with the instr rment’ssurfice, The symbol fr this special suoke is 4, FFL, and so forsh Rim Shore ee “Another special stoke isthe rim shot The symbol for this is 3 °F ‘Two possible methods of producing rim shots exist In one method, the play~ cer holds one (enare drum) stick on the rim of the drum with the tip pressed gains the micele of the head and strikes this sce with che ocher sick. The point of impact is berwezn the rim and che tp. The second type of rim shot is fore dfSeale, but does not involve both hands. In this second method, the fick is almomt thrown at the drum head, The angle of impact is such thatthe Sp sures the head at che same time asthe handle ofthe stick sikes the tim, Both rim shots sound somewhas lke a pistol shot. "A sroke related to the rim shot is sully used by jaz2 or rock deummés. Xess msded in sot layed by pvotng she ck very sight on the 2 ‘which ie held againet the head, and tapping the handle agains the im. [es per formed by one hand and produces a delicate tapping sound Scraping ‘The roll symbol is used t0 show how long a srap¢is to last. Fone wishes the performer to serape a tame-tam with a tiansle beater for the rst three beats of Two 2 f meant, the notion would be 24 . When an xended sping194 ‘motion, such a with a angle beater or a brush, isto describe a ccculhe pat tem over the sufice ofthe instrument, this combination of symbols i used th Bowing ‘The notation of bowing in percussion pars is the sme asthe notation wsed in strings, The basic bowings are usualy limited to down bows, up bows, and bowed tremolos (see pp. 27-29 and p. 32) On she Ris In addition to all the above effees, the percussionist may be eilled on to play fn the rim, which means to perform the various rhythms witten in the part Sy isting the vim and not the drum head. This produces a clicking sound Sometimes this onthe rim effect may be produced by simply clicking the sticks together. These ro strokes are more commonly found in parade drumming ‘than in other styles of playing. ‘The Notation of Durations ‘The duration of a percussive sound is usually a renult ofthe instrument's nat val resonance or the result of artifcallysustuining the vibration by the use oF 2 rol, serape, or bowing technique. Some percussion instruments have such & ey, nonresonant sound that almost no symbol avalabe indicates che tue shortness ofthe duration. Other percussion instrument ike the tam-tam have sucha long ring that two successive downbeats could cause the second stack ‘ come before the fll impact ofthe frst has become fully audible. Nowsting sich a sound with even a whole noe is totally inadequate to convey the Bue resonance that is heard ‘To sole the notation problems caused by the manual sussining qualities of a percussive sound, observe the following rules: AL. Instruments with short decay times should be written in convenient, casy-tovread notation, with no effore made to indicate the true short” bess of the sound, 2. Tnseruments with long decay times should be written showing either: 2. the exact duration desired thatthe sound should be allowed to decay naturally [XANPLE 5.1. (0) coract notton fra dy sour, even na slow trp () eaect not tan fr lng singing souné that sto be ites oa space duration ()eoest tation for lerevinging sound that it be alowed to dace naturally Instrumentation ie Povason 1s ‘Should one need to further clarify che notation, the folowing terms should be weds English French German Iealian Span ehoked ordey see vwockes sco sco fering Insc viorer or ‘ingen anen or ‘acne ibe dear ibrar Ines eésonner_sulingen lassen Notation for artical sustaining sounds by use of oll, srapes, and other devices has been discussed above and should be used no mavter what the nat- tal characteristics ofthe instrument. Notation of Pitch Certain percussion instruments produce specif ptches and are called definitex pithed perenaion (ee pp. 202-12), For these instrament, pitches are notated fn dverine sal just sb one would notste sring or wind instrument pitches, Peceusbon instrument that produce no one specif pitch are called sndefinier ‘pitced percussion, and do aot requite the feline staff (see pp. 213-81). For these instrument; 2 single-ne satis euflicient and is prefered. ‘Even among the indefnte-ptched instruments, however, one can hear relative piteh eiferences, sch st benween several wood blocks, for eeample. It {snot at all uncommon to find scares that call fr high, mdm, and low (of lees accurately, mal, edium, and large) wood blocs or other indefinite. pitched instruments. Even thece three pitch gradations ean be notated clearly ‘9a one-line staf, while Four or Bve relative pitches are more clearly expressed fon 2 twosne staff: One should never use more than a fve-line staff for per Englise French German Hialian Spanish high sigs orbaut or hoch ‘ita oracuro alto or aguda che redium moyen ied medio ormesza medio or mediano ‘ew ave or bas fief Basi or gave profingo or bajo or arve a 8 < a Dia Saye EXAMPLE 5.2. (3) erelne stat notation fr single snare drum (2) one ttf nts ‘ion fr thee (igh, mpm, ow weed blocks wen sta netatin fr ie very igh, igh medium, lon, very low) toms Percussion Mallets, Beaters, and Sticks The object used to set an instrument to vibrating i very important. Ite not simply a mater of hitting an instrument with the “correct” beater, but more important of obtaining the desired sound, Ifthe student does not fly under- stand the effect of male selesion then the following should be tied: srk acu Insrumenig ‘Pression beash stoke, while at louder dynamics it becomes & rnfirzando attack. The ‘ralet of medium hardness is a compromise berween these two extreme, ee firme i Spi ne ro “a of om a eet a *y ar eee fl tiie woo Sande wre j Ma, Ste ond Weg Gulzig deieps sdbprpotaccore feat stn tn thr Sao of sul hardness Therefore ard pan atv gives Gc sack than hard br drum beater. The bards owl atack woul probably be fm lng best tng ery on ge malo ba alee The foes pone sack wou probaly Be provided bythe agi, sot ts fom tee obtanatie ales Sefton i Tie equirmenn of ecu parame ofan demand he pi hang of ules bacon insrucdon tte fsjr se necetay ea expla wen lil POURE 51, Pecusin mle, i, ad betes: (per, ahd tt irs be el in wich hand (or ar vo male be hel in the sane bene; speal malt stale, and wed sat ea eae ee Sn), Beeaue ti nfirmation ean become complexed ro wie ou and = 2 el. een ae or sap ett om se ka Belt ead and comprehend quickly cng performance stastion, sao ‘te tps. a pair of wire brushes, wo-headed bass crum beater, a pair ot bass drum ral best. representing these fallets, beaters, and sticks have been developed and are 5 cnet te tam ae 2 sis fove' oma dpe ae ae een snee chines anes, ef ac ar tmomn alt, na tga tte : , Bao vntn tin le, «pro sale, t dent aga Pee Bagl Slot French German Tian Span fre oon gun saoer a el malt a iglepege eevee es ; ; ocr resend! toinces incsae ao ite mas pro ws maou cas lag tg eect ns | pints Tile ec acd ‘ard yarn males, and 2 pir of soft yam maltets; (far right) a Bow (Photo by D3vid Hruby) d eum it bepscerde Kun buchen db gue de scp Sw cs so A pin soe da Sag [Sat RL. ast er Singernall, and then with a felt mallet. Try to make all strokes equal in terms of . caigindgie diphsica piso ‘elocity or speed of the stroke, length of the stoke, force ofthe stroke, and rubber mallets bagueres en Gummischegel baccheite con baguetss de point of impact. The very cle’ diference ear te the rela of ie dite ees Peseta cute fees amoeg the ets ee gonna Beats, malty ad vcs oe eit ia vying deres of hadnt, sp atin Depecicn Kunio’ teat gue de fen thy nd wit leet heads or ents Allo ate wraen ee de = . Se" er as performer ler he sur tha best sca the deetooane Ps seperate fr the compote ana orchersne o beeen ie sr Gamuhlge!bctetebaqueconlt ferene beaters an thelr anton ‘yam malls 7 inet cei acs Ht aeaate cams Deere of arines and Sefer : een oe eet Jn general, the harder «mallet, the more attack one will hearin each stroke; 2t * " tenes de Pavkenschlegel bacchette ber baquetas de Sesto mo ana i vermin Ppt tml one ‘er dynamics it becomes more of a sorsando effect. A soft ‘mallet, on the other ; band, wil end t minimie the sea chy, gently causing Ge uct seem 10 loom,” to haves ower decopng tack emepe Are Ty cap ro mace wih ei a toe recomended y he roams, saponins a percuse gae on et a teagg Son, ‘tenon Contes on New Mae Nesom Go 1978= . Sean 18 tearamention Pru Poco a woes ting bepuees de bamen chee per baguede eed A eee peel gl rates GinberPacategl “cepa Tama se bres Siege pus ini en eae ede eee Ht i Sonone oom wooden mallets bagueres —Holchegel bacchete di baques de made ‘ted | smanche Siler rmanco min armango { = ees ote se male PARE owes ses ent ado inate the hardness or sofine of te male pee Tocco slschanmer arenven Kanoroft culo mar rma sett Symbol French Geman Talon Span age “Hanmer “apna “Many a Be ods “tie tine anew Gdeahniner tag” bajo mi bere ranrelo Seen medion 9mm nh dea ‘sian be beguene Tingle bee dt baque de A SEE, THE! Samet ue wat tame mia tg tn orto awe vss drum tener valle Slog! ir ttherada tage de bombo q on Ger Ber Toanel Inaddon ro the vous males and sick lined above, press may be “orotate rallothe3 mrcopger marzo tugs de don bled ose slave ts on keyboard percinion inser Thee er um bee ute “Salegl"Nloe ES Basa sce of mca ee wood and my ot ma ae have aplcd © the ee ie ‘ag sure or ge The base hands ached theme Te lenges wie bashes Somer Bown puta r cpl ofthe sr br wl by the sue nemaery > recuse Yoqued dost or Sehibeen (Gon minor scond ran octave or mor) on te irene br wie et : [Sended More cane bar are made for pee compestson and pang ic feocervege Rae spuoide’ cgile bie Saye aking nc tent th ound dens, the mata of te eat surfice to be struc, and the demands of the performance situation with regard to time avilable to pick up or replace the bee. eee EIS oe laced a art ga Lal gt eee ‘To call atetion to the specified mallets and any changes in mallet require semrmeae — | tee sete) tas ean a eee oe aera ae Stel oats ap ee Preceg reaper pcre piserrereper er ore tor per Pao ous mallets on the right ade ofthe box ac for the igh han. The ca of the ale her — ee Scoscuist roma nee een ae oat eel flmelament He ue one Canon hand Umm Hand aa a Symbot > Missing ‘Wich acd yun malt in he ef hand and we brain F é ey che right hand strike the instrument wth yan and wie ens ‘at SD poing oust pee puto With na ru skin cach han, ee teint fags die eet tay L] Saaasseseas‘Wich 1vo soft rubber males inthe left hand and one medi tum yarn mallet inthe right hand, strike the inetrument with rubber ends of che ruber mallet and the handle end of the yarn mallet. Pick up the tingle beater, with the right hand, Set down the haed sinpani mallee that i in the left hand Tes not uncommon to speiy two allt or beaters per hand. This i ean chard technique onthe keyboard pereusin inruments lke the marimba a oder to obeain (oled) chords. However, it may be used in other snstons to minnize mallet or sick changes. Itenly works wel with smaller, lightweight malls, In any ype of music where a mallet or sck change ie called for, the incica- ‘on of which sch) is (ae) tbe ued shouldbe placed ove the music to which ‘applies and nox over rests preceding the pasage, Percussions cead acd. Invery uncomplicated percussion parts where maay mallet changes are not sequliedy die use uf die symbols may not be necessary. However, the compos ce should always remember that specffing the mallet to be uted i important ss specifying the instrument, The proczises by which the percussionist picks up, ses, and puts down mallets cannot be lft to chance but rather must be exe fully planned ‘The final selection of the specie male is left to the conductor or per- former: This is asi should be since in the actual acoustical environment in hich the piece is performed, the results schieved aurally fom the speciied ‘pallets (and instruments) may'not match the canception, Unless ee composer is present to suggestion 2 change (t remains a important aspect of the pereus sonis’s performance duties to sehieve the rests speciled by the erestos even ifthe means for doing so must be altered. Striking Points Ikis equally important to specify where on an instrument the males to ske ‘The difference berween hitting a dram in the center ofthe head (producing = “dead” sound) an hitting ic newer the edge (producing a filler, move normal sound) is immense. One may abo surike an instrument on its edge (om), ide (hell) frame, eesonators—in fic, any par ofthe instrument, [tis not uncom. ‘on to stike one instrument with another, such as «suspended cymbal witha finger cymbal, and so forth. All ofthese methode of producing sounds must be specified and expluined in the part since they are out of the ordinary. PERCUSSION INSTRUMENTS ‘The instruments ofthe pereussion fly may be paced into one of four eategoris 1, Wooden instrament (clled woods) 2. Meta instruments (called metals) 3. Shkin-eovered instruments (called skins) 4. Other sound sources renner Pte a FGURE 6.2. Pereusin inerment: (rat tubular eximes mie. clakwise om et 52" timgana, 23° tmpano, 28" timpane, pcelo (20% tmpano, ereerours, o9 ay Cleinise trom upper Wet automa take cum eras eybel, tamtounne, large ane tral mone bloke. Tho thes large timpan are sedal-tunes the pezaotinparo tunes ty means of» kay andthe chain mechanism (Photo by David Hruby The Woods ‘The wooden percussion instruments probably ace the oldest percussion. The characteristic sound of a wooden instrument ies eapid decay and high psched partials Smaller wooden instruments postessing more rapid decays are charac+ terized by brite, dey sounds much ike alice or mags. Larger wooden instr sents produce warmer counde more lke thumps and thud. The Metals» ‘The metal percussion instruments are characterized by very long decay times and often sow atack times. The smaller metal instruments have beight, bell like sounds with great quantities of dissonant partials present. The decay ite ofthese small metal instruments is very slow. Larger metal instruments possess metallic crash-tone qualitcs—an initial crash followed by a crescendo brought about by the appearance and sabilzation of more and higher partials, This is al followed by a very long decay 201202 The Skins In these instruments, a9 animal skin (or plastic substitu) ie stretched over a fame, The smal skins have rather Aollow, well-focused sounds while the larg cerskins have a boomy, thuddish quality. Skins generally ave longer decay times ‘than woods, bur the decay times are significantly shorter than the decay times fof metals. With skin instroments, the resonating structre to which the skin i attached plays a major role in determining the tone quality, pitch range, and pitch definition ofthe instrument Osher Sources Sounds taken ftom nature and from the surrounding environment ar includ ‘ed in this category. Among the more commonly heard are auto horns, police ‘whistles, and birdeals, Humoroue effect are ofenepeciied ike dle whistles, br wnigue sounds lke sendpaper blocks Tis offen convenient to divide these four categories of percussion instr ments into two subcategories 1. Tartrumente with definite pitch 2, Insrument: with indeSnite pitch ‘The former produce pitches that are clessly defined within the tuning e+ tem in use, The latter produce sounds that may be heard as higher or lower than one another but chat possess no clearly defined pitch (a lest within the pitch sjstem i use), Thus we have xylophones and orchestral bells in the fet subcategory and wood blocks and cymbals in the second. ‘The Percussion Instruments with Definite Pitch ‘The folowing lists include some of the more commonly encountered defnite- pitched percussion instrument. (As with the sticks and beaters # the pic fogram given is marked with an asteri, it meane that it wae recommended by the Ghent conference.) ‘Toe Wooden Instruments with Definite Pith Insteumentitog English Symbol French German Italian Spats, vmvints [Map] mui — Minton maintains swveone [Xp] ststone —erten ann or ai ron ‘slofane losis swlosimba —Yyiomarimta —clomarimbslémarimbs ‘rylomacnbs on slomarimbs er ‘Metal Incr with Definite Pte palit Symiot a saphone _ rouron goes = @ ‘ene 3 tae tins fasaee a 0 ag oh Y *aimglocken sie saw *texarone™ ‘ubephone French German ju de timbres Glockenpiel reason vibraphone Vibraphon suber de Rakrenglocken locks or Rohren- ockenspet lesa Coles 005 Buckelgoag Fog Gong crotales or “ Zimbela or cymbses —” Cymbeln anh antiques mmbour_Stahltrommel Pacer clochesee Handglocken Bmaine sonnailes de Almglocken twoupeau cenelume —Amboss sie movicale Speltge exstore — Flaston ‘baphone — Tubsphon ‘The Skin-Covered Instruments with Definite Piteb English Symbol cement French timale and ‘imal German Pauke and aukea| Esalian campanell vane ‘amapana ‘wbolae er earnpane ‘ubolae eles or celeste gong eng rota or Cit tamnburo ciao cexmpanela ceampane da pasore incudine Spanieh cacilba or ‘empanios vibrator been ‘ampans tubules ess song 2 gong0 or ‘ata ong 6 gogo, enbaloeantiguos tambor mealco ceampanas de mano campanas de peor yangue segs cantante seracho mesial Bester ‘ubofone Htalian Bexaton substin * Spanish timpano and tml and timbales ‘inant ‘Tom-Tom-Splel_ rototomtom roterom208 Iestumentaig Other Sond Senrees wish Definite Pte Ena Symbol French German Italian Spanisy ‘aide while seei—Loofate autora ‘coulse cals rusia glses gy coupesde—Glaserspel——bicchier dh copas rvasos de verte ‘eto nat Definite Pitched Woods The marine has «range of PEEEEGAS 1 eeaty wise on the rand staff lke the piano. The tone is dark, mellow, and simular to a cello or Jower-tegister saxophone, The marimba is not used 2s much in large ensembles ss other keyboard percussion simply because itis very easly covered cet ie ‘ety soft tone. The marimbs is played with yarn or soft rubber mallets. Normal ‘marimba playing calls fr rling every pitch that hae a durstion longer than a quarter note. To falta ekords much musi for marimba requires the ase OF fo mallets in each hand. (More than ewo mallets pes hand isnot yet standard technique.) Parts in which four mallets are requited are generally zelated in tempo and much more chordal tan contrapuntal, Fast moving, intrest lines for more chan one mallet per hand are for the vetuoso ‘The spleptone may be consideed to be the soprano marimba but is more ‘often used for its own special qualities. The splophone in its high register ean be heard in any musical texture. The wood of the aplophone’s bars is much harder than the wood wed on the marimba and it oft has resonators below the bars like the mavimbs. The lowest ceive tone is darker and move lke the marimba, but theres of the range is brite, har and incisive, not uric hard ‘wood being broken, with a definite “pop” to the arack. Te is played with plas ‘dc or rubber mallets. The written range of the xylophone is and ee ada tte (a os am epee td an octave higher), Higher pac fr ti nsrument may be pecformed on the ‘lophone ised whe lover prs iy be performed on he macnba Definite Pitched Metals ‘The orchesral bel, regularly called pleckenipie, have the folowing range: ‘Though the instrument is usualy played with bras mills, many percussionists fel that in orchestral contexts bras mallets should be used spar- fasta de sido ie Prion jngy, Rubber or plastic mallets may also be used, tis generally agreed has the ‘28 T ment sounds two octaves higher than writen, The tons qusliy is very ear and bel-like and in eapid passages tends to blue very quikly. Suceestt enspiel parts usually are limited to afew very insportant pees, The tech= joe usual involves single stokes, although rolls ae sometines calle for [RR lance offen sounds lke an arm clock going of. ‘A version ofthe glockenspiel designed to be casied upright i sometimes found in marching bands, Te is called the blir, due to the Ize shape of is ame. The range SSE is tes than the glockenspie's. Some belliyres tec bulltastrsposing instrament in By ro enable the performer to read from ‘elo eatin or cornet pars, “The vibraphone has metal bars placed over exonators. In the resonators are small paddles connected to 8 shaft chat is rorced by an electic mows. The ipstrument sss has = damper pedal that cemoves a set of dampers from contact ‘vith the metal bars. The range of the vibeaphone is ee Tes usually layed by eriking the bare with yarn or raft rubber mallet The tone of che Tibraphone is mellow and velvery, becoming brighter ia the upoer eogister ‘With the damper pecal depressed" the tone rings For quite + while, With the damper in contact wich the bas, the cone sounds slightly choked. ‘When the pales in the resonators are turned at slow speeds, with the damper depressed, che undulation produced is slow and gente. At fiser motor spends itt 3 wary pte vibrato. On beter instrament: the speed of the moto? Gabe varied over continam, while on cheaper modes only one Or m0 spends tre avaiable. All models can be played with the motor turned completly off a5 wel, Without the undulation, the vibraphone has avery’ cool, placid sound! Asa speci effect, there i a sype oF nando that con be obtained by plang 3 hard rllc on one of the meal bars at che node (point at which iis suspended) and ‘presing down, The performer then strikes the bar at the cance wies another fllet ane slices the fine mallet out toward the edge ofthe bar The effect is > ‘ery subue and quiet glisando over the range of about a minor second, Other rnsthods of producing sounds include bowing the edge ofthe bers The eubular chimes (or subular bl) sound very much Hike gradfather clock chimes, The written range is $=. The physics of vibrating tubes is complicated and becaute of tht the exact pitch produced by tubular chimes i subject eo some debate. The perecved piteh of each tube is ‘0t physically presen, but is interpeted by the eat fromthe various complex ‘modes of vibration present in the composite tone. Thu, some listeners ace con vinced thatthe chimes sound an octave lower than notated while others main ‘ain thar the pitch center is as given inthe above notation ‘These instrunfents are intended to be used at those points in 2 mosial score where highly representational chiming is required. However, other weet are possible. The normal tone is produced by sriking the upper cozrer of an Jndhvidual chime witha chimes haramer. If the chime is struck with the smaller “The gmbol of depesing the damper peli, che same ai wed on pian (se 2263), = a ~ oy . us206 brass males such as the one used on the orchesal bells, and the point of artie- lation is che closed top of the chime eather than the (normal edge toy diferent set of partis is brought out. This other sound is hollow, cngoroun, and “whining,” but not as loud as the notial chimes tone (Chimes are equipped with dampers, operated by the performers fot, that axe ual emoved (depressed) before siking, For specal effect the antpen tay be lft on co provide a dry sound. Since all the chimes tubes together we alfeced by the damper when i ison, individual damping of some tues by hand may be called for in special circumstances, ‘When only one or ovo pitches are required ins performance itis exmamon forthe perform: to remove the required tubes fom the fame tad to roperd them fom a spec, smaller fame. This is usually done to save space On wage and to reduce che amount and weight of equipment cht the nercumonioe ‘need to wansport (never atv conceen), In tis situation, there ® na cere pedal and only hand damping wil be used “The celena ie akeybourd inrament. The performer plays it much a pianist, Plays a plano but the keys conuol hammers that stake metal bars conneted wooden resonators. A damper pedal is opersted by foot, aml wice itis depressed the tones are allowed to decay natural: When itis not doprewes, the tones decay more rapidly, but not quickly enough to be considered eres ‘The range of the celsta is Te sounds an octave higher than bearing iin an orchestral texture, Like many fly voiced instruments noes aural space in order to come across ditinety Electronic celesns ores ane Gynamic Limitations of the original instrument through amolifeeion : sound modules, and samplers can ako be used as subststes for ‘his fil sare and expensive insrument if they ean suf the museal eects oF the performance. ‘Gong ac of many pes. The most commonly encountered gongs ae made of thick, heavy bras with deep sdes anda ceclarsurice Tee sche, imay be smooth or, in the este of the buzzon gong, it may havea rulsed denne se Ex mide, Gongs are usualy sruck with timpan malet, bs dum been SE Se ox ttm beter Ocher means of reusing gongs include wage Pe ite beubes, and rubber or plastic malls. ‘The fone ofthe goog Eeembles the more falar tam-tam,bathas adit pitch Waen wets fe Fong, one may specify a pteh but usualy nor the octave, Mort peconanscng do not possess gongs or, at most, own only one of two. This, She's nie Of pitches and octaves is usualy Unsted” rests we seo known 38 antique emmbals These are heay, thick brass Pars that look Uke ft, dat cymbals of various small diamecer. When stuck, {FHCs Treader nce of gongs fm SEE so HEE A ge oer ‘pany ms pone pags ned wee baa — Instrumencaieg I spe Posen conker ns lk und oles ae feo wt be yon. The usual means of scriking the crotales is with 2 brass mallet, SE, san ge tensa tes hee ine 8 seer Usually the erotae is suspended from a sting hr pee hough he thickened middle and is held by the performer. Frequently percussionists orchid amaged a chloe bods ul pags pad ies lkenroapone te lenge Tis genet le ton ee epee combed nite wet on te coul soul to can tp a wen eau oe rah dapan nese oanlaphch eben Boe Sid dram we inset seongy avocaed ith Tinded, Thee Bierar pan w they ae eed we notcurdowe, tue wel al ce The FHQURE 53. Percussion nsrument: leeks from centr eft) cles, chest bel four almglocker, metal wind chimes, amiboo wind chimes, eas wid chimes, eres, (or tay, cache tom lef) bol plete, sleigh bes small natal age hance, are covbel, anv, steel malt for an, finget ey, and tes miscellaneous bolls fin cetera) smal conde (Phat by David Hraby) 207208 Instumentig slghdy higher piched pas are cut down to 18 to 24 inchs (46 to 61 em) in cg. Thehighespitched pans ae fom 6 to 13 inches 16.0 30 cay tee Thelonespitthed,flsized drums can ony produce sae ae drum, The mesiumiow cello pans and the ghey highs ped Go eee ean reduce om Sv o ten pitches each, Both the gutar ns mde en Biche ao pans cin produce abou ourten costes highend soprano or single tenor pans may have as many as venty-nne none Stee deums are rune by hammering the heads of he ol ins, ceasing vasoutsied bus cael tuned sen hn sein siete lines, bck tion is lenered with its pitch Since the pitch ofa seetons dre seared the sizeof the scion (larger sections produce lower pitches itt our lege thatthe lowes pitched pans would also produce the st che, The ioe, sents ae src wih a sack wrapped with tip of ebbee be oe, ses could bested. De to the rrontnce ofthe drums tall te oo rnc uly that resembles ross beveen «marin sn sige opan cess tos (seep. 272), : ‘The overal ange of steel drum bund is BEEPS. teva pan very dn actual notes avalible; however, hese approxitate but pel ranges should be of value. Except for the soprano pans it requires to os mene ere cba a ofthe pitches piven within each ange spa Celanese Terps, utarant Aten Sopra ie = cS AAMPLES3. Typical ste! crum anges [The drums are not chromatic but are normally diatonic (in ©), with select- 4, Gequenuy needed chromate pitches such ss Bh Ch. and fy sail Hangbels are made in ses of up to sxy-one bells covering 3 range of I a ey puted oor tiene, Soar ce ce a ee Sed moment, The performers ofa hae sonal tl paeedon sal rina ere sh iron le Sindee ee ai soe ™ ema Sees Sits oe Sree hw i eee Sai Ses See lot Se sll cane ase bse eee Sata Pet Sr peeves na oom Sone eee. aa ee ee Ss Se coer espe ‘0 fclite melodic pecformance. The tone is omen wa eats aes sie Prason ck, The instruments sound an octave higher clear “boiak” on an accented than nocaed, Amity have been specifed in operas by Wagner and Verdi, es wells in coaier works for band and orchestra, The instrument usually wed isa metal bar witha definite pitch. In writing forthe anvil, one calls for specif pitches but nat specific octaves except by relationship (two C-sharps an octave apart, ee) avis are usually struck by a ste! mallet ora metal hammer. “The musical sew was originally and may sll be a regular handsew of the sip 0 cross-cut variety, played with 2 bow (cello or double bass). By bending te sa, the performer can control the frequency of vibration, thus producing inelode lines and gues. These ines are characterized by glssandos and atone duality that resembles buzzy humming. The usual concert version of the instrument is made ffom the sime flexible steel as ae commercial hand saws and s about three inches wide and four to sx feet long, with a handle on one end and the other end weided zo a heavy bate plate, The performes stands on the base plate and bows the sew. By gripping the handle with the other mand and beading the sw, different notes are produced. The range of the usical sw is shout . The flexafone consists of small wiangular piece of spring sce! hel at 0 comers fo 3 frame that is attached to « handle, Also attached to the henule are two springy wires with wooden knobs on the ends, The performer holds the Aexatone by the handle in one hand and shakes the whole aster, casing the ‘vo wooden knobs agsuike alternately the triangular piece of ste The third, sunatached corner of the stel tangle ie located 40 that the petformes may apply more or les pressure tothe tangle with the thumb ofthe hand holding, the instrument. More thumb pressure produces higher pitches. The tone qual inyis ke che masical saw, bur due to the repeated stiking ofthe wiangle by the ‘Wooden knobs, the sound is accompanied bya constant rate, The usual range fois intrumene is SE ‘Brass or copper tubes from about four to pweve inches in length are sus- pended from Sine ropes and arranged in ylephone (keyboard) fashion 10 pro. uce the subaphone. The instrument dates to the beginning of the twentieth ‘century, and is not often seen in this county. Ite tane has 2 unigue, hollow, bbelitke quality: Bocause the tubes are suspended and are thus fee to sing back ad forth a very subtle vibrato is achieved. The range ofthe wubuphone, sounding two octaves higher than written, i ‘The eubsphone i= ‘usually played with rubber, plastic, of wooden mallets Definite-Pitched Skins ‘The simpani scPprobably the best known deGnite-pitched percussion instru: smcnts, They aze made ina variety of sizes and have different methods of tan. ing. Some tempani ae equipped with a erank on the side of the drums that fe ‘mechanically connected to tension rods spaced around the deuin. Wihen the «rank is turned, all of the cods are Ughtened of loorencd together. Anoxher system has the crank (or a place to attach a tuning key) on the top of the <ésum with all the cension rods connected through a chain aod gear snccha:no FRCURE $4, Percussion instruments: (hanging nea, above, eft rt buton eng. smal taam, large tartar; (hanging bow smal ané ig tangles, sce rah Dieohone en wbraphene; (et freround} four ata hen eng on bese ath a {rand-arkes) rane on ty, ack omit 10 rg) machen ecenee nab fares wo bt in cetr ot rateat onto of ray, leh anges (oat sen, smal mouth sen. bs whist, pie whist sae wise see nese, (Preto by Davie Heat asm, When the key or crank on top is turned, all the tension od tun, too (sce Big, $2), et ; [FRE most common method for suning impani is through th ning timpani is though the use of 2 Bedal generally operated by the performer's ight foe Tesomeobe eee an acelerator pedal and when one "steps On fe ga" she SRE ee moves Se pel inthe other crecton the ss kane Sea pt gots down, Tit posible tha epested, hesy impacu may sees ene Insertion = ‘i Penton te, The tone quality of the timpan is afected by the amount of tension (the ‘uning) on the head. When the head i very loose (lower pitched) the tone tong and rumbling andthe aacks sound dull and very thumpy. When the head ss very igh (higher pitches) the sound is hard and pingy. Traditional dmpant formance usually avoids ether extreme, and so whenevee possble cram sre selected that place the notes to be played in the middle of the drum’s range. In studying and using the following chart, Keep in mind that even though the range ofeach timpano isfy wide, the sound desired by the performer's close to che middle of the range. For special effect, extremes of ange ean bsp fed, although itis often necessary to attach an instruction assuring the per- former that whats requested is nota mistake and thatthe composet really docs desire cae effect 26° seas" a xAMPLE 34. Timpani ranges, accrtng tte” ‘The timpan may be struck by any ofthe males listed previoutly inthe sec- ton on general percusion information (see pp. 191-200), The ual chon i, ofcourse, timpani sticks, The cone may be altered by muting the drum, which involves placing a pice 8 clochon the head af the dram to reduce the vote tons, Various cone qualities can ato be obtained by suking diferent region the head, Sutking dead center on the drum, « darker, more ominous sound wih les tng is obtained. (On simpani equipped with pedal runing mechanisms, glisandos ae very pla ble. Depending upon the eet desired, here are seve ways of inesting thee, [HAMPLE 5, (strike the ven plich ones, then change tc a shown 2) stk each Bch onee, slowing the pitch changes te be audible () rl contnueuey while creping sites ae enon Jn addition co the normal way of playing the timpan, itis possible to obtain interesting sounds ftom the shell of the ketle, the fame, andthe sn, ‘The rolling or boutcing of coins on the heads is sonictmes called for and its ‘or uncommon to place an objec, such asa bowl gong or a cymbal on the head and pesform a rollon the gong or cymbal while varying the teason ofthe head with the pedal. This produces the effect ofa gong or cymbal wlsando, ‘The dynamic ange ofthe timpani, depending upon the sicks wed, i fom ss inaudible pismisie to a forricimo that can completely cover a band or ‘orchestra. As such, i en provide both percussive modifation to any attacks22 with which itis asocated and a subd, sustined basso a chord ort can dom: inate the whole ensemble Modern pani can be equipped with gauges tha indicate to the per former the pitch co which the drum is tuned By bverving tes inten pevforner an play melodic figutes on one or mets ofthe eums gach eat IBS or reunng the lasruments withthe pels. Te is nesesry BS the see former to calibrate these gauges immediately before the periornonce We ‘uges are to come clote to representing the true tuning of te cranes, “The rety-tomr were originally developed as practice pads for tmpan per formes. They are tunable drums made ina variety of szes The rotorone fare no fesonaort but ar simply metal fames over which the heads unt gon te sueiched By rotating the drum clochvise on is base, the hed tebe seed and the pitch raised. Rotating the drum countcrlodkwise lowes pitch. The sizes and ranges ofthe vious drums sre ‘The two highest pitched drums possess very britde and dey tones, The |nepe drums have tones that are more rounded with aces pis © One usually sores for sets ofthese drums so that a sufiGent number for i melodie wring is evalable, The rototoms can be retuned dusing reste ance, but 2 rolled glistando on a single drum would neceiate st aeaiene fo rotate the drum wale the performer rls, (Some newer moddls han san [ng zichanians chat allow ce drum tobe retuned by tuthing 4 angle As arStant would scl be required for a roled glitande.} Rote-tore “aay te Played with a wide variety of sticks and mallets Other Definise Pitched Senna Sources One ite whine is moss often rested as sound effect and s comic one that. (One can expect a perform to produce the shape of sine, bor oon xz more dificult, chough not impossible, It eange is wsualy or acuOi sharscere fects on the side whinde se the long stndos (ap ‘9 down) and 3 (wide) vibrato added to aline or tone Junwaled drinking glases may be struck gent with «small beater to Predace a delicate, high-pitched bell sound. These mutce/glastrcan beensce 2 iiding varying amount of water to exch gus the more nates te ee Gee Bieh Another means of performance uses he performer's Engere nero, Bed oes grub the Ss ofthe gases, Unualy only one or to pithetarconee EES OMS of glaes could be arranged to prodace see nd sed Pe formes ca play four part harmony and even figs and inventons Te ee cal rnge is GE ‘he Praon FHGURE SS, Percussion instruments: (lchwise fram upper let) e's a, bass drum in {swivel stand tenor drum, fur rototons, temple ble, siccala snare rum, rele torn ‘ere crm; in center) sia! saw Pho by David Huby) The Percussion Instruments with Indefinite Piteh ‘hese are some of the more commonly encountered indefinite pitched pereus son insteuments. Included in te list ae some for which a dente pitch save $scetsined but which ae seldom avalable by sped pitch, These later tes include automobile brake drums and sit drums, among others (The pve rams endorsed atthe Ghent conference are indicated with ates.) Tee Wooden Insorument ith Indefinite Pte English » Symbol French German” Italian Spans “wood block FI bloc de bois Holzblock —oeto di Hogue de madera legro cintto china ‘temple block © _—_templevoe Tempellock . bloccodi temple block 'egnone tees ae Hols exe tos Xenapmenen gogo bets sgogode —Holrgocken (wooden) dois “iro co stir Guiro fe fesse sabes stir abuee Ae ee jw bon ofan sunt Schgrnet ane won ep vibe aap Vibraap ‘tdum =] amour de Seliacommel tela ‘mbour iia kokito kiko Kaliko Toe Metal Inrumens wits Indefinite Pitch tegrombas 8 gms agente pile embomias ft mbes Becker Becken 2 sewsich opened gmt ‘ona ‘pendue Gethngend ‘ieskombl =, gmblente Newabecen es “ihatomiel —gmbalek tar Becken Pele ar Pusbecen frome chsleron s Instrument der caves, ‘asagnete or exmalas racehere gogo di gogo de maders ‘ego ure ro chun caabess marcela quiada eorine vibra slap vibe sp tamburo di tambor de legno endure or feu amborde set eho doko cmbalini —cimballoe giles Piatt or patios e imbalos Sel Pico plailossuspendides sospeso Piste mbalos sobre chiodsti “Palilos chat or platilos de ese iat edales 2 pede se Preacion scoinese ymbal sbeang ermal lon cymbal sina sconbells ss088 end gone (Feng tno) esdusted bell ses tell tee * ice bes sleigh bel bel plate bowl gongs or cap-bels bo ‘mba tongs or metal carne ns crmbale chinese pitto nese _patllschinos chinise —Besken cymbale sheung Becken plato sheung_plaillrsheung ‘heung cmmbale —Lowen-Becken pinto del patlls dele ‘de lon leone angle Teangel = ingle engl loche de Kuhglockencampanll da cencerro vache rea oF campansccio sgogo Aono sso 38080 gong vent Windgong gong de!_—_gongo del vento tae Pee eerie eerie tee ‘gammes, —Glocken scala forma de ecala cloches _Glocken campane —_ camparas docher __Schelnbaum mezoauns campanitacolgants prion elo: ——Ralichellen—_senagliem or casenbleo or sonagiexsabeles, loch en. latenglocke cimpana in campana en plito lame de me Tass di de mere melo ocheces Schalenglickehch pieole—_campanilas : empire campanitas bo abo ube tubo casagnetes Gabelbecken | easagnene catalase metal defer ifras *suromobile brake ram leon pipe The Skin Covered Instrumens with Indefinite Pc stoare drum (orth nares on) its f) -— piccolo snare dram ES Seid drum or miley dears vith snares on ‘ever deum or srlery deur vith snes off bongo drums Oo 704 ‘timbales cong: drum boca drums ous dea (wprighe) (en sie) ‘eumbousine suto-betke: Auco-brakes—ato-brke deus drums eum yan defer Busenedhee chaine Kenenrsel —catena ‘aise chire Une samburo ertambour Tromme (mit piccolo (avec umbres) Sehnarnsite) (cole corde) (cons timbres) (ohne (seo2a fe Sehnareaite) conde) Pedi smbow Tikkuiozommel tambure tambour Miltatzeramel_tamburo ralsice raleare cise Wiebeltomme! cass rule roulante or Tenor ‘wommel bongo Bongos bongoe or benghit fomtom Tomtom tomtom. timbales Kubu-Pauken—timpanets or cubsines timbales reveals ‘sto: conge (Conga-Tremamel sumiba or Tumba ‘ambour tata BaTromme! eamburo ba ose alse Grote Trommel gran casa ot (ertcde)—(guttect) ana or tembure ande (pt) legend) (orzzontate) ‘ambour de Tamburin—tambuco baxgue buco or ambesing Instrument, setosbrake deus or tambores los enor delearo tubo di ferro. sube de mes cedenas ‘ah mliar (con los bordones or con is cress neues) (sn los bordones er sia lt ceva ) ssmbor pequsto tember miliar con cede redoblate tenor a ced ‘ongor sibs conga or tumbadora ‘anbor bara bombo (verte) (hosizons) pandero or panderesa J =_—z uePression drum or tambour sur Spoousne ade ou ingles gone eae eaten sombon coctomen GQ] onse sia and abla Seay or bam citing drums sae roa or rugiement feito a % ie Tore ane sanbour ‘emrpot eficion ’ Otter Sound Soures with Indefinite Pitch sip yo het row eee sed whiede “agen suck eal om eee user eEaeeaee tenths ‘ten oo seus born ‘romps dsuto Autohope a7 Bahmen-tambarino_sambor de vwommel sense dali marco Djembe diembe deme Tambor: tambor—tambora chinesiche tomtom —_tonvtom chins Tomtom nese, Tb bh sable Banya Lawengebril rageto ——ragido dllesn 7 cet leone Rebrrommel tamburo—tanbor ” isione —Biccién or cules Brummtopf —arpuripul er tumbor otado Peiscne fume igo Rasshe nguela cana ermacaca ‘rilemeie —Sechieno _sbato de poiia ‘paling Vogeipeife —seblamo per_canto-de un palaco ‘ese T"Eaenguak —gneidiedi —gruznido de po Sienenpfife 19 stems de boss Siene ito de caroae ‘Membon aon Hae (Ci) oe den a Pete Seine er wok ramtadr ‘thunder stick ronflante ‘Waldzeufel sibilante = ine ne rns te “sandpiper Socks jer de Sandpapie ppc aCe Senos ratte erp de i as ; ‘metal wind ee veitden oe ge ee Sa ‘suspendues ‘eampanas d 7 ae shell wind chi ‘Daguettes de Muschel. bacchertt sonido dienes Sar Sha, Se SEES GF "arcler Indefinite Pitched Woods cangcPontblies exis. The sound shard, dy and sete ae use rs. Seance, Bach and tone en See rated by tang te wood Seok oe foi br chanson, ad by darn cane en — i - Yeermanaieg YP eteion resounds something lke an unpitched slophone. Due tit lack of sustaining ye, tis primarily an instrument for delineating atacks, To sustain a sound ‘rould require a roll that would have exch stroke clealy divernible Temple blocs, sometimes elled Chine temple blo, are actualy of Korean origin. They are more hollow sounding than wood blocks and tend 1 fing esta {ueson longer. Temple blocks ae often used in music of pseudo-orienal cha. sccer and for tha reason usually come in sexs of ve difeent sizes, The fve sacs sgproximatea pentatonic sale, eventhough the temple blocks do not themaches pee any clea, singabl pitches. They ae played with eubber or yarn small Rolle aus moderately effective, duc tothe sigh longer ring ofthese instruments Giaverare swe cylinders of wood about sx inches (150 mm) long and one inch (25 mm) in diameter. One cylinder is held loosely in the player's hand and struck with the other cylinder. The sound isa very hollow; brite dick. bright and well focused. (The caves make excelent sopranino wood blocks.) They are said to be intended to represent the ound of ran drops. CCarranet are dat, pally hollow pieces of hard wood or plastic mounted in par to click together. The cstanets used in bands and orchestras usually have handles anached to them or are mounted on a base or fame. The handhelé fastruments ars oft sipped agalns the performer's knce. Ihe trame-mounted (oe mechanical) casanets are struck with the performer's hands, Besides the obvi ‘us Spanish favor they provide, cseanete may alto add a bright snapping cack: ing to any texture, Expenenced performers of Flamenco emusic can play them by holding a pair in one hand and controling the esstanes with tne fngers ‘The wooden agere bells are a pair of elindrcally shaped wooden beis stacked to a handle. These are played by sttking them with a small wooden stick. The surfice is grooved lke a guro and thus the bells ean also be scraped Being of wood they provide a much die sound than their metal counterparts Guiro is « Latin Amesican instrament made ftom a holow gourd. Ie hat slit leagdhways and has been serrated crosswaye, tis eeraped back and foreh With a dhree-pronged metal fork or a wooden stick (guiro seraper) procucing a ‘lanisings ratchet sound, In adction to atmosphere uses, the guiro can pro" ‘ide an edge of excitement to 2 glssando or rapid scale passage, Moders ver + sions are sometimes made of plastics. One can also currently fad guircr made ‘of metal that look like hollow pipes but with serrations that llow for seaping Yet another metal syle guiro, sometimes calle torpedes, i filly enclosed and ‘contains small pellets so that it can be bots scraped and shaken. The sound of ‘hese metal guitos is significantly more aggressive than the sound ofthe adh ‘onal guiros made fom gourds, - Maracas arc hollow gourds that have been loaded with steel shot or seeds and to which handles are attached. The normal performance technigue isto shake che maracas in a steady rhythm. Other let characteris uses would be ‘extended rolls or guick,stacato shakes to accent or highlight an effcct. Like the guiro and maracas, the eabmss is « Lata American instrument Ie isa large, heavy gourd with a handle atached, The outer surface ofthe gourd 's rough and the gourd is covered with a loose netting of ceramic beses The performer holds the instrument inthe palm of one hand, pleventing the bead. ed netting fom moving, and rotates the gourd with the other hand. The sound is rather loud, shufling-like rate ‘The jawbone of an ass literally what che name says. I is not wood, but has the Sound of a wooden instrument. When the jawbone is stuck by the aAe 220 hed fhe hand he eth, which az lot n the jam cle The sound oft Jawbone, of quijada, is a mixture of a rattlesnake rattle an a large rut band paving Ben ck The only source forthe ee ee Segoe sec net yar, For hs reason + sees meses vibra sep, has been produced from a heavy steel rod, bent into che shape ofa Wiel eh. One nd ha none al out We se neat Nil he te nd hss ama apred wooden bos ene eased ile it & _ horas rivets that are fice to bounce up and down, ‘The vibe da is yd by oldng on oe “pol gna dO of the hand with the wooden ball, pro be imiaton ofan fe nd With te woden al rig an erp ae Ba Si drone wooden drums. Me at re rectnguar wooden bons com ig ncn wih en ed heat ar fe ato malts and sick. The sound! toy mee, is icespecally easy to builds drum chat wt ; um that will produce a unless one's own situation offers other posites slit deums as indefnite-ptched instrument, A tradiional Jasaiee instrument, the kokirto ig mad sew ion n tthe kokirit i made of wooden slats ‘al ed oe ans 08 86h cad. Moning the hen cas ne Suck lea et cater gether sequently producing svcrerapats ne Indefinite Pitched Metals een ao hata Ses hte eho Be acne erg cae etaians ode nands Sone eens se ously from 0 to 3 inches (0 t0 80 ) i eu (0 0 80 mm) apart. The uemolo eq ee SUPE geht otal together and then quate aT ‘overland avay fom de audience, crnangs Dopp shee The Doppler ecg named fr Chien Soaaes Se wren nig oft pce a eae 24 ce "FProaches, and the apparent lowering of the. Pitch as the sounding. objec ceeds Ras — tase t swhrasin sffcively, the tremolo requires a very quiet texture afer fry loud eri ‘he cymbals or the effec, whichis subte, wil not be audible 1a cymbal is hung fom 3 fame of rack, ie becomes a swpeded crn sugended cymbas ace played with snare drum, yam males, wis bres, tangle beaters, or any other malls capable of producing a sound. The raised cenict of @ cymbal, known as the dome or crow, i offen struck instead of the risa pate surfice. The sound achieved by asking the crown is bright and bell Ike. The edige may also be struck, giving slightly dazker effect. The ernbal my be bowed on the edge or sraped with acrcular mation wing a wingie beast or other object. Another effec: is to serape the surfice ofthe eymbal, fom the ‘gown to the edge or vice versa, witha angle beater, coin, or ocher items. ‘A nisole ommbals a suspended cymbal that has been caused t0 “Sze” or fat- te, There are three ways the sizale cymbal effect may be achieved. In one method, the cymbal is specially constructed with holes eeiled through it and sivets loose. fistened into chese holes. In second method, a pair of metal arms, hinged in the ride are loosely pivoted atthe hinge above the dome of the cymbal. Ex arm is allowed to touch lightly the surfce of the cuba. When the eybal i stueh the ends of the arms bounce on the cymbals surfice creating a size ‘The chid method of producing a sitzle invelwee hanging » lighossigh: chain, such a6 a pull chain for an electric light, over the cymbal. The chains secured ro the center ofthe crowa of the eymbal and lies across the eyiniol= surface and over the edge. Peeformance techniques are the same ap those Zo the suspended cymbals, However, the rate effect eauies the decay t0 remain sudible fora longer Prod of ime. Insound quality the sizzle cymbal is the suspended cymbal asthe sare drum isco the tomtom, ‘The hich combal area pls of cymbals about 12:0 16 inches (300 to 400) rm) in diameter mounted on a special stand, One qymbal is mounted crown down while the other cymbal is mounted above it, erown up. A mechan in ‘the stand is connected toa foot pedal operated by the performer, Depress the pedal brings the two eymbalsighely cogether,relesing the pedal allows Une fo cymbals to separate. Hichateymbale are regularly found ssa part of the jazz drum set, They are usually played with snare-drum sticks ot wire brushes. ‘The written notation for chese instruments includes signs indicating the open ing and closing of the cymbals. When the cymbals are to be closed (petal sein te performances Among th ble more commonly st fee Ce Ina cephant bls nner ely nd ven ge le niged fom eee, or sip. Unies the composes knows what ble arc arabe to Se pero maybe impr to do moe than dese te quay oes ed ‘lave phe (igh ote) sed, One maak rs st or noe ished goalie arangedin some ser ores but i feguendy Sore feo allow he prarmer hee the Sind rin the seccon aod eal or th bel. Thun hough see bell ny produce peli aches amen te ngtat pene omen the mar paceed commentato ‘The moder bil we a vera ack of about 28 bale, Cos ot hich shaped pproximatay ike an orange aan cach of wich ghey see en sc on Below i (Thy lok lie the “bellman” bale omnes ee oe font det of hot) These ae al stached tos mee rod whch ee fount to aheany md bse The cle ae layed by Sesan fn descending mocon wings brat malt snus ebting cs econ ea cal gesture, Bell ees produce «bight, ike ple uc fs ghd hag rts, A andl venons otmanaeate “he smal gong lke bel ar mba tetcen 6 and 8 inches (15 an 20cm) indameter that produces bight meaic sound wit det ne ok flog ey. They ad vary the ous gong, aba ae od nae pales t i compo ‘Sigel se js tat, ached a handle and shaken by the prone Tse ate amp of pelt bel. An cnt eagle ofc on oeacie ees tear athe began of Slshlers Fours Seaton “he bel lei aheary tesa of OF aie (5mm) to ofan inch 20 mum) in thicoes and hating» sure trea of fons 26 300 seca inches (250 t 2,000 aque em). The bell plats surpended ys rote tong and maybe such by a ray of males especialy bso acre Je ory tel hanes. The wound a very meat cenk, wk Sec coset when ages pats a aed Depending on he scaalconent Salt be at mayo ee. ae pe oe pices ural pate . The names lol gong: ox eup bl ae applied toa vey of resonant, ‘eighty toned seal es hat one may sake with ay fe abt aes ‘yarn, or brass mallets. Again, chese exist in many ‘shapes and sizes, and though ‘hey may pots a specse pc, the selection salle nestle ce ‘The ro iss Lain American nsrument. isa tbe, led on to ends ‘th sel shot nid, hat the pecfrmer shakes n't mas coer oe cas. Although wwually made of met, sone verdant fe ee Seen made Sf mood26 ‘The omba! mgr or metal castnets are 4 pair of very small mals attached toa curved handle that esembles pai of sugu tongs By sqicezng the tongs together quickly and then iramediately releasing he pressure ov ee tongs, 2 very high pitched metallic clink is produced rate drums are just that—automobie brake drums. They are whatever Pitch they happen to be, but percussionists often go tothe Couble of locating 3 vatiyy of pitches. The tone quality i tha ofa dark bell (They sound me unlike the bells once used on steam locomatives.) Since the avalbty feck is subject to the whim of circumstances iis usually praca to specif rela tive pitches, ain the case of bells and sit drums, Mallets used ar plastic, ab bee, Sinpan, yarn, and bras, among other thing. Various sites of irom pipe produce various pitched clanks and clangs, Pipes say be struck with any of a number of hard mallets, hammers, of beaters st fone may choose to seke two pipes together, Again, ic i usualy practcs to ‘weat these as possessing only relative pitches, (Chains may be used sider to obtain the tera ate of chains or as gener- ic metalic sounds. One may crop a chain onto a wooden or metal susice o¢ say alternately lift che chain with one hand and lower it with the oten Consandy moving and seraping a chain over a surface is effective and ean pros luce the-equivalene to 2 chain rll, IndefinitePitched Stins ‘The snare drum and the methods of playing it are the bases for much modern percussion technique, The snare drum is ewo-headed, with snares on one sce 1 is usually held on a stand and played with two hard wooden sticks, The piccolo snare is a smaller version of the snare drum—not vo muck analog siameter, but less deep, Snare drums are made in a variety of depths, om he Piccolo, which is only about 3 to 4 inches (8-10 em) deep, and the orchestn snare which is about 6 to 7 inches (15-18 ern) deep, to che fied of miisnry <érum, which is ftom 18 to 36 inches (45-90 em) decp “ ‘The snares used on all ofthese drums are sicher gut or wire wound (both 'ppes being found) and aze from one of two t0 a dozen or more in ausaber ‘he soares stretch acots the bostom of the instrament and impart + Busing rattle t0 every stoke, (One may specify gut or wie snares in's sore irene wishes, All modern drums with snares have mechaninms for loping she stares and thereby eliminating their effect, The comret direction for teeing the snares is mare of The instructions foe tightening and therefore sang te nares is mares on. One oF the other of these instructions shouldbe placed ve ‘very entrance in a snare deum pare since performers regula take the saree off when the drum is not being played co avoid annoying tvazes eneend he sympathese vibrations. [The toner drums a miitary of feld drum with no enares, Te may bea sep ‘wate snareess instrument, ora snared drum with the eaves switched off One may cl for med drum, which involves having 4 cloth onthe head of the drum t0 deaden the sound (French ward eno, not aves onrdine; German: bedects not mit Dampfer, alan: sopero ce ov © eeprire not co srding; Spanish: exbicrs, not con rina), Bocweria coee, tenguages the istructon 9 mas is so similar to the instruction te mts onc Imay find percussion parts where the composer has unintentional ard fe, Inserumenttios FHGURE 56. Percussion instruments: courterlehwie frm lower ih) pair of bones, three ste! eums toes sa, cole aa. and gute pan), funder sheet conga runs, fu" tomtems: (en tay, elachvise from lower left) sandpaper acs, pal of elves. ai maracas, vibra slap, joe of an as, gui, cabasa (Prete by Dai Hruby reedy called fory*muted” drums. The instruction mieant neither to remove All of the above drums are regularly played with wire, brushes and sime+ times yarn mallets in addition co the vaciour pes of snare dramstics. The tone ofthese drums, lower for te bigger drums is ight and ratty With snares of, they sound much like tom-toms and at times are substituted foe tom-tomt26 “The foge dame ae males, ngleheded deus wih sides ha erin a: the bottom nd tht ual come in ps coming of ceums of to sacs, (sii played onl bythe peters han, he bongos have the covered tit chance of hand drums The ones ght wns "pop" on the sek tnd sap dey. Bongos ar el payed by Bend, bat een more fen ae ‘ck wih sal an mala or igheeight sa, Tonos ee Saihe sided drums that inthe pst have been made wth evo eas and exposed is. Curent, many pecutonis e howing a peence ferangle beaded toms, ich produces sghy more esoast oe, Tom ter ate made ins vary of es ate payed wth nue cea, jrh oe robber ley, rhen an sn ses herons bee and phy at 2 dale hen inte sme age tun deans oftongo cru, Some eheaded tom-toms ae Sted with carved telecom, shaped Uke sal ere fx band shel, ached the booms of teams sndinenced omeph an fees the one. Thee Secor so add cacao te une “The ph ofthe sali ie lower than the bongs ana de higher than the tomtoms. Theses se sighed wih espored si The bosons say be open, cy eure under, someuhat ie enpan,ba wih ge hole Gxt ou of dh exo the bosom. The tne i moe ronan ha the Sones tot lice more than taro etm cones can perormace se fer dte sng headed drums lvcved the ping oft eady tun on the tcl sel (withthe Sgt hand) we the et hand pers sens On the head. Lighoelght ic, sro sare stl, used om the ee Gang rms re ngleheae tomo» balay boy £8 t 30 inces (25-78 em) ll The sound ir vary eronan a hollow, wht et del of “boilinn” tothe tone The drut se played with he hand Bree ‘Bough eee ze (guint cng, rte smaeedr, ego esd Sameres ef, 1% and 1 inches Gb, Sand 2 om), eget es pera way ny iy ne er ning ay ig fing he crum a ow pois on the bead and wih venous poreons the and. To tae ung tnd dri, the cong am, ke he Dorgan bas, has covered ns. Comple,tepetiivecyehmacSgurer wh slot of Bich rd aceant infecons sr pil of conga cru pla Basa dram: are wooden tel deme wth 1 motiged hourglass dae: wider on he bom hn on the op. They come i ese em lo lrge—eeell ill and jaan ae lye by hod. One fen spl Gil of cyto the larger (owes) head of the der, desdenlng snd een the pitch. These drums oft intresting coma to he compe iron, "The ins drum she lowes itched drum found in Westen mt Tis svoheaed rum wih Yr at bund. Area hme ep ees {>be even loner thane forsaom panges. (Okemo os tan is ft rater than heard) Lie most percusionintwumens, fe poste & tremendous dynamic ange. The bas drm ssl played wih hes le covered bese For ol, a pa ofl, lecovred male, lage hn Ge atl sis, ae commonly employed. Modem usage ea or bss drs tobe suipended Zom a ciclr fe to thatthe drum my be pousoned ‘eral oy 0 ete roll hodaontaly Bas dra ae ace ae ok tes om about 20 inches (50 es) 0a fet alma 2 mete) in dames raesmeain f ‘Peco “The tamdowrineis an old instroment. cies hoop of wood over which askin head has been sretched. The sides ofthe hoop havea serie of sts cut into them snd in each slit here are to meta jingles (or jangles) mounted so that they may shake against one anothec. Tere are three typical ways of performing the instr pent: one method conset of beating out ehjthms onthe head with one's hand, socks, oF s combination of one's and and knee. A sccond method isto shake the instrument. The third methed is called 2 thumb roll and is produced by rubbing one's thum along the edge ofthe head, agaist the “grain.” “The shake, of snake roll, is notated like any percussion roll bc with the snsteucion tke, The thumb roll, which isa very delicate effece and aways of ‘hort duration, is notated as 3 roll with the insteuedion tum roll ‘One somedmes Ends 2 headless esmbourine, which can produce 10 sounds: a shythmicjingling or the shake roll. This form, although not a new inscument, is now more Gequently associated with pardcula sles of rock or ops bands. But itis also at times selected in place ofthe standard tambourine { fclitate more delieste execution of thumb rolls. Somesimesjast the jingles se mouated on straight sticks to be held in each hand and shaken. The wse of ‘vo instruments in evo hands can increae the speed and the complexity of the thyehms that canbe shaken. : Ne frame dram or comboune wihout jingles, i skin head mounted ona fame with no resonator. It is usually played with the hand or a soft-tipped fick. Stroked genty, it produces a delicate, snarcless drum effec. Stuck more vigorously, che head produces a brite rating, but of soft volume. ie ‘A Noth Alcan drum with a tremendous varery of sounds available, che ‘iombe iss hand dram shaped somewhat ike an elongated timpano with a3 tached resonating column extending downward from the center of te bot- tom and tapering slightly ourvard. The diameter of the head can be any see berveen about 10 and 15 inehes (24 and 36 em) while the height varies benween 20 to 30 inches (48 t9 72 em). ‘The Tamora is a compact, eworheaded drum often used in Merengue music (Eom the Dominican Republic). Ic has a slighty less holow sound than + bongo drum and can be played by hand or with various malles or sticks. "The Chinee tomtom sas the forerunner of the modern tomtom. I i made in a variety of sizes. The body is about one haf s thick asthe diameter of the head, which is atached to the body by round:-headed racks, The insru- iment is played with a soft cubber or yarn mallet, usually in single wrokes, and itis similar in tone to a bongo drum but with greater decay time. ‘The tabla a pair of Indian drums, condiscof the lower pitched kaya, and the tabla—fom which the pair gets its name. The haya (or Bamya) looks ‘much ke 4 small timpsno with 4 shell of metal. The higherpitched tabla ie ‘cone shaped with a shell of wood. The tension of the single heads of these drums is agjuable, due to various strape of leather and attached wooden rods. Subtle and complex pitch modifications are produced inperformance by pres sure on the head exerted by the hel ofthe performer's hand. "A special feature of these instruments i a izcular black spt located onthe head of the drums. This spot of a hardened past, the formulation and appli- cation of which dates to ancient sual, is responsible for the unique timbre and tuning ofthese drums. Western percussionists are seldom equipped to produce nyae the pitch intricacies characteristic of indigenous Indian music where the tabla sxe melodic instruments. Therefore, one usually must teat the tabla 3 ned nitepitched instruments. The tabla are hand drums, Talking drums come in many sizes bu they are all ymmetrical hourglass shaped drums with lether cords taudy connecting the two heads. The per former places a drum under the arm and plays ene head with the hands. Wale doing o the player squeezes and releases pressure on the cords with the arm and elbow chus changing the pitch and producing the characteristic “ealking” sound, The smales of these drums is about 6 inches (15 cm) in diameter and about a foot (30 em) tal, Larger versions are also made “The fion’s rar isa fiction drum. Ie is made like a single-headed drurn on 4 stsightsided shell. To the middle of the head is azached a gut suing about 4410 6 feet (1.2 to 1.8 meters) long, The drum portion is Eemly mounted and the pecformer, with rosined fingers ora cosined cloth, grips the sing near the hhead, Holding the sting tightly, yet letting it lip through the fingers, the per former slides a hand down the sring, The lowptched grunt tht is produced docs resemble the roar ofa lion. Various sizee of the instrument est, often with names that refecr the highness or lownest of the grow produced ‘From the Brazilian samba taadtion, a ewie isa friction drum with a head stor @ inches in diameter (23 ema) ands ohell about a eve (30 est) Ueep A wooden sick s firmly attached to the underside of the ania skin hese and is ‘winted and pulled by the wer fingers of the performer, who with the other band, varies the pressure on the crum head. The instrament produces a wide range of moans, shrieks, grunts, and sighs, Oster Indefinie-Pitched Sound Sources ‘The whip or sapstict i ewo boards attached with hinge. The performer opens ‘he boards and brings them together rapidly, making a sound thats much like 4 buggy whip. Besides imitaing a whip i is offen used to provide accents Repeated notes need to be well spaced to allow for prepacstion (opening) oF the boards ‘The ratchet is four sips of hardwood, clamped at one end and with the ‘other end pressed against a wooden or plarticgeat, The gear has a crank that's turned by the performer producing 2 clattering rate. Bynamica may be com. tolled by the performer grasping the instrument in such a way tht the lek hand's fingers can limit the travel ofthe wood stps, thus softcalng the other= ‘wise loud sound. ‘The police while (sometimes called a referee's whistle), the bird whit, and the duck call are all what the names deseribe, They are blown by the per former to create an often humorous effect. ‘The mouth sirent are very high-pitched, breath-activated instruments, hile che (hand-cranked) sirens lke the acoustical sirens heard on fie engines in the 1930s through ene 1950s, _Ause nomcase usually the ubber bulb-operated :ypes associated with eel ‘automobiles, These are heard, for example, in George Geeshvin's American in Paris Sometimes special groupings of electrically operated horns ae created for special effec. ‘The klaxon horn is named for the Klaxon Automobile Horn Company. 1¢ §s mechanical hora that was used on automobiles in the 19202 and 1980e. A Insrumeataion spe Prion FHOURE 527. Percussion insurers: (re, fet to Hah) szle cymbal, tee suspended yb, nies) marimba; ant, to ih oof tinbales, oat deo or, sitst cymbal, twosneaes tomtom (taches to base cum), scl forthe eet drummer set bas rum wit ect petal, argetho-eades tomtom (Phote by Davi Hruby ~ netal plunger is rapidly depressed, easing the horn to produce its characters+ Ee sound “AtvOOrgu Unioranstey te term hus ao been wed to mean say mechanical and (ae) elerial horn. Therefore itis ofen necessary t2 feugy the musical context before one can determine what sort of born i intended by the name Kan, a “The bal raver or shunderics thin piece of wood atached tothe end of 4 cord hat shied abou the head ofthe pecformes Ie given «fate, ‘spying, whiling sound tat ais with the sped of roxadon,Yradional peo ales ofen uid tis pstrument in various mya eremomee ‘Aden plas re of fom 2 eo 6 fee (60cm 1.8 m) in length, ce rea us looks mach ike the Bele hose found on vac rweeper. i oiled around over the performer's head herby forcing als tough he ‘ube, Depending on a engh,dameter, and speed of otatog, ges of ar ‘ou howngs and rosngs. [twas oigial inven ass chlden's toy bu 1s found some use in contemperaty compositions Sadpaper Bok ae wo Boks of wood covered with sandpaper oF emery230 paper on one side and with handles attached to the other, The performer holds ‘one Block in each hand and rubs the cwo together. The sound is tha: of a tof his and is usualy of short duration. Rol sre posible, bus tend to be Ile used ‘The sound of sandpaper block is strongly acociated with "of shoe" dancing ‘The devine is sn instrument of African ergin that is shaped like «hunt ing bow with a metal suing. Antached tothe bow is hollow gourd resonator that can be repositioned to affect te sound and a baskerlike shaker. The stel scring is struck with a wooden stick held in one hand while the performer (grup the string and bow withthe other hand. The manne’ in which the sting fs touched by the fingers of the hand holding it and the positon ofthe rex fonating gourd relative & the pecformer’s body determine the actual sounds produced, It is somedimes called the musical bow. Stones, musical ronch prayer stone and te lik, are vasious names used for actual stones that produce very resonant clacks when struck together, o when struck with a hard male, beater, or sick Alchough not common in tis coun fey, an loteresting asoriment of stone instruments has been produced. Included among these is « xylophone-type instrument, the lophone, made of stone disks, The instrumeat is rre Wind chimer are suspended ffom a rack or frame and are performed by being shaken or brushed in some way. The sound i a random clarering the specie quality of which depends upon che material fom which the wind chimes are made. Typical materials used for wind chimes are wood, Samboo, Plast, shell, gla, steel, aluminum, or brass. Once set into motion, wind chimes are dificult to stop; cus, one needs to allow sufficient time for the sound to ese. Rainaichs are cubes between 18 and 72 inches (48 em and 1.8 m) ia Jengeh filled with steel material chat cascades down an internal labyrinth peo ducing a long lasting shakerite sound that strongly cesembles falling rai. The inwensiy of the runfill effect is controled by the angle at which the sick s ‘Spped. The tube may be constructed of hard plastic, giving a louder soun2 of ‘of bamboo with small stones forthe Sl, giving a soher sound. ‘The thunder sheer is luge sheet, about 4 feet by 8 feet (1.2 by 24 meter), of galvanized iron or luminum, approximately va of an inch (2.8 im) thick. It is best suspended ftom = fame so that one person eat shake it The sound isthe stereotyped thunder effect of moderate loudness. The dynamics ‘an be varied somewhat by the intensity ofthe shake it is given. Larger sheet, though more representational of thunder, ae rare, The sound of thunder ‘would seem ro be reproducible through electronic means, nd indeed iis. The ‘main problem is in obtaining speakers of sufcent size and power capacity to reproduce authentically such low, ivegula, and powerfl signals? ‘The mind machine i 2 large amount of canvas laid loosely over a set of ‘wooden rods that are azranged roughly in che form of a eylinder and ttached in ite of the convenience and eetienes of electoni ar sampled subsitvions for some of thse fet for many the visual impact attocned with the te of thunder sheet ora wind machine # werth the concomitant impefeon and compromises involed, a | re Prcusion toscrank enabling a performer to turn the rods” When the rods are turned past the doth 2 whiring, windlice sound is produced. As the crank is turned fster, tbe pitch salser and the volume incesss. Ie can successfully be replaced by an tlearonie synthesizes or recordings ‘The piel boris jase tha, produced with blank cartridges. To eeate more ofa cannon effect, the pistol—or bester yet a shotgun—may be fired into a [nrge metal (garbage) can. Again, this is an effect that can be produced elec- ‘eonicily to some advantage: more precise timing and no gunpowder smoke, TFrom around the world and out of various workshops and basements, snaay diferent types of shakers have been found and erested, Some Afican faskee-ype shakers with names lke ganas and eaxisd exist, 6 do maay more rameless, but nonetheless interesting, shakers made of all sorts of resonant fraterils and in many diferent shapes ‘There are in adetion, other kinds of instruments invented or developed by nists and composers and called for in vacious pices. One ofthese isthe Brest bamemer cle for by Mahler inhi Ssth Symphony and in ever works by the contemporary composer Christopher Rowe. The version used by the Philadelphia Orchestra is lage, resonant box 36" by 36° by 18" (91 cm by 91 «em by 46 cm) constructed of tworby-fours and 4 inch plywood. It has ene open feed and is struck with ahem. wooden mallet. A ise cat included these spel instruments Would be out of dst a son asi wae compiled. Many of these «pe Gil instruments ae made out of items suchas coee cans, aluminum fol, blocks ‘of wood, tel rods, and otter sound producing objets and mated, Z ’ ‘The Drum Set in jaza, shows country and western, and rack music, one encounters the deus set rap set, Or eum kt. The drum set is noching but a vaiery of pereussion instruments, arranged so that one performer, using both hands and both feet, ‘an provide s wide asorement of percussive effects, The exact instruments 12 be found in a drum set wil vary with the requirements ofthe musical syle and the este ofthe performer, but these are generally the basis 1 A pedal operated bass drum 2. High-hat eymbals "Pinca peccnion Mis! Boksan decsibs the Piadelpia Orchant wind racine atin aero made Roms canked sic rine wis age be a Which owed sven diferent wind whe” * Ofen speci peromance eiemens crete ned fer pcihpprsths. Ose ‘en rering Poca Toe Richard ot wasted fo obtin te und oft iw Caan tll No up ele but twas sound tae Bc ad hearin nd snd that Mo hoped to obra The eer vs acne by scocng wits tpl al ofthe eure tl sod igs Vley Forge con Toe low B ts ben cee trumped cow othe dered an enbonoed vag dig eitay Dura te pe femsace the tl were conto by an econ hoor sn eunded soap a ‘er ge, ontop ound ner On sion co he bel ay ognd and dat ‘mon shou wer dpsed and conelled yon chewenic aboard] Tho esoring Sho eal for fore bale ies oge aa232 Insumentaiog FPGURE 8 Percussion instruments: bac, left ght no ten pipes, automabil (ele) ‘ring, Cine cymbal, Chinese trom; (idle, to right) chain, aba (Dhaacat ‘abla on rien ve gsuata bls, a Swiss bel oregeund, lf fo rah tbo, stones, hese tamboutin, rae crm, and to bow! gongs (Phe oy David Heat) 3. A-snare deum 4 High, medium, and low tom-toms 5. Small, medium, snd large suspended cymbals The following are often added tothe et: wood block, sizzle cymbal, cow bel, more tom-toms, additional suspended cymbals, second bass dram, tien sl agogo bell, and various sound effet, ‘The crmbuls used in a drum set have special narnes, The largest i usally ‘The Blecuronie Piano and Electronic Keyboard as ‘There are basically ewo broad classes of instruments tha alinto this category: clectronic pianos and electronic keyboards, Electron pianos are primary ended to replicate or o subsiute forthe traditional grand or upright piano ‘The latter category includes various electronically bared sound devices atache asi 46 to sandard plano-npe keyboards and includes a wide vaieny of instruments ranging from electronic toys to sophisticated synthesizers and samplers. Phere sce many similarities berween chese two man estegoris ef instruments 4 well 2 significant differences, Elecovenie Pianer AMILIFIED METAL Baas ‘har ae a lea tres ype of tonic panos: on der pe es sal eal tu ate ark whens ey dpeed. Toe mate perce found of the bas being seus andthe saping apelin roscoe txoaph «speaker awe proving the fal Scout! outpn TRe of plano aly has ped ato tne dee ponds cone ot das Sing eps of te istement hus ming te te oth ewes fino damper peal Beco th clectrons anglican othe anak oe totume andthe ps nation of te sound fly ceseden of fe on ofthe key andthe peermer Exzcvnowicatty GmvensrED SOUNDS Tn a second ne of eet plno, svn re geen by aon lator and ler cts that re dea o mini the sound ofan house wae rent In this design cepresing 3 key tune on an secon outer, hoe cack characters sre contoled by the speeds wha the hep depo. Onc the tne begins wo sound, ai Betas to dese, alos fh steed by the ute of peda Sines the tone of ts pe ef clecaoe pana consol eletonc means is posible to motif and atx ty compenen of wane, “The ably of dee isrment to inate the sound of scouts Fare vases yom ban band adttom modo mode Se una) ‘lecroni," comple with him and eine noir in tae keying sean, This soften exacerbates by an overanplscadon of the signal whanedton broadest hrough a ange spster Other versions are cecncy seas ee onic and even contan ster speaker vate sone cusps Sete wed to diferent speakers to corespond with the changing loscons of te bes ing wings ofa acute nsrument Te Sst of tho infeumats so foe thre peal that funeon in eae the same way ao the peas ons geod pin, Mont oft isan or te peromer sche of mot tan oe fone quay. Among the key options sre vancs purely pane gens concert and peg, honkyronk some cel eter pone sounds ecg ‘only identified as “Electronic Fiano 1” and “Electronic Piao 2” but often eas 1 seogied eng ne of ic bands sah he Rode or er instrumenay and othe soto pssisy nl chord ‘ener Posy including bampchord, organ, ‘These innrumengs ac ual provided with kybouds of 6 key eavesng this ange but instruments with only 49 . ments with only 49 keys (duplicating only ‘he lower four octaves ofthe 61 note keyboard) ae also previeat. Better instr. sats wil have 76 key, coving this range =e, ora Fall 88 keys Inenieg er names “The newer versions ofthese instruments are almostall proved with MIDI capabilites bat some ae not and one is often surprised to fnd that an instr Sere will only pomess a MIDI In and and MIDI Out. These instruments are kan provided with control over the amount of reverberation perceived in the sound a8 well as some other effects, sons Sours “Te dhitd pe of elecwoni iano, the distal pana i bed on sting secaeogy Tn ts suman: the sounds ae all pte copes (very else we sounds noted onan uo compa: i of aril aout lao sounds ak he sete of sanping cisrendy salable, ce best of dese inane Mee Sasi tke thee pomopes These aru may ofr aeaaire ie jal lke chow found ine prey eee narument eseribed above. Ee Sonn, sccomng tote cont ane brand they mayor may act posses thse satis Ena vophiodeed speaker tem, MIDI capabilities fund in Sete nswurnents and thy ar a kly to have ether 76 of 88 ke}. These Sovcan often contol the sont of everberaon tat neers. ‘A eectronc paoe specs ofthe mea wed to generat the sounds, sunt be touch enna’ Tie, «hoe beyrnke me proses & louder REEL Sletecd sound anes sof sroke mst produce safer ls accented Z2er Without hese dyn taper, the inrament ay bean nerve, ‘Gund deve, su «mene, buts ino aa pana. la instruments ‘ac are MIDI based, the ably t0 respond «0 varying amounts of touch is” ‘Hentiied by saying thse the Keyboard is veleciy sensitive.) Blecomic Keyboards Sraernsizaas “The purely electronic piano and the digital plano are merely special mod: cls of syathesizers that are specially designed to behave more lke seancard pianos than like synthesizer. Tn a synthesizer, more variation in tonal qualies Ee provided and the performer i given the ability to modify more aspects of| these sounds than is woually the case with pianos. However, there cin be 2 “crossover” in there clascations in that some ostensibly electronic pianos have more synthesizing capabilites than others and some synthesizers have lim ited sound modification capabilites. {In general, the synthesizer wil include a greater variecy of sounds includ ing wind, brat, percussion sounds, sound effects and the ability to modify the sounds through the adction of vbrato and chorus effects, through the bend- jing ofthe pitch and through changing the basic oscillator andor filter circuits that generate the primary sounds themselves. Very often the ability to achieve maximum control ver the programming of these synthesizers requires that they be incorporated in a computer system. Frequenty the eynthesizer wil also come equipped with a builtin drym machine. This i a specialized synthesizer that is expecially effective in produc ing the vaziew of wood, metal, and skin-based sounds eypici of the pereussion inseruments, The centri focus of 3 drum machine is the imitation ofthe drum set (see chapter 5, p. 231), which oa a synthesizer is usually called the drum28 it Notonly does the dum machin imitate the sounds ofthe drum seit ko cao be easly programmed to play standard or specaly compote, roped, dance rhychms. Bererryrters allow the user to imermingle there patton tng longer, and toa degree, varying chythmic figures. Again, computes contal ony increase the sophistication of this activin. All profesional qualiy sreherionn sre MIDI eapable, Sart Everything said about synthesizers can also be sd about samplers but the samples have an important, additional capably: they can capture digied copy ofan audio event. Depending on the sophisucaion ofthe design andte speed and amount of computer memory asocisted with the sinpice the scsults can vary ffom mildly entertaining to amazingly accurate sound epee, con, In sampler, mos or all ofthe basic sounds that are avalsble for pn, {ies come ffom the capturing of audio data in digital form, Once tae done and saved, all ofthe changing and shaping powers thet are available nt elon [oni signl-based synthester are avaliable fo manipulate the rampled sounds This ean allow replacement of acoustic instruments and events nit digitced copies, often with ite detectable loss of qualiy, ‘With all of die neyadveectects tha cis may imply for musicians, it can be gxeremely beneficial, too. The recording of the nightingale called foe se Oxsocino Respighi’s Pinerof Reme can be replaced with aclean (ic, aosetacn poise, no background rumble, no record scratches, et) sample of he Lets ‘Toy Pianos Sa ee | cer arson Ina classic work fom the 1920s, Henry Cowell's The Banshee represents a fey ealy example of piano interior performance. (uales specified to te con trey, al pitches are written an octave higher than they sound), Some of the sechniques that he specifies, which are indicated with the letters ia cece, ae @ sn upwacd sweep with che Neth ofthe Soger fom the lowes szing to indexed ie : s sweep along the length ofthe string with the Qcsh ofthe fing © a eweep ofthe finger om th lowest A to the highest Br (sed ia this compesiion) and back © pluck the indicated note withthe Mesh of the finger (in the oxave sown) Q sly ro@bariss seep song te ng oft te ingsndced ® like(Bexcepe thatthe back of the Sngerai is used instead ofthe flesh of the Singer sweep the sting lce® but halfway along the string use the Mesh of the next finger, pardy dampening the sound ‘Tempo Rubato ©,© DS P Oren ® EXAMPLE 6.3. Tree systems form The Banshee of Hony/ Con. The periomar stands inthe curve ofthe grand piano while someone ee olds down the came’ padal Alchough one usually expects to find piano music writen on the grand staf it has become common in the twentieth century to store piano muse whenever necesary on three or even four staves. this example kom Samisel ‘Adler's Sonatina, we see both the use of full-hand Clrtere and a switch fom ‘90 staves to eee fo caf the musi and the texture t the performer, EZI . eee 2S. tontinued) "Copy 8 1980 (Renewed) by Wales Quick, Copy Renewed and Asie "© Asocited Masi Publishers, Ine (BMI) in 1989, Used by peamon 2920 BIAMPLE 6.4 continues) Malte de 2 2 [XANPLE 6.4, Fem the lst two mesures on page & 1 the mide of page 5 of A's Sertna* Here ate fl hand clue ard sutaeé aan thckning tess ‘he upper register of the pian. Note tow the use of tre staves peat faites the reacing ofthe workand the understanding afte rests desig, Ti et of clay shoul sins be aught an i alnayeaporecite in scaring. In Shors Ride in a Fast Machine Joho Adams cls for cw0 sycheszers. The ‘example below gives the fist two measures thatthe smthesz's play andthe insta: tions to che performers, which should be insmuctve. Again, the dea Marng ‘with the performers by dhe composer or aange? is erical to success sconng, f 1. Voune be tvs eno yee muse xy eg * Copyright © 1984 by G. Schirmer, ne. (ASCAP). Used by permisicn, = iil (tinued) oer Tce ment ipeminueTheoabessr psc oto [EXAMPLE 65. Shor Rie ina Fast Machines ats, mn. 2 throug 3 ac fot ‘The arpsichords - English French German Htalion Spanis harpsichord clavecia.«=«=Apcordo or Cembalo—_cembslo or laicordio or ‘or Cisicemblo Ccascembslo or caveia| spicordo “The harptchord produces its tone by the action oF quill plucking a sering. The ull is atached fo a jack, which i used when a key it depeescec. The Barpsi- Chord isan old instament that has been reborn in our time. Historical instru ‘ments were gencrally fly simple and lacked many ofthe fearures found on mod ‘ern versions, although most ofthe modern devices do have higtriea prototypes. “The instrament may have one or two keyboards (manfal). Some larger inseruments may gjen have three keyboards or possess pedal caver. Each key- ‘board has one or hore sets of strings that ae acvated by the jack of that key~ board. On most modern instruments the upper manual has ovo sets of strings Copyright 1986 by Hendon Music, Inc, « Booey & Hawkee Company. Used by pemiionase Instrumente, tuned to produce the elton pic (andthe octave above (4 pitch} The lowe mat wl on have the sc of ang tuned ote we pe 2 wel aan oe lover (16pith) One may osanonly oe ‘thet of ngs edo cs oe ton pe The conte of shee es of wtnge led pres rps by ce pede as er hancav ees or knobs The later we mare becreay oe The upper kerboud ton equipped wths dence calcd camer ne ing the timbre of th ings to ha of Ine or gular Ths eens or damp the cigs, lowing the pins tack hance he dll persed By the we ft cones poutine ee mana Gat by playing let on the lowes Lobos te ies Lage oe Sper Keboud se Siulanetusy sees English French Germas Talia Spanich geil bec orplecre Kiel pleco leet or pia jack saueerens Springer or Docke tlterello acl or maztnee register orscop —regitre Regier regiezo regisvo damper or mute éroufoie Darspfer smorzatore ——_apagador coupler sccouplement Kappel sscopplaments — deoplador a EXAMPLE 6.5. (a) most moder harpsichord peat this range (8 storcaly seu harpticherds may hav eter of these angee Tes hupichord ha «very delicate sound with almost no mete of con soling dmc cept forthe se ofepat Coun eee ae, thee elec ar tbe compared toe Spied dyna eee eae ee Imoden nsumes, Wing or the hupeetord rere he biucewhen oh: intrunen we ined (The eee ee ons ofen alate) Example of modera wc ofc eto ee, inte mui of Manel de Fal: Sak Meare eee ‘THE HaRrs ‘The Double-Action Harp English French German Malian Spanish ap ape Harte ap sp Gevtleacion hap hupe double Doppcpedaace pea doppio. bade peda dbl o mouvement ‘rovinento asp con pedal de doble * Foran expasation ofthese pitch symbol seep. 269. "On bist instruments the use of 16" o¢ 2 ranngs was ae, pker Tesora od dotleacon hap i ae No ote incomes pens sashnne panos Tharp foy-avea ing coven te long xk on ry ee, a de age SES tn ext ‘ for playing G, C, ng eh ph ain ae word Ce tinge Ds Ga S78 sited ang spay, Sg ae ton ugh ncn Seing for playing Bs, B, of BE. Since at any one time a sting can, aly bene a pitch (for example Fj), itis impossible to play boa ‘a particular pitch anc e rarped or flatted variant (say an F and an Fj) together. SABE cham fe ec ingts rg scone bya or roe men arp ot rehome sine Ege ean Cpa ny a oes cing pon da nae arta? Tam gh Fa eel core nape ee ao i of Se br where the performer sits, the pedals look le ths ublescion hp fncion Tn order tat the mechan Of the double . Ptepipecedi ar eeceeleedrter err pa ate the chins ses if ls ndones one lend up wide oF, Dy Ea By SX, Nin ese hen ep apices faa psn een pueen ees meno fg deo teins ped Tem Erbsengi reer ctnfn ee pth on pele ete eo paiono endo pe sede las dee shorcr te sein agun, tir ume tng te Pe a oe at on hepa chase off te pk nbc Sie hen he pel event tet “on pov, Temes Chau taeeth Wad inane ato he eon Son poo, tetgck nrsed Gk pont when te pe ot qn a vce hae mechan. Therefore "On mos haps he lower evo sing are not aeted bythe pel seem ne the pci quel por he epg fe Frome ‘Changing he pitch of cher of thee sing daring a performance seldom pacune 6. (eto troubadour har: (ent) couble-acten harp (Phat by David Hruby) the way up in the cop nosch—the scopping mechanism is off When the pedal ‘is moved down to the mile notch and latched in that position, the mecha: nism is moved into the fist “on” postion. Wen the pedal is moved all te way own into the bottom notch and latehed in that position, the mechanism is ‘moved into the second “on” position, pee one wihed to have the harp play a G harmonic minoe scl, she harpist would have to arange the pede ia pater wa to oben he neceed pitches. Thus, the notes ofthe scle (Gy, By G,D, By) would be sane lento the following pel poston: G fist -oa" postion (middle non; ‘Aw Ist “on"poson (middle netsh) Bh « “of poston (top none C= Le ee | ther Fnsrurents \ Neue sing ae Ke ee \isciog oath | ‘ 5 4 FNGURE 84, Theetfet ofthe haps tuning mechanism cn a sting (let) mechanism “ot producing lattes pian center) machanim init “on pein prosuting nto pit ‘ghd mechanism in secand “en” postion producing shaped pitch 1" position (middle notch); D = frst “on” postion (middle notch}s Ee = fF position (top notch); and Ff ~ second “on” postion (bottom notch). ‘Writing out all ofthis information forthe hacpst may seem to be quite an snnoyance, but not telling the harpist in advance how to arrange the pedis could leave the performer totally unpeepared for a pardcular passage and— because the pedals were not et cortectly—unable ta play the passage, What the orchestrator is expected to do is t0 indicate to the harpist how to sot the ped sls and when t0 change the pedals. One way would be simply to lis the ten ings of che stings (settings of che pedal). This is usualy done ia the order in which the pedals appear on the harp from left to right. Thus, for our scale shove, we Would list these settings: D CB ERG A Alsymbolc system that many harpist use (and that anyone writing much {forthe harp should lenen) involves a pictogram of the harp pedals shoving the ‘eal setings required. For our G-minor sale, the pictogram would look like sis HELL Te Each ery verti ine een ped we te light vertical line represents the centerline ofthe harp; pedals to the left ofthis line are on the lef side of the harp and pedals to the right ofthis Line are on the right side ofthe harp. {In the normal playing position, one foot is placed on ether sie of the Jnstrument and the instrument is tipped back co rest on the right shoulder of the player. Changing two pedals, one on each side of the instrument, at the same time, is about as complicated a pedaling as one wishes to call for. While it may seem possible to change ryo pedals on the same side ofthe harp simul- tanzously if che pedals ate side by side, and ifthe direction, che seating notes, and the amount of movement are all the ame, ths sot of pedal setting action is ceally quite difficult and cannot be encouraged,256 Changing two pedals on the sume side at the same time, but involving ped- sie that aze not adjacent or that move in differen ways, would require having the harpist place both feet on the same side of the instrument. This is some times done, but the potential los of balance this could eau che harpist should sake one wish co avoid necessitating such a maneuver Muse for the harp is written on ovo stwves, like piano rausi, with the vpper save usually representing the right hand and the lower the left hand ‘Treble and buss clef ace used and either clef may be placed in either staff Because of the position in which the harp i held, the harpist’ left hand ean reach farther down the haep than the right hand can, Both hands can be ‘employed in che higher range of the instrument, but only the left can be ‘expected to reach the lowest crave ‘The hand technique used in modern harp playing involves the use of the shumb and three fingers on each hand, (The litle finger is not used at all.) ‘Therefore, chords involving four or fewer notes per hand are idiomatic, while cords involving more than four notes require che wie of two hands, In the nor ‘ral playing position, both of the harpst's thumbs are clorer to the performer (and therefore in the higher range) than ae the finges, For this reason, chords in cither hand should avoid large intervals between lower pitches and instead favor large intervals be between higher pitches: this: $38 not chi: HEE. ‘This principle of voicing chords withthe larger interval above the smaller ince vals is true for both hands. Average hands can span an interval ofa tenth from thumb toring finger Pitch Problems ‘The harp presents some pitch problems for the composes. These stem ffom the fact that not all pitch configurations are posible, For example, this chord is aot a plane on he mp: BRIE wie coed i BBE ste ape won igs sceourcng to echt svete a ihe ec dl donee Sy pate egies lrmads each wake te ee teedu te paeme greene bebe ki peta eae ee cats png sof and chougat oe pt ofthe compas fave t gots de hap pure Thess my ae eee iis Eigeing br nc csae"tameee wales Groeten orice ee sng ord ta be ems sent erp epes tyeony imporacesoead Pic ace ‘The plh hance ofthe arp ned ot ay be perv problems Some attherhemsescra mee Grcortaapine faa hereto bie edo scomnon hp eet arse pong ofseoaol nes ‘irs ngs ec ied, armory to ane peck el oe insets wet ante Sngron ech sug, toy ey ee ee oie page ese of ic tnmason Sadie te ee Amat cer produced eof dynamic and i as eel dened teil, is eked haghande of whinge” wee et Sern: Asean: Eighondy Spek: oman Bates Instrumentation (@5.c,b) RGA [HAMPLE 6.7. (aa passe that is unolaabit on the har (b) the seme passage now writ fan tobe playable on the nap smay be achieved with enharmonic tremolos or with tremolos of a minor sec- ond o¢ Larges op (a) entamenie wemalo (0) normal temele played Be ‘The enharmonic tuning of strings is especially valuable to reinforce lower tones that ze often weak, orto bring out important pitches. Whenever poss ble, harpist prefer to obisin rapidly repeated notes by the alternation of two scrings tuned to the same enharmonic pitch. Because replacing « finger on a vibrating tring can often cause an unwanted buzz, rid repetitions round better and cause fewer performance problems for the player iftis possible to alternate stings. The Glisande ‘Among the most recognizable harp effects isthe glssando. This is produced by having the performer srum the strings ofthe harp in a continuous motion wp ox down (or both). One-handed, two-handed, single-note, and multiplesnote lisandos ae all posible. In selecting the pitches for harp glissandor, the composer can have a great deal of freedom, since the tuning of exch pitch-class can be specified. The ‘changing of tunings in the middle of the gissando is also a possiblity, but ‘requires special consideration, Ifone wishes to ave a harp lisando that is har-Ieromeseaion EXAMPLE, (]singl-ote or onesinge glssance Ib) a tree-nctegissaco (e) ore rte glenda in both hands monieally a dominant seventh chord in Bl, one would le to have the follow. ing (and only the following) pitches in the glsando: F, A, C, Es. But at the hnapis’s hand moves over he strings, al seven strings in each octave are going to vibrate: That makes it necessary, therefore, to also select tanings forthe B, D, and G strings. “The B string can be tuned to By (enharmonicaly C) and the D sting can bbe tuned to D4 (enhacmonically B) but the G string is going to have 10 be Gs, G.0r Ge. Probably, of the tvee choices, the G-natural tuning isthe least objec: tionabl, but then the chord actually hesed in the glssando wil bea dominant sinth chord and nota dominant seventh. (Another possibilty would be to une the E suing to Ey, reinforcing the root of the chord and leaving it for the Dy to provide the seventh). Ae much of an improvement 2s the latter suggestion ‘woul sccm to bein almost all situations the difference berweea the two pedal sexing i inaudible ‘fone wishes to summatize the situations in which i is posible to obtain dominant seventh enord without the ninth being present, itcan be done this ‘vay: dominant seventh chord gliseandos ean be produced in any major key that has 2 Key signature of three or more sharps or Bve ce more fats or an enhar monic equivalent of one of these key, In all keys involving two or fewer sharps fr four or fewer fats inthe signature, or their eaharmonie equivalents, the clos fs: approximation toa dominant reventh chord is a dominant ninch * Posible dominantieventh glinandor Dominant ninth lisandes Key of G (or B) Key of F (or Ef) Gor Di) c E(orB) Ai(or Gt) ler) Bi (or rN (er 8) D (or Di) "Tels posible co sence che unwanted ninth, o other pitch, during lisando by har ing the harpist deaden the unvanted ring ruccessively with one hand wile plying the gimanco with the ocher (A note co this effect would be requted for she pare.) I ‘would rarely be required and snot preted in very fist glssindos. Also, whether in {ted or ot, harpist often use two hanson a gstando to increae the loudnes, hus ‘akg itimposble to dampen any ofthe sings. ] _& ster Irene con the other hand, the flly diminished seventh chord presents no problems for harp glissandos. Tis posible coset the pedals of the harp in such a way as fo produce only those pitches that make up any ofthese chords, Harmonies Harmonics are produced on the harp by touching the string at the middle node ‘phil plucking the string with the thumb. Iris a one-hand execution requiring ‘ry caeful posting ofthe hand in order to both pluck the string and ro touch the node, In the right hand, che knuckle of the frst finger touches the ‘pode while in the lft hand the hee! ofthe hand touches the node. Usually, bar fronics sound an octave higher than notated, Since there are examples of har ‘Ronics being written at sounding pitch, a note to che performer explaining the rotation in we is necessary, Harmonies using the thie and higher partials are possible, but there is no standard notation. One would have to explain to the performer what harmonic is desived, and how itis to be produced. (See ao the discussion of string haersonics in chapter 2, pp. 33-35.) Pedal Glissando “The pedal elsand is an especialy ustful way to inflect the pitches in solo susie or melodic playing, especially i & popular or jaz styl. Its executed by prepiting to move a pedal before playing 2 note or chord, bur only moving the pod after he strings) has (have) been placked, The effect will work ither 35 En ascending or descending inflection, bat ch latter is less eubject to the buzz Caused by the pins of the stopping mechanism striking a vibrating sting, Sons Bout When a very dey staccato is desied, che appropriate instruction is ons érowffis for dempen (French: sons évaffes German dammpfen; alan: vlare or eaprrs; Spanish: amortiguar ot apagar). Normally, this involves che eeplacing ofa Gn- sgeron the string immediately fer plucking the string, When the procedure i ‘hot posible, due to the need to move the Bnger to a new position, other &n- [gre or the heel or palm of ether hand may be wsed to damp the sound. A sym: bol that is used for the effect i: @ and by the use ofthis symbol itis possible to indicate the damping of a single note, a part of 2 chord, or whole chor. ‘Normally, when sont étoufferis not specidied, i i assumed that the tone ofthe harp is allowed toring untl it fies away narurally. Should there be some doubt 2s to whether the tone is to ring or be damped, the indication Jnises vibver or ler vibrates used (French laisesvbrer; German: Mlingen lasers Italian: lascier lbvare Spanish-dejar var). The common abbreviation is LV. 2 » 6 ‘ ss as, = ail | Lun nr ic tn ‘ences on the lat eighth roe () ane toutes, lower stings tobe siences on te last ‘ighth while the uppar stings ae allowed to ring = 259260 Quasi Guitare ‘A sound that resembles a guitar or lute is achieved by plucking the strings very low near the soundboard rather than near the middle ofthe string as is usual. “The instruction for this effec can be either qual guitare or prs de la sable (Grench: prs de le table; German: Resonanstsci; Tlian: prese sulle tarola; Spanish cevea ala bla arménica, Special ies Speci exes sometimes cle fori hap wring incade plucking the sings sv he Engel playing glasandos with the napping on te sounding tour or other parts of the instrument, wag # met od tat ade along + sing to achieve a glssndo, weaving paper, clot, or oer absences beaveen te tng t0 change the timbre; sorderue, and the use of picks, combs, bashes and various peeastion mallets and bestrson the singe or other pars ofthe insrument. Sole Writing Solo writing fo the harp is mote efective when i invohiesfall chords anda fury busy texsre. Hester a grest amount of intrest counterpoint fe thes cles no idcmie. Often s single eho, note, or other ealoron ie more ‘ffeciethanf00 many notes woul be "When dealing with tonal nie tat modulates to keys with nore shazps (covard the dominant rs bet to tke advantage of the enharmonic apa ites of tre harp and to wart the hap pare in 2 very Bat Key (or xample father than E) ifthe dection ofthe modulation i foward the subdominant, then set ina sharp a key ai pose (B, not F), Even though itis not ways posible to fllow the foregoing suggestions, one should atleast con: Sider the posses before writing, Isao impersve to indicate the pedal Setting inthe harp pare atthe beginning and fo keep tack of al/changes throughout the plece, ‘The Troubadour Harp ‘The trewtadour harp isa smaller, simpler version of the lage concect harp, Te thas no pedals and its principles of operation are therefore different. The tr0u- tadourharp has 33 sings, 7 per oc, andes anges SEES. The nly chrratcaheatonsponible ae schiced by rising he pitch of she Sting Each ting as lever mound tthe op one lbh de, Wen ‘be ler eed he tigi thotened enough to re «ph «snore Se ech sing at scpane tad independane harping mechan eee tool pve exon te woubadour hp tat dn custom te dose” action hp. Fr sample, he owing chord REE ieee onthe owe badour buts impossible on the double action harp. Since the sharping levers are on the lft sie of the insiument, the per- former must be allowed rests in the leftchand past in order to make any ‘tuning changes. Te is also necessary to make series of changes one after another, unless the strings to be raised are side by side, Thie eakes time and _— er Trae at eqs the left han to be wine for pitch changes at thet pint and not eng peas and posts ar the sme 3s onthe double action sap Phumonc can be played and, of cute, glisindos. Turing requires Sng In ee in fat kyy the performer il eed to ine the Batra gett and Eaatus to fas, and so for, a requied. These can then be ‘eled te aur asthe piece progress, bythe use of the levers, Insructons ‘aa feginning are wed to el the perfoomer of ay levers thes should be pr Me ieSesPar dy Hf and 10” (meaning sharp the Fsin octaves and LV) Se are dened and numbered on both the doubleaction 2nd sobs bee np ke this Double Action Harp a | sau 1 | tome [om eAstDH FORSCOM FUASUDE,HEASGOR POADCON ROSBCDERS Hh III AINEIAINILA Nai FGURE 65. Octave identities and numbering fr te double action harp and the trouba dour hep awe ‘Typical Harp Scorings “The second movement of Franck’s Symphony in D Minor begins with asim: ple statement of the the underlying harmonic structure provided by harp and paaticato stings. Here is the harp part DUAMPLE 6.11, A staightfoward middleropiste harp gat fom France22 Inscumertition In the second movement of the Symphonie Fancasique Berlioz writes « wale that features 2 pair of harps. He does a very good job of cviding up the responsiilies equally berween the to performers. The excerpt begins (60 measures before rehearsal no. 21 and goes tothe downbeat of 22 £ 1 EXAMPLE 6.12. A peominent harp dust rom Symphonie Fentstque ‘This apeggiated harp accompaniment to very legato and surained string ‘writing occurs in the fourth movement of Sibeus's Fist Symphony. eis the first entrance of the hap in the whole composition. Alchough such use ofthe Jharp—that i ater in the piece after along wait—isfequently encountered, it is ceally a challenge for the harpist to tune the instrument and then sit and walt ‘thirty minutes or more to find out fhe or she guessed accurately a to where the orchestra's intonation would be when it was nally the harp's turn to play — Yon 263 EXAMPLE 8.13. A very doceaive harp par by Sida Joan Tower wrote the following harp passage in her orchestral work Sequoia" Notice that before the harpist begins playing the composer has pro- vied the necessary pedal settings. Then, asthe piece progresses, she continues (a. crs pac poco (continued) [EXAMPLE 6.14, An example of thoughtful and workable harp writing by Joon Tower © Copyright © 1987 by Asocste Musle Publisher, ine. (BMI). Used by permissionae Tastrumestaon EXAMPLE 6.14. (Continued) we |S eects} oP 3 a to provide information on the requited pedal changes. As many harpisss request, Tower indicates the pedal change exactly on the beat where the new ‘note is Bret used, This ie a highly desirable practice because i allows the pet= former to Keep tack ofthe pedal changes and not need to wonder if certain setting has been made yet. ‘THE ORGANS ‘The Pipe Organ, Engtiss French German Tialien Spanish organ orgue rset orzo organo ‘The modern pipe orgen consists of berween one and several hundred sets (vane) of pipes, controlled by one or more keyboards. Bach rank of pipes has 4 unique cone quality. Since exch pipe ean only produce one pitch, i igneces ‘ry fora rank to hive atleast one pipe for each key. ‘The keyboards played by the performer's hands are called manuals. The written range of a manual is ‘The keyboard played by the feet ie de pet tar ly ae os gs SS sete gay nana Each manual controls several musical related ranks of sixty-one pipes: Such a grouping of ranks is known as a diriion or an organ. The rank assoc sed with 2 particular division or organ are designed to be complementary t© fone another and are intended to faiitate several musical objectives. On a Hpi “Fora vase of reasons, ake with more and fewer pipes may be found iter isramente ie cal pwo-manual insrument, the upper manual controle the Swell Organ while the lower manual controls the Great Organ. Other divisions or organs found on some instruments are the Choir Organ, the Pastive Organ, the Sola Oxzim, the Echo Organ, the Ansiphonad Organ, and the Bomebard Organ, The pedal clavier oats the Palal Organ. A pedal rank typically contain tirty- Sl Joy epee one Sel keboed te ips ocd wth he ey on above will also sound. ; fe ‘The example given as Swell 1 Swll 8" Off (or Swell Swell Unison Off) : A one eas thar he pipes stdiatd with she Swell manual Kee Seng depresed wl seep. (This wil obviously produce a slene inating el is coupled 29 notre keyboard) Many org designe fel tht inraeneal couples ste ihe Strprodutive and therefore donot include thers in thei designs combinations cal devices hat atomaicaly and simltancously dw 3 sev uh have been selected ahend of time by on ote nian are opted by buns (pon) kate th pene oy oo (estas) located el above he Pde et te St lnwn ea Comins Acti, ey id ad om a epson (np econ) can be made oon ae shoyu, nln the peal epee nan equal ae i nua Tn per combaton pion 0c sabe cl awl ol conta stops couple and ees hat se Fea athe a pr oe pl gn The gene se Fat fe os by cons alec he whole inten. Se ee ou sehen {pon o oe Sud is epeeied e conten ey pretang die sessed acon before th 9 te ae omtinadon acions automaticaly sve the wored Sang cept onthe sare sree an a ee om perbemane fo performance) THe el of ee na combnsien’s jiadcdon—ae turned off eral combination seungs are somcizes called Pret sce mech soup of ops, coup Heete is usually a Cancel burton astociated with each group of presets. It saene all controls within iss jurisdiction off Reversible “These are pistons and toe studs that turn special devices alternately on oF Among the devices controlled may be a particular coupler, a special stop, Se lca Suell Shr, or, very commonly, a sferaando device, This latter is S Rechanteal means of immediately turning on all the stops without having to Uae cach one by hand enabling the performer to achieve an immediate fall Stgan sound, Because it is a reversible, che organist can just as quickly eeturn toa quieter registaton, Organ Design tewould not be appropriate to go deeply into the subject of organ design here. ‘Wha the seudent needs to know is chat organs differ according to sie, instal reek. age and builder, What i posible to do on an organ located in 2 com- ert hall may be totaly impossible to do'on even avery large church organ. The following digest of organ design characteristics may help Larger organs have more stops, more keyboards, and tare options than smaller organs, Small organs may be unifed, that is, they Bosses oaly eo or theee ranks of pipes, which are used over and over again. The small organ may276 Jack tonal balance and usualy lacks reeds, mutations, and mixtures. However, jm because an organi age does not mean that itis well designed. Also itis the number of ranks, not the number of keyboards and buttons, that deter: mines an organ's sie, The Theatre Organs bull in the 1920s and 1980s fe ‘quently have many keyboards and many stop tbs controlling very few ranks of| pipes. Also, many smaller modern organs are ertremely well designed and gen: frously provided with tonal resources, InstaLtaTion ‘The organ bilder produces an instrument co sit the requcements of the cus- tomer. Ifthe customer isa church tha needs an organ only for Sunday worship, the ‘organ will be designed to perform hymns, preludes, and postiudes, but may be tlmort uses for concer literature. Yet, some of the best concert organs are ingle in larger chases, Concert hall organs, which sould be beer equipped fe performing orgin msc, may oF may not be especialy well conceived musically Bunosns Different builders have always had different conceptions of what is good organ tone and design. Ione becomes very interested in organs and organ lit fratur, it becomes important 10 listen to examples of work by a variety of ‘gan builders in order to develop a concept of good organ tone qualities ‘Stops withthe same name sound different on organs by different bulldes. (Is frder to truly comprehend and internlize the sound of a gedeckt, 2 lot of lis tening to various gedeckts is necessary) In addition, each company that builds organs has is own, usually patented, means of controlling the instrument. Some ofthese control systems use eles tric solenoids to open and close the ar ways to the pipes. Others use systems ‘of pneumatically controlled levers and/or valves to active the pipes. Sul others ings chat only dtect mechanical control (sacker acion) can achieve the cor: rect, natural sound of a pipe. There are differences in sound exused by differ fences in control mechanisms. Fall understanding of the variables inherent in this mighty, but hidebound, instrament will go along way toward the success: fl creation of music for it’ Unfortunately, the study of organ design is Geld unto itself and too big a topic for this essay, ‘The Bleetronie Organs ‘All electronic organs attempt, with varying degrees of success, to imitate or sub stitute for pipe organs, Ironically, those that do not imitate the pipe organ very effecvly often provide other, more interesting possiblities forthe composer. ‘The manuals on electronic organs vary fom 30 to 61 keys, Most elecronic ‘organs have two manuals but ome possess ae many as four The pedal clavier (on a small electronic organ may have only 12 to 13 keys. On larger instruments there may be as many at 24 t0 32 keys on the pedal clavier. The sound on an clectonic organ is usually produced in one of four ways: 1, Blesraarie. This involves revolving “gears” that interrupt an electro: magnetic field at certain fequency or pulse, These pulses are amplifed seseurensog ner ramen ‘and become the building blocks of tone, being added together to create timbres. 2, Amplified red, Small eds, blown by air an activated by the keys pro- ace very hint sounds that are ampliied and modi electronically co produce tones 3, Blecwonitally gntheseed, These organs have electronic oscillators that {enerte complex waveforms which ae Gltered and altered ccctoni fall to produce a variety of tones. 44, Digitally sampled. These organs have eu £9 o pipe organs and then used (0 create a very realistic imitation of a pipe organ, tones sampled Fete stems che one that bse the tone ofthe instrument on digi ae ees tne most realise imitation of the pipe orga slhough is Se pesado the cxpblides of he spake weds weve, ach Sete fen crn advantages and dadvantges : rote cccuoanse gunn the perermer has contol over the misng of dhe Ransnle to vnthesae vaious timbres. Consol consis of choosing to a ae ae pre (une wave) snes of 16,881, 4% 28,2) 28, 1S and P soe ake louanass Of ex corspoen. Alsip these repctent » aa saree y of chee nwa ited togeer—partids, they do oe begin cree fe pata ual head by te human ext witha most sounds Peer ttom thee insruneats ae poor. As sfnesaet of wig and sae ancy have Kntonaly been very velunble. A performer est create Tee oe och here ip absolutely no proton, This i the sort of bre ‘Saucl found on she cassie Hammond organ a He eeifed red organs general ty fo ii pipe organs but end 0 sound Save lle ampliielharmoniums, Aes cas of elstroni orga, ey sear prod the west unique wounds ofany ofthe one-genersing dens. egy ofthe oer electronic organs work on some vara of te alecoais itor ot generator design. Mom ofthese systems, whether the Seo EEGtcncy blag a arytal-contled oscar or 2 tuned eo aS Seuin gener chet various tone quales through the itering ofeon: SENG ores, The main uellatoes generate squace, savieoth, or winger eter dat ar ten fea chrough various clecwons iter so modify the sgn WAL BEES ear representative ongan sop iieton. The oust of hese Bree ied earto the seater ane the sound s heard, The stop knobs eke conor of the insument urn the various ters on and ff ss dese. ‘epending on the iophisccauon and complesny of the snsremen, the tone dirs may be insted at the tory with no adustment possible my be EOS ble Eom th console whe playing, maybe modisble from che back of SEI bee pefoomance,crmay be compote programmable oer x Wie ae foot ualses addon ome inerements poses meas 0" varying tack SRE Ghd ecu (cee) cntactestes The more pecormervarabe contols are ore specs ee instruments pecfermance gales, he more the On Skpar to fiction ike a sythesiaer, and che more use the inseumeat become othe compose “peal lacs often found on cleo organs inlude percussion (3 fo of stuck snd decay contel), baltin tythm (pereussve sounds producingwe reaular, bur selectable ples), and chords. The chord organ of chording atachment i simply a system that is designed so that when 1 single button © epressed (labeled DY for example) instead ofthe output Eom a angle ool ‘2 being amplified and heard, the outpuss from four osclators -D, Fy, As and (there may be no A)—are smplied Other features of these instruments may include variable vibrato (treme- lant) and srnthetic reverberation. The vibrato control may alter and control the speed of vibrato, the depth of vibrato, and the element subjected to vibrato cither pitch’or loudness, or both. ‘The audio signal from these instruments may often be fed to a Leslie speaker system or an electronic simulation of such. Leslie speaker ystems consist of a pair of speakers mounted on a large wheel that rotates Leste systems have evo special qualities duc to the rotstion of the speakers at slow rotation speeds the eflect is one of sound dispersal over large asca, thereby minimizing the artifcial speaker sound produced wl a all wont ‘comes ftom a fixed location, and thus approximates the wide d ibution of sound provided by the hundreds or thousands of pipes found in a p's ongan At faster speeds of rotation, the moving of the speakers crest ws pitchand amplitude vibrato because of Doppler effects anda sense of reverberation and phase shifing, Je is not posite w generalize as to whieh of the above resources will be found on any given electronic organ. Each model by each manufacturer Wil Posies one OF more of these charectersics, the specs of which may vary Yyeury. IC cannot be assumed, either, chat the more con) instruments off. ‘mote interesting sound alernatives and posible to the vomporee, Many of the synthesizers, discussed earlier, can mimic pips ergans success: fully and offer more interesting opcions than thor found in more waditionaly based electronic organs. For this reason electronic organs ae becoming, ss of this writing, “Fiore like synthesizers, (See alto The Electronic Plasd and Elecronie Keyboard on pp. 245-48 in this chapter) : ‘THE ERETTED STRINGS The Guitars _ English French German Featian pine gine Giare chars ‘The guitar isa very popular folk and casi instrument of ancient origin. A ‘elatve ofthe lute and the “ud, the guitar is often used as an accompaniment for singing, aa chythm instrument in jazz and rock bands, a8 4 solo inseoas ‘ment, and as a mesiber ofan ensemble of mixed instrument A wide variety of guitars exist around the world and in vasious cultures, ‘Within our owa culture, several distinctly different styles and models of gular ‘an be found, ll of them aze related tothe base stating, nineteen fret gue ‘ar that has its strings tuned tothe fllowing writen pitches Instrument, Spanish uit 279 EXAMPLE 6.18, Basic gtr tung. The sound is ene octve lower than notated among the available guitars are emi NNE ane eee eee ee re TSS pu ser Ce ca a one Se eat ane ee acs a ae ee any argent afd moarate te p oest Serene ee ie ig er Eo leon aoa sie Otte chinaghtemen eth fe eben Sate gn tee caer Sec et a te pte Se EN A a rca cee ee ae ‘smaller string and tuned an octave higher than usual, This results in amore alee “The high-G saning ie [BAAMPLE 6.18. Hig turing enunde an cetave war than writen See eae ee rn a at tt [enone inane SRE Rise cmatianssmrie coe280 FIRE 6 (op ot og tol pia helowboted eerie it sow eid Geriatr ta owe rN 2g acs Sng acoustic gular sting eas nylon sing gut shoo by Davis Hay) The bole Guitar ‘The Phole guitar uses the same tuning metal and the sound i much more in with or without ampligcation, sched-top guitar ~ 1 38 the clasie guitar, bur is strings are sve and bright, This guitar is ofteo used, in jata bands and commercial music. It is an ser Beers se 12-Sering Guitar “his gitar has ewice as many stings a8 other guitars. The sings ae in si Sa par coresponding toa single suing of a Gstring guitar. The v0 {igpest pais ace cach tunedin unison, The fous lowest pis ae each tuned in eves, withthe additional swing being pitched an octave above ie mate quo MOM XMM Mv 8 EXAMPLE 6.20. Tuning ofa 12.tring guitar (sounds an octave wer then wien) Due to the extra strings to be stopped and the extra strength required, the 12-ering guitar isa ring instrament to pay. The extra string: do provide addi Zonal resonance to the sound, Simple chords on the 6-sting guitar become hand warm sounding on the 12-sering. Complex sonorities on che 6-sting Eo become hopelessly muddy on the 12-sting. The instrument is well suited Sr piping nulcn and especially adept a fling in the middle harmonies and ‘the baselines in jazz and commercial music. ‘The additional strings puta great deal of stess on the neck, joins, and body of the instrument. Consequently, many players tune the instrument fnitone of a whole tone lower than the sandard tuning (given above) in toder to reduce this tension, Also, because of the large number of strings to Control with jst four finger and a thumb, the 12-string guitar payer of nezes- Sty uses a capo (see p. 284) asa standard technique The Blceric Guitar ‘There are three versions of the electric guitar, not including an amplified scoustial guitar tha i, sey speaking, aot an electric goiter. The three types of eleetic guitars are 1, Hollow-bodied 2, Semichollow-bodied (semitoid] 3. Sold-bodied “The holow.-bodied elect guitars are vey similar to the acoustical guitars, but with Fshaped tone holes, except that they arc especially adapted and equipped for cece amplifeaton. They are the etandacd jazz guitars, much admized for their vibrane but mellow sound. Unfortunately, when subjeced to significant ‘snounts of amplieation they havea tendeney t0 produce audio feedback “The semichollow-bodied guitar has a font and back che sume size as tadl- sional guitars, but the body is much thinner Tes tone is notas sich asthe holow- bodied guitar, but either sit as metalic and bright asthe slid-bodied guitar: “The solid-bodied guitar has almost no natural sound, being neaey inandible ‘when played withoue amplification. With amplification its penetrating and nasal, ‘Capable of producing a wide varey of sounds. Due to the solid body character 281282 = Is ! rents, ics ic pesaces mo unvanced feedback sods capable of ssinng nots longer then the other elec guia, This is the guitar sed in more rock bas" The MIDI Guiser Tiss really dita enty device designed wo accommodate musicians who ae more adept the guitar than the keyboard and who need to ener me pos formance information into a MIDI stern, Placement ofthe Engrs on exh of the sings and plucking the strings sends onto the computer and/or key boards ix channels of MID data. Te has nosound to speak of (See the infor sation on MIDI in appendix 3.) The Renge of the Guitar As with other string inseruments, the range ofthe guitar is actually the sum of the ranges of each ofthe x sings. Sem oa EXAMPLE 6.21. The written ranges ofthe stings forthe nonraltuning of the gute (eounds an stave ewer thon writen) Ennme Asse Date ‘The upper limit of the range, given here as high B, ie actually variable; some ‘guitars can go up to C or even alittle above that. The Picks Guitars se either picks othe Gagemals of thie ight hand t pluck or ‘Arum the sings. ics come in avai oftizs, shapes, and tikes and ze made fom bbe, rorciseshl, fe, celled, nd ple, For spec ffs, other materi could be ued, Fe pcks work beter on But seinged instrumens, while a medium-torarge hard ick would be wed one neve Playing an acousieal gultarin arly loudenstmble especialy ithe putas pst ‘ere highly ehyhmie Electric guitars ual require ale le supe ery light, feble picks are sometimes used for tremoloe and very rapid pesages, The performer can change picks, bt equi mes alow mt fou meres ofa mocese {spo Aes gue othe aa pan ‘one, remember that thin pick wll cases salle, any sound she ‘one will add a duller and thumpier quality. Pee eer ‘Thumb pct, which are worn on the cghschumb ofthe player, are moce fen wed by coun and western and fle guts to low use ofa Gages seth thumb in pn, nd sec, cate gtr do not yn sto facitate tchniqus since they hae al of dacs ed hs chnigues, since they have al of thc fn s Becxi uta an be equipped mit ingle paper seve chp Thema rick sign allows orcs quilzcan acho he ehing more ‘ Sure note egal 090 bats pe mine. AnTIRCIAL HARMONICS Sounds (relasve to pitch fingered Touched in left based) 1 octave higher 12 fets above stopped note 2 octaves higher 5 frets above stopped note ‘Notation for guitar harmonics is not as standardized a for the orchestra sssings, The small ® may be used for aaturl barmonics, but larication as to the notation used, the sound to be produced, and the string to be payed on is necessary, For artifical burmonics the normal pracce ise simply state tht che hismonics ae artical and should sound as written, or an octave higher. The procedure recommended for orchestral grings would also be good for guitars. Not being standard, it would require‘an explanation. Guitars should also be blero execute the artical harmonics produced by touching a major third and 4 minor third above the opped note (4 frets and 3 fet, respectively), For Some gett have a fingerboard with 24 fs but nor al are 20 equipped 283,eee Tesrunenatng | sudicional information, se the discussion of harmonics for orchestral stings in ‘chapter 2, pp. 33-36 and the information provided in Examples 2.3. [EXAMPLE 6.22. (a notation fr our iterentnstura harmenies andthe resulting ence ‘ices or each (0) notation fortwo diferent aril harmonic, and the resting ean cert tees fx eoeh Vibra * ‘Vibrato is added to the acoustical guitar in one of two ways. The usual method isto vibrate cheveft-hand finger that is stopping the sting back and forth on the fet. The speed of this motion and the distance covercd will control che speed and depth (pitch range) of the vibrato. If one wishes to ereate the ill sion ofwbrato on an open note, it ean be accomplished as on other sings, by playing the open string but moving the finger on another sting that is stopped in unison wid che suring being played Bending the Tone (On electric guitars one often finds a vibvato bar, which isa lever thatthe per former may move to sretch all ofthe strings and thus bend the pi “hes upward ‘This may bE used to add a small vibrato) the tone or may be ed to create slssandos. A common technique among rock performers ist vac or stretch ‘he string with a lefthand finger, producing bends and glissa ie even when 1 vibesto bar ie present. ‘The Capo or Barve This device hs been sen by mos who have observed perfoeanes by si ‘ss playing fo, couny and were, crock a oll iss bari Caps ders the fet of the instrument, efecely shortening the sings. The fl tne ofthis device egpiae.Ashough ay be edt eee sles Bestar plain Ky ith which hey ck ay, tht cee not Spemy ae Hn ge ping psy ae perma of fk mua hrc iis nei pocedy te ue of say unoped (open) ote the chords played. Ite mas isin avon ay for he gue sh oe Dra tay ofthe chord wl str conan open aotn Te though, is ese) to perform a similar piece in a key such as Ab major, many fewer unstopped ‘sshge wl be avalabl and th me il change masked. When te rer don ofthe Open sing dnbve fs nporan, ung the capo wl boc gare she chasers one quality wen te same tine slowing te perro avo etuning the inser Performance onthe 12 sing guitar evry physaly demanding due ro {he numb of sings thatthe let hand mut contol and top. Peek sing ssitarplaes mat ea cao ithe have ay hope of ebeningEngeng com her Inzruments swol even close to that associated with the 6-sting instruments, For them a (20 is standard equipment. Tn some recording situations a separate track may be created by a G-string guitar with the eapo fstened at the seventh ftex. This produces a secondary Gsrmony guitsr with harplike tone quality. This extreme use of a capo fuvercly affects the intonation so that the dastrument must be carefily fetaned t0 obtain satistietorysesults The Grande Barre ‘This term refirs to the use of the Gest finger on the left hand at a movable capotssto. The best way to ficilitate the performance of certain chords isto place the fst finger across the neck along a fet so thatthe finger now techni fall functions mach asa eapo although the sound produced is tha of stopped Strings. When the frst Binge is placed across the upper five, Lower fve, or all Sx strings, itis called a grande barre, While the 6rst inger isin this position, ‘he other fingers on the lefthand ar rll able to stop che strings ac higher frets ‘Some performers have developed aa angled grande barre, placing the finger cross the frets at an angle other than 90 degrees. This isa diffcul echaique and requires sll to Keep the tones ofthe strings lear. However, the use of the grande ‘pare along a singe feet ie sanetard guitar rechnige i ll ayes of playing Players also use the half or partial barre by placing a finger along affet but only touching three or fewer of the strings This ean be called forin the nota tion forthe instrument. English French German Tialian feet silee or exe Bund aso Plectrum or pick pleecor médiator — Pelarum lense {apo ercapoteno or arse or Capos or ——_—capotato ‘acre capodasce Kapodhster orale or Ssitenfesel ‘The Electronic Options “The electric guitar and the amplified guitar offer some other sound options to the performer and composer. Among these are the use of eleetronie reverbera tion or echo, the use of fuzz box, waa-waa,ring-modulation, and other elec tuonie alterations ofthe tone “The electronic pickup units on electric guitars are usually located under the strings both near the bridge and also ncar the end of the finger bosrd. By ‘means of controls mounted on the instrument, the performer has the ability to select the output from the fst pickup, the Second pickup, or both, and t0 ‘determine the amplitude ofeach signal as itis sent to the amplifer. The sounds picked up neac the bridge tend to be tn and sight, while those from the end ‘of the Giger board are very rich and warm. "The use ofan echo of reverberation unit on an elecic guitar is very com- ‘mon, The amount of reverberation is often controlable by use ofa foot pedal, ‘Also controlled by foot pedal ae various tone modifiers, the most common of ‘which is che faze box, which electronically adds a degree of distortion to the tone by clipping the signal and mixing in against itself THe amount of “fuzz” 285 Spanish petro Sela capotato or ceils286 ‘may be varied ffom none to total distortion, Also available is an electronic vibrato buile into the ample system. This vibrato is very mechanical-soune! ing, bue i an inceresting effect. Other Gisitars ‘There is bass guitar thats tuned an octave lower than the lowest four strings of the standard guitar For a discussion ofthis instrument see pp. 291-92 There also exists in Europe s small descant guts, ‘One also finds a nylon string, solid-body electric guita. This instrument, swith the wider neck associated with nylon sting insruments is especialy use fal when performing music that crosses over from South American folk idioms into rock or pops music. Although is tone is electronically ampliied and mod ifled like other electric guitars, ts sound hae more of the quality associated with the Iberian aylon stinged inrtrument. ‘Typical Guitar Scosings In this transcription of Johann Sebastian Bach's Prelude, Fugue and Allegro in E Major (BWV 998) Michael Lorimer has changed the key to D Major to bet ter suit the guitar. This isa succesful transcription and represen close to the limit af conaplenty for contrapuncal guitar wring, The @ indies fal bate and the Roman numeral indicate the fet number, Likewise the rebresents the half busre. The cceled numbers are the stings to be used, th. weil numbers ae the left hand fingers, The small cigle © means a natural harmonic. J eX ty j DOSE PR irr EXAMPLE 6.23. A portion of a Bach fugue tanerbed fo classic gute” * Copytigh © 1977 by Shatngeenterasonat Music Comp, New York,NY. International (Copyright Sermed, Made in US-A All RightsReserved. Used by peemiion Hee Instruments C ster srumenss In is work for solo guitar Ei Poifome de Or, Reginald Smith Brindle uses many ofthe special effects available on the classic instrument. Among these are feral harmonic, indiated by fs arifcal harmonics indicated by f; the use Gr ponscello (ju lke the other strings); and the drum (or tamburo) effect ‘aled for in the lose measure, In this effect the performer fingers the indieated piches bur cumps the bridge with the thumb instead of plucking the strings fUPET ge. ory 7 al ta EAAMPLE 6.26, The last 13 measures f EI Plame de Oro* Pierre Boulez uses the guita in his Le marteaw sans maftre, Here is a por tion of the music for guitar om the fourth movement, In al ofthese works the guitar is uevaly atked to play three or fewer notes. More than thre isthe exception, unless the notes are arpeggiated. = (continued) EXAMPLE 6.25. © 1982 Schom & Co, Lid. London. AU Rights Reserved. Used by permision of aropean Amesean Muse Disebusors Corponson, le US. and Canadian agent for Sots 6 Co, Lid, London.2s Imeem EXAMPLE 6.25, (contiuse) Area Mois rape 78 ©, 7 tempeh re Oe EXAMPLE 6.25. From Le martcu sane mete by Boulee™ = On In Song, Drones and Refrains of Deatly George Crumb writes for an des tic guitar. He is nor calling for an amplifed casi, but an actu, slid-bodied instrument. In his directions he specifies chat the guitarist should have a volume . Diminuendos ae produced by slow ing up the movement of the bellows ‘One special bellows effect is called the blows shnte. This is produced by alternating open and close motions rapidly: The notatoa for this is EXAMPLE 6.38, Notation used for belows shake ‘When the effet is no longer wanted, the indication is B.N. or Sllows nocral English ——Prench Gorman Italian Spanish bellows sour Bulg anti fell ticble shit regiere dea pare Diskantreiter—peola ‘ota del registro de chantante ts melodia bse shit ~ rege des basse BaGreginer regitrobasso repro de bas ‘The Harmonica English French German Ieatian Spanish harmonica armonica bouche -Mundharrnonika armonieas boss arméniea (de boea) Harmonicas are made in vaious sizes and with a variety of ranges. The more ‘common tonal qualities with which harmonies are produced are singles, eee : ier Tncramenss srmoletuned, and crav-runed. The wo configurations manufictured ae dia- Inne and cbromatie. [BAUPLE 6.38. Overall ange all he harmonies (no on hatmonie spane this ange) English French German Talia Spanish intone ntonique dixonisch Aaxonico aninico ‘omatc — cheomatique chromatic sromatico eromitico Bow souler bisen soffare soplas dew inspire cinamen aspire inspire Blew and Draw 7 : “The terms blowand draw are applied to the manner of producing the sound on ‘the harmonica. When ses blown into one ofthe hole, a teed (or reeds) start to vibrate, producing a pitch. When the performer inhales (desws) aie through the harmonica, another reed (or reeds) vibrates, producing another pitch, The pitches produced on the draw may or may not be the same asthe pitches pra duced on the blow, ‘Types of Harmonicas Single-eed harmonicas have one reed foe each hole that responds to blowing, and one reed for exch hole that responds to drawing. The wemolo-tuned har” ‘monicas have rwo seeds per hole thst respond to blowing and another par that respond to drawing, In these harmonicas, the second reed per hole is tuned slightly sharp, erating a temolo, of, 38 i ie caled in organ design, a celeste effet, The octave-tuned harmonica also have two reeds per blow or draw per hole, but the second of these reeds is tuned an octave above its mate “The diatonic harmonieas ean produce only the dstonic pitches ofthe ke in which they are built. Typical keys are A, D, G, C, and F major, but models are builtin all major Keys. Harmonica soloists who play the diatonic instru. ‘ents usally carry with them several harmonicas tuned in an assortment of keys, Typical ranges for these instruments are from one tonic (near middle C) to the tonic 3 or 4 octaves above. payed on tow edo daw EXAMPLE 6.40, Distoic harmonic in C (wth 10 hoes) 299300 ‘The chgomatic harmonicas constructed with a lover on the right end contol ling side, With che dle ou, the insument i dstonie harmonica with 3 foe. ‘octave range. With the sie pressed i, the missing chromatic pitches are aval Pay tow win out SEE ayeden ow with ate in 3 BHAMPLE 641: A pica eange showing the aaah pitches for seroma harmonica in © With the arrangement of the holes on the harmonica and the tuning of the reeds itis possible to play some triads and altered seventh chords om most mod ‘lssimply by controlling the blow and che drav: Fluctuation of the sir sam wih ‘out changing direson can produce a pe of brsath vibrato, Often, xpecall in blues plying, the performer “bends snc chokes” the tone, producing paren ‘os and pitch inflections chat are very characteris ofthis se of music. ‘The Harmoniam English French Gormase Tealian bemoan hrarmoniver Harmonia armosio Sometimes called a reed organ ora pastor organ the harmonium eas in var fous sizes, One usualy encounters an insrument of one manwal, but two-man models exit, as do models with pedal keyboards. The tone is produced by the ‘vibration of metal reeds st into motion by an air sippy provided by means of a bellows, cither pumped by ce fel of che player or fled by an electric Blower Avypieal range is As withthe pipe organ (see pp. 264-78), ‘which to limited extent the harmonium is intended to imitate, stops ate sv able to alter che timbre. On larger instruments a variety of names may be found—*Gedecke, Vox Humana, Celeste, Diapason”—all of which appear £0 suggest tone qualities found on pipe organs, but none of which sc nd like their rpamesake. All stops on the harmonium have a characteristic, ec quality. Nonetheless, the various stops do display diferent smbres and. sdaesses In order to provide moce variety in registration, many °F € . stope are en [BANPLE 7.28, Ao example of homophonic weting for chorus, Beginning at rehearsal no 68 in the “Otters” of Britten's War Reeuer® ge forthe chorus Laterin the same work, Britten writes the contspuntal passage ‘ own n Eample 729, Api the is lnding rng and in at oF 00d chor wong und in works dnc he Renisance no mater whet (oF pesiod is considered. Both ofthese Brien excerpts ae quite singable even by ‘untrined singers, © Copyrgne 1961 by Boceey & Hawker Mase Pblshes, La; Copright Renewed ‘Used by permitsion of Booey & Hawks, Ine .322 Siow and majestic (Lenco ¢ naescose) ‘em peiroain te a EXAMPLE 7.28. Beginning at rhearsal no. 30 in the "Dies Ie" of Briton’ War Requiem |s this contrapuntal vec! pateage! ‘This famous pasage from the Queen ofthe Nights aria “Der Hille Rache kkocht in meinem Herzen” ffom Mozart's Die Zanerflite (The Magie Fate) is classical lustration of coloratura writing. The ara ie intended for the high ext lightest, i clearest of all soprano voices: the coloratura. Note that the phoneme sung is desived ffom melr which posteses a vowel sound that pre ‘ents no voeal production problems for the high female voice Allegro aes — Inserumesaign ; en = XANPLE 7.30, From the famous Queen ofthe Nignts aria for colts soprano by Meza 1 © Copyright 1961 by Boosey & Hawkes Manic Publishers, Ld; Copyright Renewed, ‘Used by peamision of Boosey & Hawes, Ine i \ wie ma In Gounod’s Faw, the chareter Valentine, a baritone, sings this famous svi. Note the wide range cht is typical of writing for the trained voice In con- ‘rst, one docs not waite many Gs for a choir tenor, much less 4 baritone However, in opera, wained voices are asumed. “Avant de quitter ces eux” shows the iyrical but not especially exible writing usually given to the lower voices. Andante secur econ [EXAMPLE 7.31. 1ypical operatic wrtin for lower vie: “Avant de guitar ces eux” tom Dot of ounce Faust In the music he composed for the Shakespearean play A Midawmmer> [Nigie Drown, Moadclsohn composed « se voiew women's choras thar expec sented a fy chorus. The writing is ight and transparent. The muse lays well for the voice so there is no sense of strain or labor, this enhancing the tunworldly quality that he needed to achieve. Mial Hip FIIs Pte eth ty =o34 Tescrumentaton Mendelsohn (continues) ‘w Vice = Cg [EXAMPLE 7.38. From Water Monro by Alber? (third system of he second pagel. Tine is ntted proprtinaly David Cope wrote for voice and percussion in his composition Ashes. This ‘xample shows Cope’s symbol for open (0) and cloed (+) mouth. The saaight horizontal ines mean “gradually change to” and the term Bld indicate thatthe singer should attempt to match the percussion tone quali. The we oflines extend- ing fom che now heads co show the contour of pitch inflections is commonly found in bodh vor and instrumental music. The letersundemesth the music ace ‘ot ftom the Incemational Phonetic Alphabet but ae che symbols wed in English Inngeage dictionaries to show pronuneistion without rexpellig the word, FPP sends, tens o emp EXAMPLE 7.34. Excrs om Davi Capes Asnas® (nm. 2-5) ‘A use of the International Phonetic Alphabet i shown in this line from Robert Newell’ Spiral for tenor, soprano, and percussion. In this work the composer, who is himself an excellenttenor, calls forthe singers to use mega phones and to cup thei hands over theic mouths while singing, producing, on the one hand, an amplification and, on the other, a muting effect fae gs 2 ‘EXAMPLE 7.22. From the iit section of Mendessenn’s music fr & Midsummer’ Night Dream, the fist entrance ofthe fay chor. Notice the vice leading and the balance none the parts In his work for soprano, flute, and piano, Thomas Albert usce 2 propor tional time notation: He is also very careful to notate longee and shorter sylla- ble durations. Note, too, the use of an X for an unvoiced, separated consonant. ‘The care demonstrated indicates that the composer is well aware of the poten- ‘al and the properties of the voice. Sey EXAMPLE 7.98. Sopranc line from p. 4 of Newel's Spirais* The symbol 2) means ‘throu a mazarhone™; S, means “megaphone aay." In his chamber work Ancient Voices of Children, George Crumb insructe lhe soprano 0 sing inzo the piano at the beginning. The reverberation pro duced this way, which ean be controlled by the piano pedals, produces an unusually effective, dramatic quality. The wie ofthe tongue click san interest. ing feature of this paseage. © Copyright 1975 by Media Pes, Inc, Champaign, Mt All Rights Reserved, Used by ermisson, "© Copyrighe 1974 by Media res nc. Champa, I. Al Rights Reserved. Used by permission, "© Copysight 1976 by Metta Press, In. Champaign I All Rights Reserved, Used by Permissionmee Inscrumentition Vy inet cn cer v.90 ope (accel. «+++ ++ rit, - we ste 3) Sopano ae um FaRa Gum ee ie ws arin arw ewer iowa im = sti eee wnt US we te fF (a) —_= = bp mp fee mm en me "no EXAMPLE 7.36. The opening of Cumb's Ancint Vices of Charen “The following passage for baritone was written by Crumb for his Songs Drones, andsRefinins of Death, Notice the great detail thatthe composer hat _gone to in order than the singer wil know exactly what is expected, Note, 100, the use of and the notation for fletto, various quasi-sung passages, and the character ofthe Gifferent segments ofthe poem. The composer is well ware of ‘the singers dual role as musician and actor, enty snore abu tnsne se Bewal SSS, = (continued) [EXAMPLE 7.37. Sartne pat tom the “Casi of ne Dark Cove" from Gexee Gum's Songs, Drones and Retains of Death © Copyright © 1970 by C. F Rew Corporation. Reprint permission granted by the copytight owsee. " Copyright’ 1971 by C. F Retes Corporation. Repent permision granted by the copytight owner. ‘The Woee 37 Cm tsps PROBLEMS 52-54 52. Score the Mendelsohi? “Song Without Words" given below for 2 fourscice ‘chor (SATB: soprano, alto, tener, Nas). Convert the music onthe upper stat by beghnning with se ats alone ana tren navng te soprance enter on the ‘in te sacond measure, Create a tena line and a bass lineout ofthe music ‘on the over staff by continuing inthe menrer shown inthe sample measute, ‘Add phonemes to al ofthe lines and have the result performed in class. SONG WITHOUT WORDS Mendon. 09.19, No.2 2 — eee Andante espeessivo, (continued)28 sang Without Words" (eotinuec) — 53, Restore the music gen in Problem $2 for solo veice and instrumental ‘ccompaniment. Change the key accoting to the range of the sol vice Cesirec. Use instruments avallable to the lass and have the result performed, 158, Select a nonsense poem, an appropriate text, or make up a text ot your foun and wite an onginal piece of about 10 to 20 measures tor a S010 voice and an instrument of your choice. Use contemporary vices anc effects in bath the vocal and instrumental parts. Experiment th unusual sounds and avoid most “traitional” sounds, 78 ORCHESTRATION: Scoving Musical Elements [MUSICAL LINES dentification of Musical Lines, Line isthe imporeant element in a piece of mutic, Ici true that etudents of, smusis learn to identify and use chords, but the chords found in Western European art music result from several separate melodic lines being identified ina vertical configuration. The majosty of musical instruments, and especially the voice, are one-line instruments. Consequently, even when writing for polyphonic instruments such 3¢ the piano or organ, composers atl con- ‘ciously create many ofthe vertical structures out of the combining of several vwell-conceived lines. Thus, i is impor?ant that the perion who is erchestrat- ing a composition be able'to locate the rious musical lines co be found ia the composition. ° Consider the following exceepe KAMPLE 8.1. From “Novelstie® Op, 21, No.6 by Robert Schumann ‘Clearly, Wo lines stand ous, 329330 However, the other notes also form lines. EXAMPLE 8.3, The es prominent er sbaetnate lines racing from Ex. 8.2 ‘Which are the prominent lines and which are therefore, subordinate? In a ‘waditonal view of the piece, the to lines isolated in Example 8.2 are prominest “melodies,” while the Example 8.3 lines are subordinate or “accompaniment” in nature. Less traditional views may see other asignment for these lemenis ‘bucat some point a separaion into more and less prominent lines is inevitable” ‘The Ute of Instrumental Color (One ofthe chief gosle ofthe orchestrator isto mix, blend, mat, aud contrast she instrumental and vocal colors avaiable, As with any act, there i not ast one ‘correct method. Often the we of rather somber and pallid colos can serve 35 ‘a perfec and desiable preparation or backdrop for more briliant and exciting hues In other situations, layer upon layer ofthe most colorfal sounds at hand, vying forthe listener's attention, may prove to be the most artistic solution #0 ‘amiusical problem, Tn general lines that are given the more colorful westment are the musically ‘more prominent lines, while subordinate lines, offen serving a accompaniment for background, ae drawn less vividly. The distinction between these wo basic colorations will be maintained in the following seedions, but the reversal @f dese ‘obvious color asigaments should be explored and shold aways be considered bythe serioas orchestrator. One may draw attention toaline bythe effective use cf contrast, sot necessary by alway being more “color.” Colorjut Versus Less Colorfut “The words colorful and less colorful are being used here in elaive sense, which ‘an have meaning only within a context. Thus, although one maj consider the sound of an oboe to be “colorfl,” in an ensemble of double reed it is not expe cially coloftl. Compared to these double reeds, solo violin would be color, ‘bat contrasted t0 a string orchestra, the oboe would again sccm colori ‘The orchestral unison, a combination ofall the many tone qualities, is a pow: ccf and effective sound. But much as the mixing of many colored lights will produce a gray-white igh, the orchestral unison may more eapcly los its abl+ ity to sound ffesh than will the sound of single solo instrument. For the mass ‘of mixed timbres presented by the fll orchestra in pte oft magnificence and grandeur tha capture our attention, lacks the subtle nuances ofthe solo inst ‘ment or Yoic, which may hold our 2tention over extended periods of tine, "Even in contrapuntal musi, eis ae fo al ins tobe exaely egal in prominence. ring Mic! Elements ‘Scoring Prominent Lines ‘rom the above considerations, one can construct sx basic procedures available forthe scoring of prominent lines 1, One instrument playing the line 2. Two or more of the same instrument, playing the line in unison 3. Two or more ofthe same instrument, playing the line in different octaves 4. Two or more different instrument, playing the line in unison 5. Two or more differen instruments, playing the line in different ocaves 6, Several instruments playing the Line with the intervals between the instruments being ocher than only unisons and octaves Procedure 1 “This i the simplest and one of the most effective ways of scoring a line. It has the advantage of placing all the responsibil for intonation and musicianship inthe hands ofa single performer; thus, there are no ensemble problems. Lincs ‘cored in this manner an take advantage ofthe colorations avilable from the Instrument selected, and wil be perceived as being very clear and dean. 7H Bascal F > [EXAMPLE 8.4. Precedur 1 on inerument per i Procedure 2 With evo or more ofthe sme instruments playing the line, addtional warmth is added, bur a small sacrifice in terms of purity of color or clarity of articua- ‘on may be made. In school organizations, ths is more than made up for by improved security. Intonation, even in professional situations, becomes a prob- fem for the performers if only ewo instruments are assigned to the line Assigning more chan oWo performers minimizes intonation problems, 3a322 Procedure 3 “Two or more ofthe sume nsrumcos fa diferent octaves can produce inter esting new tal quale. The itonson peobem snot setous bexwees te pees ss anton meng, Te sfc ot vo mach ene {ester ound masta achcied by procedure 3, bt one of ester pene Son. (fene-ies to aso incense te sete of is, ben ever in caments shouldbe asigned to each octave.) The doubling of ane atthe octave~or some muliple ofan oxave—is usualy ore effective when the doubling ou ward, tit when the top ines doubled sn oxave oc moce above, and che bast lve is doubled an ocave or more below (Ths ls tue repuces oF whee dhe Inrament involved ace the sme oe diecent) Howeve, there Can be ecepions as shown blow inthe dscusion of proctaue 8. EXAMPLE 8.6. Procedure 3: to ofthe ama introments doubling the ln atthe cetve Procedure £ Two or more different instruments perform the line in unison, dating few, synthetic cone qualies. Even with only two performers involved, the listener ig les lkely to notice small deviations in intonation between svo cit ferent instruments (although for che performer the aetual tuning process F mabe a EXAMPLE 8.7. Procedure 4 iferet timbres in unison ects Orchestaon| ring sical xemenss may prove ro be more elifcult), This procedure is especialy good for gener sand transforming various tone qualtes through the additive proper feof sounds proeduse 5 ‘Two or more different instraments playing a tine in different octaves is another effective way to synthesize new Eimbres. (One must define “diferent faeruments” here to include combinations such as two clazinets which, pGterent octaves, possess totally distinctive tone qualities.) The more Braves between the instruments the moce the result will sound like separace erument: and not like one, integrated one, With imaginative selection bfinstrustent, interesting and colorfl new sounds are possible. 7 oe ofa ¢ ca EXAMPLE 8.8. Procedure 5 diferent instruments (times) playing the same tne in ‘ferent octaves When uying © eect an organke round the inarumens aigned wo the lover line should be score to be mor: prominent (louder) chan Shon anigned tothe wppes ket) Tle in tn Cus the upper ins to be perce as pars of an be that sy sf fndamentay the Tov ne. Benet apron oeoing imi raion approaches to pc organ design end ropertin, ron the Sse procedure te When ‘attempting to capture organ sonoritie’ with a band or orchestra. For the renee “organ sec” the tas ney epi ofen doubled in sever Sexes soe an inthe ocae Below te gl ort, The thine {Sete ys sore of doubling 2 ie onan sound. THs organ seoring SEE MLSs cnr produc 8 or procedure SI ea S007 rece in procedure 6 335,tae: ner Hee ceri Trumpet t EXAMPLE 88, Provide 5 ander 3: doblings to cisin the efecto a pipe oan Procedure “This very nerting procedce wis ever rent in much the same mane ‘Srmutsion mops toed onthe pipe ong. By angring evel intramens ohe ‘Sime or dierent unbres tothe ine, but by doubng he ein! ines ters tir tan ony unions or saves, cen gps rhesengopportniss tee ‘Sled Typical latonshipe wold be one inrument onthe etc, another on ie ‘ned oc higher hdinrument onthe melody perf in above tt, {let mothe insrument on the melody a major ath shore that Ths parse ‘rangement, whic s dea bed onthe harmonic ere and modes on he ol ‘rgamayntined solo vies noun at comet epi fete. The probem afintonasion,bowere, capes chlensing he pertrmen (Former infor tnadon se chapter 6, p. 265-71 concerning maion sop and he cornet) x08 f BAANPLE 8.10, Procedure 6: ine doubled atthe pect 12 and et the major 170 ae voring Musial Elements as In othce musical genre, other combinations of intervals would be more appropriate ase) mech EXAMPLE 8.11. Procedure 6 sing relstionshipsDetwesn lines not derived rom the har Frenic sre: lin doubled a the perfect fourth andthe ciministed 12% Scoring Subordinate Lines ‘Subocdinate lines are usually perceived ca be accompaniment in nature. As Sach, one geacrally does not wish to draw too much ofthe listener's atcention Be ln, Dut one ave doce nocvish to have cham “loc” in the texture ‘The desirable scoring would be one that locates all elements of thes lines, oF te Bgures the ines create, within a very playable and controllable ange of the fnsicuments asigned 0 the Lines. (Thus, a line intended to be unobirusive srould aot be given, for example, to chree trumpets asked to play inthe top fh of hee ranges) “There are four basis proceduces Yor scoring subordinate lines, These are tssed hete fom the east stention-getting to most attention-geting (that is, fom most subordinate to least subordinate) [ALA group of very similar sounding instruments assigned to each element (line) in one oF more oceves B.A group of disimilar counding insruments asigned to each clement line) in one oF more octaves, each group possessing 2n unique sound C.A tingle inscament assigned to each element or Line, all inserumepts possessing very similar sounds D.A single instrament assigned to each clement or line, each instrument ‘powesing an unique sound Procedure A, Perhaps the most taditional way of dealing with agcompanimental lines is t0 assign all ofthese clements tO the samgor similar-toned instruments and to ‘make sure that a group is playing each clement. Inthe orchestra, this has led to the extensive assignment ofthe second violins, violas, and cellos to the per formance of this material, In the band, the clarinets, alto clarinets and bass clarinets often have similar roles. Specially, the use of an ensemble tends to “take the edge of?” the articulations and will average out the individuality of the performers involved, thus, to the ear of the listener, subordinating the lines snd making them less auspicious.vex - oo : EXAMPLE 8.12. Procedure A: groups of sila instuments assigned to each elem Note the use of second viens end violas fr ehythmie eure andthe use of cols and ontobates, in ecaves, forte bass Procedure B In this procedure asin procedure A massed forces are again selected, but now the groups are hetcrogencous. To further refine this concept if sll of the ‘groups crested are similar in construction, the results will wil be less conspie. ‘wous lines than if the groups are highly dissimilar, ? 3, Procecre 8: each element Is paje by several itferent instruments but ‘he coleations and the octave doubling of the two are very similiar 1a Erle 8.13 the szucrsing of each accompaniment imental group i quite Snir wo the sructung of vey other group. Though crested fom Neo fencou oui of trent then ner a incre mpl 8.14 the srectue of ech secompanimental group in gute de ferent. In ths conSgution the individual acompanimes: Une poet 6 unique color and wil daw more atcation to themaives than Was he ee in Brample 8.13. Oreo, 1 ring Masel Ble - EXAMPLE 8.14. Procedure B: each elements played by sev different instruments, The ‘poration andthe octve doublings ofthe to eles ifr Protas C “Te wie of singe nsrament per accompaniment ie provides dy. al TSSobputiments ins se performed by inramens with iia fone Guo hee subordinate clemens wil lend and be genera ls yo SGtSadbe co menses fone dyes iho ake tee element more Sonnenhof more color Sl Line is appropiate. By seonng wth eens psjer on 2 pars ca peices becomes = slo, and suming EulS fer and sense users wil este cach mento be Beard a8 Fein and el puro he mus ob, TO om EXAMPLE 8.15, Procedure C: four individual instruments al possessing similar one qual ites, perorm the four elements ofthe accompaniment 7a8 Provedure D_ ‘This procedure isthe most eifcul to make work, but the inherent challenge also makes it the most interesting. When one instrument is assigned to cach accom pnimental line the cleanness of procedure C is obtained, But when the instru ‘ment involved possess dissimilar timbres, balance and blend become a problem Using che characteristics of the instruments involved requires the careful assign: ing ofa particular line to a particular instrament. One might match lowregistee ‘lute to muted horn and throat tones ofthe clarinet to blend three unlike instr ments into a balanced ensemble. One could also, when required, revoie this combination to tke advantage of che differences among these instruments sO that a certin figure of line could be emphasized or brought out. EXAMPLE 8.16. Procedure 0: four diferent instruments each assigned to 2 diferent storinate line ‘Scoring end Voicing Isolated Chords {in many ofthestating situations, the orchestator is faced with the problema of scoring chords that contain many octave doublings. One may need 1 score a simple C major triad for full band or orchestra. This will require the assigning fof many Cr, many Es, and many Gs throughout the ensemble. One may well be concerned with how this can be done eflzcsvel\: A very tactional answer is to ute the harmonic series as a model (see appendix 7). From this model, one ‘ean generalize that lager intervals between the elements ofthe choed ae found in the lowest registers, while smaller intervals are more common in the higher registers. In addition, one finds the root of the chord to be the most Fequently assigned picch in the lower registers, while inthe upper registers all members ‘of the chore! are equal likely If the chord with which one is dealing is not 4 simple wad or seventh chord, ther other criteria will become important in making decisions about voicing anc doubling. Among these, one needs to consider whieh of the pitches are more signiicant to the strncture of the composition. If hierarchy ‘of pitches, ffom most important to least important, ean be ertablished, then fone can generalize the distribution of these pitches in thit manner: The most important pitch should appear in many octaves and should be included as the lowes or neasy lowest pitch present; the least important pitch may not require doubling id will probably appear in the highest (or near the highest) octave ‘Alto, the harmonics ofthe more important ptch(es) will probably also be rein Orstseaig, sorts Mast Homes sucedespecialy the 3d parti (a 12th above). Again, we have come cose £0 Astng the eradconal harmonic series model [EXAMPLE 8.17. Four chords veces according to the hemi series model st tg en tg jeaye obtain 2 smooth-sounding, well-balanced chord, Butt has never been the S57 ifttccompose or orcs to obtain nothing bstemont wel banced ieee dicaimarvens Samnarhemn eee eee lpn nr gc Serge afisk Semcon a Apacer a EXAMPLE 6.18. Various chords voioud 20 as otto follow the harmonic series mode! “The final text as to whether a chord has been voiced like or unlike the harmonic series (or any other) model is the ea, not the eye, of the oxches- trator If one ity for example, attempting to create a chord with a harmonic Seis voicing, Sut asigns assertive or pecially color voies co unique “Seorument of pitches, then those pitelles will be more audible and t0 cello, toto fintviolin, tenor to second violin, and bas to vila. There are nets, 00 — Scoring for Various Ensembles However, it may not be literally possible to achieve these scorings due to ‘ange problems, and the like. Noe the following example: = S= [EIAMPLES. 1. Fist fou measures cf the Bach naman of Fey ech se, meine Sele” “Here the Bach excerpt is scored for four sting sections with the pars being asigned in the obvious, traditional manner: soprano line tothe first vio- lis, ako line ro the second violins, renor line ro the violas, and che bas line ro the vialoncellos. ELNMPLE 9.2. Searing x. 9.1 for tring using obvious istmentalasignmente Tf'we wish o asign the soprano line tothe viola, we obtain the following: [EIAMPLE 9.3, Seprano line asignd to vila; nots in parentheses ena playable 387388 7 Orchesation With the soprano line assigned to the cello, this is the ress EXAMPLE 9.4. Soprano line assigned ta calle; notes in parentheses are not playable ‘There are several solutions to the above situations. One would be to tans: [pose the whole piece up a perfect fourth. Although this may seem idea, it may [Rot be posible if the string version has to be performed with voices dha can Ret sing « perfect fourth higher, va = == EXAMPLE ©. Soprano line signed 1 upper vias Another solution might be to omit the fire (or second) violins in Example 19.8 and divide the violas, with one group of violss playing the melody and the remaining violas providing the tenor line, or divide the cellos, with the upper celloe playing the tenor while the lower eelos play the bass [EXAMPLE 8.6, Soprano line asigned to violas. Cellos divided, with upper cles asigned te the tener line andthe lower esas aeigned tothe baz ine Sorng for Various Ensembles ‘The usual sizeof he string section or sting orchestra is 16 first violins, 16 second violins, 12 vioss, 10 cellos, and 8 contrabasces. Assuming two players per sand, this would translate to 8 stands of fst violine, 7 stands of second ‘olin, and so forth This proportioning of the instruments assures the orches- ‘wstor that a separate musical line may be assigned to exch of the five sections and the lines will be well balanced. fone nceds to divide one oF more ofthe sections into two separite part, ss was done in Examples 98 and 9.6, the string section balance is uch thatthe two halé-sections wil stil balance the other, undivided sections, But when one ‘or more sections ave divided, unison doubling of two or more fl sections can scrously upset the blend not because of loudness, but because of great inequities in terms of mass and weight. I is for these reasons that one of the violin sections is omiced in Examples 9 and 9.6. The choice of which secion oom i left tothe orcvestrator. ‘Other solutions vo the problems encountered in Examples 9.3 and 9.4 could be modeled on those used in Examples 9.5 and 9.6, but with th cellos playing the soprano line. Also, one could use octave doublings of some or all ‘of the lines, as discussed in chapter 8, by calling on the 25 yet unused cons busses or by dividing several or all of the sections, or both. The identification ‘of some of these solutions wil be left 0 the student in Problems 58 and 59. yids gait di vs i EXAMPLE 9.7, one met o searing the chorale, with he soprane line inthe ellos ane by using doublinge andthe cenrabarses a : "Former sung sean, the ul tution may be found by tng the above univers and subrcingan egal number of pertamen—sy oar—Fom ech ecton Thus one may nd chat sal oxchesta hss secon of 12 Et ai, 1 ond vin, 8 vids, 6 cles, an # cones. "The consabus priors may eich be aged thet ov stand or, Lke the other sung, two my sare asin . 359360 7 Orchesuatin For composers or orchestrators who are not sting performers, i must be ‘understood that divided pastages (divin) for string ensembles ae nota substi tute for double stops. The wo sounds are quite diferent. A violin section of Fpurtoon performets playing 2 divi passage would typically divide the pitches eaveen the two players at each stand, the seven outside (audience side of the ‘sand) perfoiiers playing the upper pitches and seven inside (up'"age side of the send) performers playing the lower pitch. In other words,» ren instru iments producing each pitch. However, two lines divided berw » x two per formers allow total independence of articulation, nuance, tuning ar characte: foreach line Ifthe same notes were performed nom divi, that is, as double stops, then all fourteen performers would produce both pitches. Two pitches simultane ‘Susy produced by one performer on one instrument wll f necessity be bowed ike snd, due to the mechanial-acoustical linkages, the vibrations of exch of the pitches wil affect the characteristics of the other. ‘The choice beeween dirs and non vid is usually made on the following bass if the individuality ofthe lines sof primary importance the situation calls foe divin ithe unity ofthe massed section is of prime importance, then nor (Boris in ordee. (However, performabilty supersedes the above and may dic TREE tue of dvi Deewuce's cermin dou cap is impossible.) Asis appar. he ffom the previous discussing, the sound of 3 two-pitch divi is noc equal {fn mas co the sound of a double stop. ‘Othe instructions for dividing a string section are half(meaning that only half ofthe section, that is, one plaer fiom each stand, isto play usually only the outside player) and vide by ands (meaning that tie upper line is to be played by the st and all other odd-numbered stands and te lower line i to Pe played by the second and all other even-numbered stands). Ocher divisions (of the labor are often countered such divis by 3, by sands, which could be ‘rranged so that line one is played by the firs stand, line ewo by the second, line dee by-the third, line one by the fourth line to by the fifth ef. Or as fn akcenate solution, stands one and evo play the fist line; stands three anc four play the second line; and stands five and sx play the thied line English ‘French German elise Spanish vided or dis vist sete visi visi or dildos pot divided or unis ortuniion or insieme or unstono erinsieme _ unisono r juntos ‘ison simone ‘amen half le mois de Balke a mesh Ja micad all er wc tous ors dle orcas tat tutti or todos ‘divided by and ~elvise par pupizes gel pultwcise divs dalegeli_ vidios por ates Scoting for Student Orchestras and Ensembles Allcomments about sring writing given above apply to writing for younger string performers of grade school dough high school age, with these reservations: 1. Theke is often significant difference in ability and technique beeween the fist chair performer and the rest ofthe section. or Saving for Varios Ensembles senza cord Spies, set genie 2 ponies ev eee [EXAMPLE 9.8. From eheasl ro. 87 in The Fite of Spring by Staviney instructing the stand vilins to dic by stance: 3 sands onthe top stat, 2 stands on each ofthe ether ‘vo staves. Hewever the material witen on each eat nt to be divided, I is up the | xneetr to cetermine wheter adjacent stands eaiate stands are onthe same pr eceuseof te historic ifieuty ofthis plese, it mous make sense and probably imarove secur to ave al those perermers who ae plying the same pan seated together 2, The younger the ensemble, the less likely one isto find viola and com: trabass performers, either in sufficient ambers or 2 ll 3. One should avoid writing music that i in the higher positions For music intended for general pure wage, all ae Nc wsage, ll maj and te eran passages shouldbe asigned fo the Sst cal (peacpal) performer © Capac 12, 191 by Hanks & Son (Landon) Le, CopighrRezewed ‘Used by permission of Boosey & Hawkes, Inc. dew pi wah i ; "30 4 a solo. Ifthe ensemble effect is desired, then a simplified version should be provided forthe ret of the section ees EXAMPLE 9.9, Line for concatmaste and the sane Ine simpies fr te est of he Fst olin or pectormance by a grade school ensemble In a high school ensemble one can astume a strong principal ise won pein joa ello, and (maybe) peincpal contraband principal viola. However dhe eit ference in abligy besveen the principal ois and the principal ili may be great. ‘Because the contabas and vile require scertiin amount of physical size and ‘musical maturcy to perform, one often finds neither ofthese instruments in a {gade schootensemble and few of thom in many high school groups. To make up neds mising or nak vel, a third violin partis often provided that doubles in tunson most otal of te vol ine, One could aso provide an upper call lne 10 Ssccomplh the Sime end. Since no instrument can replace the contrabass, one Should score the ellos 20 a8 to provide all of the bass necessary. The problem with ‘both of these solutions ie that they tend to produce “safe” and wninteresing vols and contrabass parts acl thus fal to excite the would-be performers who must ply them, This in turn convinces the student that plying the instrumeat is not ‘specily worthwhile ((e, not necessary) and the numbers again sink. ‘When scoring music for grade school strings one should write all parts in fst position, except forthe concertmaster, who may be asked to play 3 few pas- ‘sages in third position, For high school musicians, one would limi the" parts to third posiign notes as the upper limit, except for the concertmaster, who can be asked to ply fith position notes (see appendix 4). For literature intended for advanced high school performers, the section pars ean go up to fifth por ton note, while the part fr the principals can utilize professional ranges. PROBLEMS 58 AND 59 158. Score the four measures of Bach's harmonization of Freu’ dich seby, 0 ‘meine Seete given in Example 9.1 fr sting orcheste in thee citferent ways other than those illustrated in Examples 9.2 through 9.6. WACHET AUF, RUFT UNS DIE STIMME Orceseatog| ering for Varios tnsemsbor 58. Score Wachet au, utt uns cle Stinme eter to grade school strings (using fist, scone, and tid violin, vila, cellos, and optional contrabasses) or {or & protessiona string orchestra consisting of 7 stande of fst violins, © stands of so2ond volng, 5 stands of vise, 4 stande of elles and 3 stance cof basses. Use cvs strngs, sla strings, special fects, etc, es you chacee. WRITING FOR BAND AND ENSEMBLES OF WINDS Approaches to Woodwind Scoring Thos insrument posi some ofthe ot interesting tone quaiessvable tv the orchestrator In const the Sings which efee great dnbra sin lees, the woodwinds ofr great cvesiy For ti cemon i ceques cael scoring on the part ofthe composer to produce a balanced, homogeneous blend om che woodvings. On the ote hand, woodwinds lend tmsles to the delneavon of several scparsts ines, a found in polyphonic muse Abbieving Balance and Blend ‘The most obvious means of guaranteeing blend and balance among the wood: winds is to use only instruments ofthe same family (Le, all clarinets). When, tis instrument selection is made, the scoring problems ae similar to those of | the strings. Quite simply, balance and blend are not probleme. In bande, where there are always large sections of elainets (and often large sections of other ‘woodwinds, the concepts of divi and half of the section (as discussed above far sings) are also applicable. When numerous ciffeene woodwinds are involved, one can achieve blend by grouping similar woodwinds and following the homogeneous scoring pro- cedures discussed above for tings. Some of these similar groupings are oboes snd bassoons, utes and clarinets, and saxophones and double reeds. Reference to the dynamic curves ofthe various woodwinds will assist the orchestrator in dealing with dissimilar woodwinds. Ifthe various woodwinds being scored are all assigned pitches in their equivalent registers based on Synamic strength, balance will be assured. Thus, one could obtain balance by sing midelle- and upper-eyiser duces with middle- and lowerregister oboes or ow. or middle-register Hotes with high-register sxsophones or bassoon.364 flores to bring out an otherwise weak line by the use of tw oF more of the same instruments usually meet with some inited success, except fo lov register fltes where the extra mass seems only to “take the edge” olf of the sound, The results actully fs penetrating than a single te inthe same range ‘Aneffective means of equalizing the ines when a mixed group of woodwinds is valable i 0 termi the rone qualities on exch line so that each of the lines hasan equivalent timbre. Thisis very workable even though this mising of ti ‘bres often produces tonal sums chat are less coloeil than the component pars. j _srng for Vernes Ensembles ud Pa BYAMPLE 8.10. (2) talencad voicing of the lines using similar insurers (0) Balances ‘chords using cisimiar timbres but carefully slated ranges () talenced ies erates by rising contrasting timbres ‘The creation of balanced lines by the mixing of diverse timbre is some- ‘what akin to type of chord voicing known as interlocking poicing. In this vic ing each clement of the chord is played by 2 unigue combination of iastruments, Ths, for example, the root may be played by oboe and clarinet, the third by oboe and flute, and the Sth by clarinet and flute, The instruments sssigned to-any one element may be scored in unison with one another or at the ocave or double octa. ‘An alternative voicing of chords would be to cover all elements with (as natly a possible) one of each type of instrument, ssigning exch instrument ‘amily o a specific, and often exclusive, pitch region. As UNPLE 9.11. (2) voicing chore by the ve of intreckingsering (voicing chores by femiy eure In its register of medium-to-song Bynamic, a single woodwind can match section of strings on equal footing. In the weaker registers, the woodwinds are ‘ot quite equal tothe string sections, but manage to do a good job of reinfore- sng the stings and can be used to offer some scoring disadvantages the strings ‘may euler, In the example on page 366 (Ex. 9.12) ftom Brahms's Symphony No.4, the bassoon reinforces the viola, who ate ia a weak tonal poston due €> the very intense sound ofthe high-egiser cellos within the same pitch area. [Esch of the scoring approaches discussed above can be further refined by tuing the suggestions in chapter & Approaches to Brass Scoring Horns opca, muted, or stopped—and muted brastes can be treated much Uke the woodwinds just discussed, Unmuted brases, not including horns, are dif ferent. Any single uamuted sumpet, rombone, or tubs can balance whole crchestrs and ean almost balance a whole band, Thus, one should remember these balance guidelines for brascs: y 1, Horns should be teated as woodwinds (sce pp. 363-68) 2. The other brates never need doubling 13. When other braseee are playing sta mezoe farts or lee, the hoens can be susigned one to a part 4, When other brases are playing forte the horns should be assigned two toa par366 ‘Andance modest (i pol P walcagonire Ves sin P B dolce STaTE P P [EXAMPLE 912, From the sesond movemart of Erahine’s Symphony No.4 in E Mine, a9 ‘example ofthe use of mle range woodwind fo relnfrea a cing lin (he excerpt begins at rehearsal letter © 5. When the other brace are playing forsisime or louder, the horns must be atgned four to apart 6, Although very effexive at louder dynamics, brasses can play cctive (planicimar ike the other instruments. At these dynamics, balance with tke rest of the ensemble presents no special problems ‘Because of the homogencous timbres ofthe bases, atleast in contrast to the woodwinds, the voicing of brasses ean follow the guidelines offered for strings (p. 356). When muted, brasses come closer to blending and batancing like woodvinds. Ifa variety of diferent mutes are used, the colorativn prob: lems also become more ike those of woodwind instruments, ‘Even’ hough the tecond guideline above states that brasses (other than. horns) never need doubling, they may be doubled to increase the mass or ‘weight of the sound. (The doubling is not needed to increase the loudness; indeed, acoustical studies prove that doubling isan ineffective way to increase loudness.) The horn downlings referred to in points 4 through 6 above also secve only to increae mast ¢0 tht the horn line ean penetrate or hold is own against the brass sonoritis. Scoring for Seudeat Bands and Winds Wher scoring for student groups consisting of woodwinds or brasses (or both together) the following point should be bore in mind: 1. Theres usualy signiican difference inability berween the fist chair performer and those seated father down the section, 2 In younger ensembles, one will rarely find an oboist, bassoonist, bas lutinetist, or tubist. In older etudent ensembles, such 25 high schoo! soins for Various Broembles 7 me oa EXAMPLE 9.13, (3 balancing of woicing ina sft brass passage () balancing of veiting in ‘oud bras poses (el Balancing of weicing ina von/loud brass passage groups, the svilubiliy ofan oboe erformer ora basoonis remains Subject co chance. 3, Music for both woodwind performers and brass performers should avoid exromes of the range and should have 2tescura that approx: ‘nates the lowest wo octaves ofthe instrument's ange. (For the horns this would be the second and third octaves of che ange.)368 4 For brass players in clementary school, lines should primarily move by step, with only occasional motion by a thd or fourth. For woodwind players in elementary schocl, one should avoid rapid changes of register ff a repeiive naure “The implications of point one for the orchestrator is thet all difficult oF ‘important lines must be assigned to a strong (frst chair) player. The lines signed to the second and thed parts should be well doubled to insure con ence. In polyphonic music, each important line must be assigned to, among ‘thee, a principal player. (Thus, fit line to frst trumpet and second clarinet, ‘Second line to Sze clarinet and second fuce, etc.) In many student groups, oF nonprofessional adult groups, one finds 0 ‘oboe and/or no bassoon. For this reaton, one should always cue important ‘oboe solos in the fre fate or frst clarinet part and imporrant ba oon passages in the bass clarinet, euphonium, or tenor or baritone saxophor . parts. In cle ‘mentary schools, one finds no bas clarinet, tubs, o baritone sase- hone, Thus ‘one needs to score music for this type of ensemble so chat the vas ine is pro ‘ded by the tenor saxophone, ombone, and/or euphonium regardless ofthe svalabilty of tuba or other bass instrument. ‘When scoring for grade school musicians the mort secure porn the instrumentals’ ranges isthe lowest octave and a half. Notes above this tend to be faiguing or unplayable. Av the performers mature, the usable (safely usable) portion of the range increases to about two octaves, but greatest fendurance and accuracy remain ia the mikldie of these evo octaves for most brass played, Obtaining extended ranges isnot so much 3 maturation problem ‘with woodwind players, but one it sill advised ro view the lowest two octaves sa safe, rule-of thumb range for typical student wind players. In addition tothe ine-sbaping saggestions given in point 4 above for brass players, octaves are usually easy to hear and thus easy t0 play, as are lines that briefly flow the pitches of the harmonic series. Awkward-lookdng, lines (involving augmented and diminished intervals and large leaps) should be voided, orif unavoidable, assigned to a principal player. ‘Among young woodwind players pid alteration benween a pitch inthe upper register (with the octave or register key depressed) and a pitch in the lower register (without the use of the octave Key) is dificult and should be voided. Af slow speeds itis no problem, and as the player grows and becomes more experienced it alo centes £0 eatseeificules a any speed. Assigning Parte ‘When scoring for grade school and high school wind groups, the chare in igure 9.1 can serve ara guide. One should not forges that this applies to 2 3p feal SATB distribution of fines. When contrapuntal writing is involved, the sug- _gestion given above—alwvays t asign a strong performer to each ine together ‘with weaker performer:—is to be followed, This applies regardless of specific cave aeigniments, Italo works for veduced instrumentations (such as only woodwinds), bur usually noc without some adjustments in the exact distribu ton of the addition of some cues As» piecaution, the orchestrator writing forthe school ensemble should anticipate that some instruments—oboes and bassoon especially —may not be Orchessaon| ring for Veron Ensembles rental Bort Alto__Tenor sg Flue x 29g Fe 2nd Clarinet 4d Clarinet ass Clarinet Bassoon [yt Alto Saxophone 2pd Alto Saxophone Tenor Saxophone SBasitone Saxophone Tr 2nd Trumpet Ist Horn tnd Hora Ist Trombone 2nd Trombone Euphonium Toba FHGURE 9.1. A elabe table of assignments fr weting for a grade school or average hi ‘eho band salable, and chet other parts—second horn or third elaine, for example— ‘maybe assigned to weaker players (or may not be played at all. Thus, one should be sure that the scoring is such that even without these parts or instru- sents available, the piece sounds complete. This is easest to accomplish by careful use of doublings and by cuing important passages. ‘The Marching Band When scoring for the marching band, the orchestrator should remember these points 1. There is no standard marching band instrumentation. Some bands are all beast some are brass and saxophones, others are almost standard symphonic or concert bands 7370 2. Due to the need to compensate for the problems of playing out of doors, special scorings ar often used for marching bands 43, Some precautions may need 10 be taken for bands that play out of doors in subreezing weather ‘Because offs wal performance environment or (perhaps) tradition, a par sicular band may select a special instrumentation. Since there is no standard: sized marching band, one may find variations in size ftom 30 or 40 performers to over 500. Many college bands will we only piecolos and no flutes, but high ‘school bands,usually use a mixture, Oboes and bassoons are rarely used in marching bands and bass claziness are also rare. However, son of the larger College bands do use bass clarinets and baritone ssxophonss. Horns may be Feplaced ith alto horas oF mellophoniums, “Typically, the backbone of the marching band will be trumpets (or cor nets), eombones, cuphoniums, rabas (Sonsaphones), and percussion. To max- fmmize the amount of sound these instruments can produce, marching band ‘scoring often takes advantage of much unison and octave scoring, An empha: {Gris made on the melodie line, the bassline, a counterpoint (counter melody) line, andthe percussion. A possible dstibation of parts for a marching band sight be as Fllowe Piccolos (Hutes) _-_Mclody one or two octaves above Ist trumpets 1st Chariness Melody one octave above Ist trumpets or high pitched counter melody 2d Clarinets ‘Melody in unison with Ise wrampets or high pitched counter melody in unison with, of an ociave below, et clarinets ‘Alvo Saxophines Melody in unison with Ist trumpets or middle range ‘counter melody (with hocas) ‘Tenor Saxophones Middle range counter melody or bassline * Buitone Saxophones Bas line It Trumpets Melody eee ee sc umeny } MH idea cadences Horns Secondary harmony or middle range counter melody; tmay divide into cvo parts if doubled or if featured, sol ‘Trombones Middle range counter melody, secondary harmony, ‘melody in dnison wath or down an octve from Ist : trumpets, of bassline Euphonium Bassline or middle range counter melody Tubas Baseline Pereustion Rhythmic Seurtion For final chords and special effects, any of the sections may be divided, but ‘dating the march, divided part aze not encouraged. [eis dificult to march and ply al ofthe writen notes, and thus some sound is always lor. In addition, for show mazching the band may offen have personnel facing in cwo or more rections, thus weakening the und heard ftom any given vantage point. ‘When very cold weather is expected, special arrangements can be made for ad . ont Y serng for Various Ensobes he marching band, These arrangements ate intended to compensce for the Be fp valves and slides thar occur on bess instruments below about -7* ‘tina (about 20°F). The water would speaiy that ciffrent performers ‘eit slow ther instrument to become frozen with diferent ves depressed $ifren combinations or the slides postions exendedin diffrent positons iNim 58 praca matter sides should be fozen in the fist four postions cop Thess one rumperer may bave the valves ffozen in the nondepressed {Baton, nother trumpeter wil bave the vals ozen with the fit vale and 30 On old weathe string then cals fo each brass performer to produce only shove pitches payable with the ozen valve or aide sein. Since woodwind pads ip feeee, rendering those instruments wnurable at chese cold temperatures the Hdisreduced to natura branes and percusion only (See appendixes 7 and 9} PROBLEMS 60-62 60. Score the chorale Wachet auf, ruft uns die Stimme given in Problem 59 (pp. 362-3) for grade eeho0l woedwind players. The ensemble should con- Sit of2 ites, Ist, 2¢, ahd 3d clarinets, bass clarinet, 2 ato saxophones ‘and 2 tenor saxophone. Or score the Same chorale fora grade schoo! brass (Foup of Ist and 2d tunpels, 1 han, 2 wombones, 1 euphonium. Score the same chorale Used in Problem 60 fora professional wind group composed of 2 flutes an 1 piccolo, 2 oboes, 1 B clarinet, 3 By clarinets, 1 bass clarinet, 2 baseoons, 2 alto saxophones, 1 tenor and 1 baritone suiophone, 4 homs, 3 trumpets, 3 trombones, 2 euphonium, and 1 tub. Ilustrate various voicngs ciscussed in tis chapter incluging the use of similar instruments on all lines, the use of dissimilar but carefully Selected tone qualities, the use o-biended lines, vertical vicing by fam- iiee and by interlocking. Use seoring procedures cutined in chapter 8 ‘and brase mutes 2s desired. 62, Score the fellowing melody for marching band. Assign the melodic line to the flutes, Ist clarinets, 2¢ clarinets, and alto saxophones 2s well as the 1st trumpets, Assign the bass line to the tenar saxophones, trombones, ceuphoniums, an tubes. Assign important chord tones tothe 2d trumpets tnd horns. Write an appropriate drum part for bass drum, crash cymbals, snare drums, and tom-toms. 2372 WRITING FOR PERCUSSION Approaches to Percussion Scoring “The percisionstis a performer who often plays no sped instrument but rather may ply any of several insrumens, Inthe cae ofthe smmphony orchestra's pani, the jazz o rock group's set drummer, or most drummer in a marching band, one does ‘obser pereusonis who playa single instrament, or imited, clay defined group of insrumens-t0 the exclusion of other instruments. But all other pereusionists represent potential instrument asigumensy, not specife assent, For this exon, ‘onc mustapproach pereusion wating alin difevendy than other scoring, 1. Percussion instruments may be struck, bowed, shaken, pulled, cranked, ‘tumed on and off, picked up, st down, dropped, rubbed, mulled, of blown; all ofthese actions require the tie of a hand, a pair of hands, another device, or an extra pair of hands. 2. Scine percussion instruments such as timpani, bass drums, ane mati: bas are very large and take up large amount of space. 43, Some_percustion instruments are noisy and cannot 7 moved both quickly and quietly; among these are maracas, wind el. nes, and tubes, 4. Tn addition co instruments, percussionists must have arevable an asiore mont of uulles, Leute, serapers and other devi s wor cauning the ingtraments co sound. z In writing for percussion instruments, i is not enough to indicat what inet vey wnt emesis Pose orchenrator 0 pl in advance how the pdfs Boag pic the malts and get othe insaument (This may requie panning forte por former toput down othr mull, cous fom one locaton toate, pk op the crect mallets, press peal or tn ona ssicy and tow pay eens sent) Percussion mus of any comple requires choreoprapty occ {to the choveopraphee “Thestaden of orchesason should becomes fir s possible with he pereusion inseuments, Some suggested aces include 1. Life and move the percussion instruments. How big i a 29° timpano? ‘How heavy are pur of essh eymbale? How tal are the tubular chimes? 2. Under the guidance of a percussionist ey various mallets, sticks, and ‘Bearers. How much bounce is there to a pair of snare dru sticks? Toa pair of yarn malls? Do these fel different when striking 2 tom-tom? A ‘wood block? Try to pick up and set doum various paie of malles, How {Quickly can this be done without noise? 3. Walk around and among the percussion instruments, How close together can they be placed? Tusa the snares on and off on the snare eam, turn the motor of the vibraphone on and off. How quickly and ‘quistly can these actions be performed? 44 Become familar with the mallet stands (ray stands). How much space do these require? How close to various instruments may these be placed? How many mallets or small instrument can one tay stand hod? How close to the insiruments can music stands be located? How large ‘ust the music be to be legible? Orheiicg 7 ae ving for Various Ensembles Without experiences ike those dseibed above, seorng for percussion will ycome 2 very accurate guessing game on the part of the orchestrator. seence withthe instruments and the sikers wil alvay pay dividends se Percusion Ensemble and Maltiprcusion Writing assion ensemble is group of two of more performers The performers AreGch be asked fo play one instrament or sever insiumeats, The petes- at Cheemble may be a totally complete performing group or may be used other inseamene asin she Band and orchestra Malepercusion is acer used by many contemporary percusionists (0 descbeWting foe one performer ho plays many insruments. Thuy 2m {Si cesion solo would imply slo performer who pay an assortment of per 2egminaumens In the persion ensemble a member may OF ay not be ‘eming a multiperconion part. As a matter of eflency,mupercussion fing isto be encoursged, But sucenfl meldpereusion wetng requires an Spel knowledgeable and concerned orcheseator. Inerament Seoring Verus Performer Scoring Inolder yes of percussion writing, one often fads what may be called instru ‘ict scorne, 1a tis approach, a separate staffs provided foreach percussion Erument wie ina composidon. Te parts provided othe performers offen ‘es station, Therefore, sh een page shown Exam 25 ‘See peowde the performers witha tmpan pare, a uiangle part, a wood! furs cjmbal part snare drum par, anda bass drum par EAAMPLE 9.14, Organization o peteusion Score by instuent [Although the score showa in Example 9.14 is dear from composers’ and conductor” points of view, the performers have several unanswered questions to deal with. Doce the composition really require six different performers or ‘could one performer play several instruments? Iti clear thatthe snare drum mner cannot alo play bass drum, but could the eiangle player aso play wood bocke What combinations, if any, work, and how docs one determine these? Tr should be otvious that to answer the above questions wil ake valuable time and that the answers are by no means clear from the musi, A better corom ing would call for the arrangement ofthe percussion parts a in Example 9.15, Hier, the orchestrator has determined dat four performers can perform the music (one timpanist and thee percussionists) Orchestration rect fr gol Fd met pot 8 wn Saat F [EXAMPLE 8.15. Organization of percussion sere by partormer Percussion parts sch a in Example 9.15 in which all actions are esigned. to specific performers do not come about by accident, Experienced orchestrs tors may be able to predict and plan the number of pesformers required and the specifi instruments each performace must play oven before they write asin sle note. Less experienced orchestrators will ned to follow these steps: 1. As the piece is being written, writs the ideal percussion part. Use as many staves as ae needed. Do nor be concerned with how an action will be seeomplished. Only be conczrned with the sound qualities desired Specify the inscruments that are to be played, the malles or beaters (etc) chat are to be used; the length of the sound, the shape of the sound, and the loudness of the sound, 2.-When the ideal percussion score is completed, ist all instruments wed, [Note on thelist ll mallets required and in wit order. Also indicate all instrumental combinations that occu together of in rapid succession, 3. On the basis ofthe information gathered in step 2, above, determine the ‘maximum number of inscrumentalists required. Be realise about the use of your performers. Ifa performer ca play two oF more instruments together or in rapid succession, ulize tis more ecient scoring, (Lest experienced orchestrators who are aot percussion performer: ar likely to overestimate the number of performers required.) 4. Whether the number of performers required seems to be reasonable ce ot, examine the percusion writing to ce if the number of performers could be reduced by subsituting instruments, changing (or not changing) smalls, having two or more performers share the same instruments), ‘omitting an effec that may not be especialy audible, ete. Obmsining the ‘mort efficent use of the performers will improve the percusion writing. 5, Rescore the pereussion par using che number of performers that the above steps have determined to be the minimum neceay Start by cstbuting the instruments among the performers co that the most complex passages willbe performable, Wotk fom the most complex pasages toward the most simple pasages. Keep che asigned instruments inthe same par through (ou unless cis clearly posible to move the performer to another locaton, ‘move the instrument, or provide dupieate instruments. [fat all pase + ys ving or Varios Bumble teen rocker hear tend ete eter be eee ee ea ea eee _ ils ga ste Seer mei inet cris dope ce eee Fe nese aime chan oo Cea —— (B BESSA pa sow rau te Baw Bee NovEs. ena omi pupe atl wns Te th ars) ae omer call as Tintin Pte a) ith an ota eo nt aaa lee soe ee Sa See 8 2 ca ae mes See ones Sree Pair a gu Dn thet ir whet sar et pay! who Sea ob hoe Sener me ee eae SSS SS We ea St Pat re HEE aree. 8 Greens lane Eat bos sesteroatns aie Oe Scone Peer ate emake prt Seid hin ste faves plows Se pled dre Sh sein ths hoe soald be placed eee ohio EXC th cla pereoson strana ° FHGURE 9.2. A piel plan with instructions showing locations of instruments and pet ‘armas, from Berks Sonata fer Two Planes end (Tvs) Pacussion.* The audience wil tthe pianists Decks, 1 Coppight 1942 by Hawkes & Son (London) Led; Copyright Renewed. Used by seritsion of Boosey fe Haves, ne a836 Orchestron Pereussion Parts and Scores Modern percussion parts are more and more becoming percussion ssores, All Of the percussion actions are recorded as shown above (sccording to pecforr: crs). These, are then reproduced in sufficient quantities for all performers [have whatever number they require. The result is that al performers have the same music and can see cach other’s parts. This improves ensemble and speede up sight reading as well as allowing the performers to cover for one another in an emergency, ‘The pereusion score should consis of one or two staves for each player (One stafis often enough, but two is sometimes needed or helpful. More than ‘vos almot always unnecessary. The suff should consist ofa fw lines as pos ible, never more than fve. (The Sve line etaffi almost exclusively reserved for pitched peréission instruments.) ‘Writing forthe Set Drummer In writing scores For set drummers, one is best adited to write lee eather than ‘more. This would be ssypieal part. EXAMPLE 8.16! Types et crum part “The notion above tel the drummer al hats needed in oder o provide he shythmie support neeesary. By not providing too much inermation, ie po former wl el both an obligztion vo add more aswel the license to ds. ee part er loo like shi Pesance EXAMPLE 8.17. ir example of set crum wring: to detalles ‘The drummét might fel tac ic was the composer's intention that the part be played exactly a5 writen and chat adding t0 or modiffing the written part ‘would be inappropriate. Set drum parts that have portion thet are very explicit will require lear indications to the player whenever improvisation is expected. Instructions lke chese would help: “Improvise upon given gure,” o¢ “Sami, ad lib.” When the notated part isto be played Literally with no improvisation, this instruction is needed: “Ae written.” coring for Varions Exsembier a7 {eis usually nor necessary to-do more than give genera information about the sermpo, syle, dynamics, nd duration to the drummer unless some specie mus {al equirements exis. One ofthe more fequenty encountered of these requ’: tment would be 10 reinforce (bras) accents. To indicate both this need and the frac accent pattern that isto be matched, one would wite the part this way: 2 . 0 Jims On gp ey peutito [EXAMPLE 9.18, Set crum pat stoning accent cues 1 more explicit instructions are wanted, this could be written: 2 P= © Di 9 Poito EXAMPLE 9.18. Set rum part with spect scents wen in In some situations it might even be bes to provide very complete cues for the drummer, along with ether a very deualed pare or with the instruction to Jmprovise. The problem is always to maintain the balance between giving the ‘drummer enough information to allow effective backing of the group and not tnaking the part too complex or difficultto sight eead accurately. Tn set drum parts, notes with the stems pointing down are for the bass dram those withthe stems pointing up are for the snare drum and tom-toms;, tnd note heads in the shape of an x and located in the upper part of the self trabove the sf ae for cymbale, cowbell or other metal sounds. Instructions 2 to specifi instruments or mallets to be used are written (or abbreviated) as ‘vorde, Pitograms aze rarely used inset drum witing. Scoring for Student Percussionists ‘Sradent percussionists are usualy asked to perform on only one instrument, or Sst moit two, during the course ofa ingle piece. Mulepercussion writing for ssudent percussionists i the exception rather than the norm, An additional dif- ference between the writing done for eudents and thst done for professionals isin the use of definite pitched percussion. The younger the students, theless ikely i is that a timpanist o keyboard percussionist wil be available. Ths all ‘impani parts should be cued or doubled in commonly found indefnie- pitched percussion, euch a bass drum or variously pitched tom-toms. All keyboaed percussion parts, ylophone, ozchestal bells, vibraphone, should be assigned to a single performer, unless the pares are very simple (like ‘wo repeated pitches on 2 single bell or chime, ¢.) {tis probable cha the ensemble will ave One, and perhaps only one, per-378 former who can read and play keyboard percussion parts. This person is very often 2 piand-sadent who has been dafted for the occasion. As such, she per~ former will probably lack stck technique so rolls are not reliable, and more tan one stick or mallet per hand is aso probably unattainable. Tete pitches You wish to asign tothe keyboard percussion are important, they shouldbe cued in some other part. Examples of workable cues are orchs tra bell note in the piccolo; xylophone nozes in high clarinets or cup-muted bases; vibraphone notes in low fives and horns. The effect of the material of the instrument may be obtained from indefince-ptched percussion: wood blocks or laves in pace of xplophone and triangle oF the crowa or dome ofthe ‘ymbal for orehertea bell are examples of possible substitutions. These inded nite-ptched colors may be added to the piccolos, clarinets, or eup-muted brates to produce a reasonable substitute for the originally conceived sounds "Another limitation asociated with student percussion wetingis simply the availabiliy of instruments. Among the definie-pitched instruments, these are tually found: orchestra bes chimes, rlophone, and two or t ree timpani. [Less commonly found are vibraphones, marimba, 2 fourth timpsno, and roto roms, All other instruments of definite pitch, including piccolo rrapano and ‘rote, arevarely found in secondary schoo! situations “The Gouuuwedy svilabe indefniee-ptched percussion are anare and Geld drums, bass drum, one to four (concert) tom-toms’ tambourine, wood block, caves, temple blocks, maracas, crash cymbals, suspended cymbal, wang, and Sandpaper Blocks. The lest common instruments are bongo drums, cstanets, {guto, cowbell, sleigh bells, whip, ratchet, and various whistles, All other instru: ments are more rarely found in high school or junior high school ensembles. Scoring for the Drum and Bugle Corps “These ae special musical organizations with their own craicions, rules, and practices, The instruments must all be acoustic without any electronics or Amplification, The bras instruments are bugles, all pitched in G, and (nov) postsring 3 valves (soe chapter 4, pp. 187-90), “The percussion are divided into svo groups: the marching percussion knowin a8 The Barery and the nonmarching percussion referred to a5 The Pitt ‘Typically the Battery consists of 6 t0 10 snare drums, 3 10 6 Quads (sets ‘of four sngle-headed tom-toms of various sizes extred and played by one per~ Former), 4t0 6 base drums (each different size between 20 and 32" in diam- ‘ter; eared: and played by one performer), and 4 to 6 pairs of erath cymbals ‘The use of marching cymbals is on che wane. ‘The nonmarching percussion usually has about § timpani, sylophone, sibrapiione, bells (glockenspie), and marimba. Other percussion instruments, such at suspended cymbals, wiangle, and Latin American instruments ean also bbe found in the pit * Schools with acdve marching bands may have several ets of marching tomtom that could be wed ia concert siustons “This refers oan area this centered along the sidelines, near the audienes, Pefoumers in this area ply but do not mach Orcheseaton| ring for Various Brats “The bugles ae often divided inco 9 choi: 3 soprano bugle sections, 2 mel lophone sections, 2 baitone sections, 1 euphonium section, and 1 conmabas Sec pe xr eadences and clmaxcs the bugle scons made be divided further. The style Getting and playing associated with these “Dram Comps” bas had lot of infu carpe the current writing eyes wed in, mos high school marching bands. “There isa movement now among some corps to substitute standard band iostruments forthe Laditional bugles. This is realy more ofa response 10 2 erage of bugle manufacturers than an avowal of a new esthetic taste, Honetes, such change would amount to a significant modifcation in sound ott os ofthe tradionally unified inconation found among instruments that ‘eal pitched in the same key. PROBLEMS 63 AND 64 63. Below is an idealized (maybe not practical) pereussion passage. Score it for two professional percusscnisis, if anything must be left out, what ‘nould you choose to cmt? Oraw 2 plan showing the arrangement of instru- ments and performers Moderato J. 72 ‘Aigo Almgochen _ Sige drm ae Ig tome thom PE |sus.cym towne 7 tae > iP 7 464, Score the passage above far student percussionists. How many perform= ters would one need? Ifyou decide to substitute some instruments for ath- tra, which ones would you omit and what substitutes suggest themselves? \WROTING FOR CHORUSES AND VOCAL ENSEMBLES Sering a Tet There isn single cot way of eting «ox for singing. A won con Pee RU ofa of puformance and inaligbly ofthe ext. These ST Tat sppropane i some context and in vome aes of mse (Te ee East proauce an imposbly ical seng for an aaseer TRAE Si is ncn sea contrac and masa sense balance Sh atyng domandscustomaaly laced upon a writer of vocal mus Tee tts mie for ewe of pefemace ("good voe Wag”) 254 ve clagy the folowing guidelines shouldbe of valu 379a0 1. Match the range and tesscuraco the type and training ofthe voice(s) 0 be used. 12. Keep most melodic motion simple. Use seconds and this, which pos sess diatonic relationships, and a few perfect fourths and perfect fhe, void lege leaps unless the second pitch is perceivabe as tonic +3, Except for special effets, allow the musical accents (ehytumic, dyamic, ‘agogic,onic, or metic) to match and reinforce the nasural accents of the txt. Gwidetine.t Concern for te requirements demanded ofthe voice in tems of range and tr situa is of great importance. An amateur singer or gpicl church choir cannot execute music written for operatically tained voices. Attempts to perform rich ‘muse by untrained singers is often amusing to hear but discouraging (0 per form. {can even be pasibly damaging to the voices involved, #f only tem- porary. Asa simple rule of thumb, keep most of the music (75 to 80 percent) ‘within a perfer fifth on either sce of the central pitch of given voice range Increase the percentage for younger, untmiined voices, If one exceeds this range, be sure thatthe singers are atleast trsned and with some idea of how toe the vosal spparatus Guideline 2 ‘The most traditional rules associated with four-oice part writing were based ‘on good vora scoring practices. Ik may not be stylistically necessary to follow there principles, but to do soin terms of the mechanics of writ: g wil help pro: duce more singable lines. The use of diatonic relationships ven in a very atonal context is good for increasing singabiliy. Lines that avolve wide leaps ‘arc usually considered less idiomatic for voice. However, wh 3 .< second note ‘of the skip is hearin relationship to the fst as tonic, the leap is mich easier. Some of the other easier-o-hess pitch relationships ince che dominant, the leading tone, and the supertonic. Thus, ifthe pitch to be sung is cated to any ‘asy-tovhear pitch in che context as tonic, dominant, leading tone, or super tonic, the singer is more likely to be able to produce the required one. ‘Skipsbenween two or more perecvable lines, each line of which contains a ‘ily clearly heard logical structure, are not that dificult for a trained voice Other nays of helping the voice include doubling a the unison of octave with another instrament, especialy an instrument with fairly complex wave form (an oboe or string) rather than with a purer tone quality (a flute or hora). Also do not overtook the abilsy ofthe singer to lern the music simply through practice. Many singers who cannot relly read music can lesen musie that is ‘complex and less than obviously logical theough rote instruction. Iti impor: {ant in this cae, however, thatthe lesner always practices, the correct mater fal. Otherwise, he or she will eam the music wrong and be almost ineapabie of ‘ever learning ie coveectly! Guideline 3 ‘When setting a text, regardless of whether itis poetic oF not, following and reinforcing in the music che natural accents of the language of the ext ‘improves loth the intelligibility of the words and often the ease with which the we | coring for Varios Bases on osc is learned and performed. The rhythmic accent of the words is usually {uy to locate and, if replicated inthe shythmic structures of the music, can pro: ‘ide illumination ofthe meaning of the text ELIMPLE 9.20, Use of natura yh accents to determine the eth of the seting Conceen for the communication of the meaning of the text could dictate the we of other accents such as dynamic accents "po mp EXINPLE 9.21. Using eyramic seconts to iluminat te tert Agogie accents are often used to emphasize sabes of particular impor- tance by extending the sable and drawing atention to i aiid EIAMPLE 8.2. Use of an egoic accent to reinforce te text ‘The use of higher or lower pitches to stress the meanings of some words is ‘common technique, Overdone, itis humorous. aS EIAMPLE 9.23. Using downward eap to ilustrate the meaning ofthe word down Using changing meters, so that one may take advantage of the natural accents within these meters, works well when seting fre verse or prose. KANPLE 9.24, The use of nour! secents produce by changing meters Word Painting Word painsing is the illustrating, in the musical dimension, of information that is being conveyed by the verbal component. In certain styles or periods of musi, word painting hae been overdone to the point of becoming ludicrous.382 ‘Sill, carefully wsed example can, when tastefully done, enhance the elfective: ness of the communication of the text. The following are sypical examples of sword paindng: oe Nigh, Gohigh. on High, on High EXAMPLE 8.25. (2) werd parting with pitehas() weed psntng wit silences SSS es a Orchestetin —SSSs5 Corte eer rad ed EXAMPLE 8.28. (0) word panting wi repetition ) war panting with duration When writing for the voice te good to remember that a simple folk song is one ofthe most perfect examples of “good” vocal writing. The more a com- [posed melody approaches this natural model, the eascr it wil 10 sing and fhe more ideally suited for the voice fe will sound. The moce ke felt song in style and complexity the voral line is the easier iis for the unuained voice to sng. The leg like a fotk song, the more likely i isto require a wained per- former. The concern expressed about trained versus untrained singers is not misplaced. It is of course possible to write extremely dificult and demanding ‘vocal music fora solo singer or even for quartet or chamber choir of singers and expect all the performers to be well trained and capable of mastering the ‘demande of the music. In nonprofeesional seting: ic is only within special c- ‘cumstance that one can write fora large choir (thirty or more voices) and re3- sonably expect to have all performers be uained singer. ‘Scoring for Voices ‘The sy of Bach chore prover x means by which one become aie ioe liste puch oul wg The conan mo igue wed-o produce choad wrngs bued ypon the Bach protoryper do ‘ole, sizes problems of ee lending, vera pacing, and peters. Bin vos misie~epeclly in msc tended for peromaace by amateur tnd temiprefeonl ches ‘Wing or lovin combination mach skin wooing weg in sexms faving to dea with color mines snd bance. Ino sans, acon voice lading paces uni sly independens,cootapuncl lines Buby thet ‘ery nate, he ince Sb eee betwen sl seces ae Wa te ppacepionofscpante ne, space and tne coments a comjed by the music Wing for choir is more snr to sting ensemble wong where the nix of diftent vocal tinea on cach line provides» homogeninyof one gual tat sures excelent Mend. In thse creams the us ke Ieading paces lp sre set minimum amount of sl indepencence Bereeen the line, bE. : going for Various Enseees (One important point to remember when writing for voices isto keep the sesitura as low ae possible. The lees well-trained the singers, the more impor fant this principle becomes. The amount of fatigue experienced by the per formers is direcdy related to the tessitura. Very high and extended writing produces quick ftigue. With fatigue come intonation and timbre control prob- Ems, loss of clear diction, and, perhaps, a lessening of performance standards, Ina less than profesional situation these factors could combine to create a dis: ascer In professional situations they will limit performances. Scoring for Student Choruses and Young Voices [Al advice given above for writing for singers and vocal combinations apply quay well co younger voices such as found in junior high and high schools ‘The additional or reinforced cautions are these: 1, Keep the tessinua low, 21 Avoid the vocal pitch breaks in each voice part. (This latter admonition is expecially true for muste written for adolescent boys.) “The concern with 4 low testura that was discussed above becomes even ‘more escnual in wniang for younger singers. Young voles are tragic, uncralned, nd immature, Fatigue and saining are thei worst enemies. ‘Vocal breaks (see chapter 7 for the ranges associated with each voeal range) ar permanent problems forall singers, but only mature and tained voices ean fancle the breaks with anything spproaching impunity. Young and amateur toices cannot: When selecting music to be performed by a young er volunteer Choir, knowledgeable ehoir dicectors oid music that Keeps moving around tad scrost the vocal breaks. ‘The pica high schoo! (or even amateur) choir may consist ofall four vice ranges—sopranos, altos, tenors and baeier—but more often than one ‘would lke there may bea shorcage of tenors. For this reason its not uncom- ‘mon to find these groups singing music written in three parts or SAB (soprano, tira, and baritone), This less demanding scoring allows all de males to sing the same part, This dstsibution compensates for posible shortages in numbers and by combining all of the men’s vices into one limited-range part, avoids the need for song singers possessing either the higher or lower ranges. When shortages of weakness appear in the female voles, two-part arrangements— ‘vith sopranos and tenors on the upper line and altos and basses on the lower— ‘an work effectively. PROBLEMS 65 AND 65 65. Using the following poems, show 2 variety of ways to use accents, dure tlons,pitenes, dynamics, etc, to ilustate the following texts: ‘2. “Ihave @ fiend who's slow, but able, Doesn't walk ner sit at table. Won't eat meat cr sip good wine, "Nor hang his shirt upon the line388 "When the night is dark and stil, ‘When moonlight pours through the trees, When inseets ere stil and calm; | know, Lifes 2 mystery I cannot solve.” 166. Using a poem of your choice write a setting for high school or amateur veiees, You may choose to write for SATE, SAB, or two part texture OTHER CONSIDERATIONS Instrumental Doubling ‘Usually, when“one writes for a violinist, a clarinetist, oa hornist, one intends the performer-to play a violin a clarinet, ora horn, respectively. But there are times when one may wish the clarnctse, for exampi, to put down the clarinet and pick up and play 2 bass clarinet. A performer who is asked to play two oF more instruments within the sare composition (or concert) is std to dratle Ik should be clear to the orcheswator that a person cannot instantancousiy ‘change from clarinet to bass clarines. The appropriate instrument must be put side with care, the other instrument put into playing position and gotten, ready (feed Werred, ete), and only then dows the perforensr Sesome the bate clarinetist. These movements take time and care. An orcheststor or compose? ‘must allow the performer sufficient dime to make the change. Contemplating the process of switching instruments can remind the ‘orchestrator of fae cha should never be forgotten: one docs not Wrte forthe instrament, one writes for che performer who plays the instrument. (This ‘specially cué'In the exse of percussion scoring.) ‘Relative Loudness Loudness is produced by the performer and not (uswilly) the sstrument. Although one yould expect ten trumpets to be louder than one trumpet, that need not be the case, It would take more trumpets than the ave. gu marching ‘band has to produce twice as much sound as one teumpes. However, mote than fone of any instrument increases the mast andthe broadacts ofthe sound. The ‘composer must remember that ten trumpets playing a true piamisimo can be ‘easly domiisted by one forisimo cello. (But extremely high or extremely lw notes for some instruments may make truc pianisimos impossible t0 play) Relative High’ and Low High does not necessarily mean at the right-hand end of the piano keyboard [Nor does low mean the lef-hand end ofthe piano Kesbourd. High and low are cleatly relative. For example, middle C is ealled by that name because it isin ‘he middle ofthe piano keyboard. With regard tothe piano, tie neither high ‘nor alow pitch. However, fo the tuba, middle C is high and forthe ute, mi dieCislow. ___Ifone assigns the tuba player a melody that begins on middle ©, the reac ‘on ofthe listener would be thatthe performer's part mutt be high, since it ‘would be easy-to hear the tension associated with playing (physically produc- Orchestaton scoring for Various Eels ing high aoe. On the other hand flo were asigned othe Be, ie acini began om sud Gye Kener woud pee ta he sot besty slo sounding. No sn wold be pete, bu ter ea ie permet “easing: down othe phy Ts ba importa 2 i renber One pects as hgh that bre tht 2004s high ra Be one epee an nseunent ping igh phe oe Fore wast race imps de he Ss oe ed ing ez pes ha he, would be naa to japon the on sins ch sy rand mo he ove tal wa ‘SERS ona wid de tans and ropontenes ofthe fae’ toe Gali ‘Since the listener is likely to sense that a certain ponderousness isa hallmark of low see he nes of rection & arate of Fgh sounds hs ie by cee eon fie rae and te fe wl conics te cx Oe te fated aphe oan eb tastrument Substitutions ies paricalar instruments noe avaiable ori one jut wiser to contrat or End one inswument wih one or more oder instruments with simar oF fe sounds a knowiedge of insrumentsubrezons saab Selchake i of Ssrumens susrunseon not intended wo be co thee ef ny oth besos eg me eto he wi of the perormers to produce a good match) These suggestions at po: ede semulate the students haking Other ubsrons an be developed TESS noc insoment spell olcings name conto, andthe Ie ‘Replaced by hee incruments olin harmonies viola or cello harmonics; clasinet Iaserument ele i i Piccolo (igh) Frcls (ow) Boe toe stn oe cacy le aon Foc (ow) cnet ony her (open or stopped) ‘Alo Duce (high) muted hoen; B clarinet (sr vet) Ato te (low) Clarinet; eup-mated crumpet; ‘cup-muted trombone; stopped hora ‘Oboe (high) flute; Bs carines; viol violin Oboe (low) straight-muted trumpec (or cornet) English horn (high) soprano saxophone; harmon-muted ‘wumpet (stem removed) English horn (low) viola ans wth (Clarinet (high) piccolo; fate; violin (E string) 9 Clarice (thro) _—_*flute (breath tone); muted hora; viola sil aire Cazinet (low) alto flue; cup-muted ‘wombone; muted tuba ‘Bass clarinet (high) cello harmonics; harmon-muted , ‘rumpet (stem in) 385 of Replaced by this combination darinet with bassoon and386 Bass clarinet (throut} Bass clarinet (1%) Bassoon (high) Bassoon (low) Conta basoonhigh) (Contes baso0n (low) Soprano saxophone (igh) Soprano saxophone (ow) ‘Alto ssxophone (high) Alto saxopfione (low) “Tenor saxophone (high) “Tenor saxoptionc (ow) Baritone saxophone (high) > Baritone saxophone (ow) > ‘Bus saxophon# (high) Bass saxophone (low) Hom (high) Horn (low) copped horn (high) Stopped horn (low) ‘Mated hora (high) Muted horn (low), “Trumpet (beh) ‘Trumpet (low) Coon (high) Comet low) ‘Straight-muted ‘eumpet(bigh) ‘Straight-muted ‘rumper (lov) ‘Bute breath tones; stopped horn; string bass harmonics ‘exp-muted trombone; cello horn (muted) viola oF cello pontietio uted tuba asinet; English horn; bassoon. ‘eup-muted trumpet; ugelhoen into hat violin string bas; elo (ponticelo) cleric bass ugelhorn; wombone; eumpet with harmon mute (without stem); Bute; alto Date bassoon bassoon; darine (dhroat tones); oF ‘luce (breath tones) string bass (st a7) trumpet (into stand); fugelhorn ‘trumpet (into stand); fugelhorn ‘oboe Orchestration bassoon with muted horn sted hora with oboe; ‘clarinet with soprano saxophone ‘bass clarinet with cello sombone with string bass violin with oboe; clarinet ‘with ute horn with cello (oF vila) lazer wth hoen muted horn with bassoon; ‘elo with clarinet sa with cell: bassoon with hora (of ombone) ‘oboe with caries, vila with horn | cabs with sring bass trombone with cello ‘tuba with string bass cello with bassoon; (bass) clarinet with eombone darinet or flute with oboe and violin (posezell) basioon with bass clarinet (or ‘lazines) and viola {or ello) ponticele cello with lasinet ‘oboe with clarinet and dute horn with laine and dute clarinet with oboe and Bute Bates) with muted horn soprano saxophone with Hate stopped horn with clarinets stopped horn with dute and obve _soving for Varons Ensembles ‘Trombone (high) _horn(s); muted hoen(s) ‘Trombone (low) Sursight-muted twombone (high) Suaight-muted rombone (low) ‘Tuba (high) ‘Tubs (low) ila (gonsicelo) euphonium ‘Muted tuba (high) ‘Maced tubs (low) Violin (high) Violin (low) ‘Viola (high) ‘ Vials ow) allo (high) Calo (low) Seng bass (high) Seng bss (low) Swing harmonics ‘lute (or piccolo or elasinet or oboe) ‘with or without muted hora Posicllo quality add to selected combination: stopped horn of staght-muted brasses or double reed Tere quality add co selected combination: Dute breath fone or clarinet throat tone snd or muted hocn clarinet with oboe, late, and violin cello with horn; cllo with bassoon and clarinet clarinet with English hora snd flute muted hora with cello (gonsiclo) ‘wombone with hora bse saxophone with hors, bastoon, and bass clarinet muted hora with clarinet ‘uted horn with bass ‘clarinet (or bassoon for string bass) ute and B darinet flute with soprano 0 alto saxophone soprano saxophone with horn ako sexophone with hors alto saxophone with basioon snd darinet tuba or hora with bassoon ‘and bass clarinet; hoen ‘with baritone ssiophione English horn with horn and ‘sxophone baritone or bass saxophone ‘with bassoon and hom10 ORCHESTRATION Techniques of Transcribing For purposes of organizing the following material, a distinction will be made berseen tafiiribing and arranging. The more elementary proces is that of transcribing: taking * composition written in one medium and rescoring it almost note for note into another medium. The only alterations made are those ‘eceastated by the idiomatic differences between the two medi. Arranging ia process chat incorporates both transcribing and a certain amount of compos ‘on, In the arranging process, one usually begins with some musical material— pethaps a melody and a few rudimentary chords—and proceeds wo supply all thats missing through &vasiety of creative means, ch 38 waiting intoxtcuons and endings, constructing transitional passage, adding counterpoint, cresting 3 bas line, adding ornaments to the melody, and elaborating on the harmonic structure, Neither transcribing aor arranging should be viewed se mutually ‘exclusive of the osher. In pracce the blending of aspects of both is common, ‘TWO APPROACHES TO TRANSCRIBING [in making a transcription, one starts wih apiece of musi chat exists in another ‘medium, and often this original version isthe composer's own. Tc transcriber fs faced with taking one of two approaches to thi tsk. On the se hand, che twanseriber may Uy to recreate a6 nearly ae possible in the new sedium che sound of che original piece. With the other approach, che tran “it views the ‘otiginal version as being only one of several possible ealizations ofthe plese: a particular realization fora particular medium. The transcriber then reconceives the piece inthe new medium, carefully examining ll sspects ofthe orginal t0 ascertain those elements inherent to che musial conception and thre that are purely idiomatic to the medium in which ie was se. The tanserber then recast these elements so that they become idiomatic co the new medium. The difer- cence between the oWo approaches to tanseription isa difference of objectives, nota choice berween the right way and the wrong way. fone transeribes « Bach organ fague for orchestra, one may desire to have the orchestra, as much as is posible, mud like an organ, If s0, then the Gist approach would be used. But ifone takes the Bach piece 28a collection of mus- cal idess thar were once scored for organ, and studies the piece fom the point of view of writing i ta compotion for araheara, the Sal product will be diferent. Tenis of Tramseriing ‘The First Approach ‘When atempting to renin the sound ofthe origina, these steps should be flowed: 1, Become very familie with the sound ofthe original. Determine which timbres can be duplicated in the new medium and for which timbres substitutions will be required. 2. Using a list of instrumental sound equivalents, such asthe one given in chapter 9 (pp. 385-87), or one which you have prepared, plan the #ub- stitutions to be use. 8. Score the piece inthe new medium. Assign passages, which in che orginal ‘vere scored for instruments or sounds abo avalable in the new medium, to those instruments. Assign passages that were scored fo instruments of sounds now unavalable 0 dhe closest substation at hand. ‘The Second Approach ‘When reconceiving the work in a new medium, these step should be followed 1, Determine which musical seructurés in the original are primacly the revue ofthe medium in which i was east aad no inlinasat naa {ies of the musieal conception, 2. Determine which musical characterises of the new medium are most appropriate to stress 8. Decide upon scorings and techniques to use to eliminate thote elements Identified in step 1 and which reinforce or ule those elements dete ined in step 2 4, Score the piece in the new medium using approaches identied in step 3 POINTS TO NOTE ABOUT TRANSCRIPTIONS ‘The transcriber should not necessarily assume that anything about the original isencred. lis often wise to reconsider every characterscc ofthe musi in light of the new medium into which the wanseriber intends to place the piece, “Among the aspects that should be studied earefuly and about which conscious ‘choices should be made are those given below. Selection of Key ‘Traditionally, the choies of key has been guided by case of performance. ‘Among the assumptions has been that wind instruments play better in fat keys snd stings play better in shaep keys, To a limited extent, these generalizations ae correct. However, there has been too much made of them. In orchestral st- tuations, wind players play in bath sharp and fat keys and (except for clar- inediss) they usually do s0 without changing instruments. In tontemporary ‘music, caythm-pitch patterns and sequences more difficult than anyone is likely to encounter ia a major-minor key system arc played with ease ‘The idea chat strings ply sharp keys wel since they can use open stings is also fawed. Orchestral sing plavers often avoid open strings (except for spe cial effects) whenever possible, due tothe edgy, vibrtoless Sound and lack of 389390 invonation contol: The one situation in which 2 sharp key can make a dif ‘En b when one needs 19 lize cader muliple stops containing opened Sings or natural harmonics, All his leas us tothe conclusion that che selec ton of key has very lnte wo do with ease of performance and mach more to do ‘vith pracical and musical considerations. Such considerations may include emands of ange, increased scoring options control of tonc quality, case of ‘ight reading, and, specially in brass writing for outdoor performance, mini- tral use of fingerings that involve the third (and fourth) valves. The only time that it makes sense to select a key primarily for case of pe formance isin writing music intended for use by young or very inexperienced player or when varing pedagogical materials, ‘Range Considerations ‘Avalid argument for selecting one key ether than another is concern for mat {ervof choosing «playable range, One may select the key of Es for a particular ‘wanscripton because the lowest instrument avalable is the basioon and there fa paspe where the bas line needs to drop down to the dominant and leap tp tothe tonic Since this ean be done using the lowest pitch Bs on the bas toon, if eh hey selected is B, one therefore chooses By. One would not choose Srelssuos alow A (dominent) dove not ever onthe hassoon and so the whole pense under consideration would end up being a major seventh higher than {would be in-B, This may well seem too high because the bassoon would nat be reedy enough in that range (tone quality choice). Scoring Options [Another reason to select particular Key would be to increase the available ‘coving options (see Ex. 10.1, opposite) In 2 certain ky, it might be imposs- bie wo double the oboe atthe octave with che flue Because the fute part would become too high. Ye, in anocher key the doubling could work. In other words, the following alternatives would exist: 2, Flute as writen 2. Oboe as wetten 3. Flare an octave higher 4. Oboe as written withthe ute an octave higher 5, Obpe as wren with the ute as writen However, ina higher key, only these options would be available: 2, Flute as writen 2. Oboe as written 3. Fate asriten with oboe as written Concerns of Tone Quality {fone wishes to follow the Sree approsch to transcription, that of attempting. to recreate the sound of one medium through another medium, i s usually ‘wise to sclece okey that is as close to the key of the orginal as possible. (The same key is best.) Otherwice, many extra problems are created. If, for example, the original version were a Sibelius piece that had an important lower register A‘ - Orchexsstion Tecioniques of Transribing [EXAMPLE 10.1, (a) passage in G major, al fv options possible () passege in E major ony tree options eoeene ‘oboe solo (a characteristic of Sibelis's writing), and an oboe will be available for the new version, the oboe solo in the “wrong key” could prove to be = problem. A great shift in regster due toa new, lower key may make the already fow solo unplayable by being moved out of the range of the instrument. A sg nifeant shift upward from the original key may place che solo high enough in the oboes range as 0 no longer sound like Sibelius, thereby reducing the pos sibilsy of capesring the original effec Sight Reading one is writing piece that wil have very few rehearsals devored toi, it makes sense to try to select the key in which to score ffom among those most familiar to the intended performers, Obviously, for most, especially amateur, musiciaas the fewer shagpe of flats the easier the reading. Also, if key personnel in the tnsemble have special needs, due roles experience oti than the others, this, fact could play a roe in the selection of key. A transcription with an imporant bbs carinet solo that wil have to be played by an inexperienced bass darinet player would be ber placed in a Key that was easy for this person to deal wth ‘That may well bea key that would minimize the use of side keys or alternative Sngerings, or which might avoid an awlovard passage across the “break.” Getting the Most out ofthe Brass . ‘When itis desirable to maximize the aggressive, exciting sound of the brass, ‘one consideration that wil affece the choice of key isthe matter of fingering oF, rather, tubing length and the niumber of bends in che tubing. The best keys for maximizing the power of the brates are those keys in which as many notes 35 possible ae played without using valves (che so-called open“notes). Next best392 is when the bases need only to ute the second (shortest) valve and open notes, (For the trombone this means second and frst positions.) “A seldom discussed characteristic of bras instruments is that the greater the amount of tubing and the more valves used, the less fre, focused, and open the brass sound, The fact that i is both ehe tubing length snd the number of valves depressed (which in return increases the number of bends inthe tubing) Jeads tothe advice given above, Obvious chis ean only affect the transsriber’s decision when the key of the instrument that the pecformer will play is known. "Dhus, iF e transcriber assumes that the wumpet players will be wsing Bb ssumpeo, but in the performance the players actually choose to play on C frampets, the effect wil be altered. Since bras players, especialy trumpet and tuba plyers, routinely select instruments other than what the pars ell for, and ‘nce very few transeribers are sensitive to this matter ofthe bras instruments" coponsveness itis not suprising that this is not an especialy well exploited facet of che trnseriber's arsenal” ‘Meter Signature ‘No matter what the original meter signature (how “great” che composers con~ sidered to be)ie ie very poribe tha a different meter signarure would improve ‘he likelhood of an accurate reading or performance. ifthe ongina sna vided @ time, with lots of thirey-second notes, it may pay to notate the trat~ Seciption in § time with sisteenth notes asthe smallest value. This is especially true for student groups, but it would aot hurt to do it for the professionals {ther Jn the latter sintation fan save imme and money and improve the abil ly of the performers and the conductor to comprehend a new score quickly Ornaments In music, especially keyboard music of the Baroque and Classical period, one finds many ornaments wed. The interpretation of these ornaments is not nec cssarly agreed upon by the experts, To save time and avoid alot of unnecessary ‘Gscusion, wiite out the interpretation of the ornaments and do not even Include the ornament symbol (tls are one ofthe very few exceptions, and here too, one could at dhe very least indicate larly how the tril is to begin and end) ‘The eanstiber has the ime to research the performance practices then realize in more unambiguous notation the accepted interpretation ofthe v_ ious ora ‘ments, Except for ensembles and performers devoted to petiod per! mance, it ‘us makes no eense to expect performers to know how the ornaments should be played. Remember that some performer exophone and tub. sl.,ers come to mind, do not normally have to deal with Baroque ornaments. One cannot ‘expect them to be as prepared for such a task s a violinist might be, One ofthe Hore tht wil affect the peeformer’s choice of instrument is tht the ssi yi well” for such and aich instrument. This means, among other things, that Ftalows the peroomer to obtain masimum zesponsvenst, which means hat it fen the bru player who exploit, these acoutaleharcterics regres of whether the ‘composer antpates the snastion. yy: Orchestration Tecigues of Transeribing ‘Tp Transcribe or Not t Transcribe ‘When considering writing a transcription, one needs to do the following: 1. Study the origina! medium 2. Determine the approach to be adopted: to imitate the original, or to ceate another, different realization 3. Identify the idiomatic differences 4 Outline solutions available forthe problems fa his poine al seems promising, thea the transcription should be done. However, not every conceivable transcription wil work. Teis sometimes neces sary to decide thatthe best solution to some tanscription problems is simply fot to do the wanscription for the medium available. Rather, one should find amore likely work SOURCES FOR TRANSCRIPTIONS. Different sources offer different advantages and problems tothe transcriber. An cramination of these should be helpful tothe student who may be planning Sst effort at wanscnipsion. Plano Literarare If one needs to transcribe a piece of music fom the piano, itis necessary for that transcriber to be familiar with the piano as a performance medium. This is fot the same assaying that che uanzeiber needs to be able to play the piano, but the wanseriber needs to understand its characteristics, weaknesses, strengths, and clichés. Some of these will be discussed here but the reader should also check chapter 6, pp. 242-51 In order to provide a feling or tense of sustaining, sveral paniric devices have been developed. Among there ace the Alberti bats, soled chorde or twemolot, and the use ofthe dimnper and sostenuto pedal. [XANPLE 102. EceD tom Mozart's Sonata in 8 Maj, K. 388 (nm. 57-88) featuring Abert bass intel ane ‘To rescore this pasage fora group of (basically) one-line instruments would requize rewriting. Even though the Albert bass could be played by another instrument, ie may be awkward and not idiomatic. The specific devas that “Mozart has writen forthe keyboard are due to the characteristics ofthe instru- ‘ment and the shape ofthe human hand, Therefore, an orchesurtor isnot merely - epee 393a4 Orchersstion being willl when making these changes; they ae necessary inorder to produce sn efcctively scored string orchestra piece. Alegeo [EXAMPLE 103: (2) transcription of Nezart exept in rater static re-covig fr sting ‘cxches () a more ative rescoing Bxammple10.3(a) is more static due to great use of repeated pitches, while 10,3(6) with the alternation of thieds is more acive and captures the original effec rather well The viola and cello parts in either example could be reds. ‘sibuced without sigifcanty altering the result, Note che we ofa simplified ontabas part. Technically this is not necessary, bat is very characteristic of CCstcal suing toring practices and so was seleced as appropriate, The con- trabass eight notes in the second measure of 10.3(b) have been added to increase the impetus toward che cadence. “Asan alternative sustaining device on the piano, one often finds the use of rolled octaves, (This has been used to imitate thunder or drum rolls also.) XN eimigueof Traneribing Allegeo di molwo econ brio EXAMPLE 10.4, Use of old ccteves (emo) in the lft hand of Baethove's Sonat in {Minor (Pathtigue) Op. 13 (sn. 11-25) To teplace the piano's rolled octaves in an orchestral score, one could use she scoring given below: mm EXAMPLE 10.5. Scring of bosons, impani, volneelios, and contrabass to rapiace “The bassoon are in octaves; the cellos and basses areas in octaves, both sus: tained, while the repeated eighth notes in the timpani provide the rhythmic Impulss, The bowing indication in the sting parts means co change bows as necessary. "To create the effet of changes in timbre on the piano, devices such as reg- ister shifts, use of various pedals and octave doublings are employed. ‘Alleges non eoppo, ma encrgico = = Es -———s. ——— EXAMPLE 10.8 From Brahme's Pano Sonata Op. 2 (mm. 154-57). The damper pedal ed to sustain the sound, ane etave doubings prove tmbralcetrast and weit Example 10.7 shows a scoring of Example 10.6 made for brass quintet Since there are more lines in the original than instruments inthe bracsquint=t, 398396 : itis nccesstselecively to omit some lines. Notice that the tuba A inthe sec: fond measure is writen as + dotted half note to precuce the effect achieved by the pedal indication inthe original. It is also marked crescendo. There is no way the piano could produce crescendo on this note, but rather the crescendo is fchieved inthe tples. The tuba creseendo reinforces this effect. “Alleges aon eeppes ee eaergico a 3 [es eo a3 3 ae Sp espress. crese. é —= z co EYAMPLE 107, compare tis toner nat fr ot tothe gal in B 108 ‘Also, the piano triplets include an A chat is omitted in the brass since there are hnot enough instruments to play all the pitches and the tuba is supplying the A. (One would usually not omit the tuba note, tha is, the bas nove because that ‘would change the inversion of the chord, significantly alering the find sound.) aoe, EXAMPLE 10.8, Excre trom Beethoven's Pian Senate Op. 53 ("Waléstin" mm, 2-8) featuring iter shift thats erhesrtionll timbre change “The einge ofits in the orignal (Ex, 10.8) i ceplace ba change of instrament in the wanoription (Ex. 109), Now, t00, thst th. wansrption ‘an octave higher than the original because none of the instruments of a wood- ‘nd quintet can provide a Inter occurring lo F Iwas thoughe ex keep the shape of che bss movement down sn sree the ont. (An tera would be to change the key soc) ‘gues of Traneribing ea [UMPLE 10.9. Tanscintion of 10.8 for wosdvind quintet Rescoring the Debussy excerpt (Ex. 10.10) presents other problems. The fst chord would sound very hollow or empty fit were literally transcribed for fastuments, Therefor, the verson for swing orchestra fills in the middle Andante molto tempo rabetod [EXAMPLE 10.10. (a) gna by Dedussy—en. 19 of “eflets dans ea.” tom Images for Pare, Bock Featuring widely spread-ovt chord wth mie uid in () same p9ssap0 ‘eed fr string ernestra In order to create an effect similar to the original on the fst beat of the rmedaure, the ering version uses solo violin (solo to minimize ensemble prob- Jems) of the triplets, sustained eighth notes inthe swt fst violins and cellos, sad pizzieato, non-dinis chords, axpeggiated from low to high, to suggest the yramiding effect. One could keep the octave of the original if the solo were398 Oxchestton ‘edge of Transeribng fam lento assigned to the principal viola, but this limits the performance possibilities 0 ‘nly string oechestras of emiprofesional quality or beter. Lento ecaprieio & @ [EXAMPLE 1011. (a bit passage from Let's Hungarian Rhaosody No. 12m.) fetue ing the use of une cord () same pasagescered for band AMPLE 10.13. Parion ofthe Chepin etude seared for wocding quintet [Apeggiated or broken chords are dommonly found in piano waiting Example 10111 shows a posible scoring ofthe Lisa excerpt fr concert Bares ooops Ae mye band using only utes, Eb clasinct(s), and By clarinets. The flute breaph tones. commonplace that they now represent a common pianistic effect. rogether With the canine’ dvoat cones are selected to obtain an amount of the lack of focus associated with the a crda timbre of the osgina. (The Bt for the st Barnes is evalable asa side key and this would be the pre fered Sngering in ths parage) The arpeggioistansormed int a solo ge, tSuigned& one periormner forthe same reason cited for Eeample 10.10 “Snce te action ofthe plano allow the psformer to produc many notes, F ‘within shart span of ive, fis often tempat composes to wt very rapid a” CA ot {quences of pitches. There will often cover thre, four, or five octaves without a = ‘break and are commonly associated with virwoso piano writing ad performance, Soy B ‘One possible method of dealing with a lond figure is shown in Example Sa 10,13, Here, a woodwind quintet is given the Chopin passage in Example AMPLE 10.14, From he ft of Theee Romances by Robert Schumann, Op. 28, a pas 10.12. The realization illustrates several wanscdbing strategies. Fret, the key sats bioben oe wphcated thas been changed; this allows the bastoon to begin the upward run in an easy ae Pee to contol Tange ofthe instrument and Keeps the whole gure high enough to : fetain the pans uanspucney. Second, the bastoon fs given specially mes- [A suing orchestra version of Example 10.14 is given on page 400 (Ex. Sed cyte to pay ant the steady eighth nots ofthe upper voces, chs 1015), Al sring seons are dni except the bases. The pedaling inthe Fecping the ensemble problems to a minimum, The shortening ofthe can by sian enigna produce a sustained quality hat s provided inthe sing version an octave, 2 dif stirs), lows he basoonist a reasonable opportunity (0 br the cel and sing bases. The violas maintain the tpt impulses but do play the Sgure up to tempo. not literally play the original figure. The melody is doubled at the octave t©400, provide additional bite and mass to the line so that twill aot be ec» -ed by the rather thick middle and lower textures, BAAMPLE 10.15. A sting erchestra version ofthe Schumann Romance exert PROBLEMS 6 AND 68 65, Score the first 12 measures of Brahms's Intermezzo in A Major, given below, fr string orchestra or woodwind quintet *_ INTERMEZZO IN A MAJOR, OP. 118, NO. 2 Andamte tencraments Orchestration sof Tracribing 155. Score the following D Major Sonata by Mozart excerpt (mm. 1-21) for 2 ‘oboes,2 clarinets, 2 horns, and 2 bassoon. (You may wish to listen to or ‘examine the scores of some of the classical civertimentl fo similar com- Binatone betore writing) rietitlese SONATA IND Water L fas. 7—.4a Organ Literature “The organ represents an excellent source of material for possible transcription, Organs cah sustain notes and chords well, offer a wide variety of tone colors, and, in asic writen for more modern insruments, it ean be assumed that the ‘organ has some ability to produce a crescendo oa a single pitch or chord. A famous example of transfering music from organ co orchesta is Wiliam Schuman's transcription of Charles Ives'sVariasion on Ameria, Pedal Bares ‘The peda-parts in organ literature can present scoring problems because 2. The pedal ine is nas always che bass 2. Even when it isthe bas, it may not be in the octave norsted| 3. The importance, weight, snd function ofthe pedal part may not be clear ‘rom its notation Pedal parts are normally understood 0 sound an octive lower than writ- ‘en, Beeause ofthis convention, itis specially important co ascertin whether the convention is applicable in the composition with which one is dealing. A ‘curcfl dy ofthe regitration given or usually ued in the piece under con- Sideraton should reveal whether the pedal usage isan exception to the com ‘mon practice or not, Often it is not clear what role the pedal plays simply by looking at the notes. If one secs that che pedal registration isa soft 16" stop coupled to one ‘of the manuals, and the manval registration is sft stops, one can assume that the pedal is serving primarily as an extra finger. In this eate, one would be bet ter off weating the pedal and the mantal that is coupled to the pedal ae one ‘group of inetruments, In contrast, the registration for—among other voices—a loud solo reed of ‘other prontinene stop to be drawn on the pedal or for a loud manual, such a= “fall great,” 10 be coupled to the pedal. 1f this is the ease, and the pedal plays in passages chat are not otherwise full organ passages, the pedal may be fev ing as an independent polyphonic or solo line However, in many pices, the pedal keyboard is used to provide a slower: ‘moving but not necessarily low pitched chorale melody: In cass like these, the ‘organist will draw a prominent 4" or 2' stop on the pedals and the ine will sound inthe middle of, or above, the general tessitura of che manual divisions, Ifthe pedal reisuation calls for a 4’ or 2° “chorale base” or “red,” or if the pedal partis marked “chorale melody” or if it simply look” like 3 chorale melody, the chances are thatthe pedal line isnot functioning <2 a bas ine and should be reared asa melody. The eae bast will be found in a manual part. In wanserbing from organ Ikerature, one should be fure to observe the following: Orehesetiog eigues of Drenseribing (Changes of manual Role ofthe Pedal Organ: fa. eata finger (i.e. an extension of one ofthe manuals) bb, a wue, independent bas line . a chorale bass, higher pitched solo line Changes of registration Unusual scorings: intended by the composer for a musical effect '. unmvoidable due wo a imitation caused by the instrument or the performer PROBLEMS 67 AND 68 667. Scere “0 Lamm Gotes, urschuldig," below, for string quartet. Compare the pedal part to the ato line. in what octave should one place the pedal line? De sears ore woodwind quartet of ute, oboe, clarinet, and bassoon, (© LAMM GOTTES, UNSCHULDIG Adagio feaone th Quit 668, Score “Nun komm’ der Heiden Helland,” next page, for 2 vilins, visa violoncello, and contrabass. Compare the pecal lie to that in Problem 67. Wil the treatment be diferent? 7408 Oxchestatin = ‘NUN KOMM’ DER HEIDEN HETLAND ‘String Literature ‘When transcribing string music for other instruments, the primary translation problems are created by the contrasts in range between the strings and most ‘other instruments, the aglty of the swings, and the unique qualies of the Strings including the use of pizziato, various bowings, multiple stops, and har monies. One intidious problem for the inexperienced transcriber can come fom falingyto determine accurately the number of instruments thit will be required to sover all the pitches played by the stings. Because the srs play double stops with ease, and triple and quadruple stops frequently, to transcribe fa string quater and retain che pitch content of che original could, at worst, {require sxteen instruments, Ye all of these instruments might only be at one ‘or fwo point in the work ‘The suings area homogencous group of instruments. The effect of egis- ter is quite often more timbral contrast than any other device availble. The ext most significant change is that produced by moving from a group of fnstruments to a solo instrument, or the reverse. Changes in tone quality xe sted by moving from one string to another on the same inserument or by play” ing over the Anger board or near the bridge are also significant. In contrast £0 brates, the effect of mutes is very subte ‘When using izing music as a source for transcribing, the transcriber must keep the following in mind 1. Strings offer many, but often subtle, cone colors 2. Bzzicato and special bowings are idiomatic to the instruments 3.A dicect substcuce for the strings does not exist, but homogencous ‘ensembles often work well 4, Teienecessary to have enough instruments available r0 ver all ofthe ehmiques of Trameribing 40s pitchss chat appear in the multiple stops, oF be prepared t9revoiee and modify he chords 5, Tp many situations very agile string pars will need simplification; only very proficient woodwind performers or Keyboard players can execute passages as rapidly at en the strings 6, Condensation of the instruments’ wide ranges may also be required PROBLEMS 68 AND 70 69, Score the fet 36 meacures of the Schubert Quintet Op. 153, given below, for woodwind quintet. Examine the original carefully before beginning. Plan ‘how all ofthe various pitches wil be accounted for in your transcription. QUINTET Allegro ma aoa trope, Free Seubert 07.163 (consinued)406 sina (continued? Orchesraon soy 1 20 PT pens uot 0F ee rmaacures ofthe Mozart string quartet given in Problem brass quintet of 2 turmpets horn, trombone, and tubs. S Temiqus of Traseribng Wind Literature Wind lerature is a good source of material for wanseribing to any medium. Its ‘fen someniat challenging to score wind musi for performance onthe piano, due {0 the piano's lack of stsning power. However, by the judicious use of rolled ‘Goods, rewttien and caborsted Bgures, and register changes, ican be done. "Among the characteristics found in wind music that need to be considered by the traneenbee ate the following: 1. Aide vary of tone qulitesis often used including asian instruments fand devices such ss mutes. This means hat compromises may have t0 be made in temas of timbral variety. However, one should remember that Changes of register or modicstion of ardeultions may be used instead. 2. Among the wands the more agile instruments tend so be the sopranos of ‘he chels, leading toa tendency for moze interesting parts to occur in ‘he highee voices ané dller part inthe tenor and bass voices, In another fnedium which does not posses the mabral divers, this teble-dom Tnted texture can soon besome Sresome. Thus it becomes important 0 reconceive some of the soprano lines.as alto, tenor, of bas ines. 43, Speaal flees lke fuer ronguing and double of tiple tonguing will Feguire the substitution ot another solution: Stings may oubsticare {Gemolos and spezial bowings. The peceussion can use rol, shakes, and ‘apd stick technique, Keyboard instrument ike the piano may present problems; rolled chords and octaves are only partially effective, 44, Recents and large crescendos and decrescendos are very idiomatic for Winds. Except for percussion, pipe organs, and clectconically amplified Jnstruments, other instruments probably cannot provide the amount of dynam contrat available in the Bass. ‘Percussion Literature Music with percussion parts or music that is percussive in character, can pre- fant special problems. The plano may possess some of these characteristic, but in mom exes i, t00, i unable t0 imitate the variety of sounds that are most typical ofthe percussion fomily. Here are some of the challenges: A 1. The percussion offera very large varey of timbres, dymamics, and attack- decay patterns, No other choir of instruments can even come close. 22, One editions! use ofthe percussion is to provide literal or graphic rep resentation of some sounds, for word painting, or to crete recogniz ‘ble, sonic effets. The sounds specified in percussion works are often tuniguely percussion and, without using samples or some form of elec- tronic synthesis, simply no substitute exists, a (One old solution to these problems i simply to replace the pereussion with percussion In a band transcription, one often finds an orchestral timpani ro feplaced with bass drum or snare drum coll. A sct drummer can do many of the things that a percussion section ean do, One should remember that per : ‘ ;tionally wed to highlight or decorate an already existing musi sa €an often substitute one type of decoration for another with very va. A pasage using violins and sylophone together may become violins ance double tonguing, or clarinets and (muted) comnet double tonguing; «ae flute or the comet provides the highlight. ‘Vocal Literature In scoring from vocal music, iti wise to wotk with homogeneous sounds 10 thatthe blending can be as Vocal in nature as posible, For these reasons, brass ‘ sring instruments suggest themecives immediately for transcriptions. ‘Woodwinds ean be wied in Slended groups suchas clarinet choirs or clac- inet pls fses, a8 well atin unblended groups that feature all sorts of wood winds in che most heterogeneous mix possible. Inthe latter situation, or any heterogeneous siuation, the tick is tO work with instrument combinations that, though made up of divergent sounds, possess, through combination, an incegrated quality that can be gradually and subdy modiied ro obtain just tact the right tone quality © bring out a line or to subjugate the line to Shother. When turning vood music int instrumental music, itis wise to exam ine the words and the sounds ofthe words. The use of vowels and consonances to do more than convey the literal meaning is not uncommon. The conso- tances affec the attacks and releases, and the vowels affect the tonal qualiy. ‘The effect of these elements can be recaptured in the tone quality selections smade in the instrumental transcription PROBLEMS 71-73 71. Score the 10 measures of Brzhms's Minuet, given below, for string quor- ‘tt. Will using pizzcato be effective? MINUET I Orchesttion ‘aati Op. TN cad 72. Score Gesualdo's “Moro, Lasso, Al Mio Duolo,” given below, for a weed: Wing ensemble of 2 flutes, 1 piccolo, 2 cboes, 2 clarinets, 1 bass cla inet, and 2 basseens. “Thais of Transcribing 409 MORO, LASSO, AL MIO DUOLO 173. Select a composition in any medium and rescore it in another, totally di ferent megium. Have your work performed.11 ORCHESTRATION: Techniques of Arranging ARRANGING TECHNIQUES Arranging uses tanscription skills and rudimentary compositional tech rhiques. One usualy begins with no full score. What one does have may be aly a lead sheet; « melody and a eer of simple chords. Ie becomes the Srrangers tack co aztemble all ofthe missing materia: introductions, cransi- ‘onal passages, counter melodies, codae, and to forth—all must be composed by the arcanger ‘To sce how this might be done, let us assume thet one is given the fol- lowing melody: ee ere SSS [EXAMPLE 11.1, “Americ the Benutful"—2 given melody fone examines Exsmple 11.1 for rhythmic and melodic motives or ges- tures, among the many one might identify are these: AMPLE 11.2, (a) 9 hightovow figure found in mm. 1, 2, §, 6, 10, 33, and 14 (6) 2 chomatic figure fit uniquely in mm. 6-7 (ea descending pertet fourth with exe ‘Sons fund ig mm, 13-15 () an expanding figure found in measure 15 ‘eimigne of Arranging a Characteristics of the mosves or figures Motive (a): A high-to-low figuee with dotted-quarter + eighth chythm, ‘The piteh ofthe eighth note is immediately repeated with 3 quarter note. ‘X chromatic lower neighbor on the downbeat—the only ‘chromatic pitch in the melody. ‘A dotted quarter note preceded by an anticipation and fol- lowed by a leap to it dominant on an eighth with che repe- tition ofthis note as wo quarter notes. ‘An upward melodic third that expands to an upward melodie $2 Move (b) Motive (c): Motive (4 ‘One may invert, reteageade, augment, diminish, transpose, repeat and ink ogether there motives t0 ereate fresh-sounding but related material 9 wwe in an arrangement EXAMPLE 11.3. An inrodutany typeof passage made trom motives (0) ané Le) Diminishing the durations and elaborating the (c) version gives: EXAMPLE 11.4. Sequence produced by elaborating motive () and repeating he elabore- tion 2 step lover. The eramati neighbor is sugested by motive) ‘lacing Example 21.4 into tiple meter, che following figure is obtaineds the ela tdonship beeween motive (b) andthe third beat of each measure is deliberate. EXAMPLE 11.5, Example 114 in 2 new meter A fanfare type of passage develops ftom motive (c) very easly EXAMPLE 11.8. Fanfare crived fom mete 2)an Occhertstion Example 11.6 could be shythmicalystered to produce the fllovg passage EXAMPLE 11.7. A chytmicaly steed varson of Ex, 11.6 ‘Augmenting the durations of motive (c) produces this, which resembles a very ‘ypieal bse line: EXAMPLE 11.8, A posible bas line derives from metive () Using Example 11.3 asa staring point a bas line suggested by Example 11.8, withoue-augmentation, and some claboration saggested by Example 11.4, this passage, which could serve as an introduction to an strangement of “America the Beautiful” for band, i produced: yada [SXAMPLE 11.9, Introduction to “Amerie the Grau” racuee trom motes derived ftom the melody salt - ‘The process is sel-perpetusting, because cach vatstion contains motives that can be developed into new variations, and so on, This means that if sn interlude is needed in the arrangement, one can be derived from the material used for the introduction Slowly co rallentando EXAMPLE 11.10.interiuse drive tm soprano line in Example 11.9 A § meter interlude, diferent ffom the one above, can alto be derived from Example 11.5, Vivo as) EQAMPLE 11.11 Interud cerved fom soprana line of Ex. 11.9. Lower neighbor br reed fom mative 8 Tecniguer of Arvanging In aduition to this, these themes are also the raw material from which counteemelodies can be derived, and, out of which descants ean be fshioned: EXAMPLE 11.12. Caunter melody derive fom Es. 11.8 with an ebvius det fo mote b [EXAMPLE 11.13. Descantrlted to Ex, 21.9 and 21.10 [A slighdy different bus line, detived ftom the motive materials, can gen= crate new harmonic structuree sad suggest new treble melodies composed cepecaly for this bass.” EXAMPLE 11.14. anther possible bas ine that coulé be generated ‘POSSIBLE VARIATIONS. [Although this ie not an exhaustive list of possible variations it should provide 2 stalent with some valuable suggestions and, moce important, may stimulate the identification of other, more satsfhing variations. Riytimsic By altecng the rhythm, meter, and/or tempo of a melody, one can create a whole set of variations that are aydhmic recastings ofthe original Harmonie : By reharmonizing the given melodic material, even to the extent of changing 1 few melodic notes to make it work, i is possible to crate a whole series oF variations on a given melody Melodie By changing the melodic contour, direction, or intervallic size, one may create 4 large numberof variations on a given musical idea, Serving “Modification of the setting in which 2 musical idea is east can provide many ‘variations in the Snished product. Among some settings to be considered are: 1. Consrapuncal. Using the original mateial as one voice in a multi- voiced figue, invention, or other contrapuntal work, a3ae Occhesestion Felignes of Aranging as 2, Ghurale, Using the given material as a soprano, alto, tenor, oF bes line A. Possible meledieateration in some sort of hymn ike (Bach chorale) setting | 1. chonge meters 43, Berlin or Dascan. Using he gen theme a aslo aosing basso des- | 2: change the locaton ofthe downbeats relative tothe meter ‘ant over or under which tually diferent nusial evens ae taking pace 3, sd aotonl ptnes of neter curation (do not spy ada ernaments) 8, Possible harmonie alterations: 1. allow the harmony tobe, at times, cssonant with the melody 2. use enly major (or only miner) chores 13 use cheeds Bult on fourths or fiths 44. have the harmony change st points within the measure other than when expected 4. "Gemes.A hidden line, not necesstly intended to be perceived by the listeners created from the given material. Everything else that is hap pening ceguites what s going on and seems on the surface to have lite ‘de of no relationship to the original materia. 8. Change of Mode. Typically from major to minor of mines to major, but change from minor to whole tone oF major to pentatonic is always pos- sible (ae are the reverse). Ie is posible ro reset the material into a new scale (ouch as the enigmatic or loerian major) or another mode. 6. Change of Sele. Theough the use of different styles of counterpoint, if ferent harmenic language, diferent testment of nonharmonic tones, different orchestrations colors and combinations, tis posible ro score a particular musical element 2s though it were being weated by Bach, or Beethoven, or Babbit, or Bartok, PROBLEMS 73-75 79, Front eat of ve following melo esine a last three motives. Then Using one of tse derived mative, create an introduction of two or three rmessure for string quartet. 74. Create wo countermelodies to each ofthe following lines. Score exch pair Mine and countermelody fer two unlike instruments, such as cboe and violin, and perform in cass. Select your favorite resulting melody and harmonize it in each cf the four ways cited below. From these, select your favorite and score I fora group | | | 75. Rewite each ofthe following melodies In three ways as suggested below of inetuments andlor voices avaliable. Have the results performed in class.12 ORCHESTRATION: In Conclusion Ie ie important thatthe orchestrator write for persons and not for instruments. ‘The very fict that one considers the necés and problems of the performers), including the conductor, a one writes will geady improve the ikeUtood thatthe effet wil prove succesful, Al performers may be, fiom measure to meas, found ising man contracting tee thar of» eloit and that ofa meminer of 2 section. The folowing examination ofthese soles should prove to be valuable (CHAMBER MUSIC \Weiting for the Chamber Music Performer Each performer‘in a chamber music group is a soloist. A soloist in this context vl be atempting to communicate the important nvances and subtle shadings of ‘the instrument's ine tothe listener. The performance of accompaniment figures willbe done with cae and pride. The chamiver musi player knows that each hore and every accent is important and thus wil play che part wich as much musieal- as posible, Except where limited by doublings, each performer is fly espon: sohle for contributing expresive rubatos and clear articulations to. the performance with concomitant felings of satisfaction that come from kaowing that every aspect ofthe effore mates. Each performer ean be heard through the texture, The importance of the individual's contribution may even be magnised in che individuals eyes but char only increases the senve of participation, inves ‘ment, and responsiblity that chamber music performers shae. When siting for chamber music groups one should take advantage ofthese performer aids, Admittedly eis tue that without amplification amale ensembles cannot pro duce the walls and waves of sound for which the symphony orchestras and con- ‘cert bands ae froous, I sdificulr to achieve a gorgeous blur of sound with only few players, and impossible to produce the sheer volume of sound needed for ‘overwhelming acoustical climaxes. But of course there are many posive tradeof Ensemble in chamber music i an exciting merging of very song individual petonalies, each one a soloist, each virtuoso, and exch cooperating with the oth- in an effore to make music. No one, in a good ensemble, ean fil to contribute. Ina welhbalanced chamber group, all performers know that they have» vital and secessay role to play, the best of each person is needed and no one tur -ecesty. ais In Conlsion Instrumentation of Standard Chamber Music Groups air ‘There are many standard chamber music ensembles. The instrumentations _gven below are epical. I has now become more common to ask performers fn chamber music groups to double on an auxiliary instrument. Name of Ensemble Suing quarter Piano wie Suing tio ‘Sting quintet Sting quiet Pano quaret Piano quintet (alo instrament) ‘inter Woodwind guint Woodwind quitst Incerumentation, Dos, va, 96 a, ve piano vin, v3, 36 2 vl, 2 vas, ve 2vlne, va, 2 ver in ¥3, ¥, plano 2 vn 0,7, pine 2a, (sole insrumens) 8,06, bn, bn £08, bn, bs el Name of Ensemble Woodivind quartet Piano and woodwind ‘quintet Piano and woodwind wavet Beas quintet Brats quintet Brass sextet, Bras io Bras quartet Percusion ensemble Instrurmenzation 8,06, db 0b, el bn, fn, piano £8, 0 ch be, piane 2 pes bn em, 2 2 pes, hn, mi, bs mb 2 spe, ey cup, eptsho, mb 2 ps, 2 tmbs 2 or more percussionist Whea writing for chamber music groups it is most effective to treat all instruments (performers) as equals and to explore the unique personality of tach, The goals should include creating ioteresting dialogue between and Strong the instruments and to make the incvidual parts both reasonably chal- Jenging and very rewarding to perform., LARGE ENSEMBLES Writing for the Large Ensemble Performer “The section member is not less skilled, less talented, or less musical than the chamber music performer. In fat it is often the ease that the volnist wh i only ‘One of sateen fst violinists in an orchestra isaio a respected and skied frst vio- nist ina string quartet. However, the focus ofthe section player ina lage ong ization is, of necessity, different from that in 2 chamber ensemble, A musician ‘who must t various times fll bch roles has to be abe to shift priorities. The {oloist stitude so essential to good chamber ensemble could, in the mide of the symphony orchcrt section led to musialy disastrous problems. ‘When scoring fr a secion of performers, whether in a band or orchestra, remember tat the resuking sound ffom the section isthe averpe of ll of the per fbemen? effort THs impli thatthe central pitch of line played bya section of sev cal performer is not single, focused pitch but rather a pitch band of some wit. “This pich band produces a mass of ound thet tends to obscure decis, Bur this same "Fi soo inwrumentis offen a wind instrument. However, solo gute or bap, ¢ 88