ORCHESTRATION WEEK #1.

Sparkle

1958004 Jiwon Kim 김지원

It is a score in C (concert score). I could notice it from the second page.

One thing that I thought weird was the first rehearsal letter (A) is one the first measure.
And no double bar appears with rehearsal mark.
In the whole piece, all instruments are used in a higher range compared to the main ranges that are
usually used.
Trills tremolos, flutter tongue (in flute) are frequently used in the whole piece with all instruments
except for piano (Piano usually plays continuous broken chords).
At the first, glissando is used only in double bass and later it is used throughout all strings (and it also
used with pizz., trills.)
Bending notes or glissando (from bar 133) are used in woodwinds.
In the strings, natural and artificial harmonics are both used.
It starts with 6/4 and alternates with 4/4, showing frequent changes in time signature. The only bar
where 6/8 appears is 157-161.
The range of dynamic is very wide, from ppp to fff.
Sul pont. is used in violin and cello.
The composer directly specifies the hand position of the string instrument.
In bar 137, from ‘hit claves on B.D.’ is the most interesting part that I found. Then does the performer
can play both of the instruments at the same time? Is that mean ‘hit bass drum with claves’ or ‘hit
claves each other ‘’on’’ the bass drum’?

In bar 133 (letter F), is that piano harmonics? Then what is

that II below the F# on the bass clef? Is that mean ‘mute the second string’?
What is the notation ‘+’ in marimba (from bar 120) and piano (from bar 137)? In piano, does it mean
mute or pizz.? (I know it means left hand pizz. in strings.)
I don’t know why – from bar 299 – the clef of percussion 1 is changed. There is no direction -ex. to
claves or to bass drum. And I think it is still played with vibraphone. Is it just an error? Or that clef is
also okay with vibraphone? Or is there something that I missed?