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