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