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 MUSIC LIBRARY
UNIVERSITY OF CONNECTICU1
ORRS. CONNECTICUT
 Digitized by the Internet Archive
in 2013

http://archive.org/details/workbookfororcheOOwagn
 Workbook for

ORCHESTRATION:
A Practical Handbook

JOSEPH WAGNER

McGRAW-HILL BOOK COMPANY, INC.

New York Toronto London
 .

Reference Chart of Keyboard Idioms and Patterns

I. Broken Intervals
1. Broken octaves
2. Broken octaves with embellishments
3. Broken octaves combined with thirds
4. Broken sixths
5. Broken thirds
6. Broken sixths and thirds combined
II. Broken Chords
1 Left-hand broken chords in close position
2. Left-hand broken chords in open position
3. Broken chords spaced for two hands
4. Broken chords in right hand with implied melodic line
5. Broken chords with blocked melodic and rhythmic patterns
6. Arpeggiated chords
III. Melodic Lines and Figurations
1. Large melodic skips

2. Outlining a melodic line

3. Dividing a melodic line

4. Melodic lines combined with repeated note patterns; nonmetrical passages

5. Melodic settings: contrasts, comparative strengths, repeated phrases

IV. Implied Bass Parts

V. Single-note, Interval, and Chord Repetitions

VI. Two- and Three-part Music
1. Homophonic
2. Polyphonic
3. Style mixtures

VII. Spacing Problems in the Middle Register

1. Large harmonic gaps

2. Sustained notes, intervals, and chords

\ III. Contrast Problems Conditioned by Dynamics

IX. Voice Leading

X. Obbligato or Added Secondary Parts Arranged from Harmonic Progressions

XI. Antiphonal Effects

XII. Tremolo Types

XIII. Dance Forms (Afterbeats)
 ?
•^

Workbook for

ORCHESTRATION:
A Practical Handbook

DR. JOSEPH WAGNER

Lecturer'—in— music
Pepperdine College
Los Angeles, Calif.

McGRAW-HILL BOOK COMPANY, INC.

New York Toronto London
1959

MUSIC UBRAR*^
rsssssr
WORKBOOK FOR ORCHESTRATION
Copyright © 1959 by the McGraw-Hill Book Company, Inc. Printed in the
United States of America. All rights reserved. This book, or parts thereof, may
not be reproduced in any form without permission of the publishers.

5 6 7 8 9 EBEB 9876543210
67656
 PREFACE
The examples in this Workbook have been selected to provide
teachers and students of orchestration with music from Bach to
Bartok. They represent a diversification of styles and textures spe-
cificallykeyed to the categories of the Reference Chart of Keyboard
Idioms and Patterns as given and applied in the author's Orchestration:
A Practical Handbook. The majority of these examples are suitable
for string and/or wood-wind scoring as well as for orchestras with
varying instrumentation. The music in Part One is for preliminary
exercises dealing with clefs and transpositions, chorals and voice ex-
tensions, and the brass and percussion sections as a separate unit.
Part Three contains music without classification for special assignments.
This arrangement of source material permits the teacher to use the
Workbook in the same sequence as given in the text of the author's
Orchestration: A Practical Handbook. When the text and the music
are used concurrently, the student will have the invaluable experience
of scoring identical material for ensembles of varying instrumenta-
tion. In many instances several examples are given for the teacher's
convenience.
Although the examples in the Workbook have been keyed to specific
categories of the Reference Chart in Part Two, their scoring will invari-
ably necessitate the application of techniques derived from other entries
in the Chart as indicated and described in Chaps. 10, 16, and 35 of the
text.This interrelated plan constitutes the basis for scoring practices
and, when used with facility and assurance, provides the means for a
practical solution to the problems of orchestration.

Joseph Wagner
 CONTENTS
Preface iii

Part One
PRELIMINARY EXERCISES
\J 33 CLEFS AND TRANSPOSITIONS

Peasant's Song No. 1 — Bartok (K) 1

CHORALS
Choral. Op. 68, No. 5*— Schumann (K) ........ ,2
Herr Jesu Crist, Du
Hochstes Gut* Bach (K) — 2
Wenn Wir in Hochsten Nothen Sein* Bach (K) — 3

MUSIC FOR BRASS AND PERCUSSION

Watchman's Song, Op. 12, No. 3— Grieg (M) 3
Impromptu, Op. 142, No. 2— Schubert (M) 4
The Stranger, Op. 68, No. 26— Schumann (K) 4
Folksong No. 8*— Bartok (K) 5
Piece Heroi'que- -Franck (M) 6

Part Two
REFERENCE CHART OF KEYBOARD IDIOMS AND PATTERNS
BROKEN INTERVALS
I.

Etude, Op. 2, No. 4— Prokofiev (M) 7

— Haydn (M)
Sonata No. 7 (Finale) 7
The Horseman, Op. 68, No. 23 — Schumann (K) 8
Waltz. Op. 54, No. 1— Dvorak 9
Saint Nicolas, Op. 68, No. 11— Schumann (K) 9
Intermezzo, Op. 2, —
No. 2 Dohnanyi (M) ........ 10

II. BROKEN CHORDS

First Arabesque— Debussy (M) 10
Piece Heroi'que — Franck (M) 11
Fantasie Impromptu, Op. 66 — Chopin (K) 12
Serenata Andaluza — Falla (M) 13
Rondo, Op. 51, No. 1— Beethoven 14
Arietta, Op. 12, No. Grieg 1 — 14
Air— Handel (M) 15
Impromptu, Op. 142, No. 2 Schubert (M) — .16
Passacaille— Handel (M) 16
Rondo Capriccioso, Op. 14 Mendelssohn (D) — 17
Prelude in G Minor, Op. 23, No. 5— Rachmaninov (M) ... 18

III. MELODIC LINES AND FIGURATIONS

Carnival Scene, Op. 19, No. 3— Grieg (M) 18
Second Arabesque — Debussy (M) 19
Characteristic Piece, Op. No. 2— Mendelssohn (D)
7, .... 20
Sonata No. 27, Op. 90— Beethoven (D) . . . . . . . . . 21
Sonata No. 12 (Rondo)— Mozart 22
A Joyous Party, Op. 13, No. 8— Dohnanyi (M) 22

IV. IMPLIED BASS PARTS

Sonatina (Finale) — Bartok (K) 24
V. SINGLE NOTE, INTERVAL, AND CHORD REPETITIONS
Bear Dance No. X—
Bartok (K) , 25
Novelette, Op. 21, No. 4— Schumann (D) . . . . . . . . 25
Rondo, Op. 51, No. 1 Beethoven — . . . 26
Valses Nobles (No. 6), Op. 77— Schubert (M) 26
Suggestion Diabolique, Op. 4, No. 4 Prokofiev (M) — .... 27
—
Bourree Fantasque Chabrier (M) 27
Le Polichinelle— Villa-Lobos (M) 28
Ballade, Op. 118, No. 3— Brahms (M) 28

VI. TWO- AND THREE-PART MUSIC

1. HOMOPHONIC
Rigaudon — Rameau(M) 29
Andante— Haydn (M) 30
Oriental from Danzas Espafiolas, Op. 5, No. 2 — Granados (M) . 30
2. POLYPHONIC
Fugue No. 21— Bach (M) 31
A Canon, Op. 68, No. 27— Schumann (K) 32

3. STYLE MIXTURES

Allegretto in C Minor— Schubert (M) 33

Warum?, Op. 12, No. 3— Schumann (D) 34
Traumerei, Op. 9, —
No. 4 Strauss 34

VII. SPACING PROBLEMS IN THE MIDDLE REGISTER

Sevilla— Albeniz (M) 35
Rhapsody, Op. 2— Brahms (M)
79, No. 36

VIII. CONTRAST PROBLEMS CONDITIONED BY DYNAMICS

Impromptu, Op. 90, No. 2— Schubert (M) 37
Sonatina, Op. 13, No. 1— Kabalevsky (K) 38

IX. VOICE LEADING

Nocturne in G Minor, Op. 37, No. 1— Chopin (K) 39

X.OBBLIGATO OR ADDED SECONDARY PARTS

ARRANGED FROM HARMONIC PROGRESSIONS
Gibraltar from Album de Viajo — Turina(M) 39

XL ANTIPHONAL EFFECTS
Serious Variations (No. 7), Op. 54— Mendelssohn (D) .... 40

XII. TREMOLO TYPES

Sonata No. 9— Mozart 42
Serious Variations (No. 17), Op. 54— Mendelssohn (D) ... 42
Rhapsody No. 2— Dohnanyi (M) 43

XIII. DANCE FORMS

Mazurka B Flat Major, Op. 7, No. 1— Chopin (K)
in . . . . 45
Polonaise (Military), Op. 40, No. 1— Chopin (M) 46
Waltz, Op. 39, No. 3* Brahms (M) 46
Italian Polka Rachmaninov (M) 47

Part Three

MUSIC WITHOUT CLASSIFICATION

(Recommended for Special Assignments)

Fugue No. 5 in D Major*— Bach 48

Nocturne in — Debussy (M)
D Flat 51
Sonata in C Minor. Op. No. — Beethoven
10, 1 52
Sobre Loma — Milhaud
la 54
Passaeaglia — Piston 55
Prelude and Dance (No. Op. 29, No. — Creston
1), .... 1 56
Psalm XXIX— Wagner 57

* Only music marked with an asterisk is complete. All other selections are
incomplete excerpts.

PUBLICATION CREDITS
Music excerpts marked with the letter (D) are used by permission of the pub-
lisher. Oliver Ditson Co.
Excerpts marked with (K) are used by the courtesy of the publisher, Edwin F.
Kalmus, New York, N. Y.
Music marked with (M) is used by the courtesy of the publisher, Edward B.
Marks Music Corporation, New York, N.Y
 . 1

PART ONE

Preliminary Exercises

CLEFS AND TRANSPOSITIONS

Score this piece in octaves for the following combinations:
1 The treble part for violins, and for violas in the alto clef. The bass part for the cellos in the
tenor clef and basses in the bass clef sounding an octave below the cellos. Arrange bowings so
that they approximate the phrasing of the piano copy.
2. Wood-winds in four octaves for piccolo, flute, oboe, English horn, clarinet (A), bass clarinet
(Bb), bassoon (tenor clef), and contrabassoon. The phrasing should give the same effect as the
original.
3. Two
horns (F) in octaves, trumpet (6b), first trombone in the alto clef, second trombone in
the tenor clef, third trombone in the bass clef, and the tuba an octave below the written bass
part. Retain the same phrasing used for the wood-winds.

PEASANT'S SONG No. 1

Ten Easy Pieces for Piano

Bela Bartok
Allegro moderate, <^«o-e«

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[11
 CHORALS
Score these chorals for the string, w ood-\K ind, and brass sections and for full orchestra. Develop
range extensions and add doublings and tillers as indicated in Chaps. 9, 15, 19, 25, and 34.

CHORAL
Robert Schumann, Op. 68, No. 5
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 WENN WIR IN HOCHSTEN NOTHEN SEIN
Johann Sebastian Bach
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MUSIC FOR BRASS AND PERCUSSION
Score for four horns, two trumpets, three trombones, and timpani. Use tuba and additional
percussion instruments when appropriate.
In the Grieg excerpt, score the first full phrase for horns, the second phrase for trumpets and
trombones. A filler and bass octave can be added in measures nine to twelve.

WATCHMAN'S SONG
Edvard Grieg, Op. 12, No. 3
Molto andante e semplice.
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[3]
 » —
IMPROMPTU
Franz Schubert, Op. 142, No. 2
Allegretto (J s 132)

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THE STRANGER
Robert Schumann, Op. 68, No. 26

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Forte ed energico

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[4]
 Seek out contrast for the melody here. No fillers or doublings are called for. Mutes would be
effective for harmony parts.

FOLKSONG No. 8
Ten Easy Pieces for Piano
Poco andante, J/e» Bela Bartok
J&feespr.

193

[5]
 t

1< will be necessar) to invert the melody and to double it an octave lower in measure thirteen.

Start the first chord of measure A-C-F, then move by nearest positions
this to the other chords.

rhis music for organ can benefit from the use of the full brass section.

PIECE HEROIQUE
Cesar Franck
Allegro maestoso

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[6]
 PART TWO

Reference Chart of Keyboard Idioms

and Patterns
I. BROKEN INTERVALS
The term "broken used here, refers to their movement in sequence as distin-
intervals," as
guished from intervals occurring in broken-chord formations. Broken intervals, in this category,
usually have a dual purpose: (1) they maintain rhythmic patterns idiomatically, and (2) they
complete harmonic progressions. Literal scoring for orchestral instruments is possible only at
slow tempos. The following examples are to be arranged as shown in Chaps. 10, 16, and 35.

1. Broken Octaves

ETUDE
Sergei Prokofiev, Op. 2, No. 4
Presto con energia

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2. Broken Octaves with Embellishments

FINALE from SONATA No. 7

Joseph Haydn
Presto, ma non troppo

yh l
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[7]
 » 1

3. Broken Octaves Combined with Thirds

["his excerpt includes several entries in this classification. The extremes of dynamic range per-
mit corresponding variet) of range extensions and sonorities.

THE HORSEMAN
Robert Schumann, Op. 68, No. 23

Kurz und bestimmt M.M.J =100

Breve e deciso

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 1

4. Broken Sixths

WALTZ
Anton Dvorak, Op. 54, No. 1
Piu mosso

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5. Broken Thirds
Reduce these thirds to four-part harmony outlining and sustaining the melody and bass parts.
Retain the sixteenth-note rhythm in the two middle parts. The complete excerpt should be
phrased legato.

SAINT NICOLAS
Robert Schumann, Op. 68, No. 1

Polternd, ungefiige M.M. J= 126

Chiassoso, duramente
2 8 14 5 8

[9]
 W
(>. Broken Sixths and Thirds Combined

INTERMEZZO
Ernst Dohnanyi, Op. 2, No. 2
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II. BROKEN CHORDS

1. Left-Hand Broken Chords in Close Position

FIRST ARABESQUE
Claude Debussy
Andantino con moto

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[10]
 In PIECE HEROIQUE for organ, themelody should be written in octaves with an inside filler.

The pedal point in the bass part can also be extended an octave higher.

PIECE HEROIQUE
Cesar Franck
Allegro maestoso

[11]
 —
2. Left-Hand Broken Chords in Open Position

FANTASIE IMPROMPTU
Frederic Chopin, Op. 66
Moderate) cantabile.
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[12]
 SERENATA ANDALUZA
Manuel de Falla
Poco meno mosso

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[13]
 .'>. Broken I bonk Spaced for Two Hand-
; should first be reduced to four-part writing with the highest and lou
this categ .

melod) and bas> parts. In this RONDO, these parts would be in half notcv
s

c rhythmic figuration should be maintained in the two inside parts. (See the example in Chaps.
•
and 35 under this heading.) This would be a good example to experiment with, adding
two obbi (in the high treble and tenor ranges), as explained in the same chapter.

RONDO
Ludwig van Beethoven. Op. 51. No. 1

azioso

k^kEE=M
ARIETTA
Edvard Grieg. Op. 12. No. 1

S
Poco andante e sostenuto

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[14]
 4. Broken Chords in Right Hand with Implied Melodic Line
In scoring the next two examples, keep the implied melodic lines free of the inside harmony
parts. The bass parts should also be detached from the two inside rhythmic harmony parts. Vary
the orchestration on the thematic repetitions.

AIR
George Frederic Handel
Andantino

YAR.V V
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[15]
 IMPROMPTU
Franz Schubert, Op. 142, No. 2
Allegretto (J = 132)

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5. Broken Chords with Blocked Melodic and Rhythmic Patterns

PASSACAILLE
George Frederic Handel
Allegro con brio

[16]
 6. Arpeggiated Chords
The two following excerpts are most desirable for full orchestra. The arpeggios in both can be
scored as follows: Arrange them idiomatically for appropriate strings. (2) Arrange them as
(1)
broken chords for strings or wood-winds and give the full arpeggios to the harp. In the Mendels-
sohn excerpt, supply, the harmony for the first measure and continue it in accordance with the
rhythmic pattern given by the composer. The Rachmaninov excerpt requires sustained middle-
harmony parts as indicated in the third measure.

RONDO CAPRICCIOSO
Felix Mendelssohn, Op. 14
Presto (J. = 96)

[17]
 PRELUDE IN G MINOR
Sergei Rachmaninov, Op. 23, No. 5
Alia marica (J = I OS)

Un poco meno mosso

III. MELODIC LINES AND FIGURATIONS

1. Large Melodic Skips
At fast tempos it is advisable to rearrange themes of this kind for two voices, yet always re-
taining both the rhythmic patterns and interval changes.

CARNIVAL SCENE
Edvard Grieg, Op. 19, No. 3
Allegro alia burla

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(scherzando)
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[18]
 CARNIVAL SCENE (Continued)

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2. Outlining a Melodic Line

Two plans of outlining are suggested here: (1) above the melody, and (2) sustained an octave
lower, combined with the lowest theme note on each beat.

SECOND ARABESQUE
Claude Debussy
Allegretto scherzando

[19]
 :>. Dividing a Melodic Line

Dh ide the enure treble part for two or more voices as required. Parts in the bass range will

also need considerable revision to provide consistent voice textures.

CHARACTERISTIC PIECE No. 2

Felix Mendelssohn, Op. 7, No. 2
Allegro vivace (J.=7a) —

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[20]
 4. Melodic Lines Combined with Repeated Notes
In scoring this excerpt, retain the tessitura of the repeated notes but rearrange the chord
positions starting in measure twenty-one.

SONATA No. 27
Ludwig van Beethoven, Op. 90
Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
(J = 152)

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[21]
 \0\MKTK1CAL PASSAGES

SONATA No. 12

RONDO
Wolfgang Amadeus Mozart
Ukiiro u = 80)

5. Melodic Settings: Contrasts, Comparative Strengths, Repeated Phrases

These four-measure excerpts, taken from eight-measure phrases, illustrate one composer's
approach to seeking contrast with the same thematic material at different dynamic levels. The
orchestration of these phrases should explore the full potentialities of each section, reserving the
full orchestra for the two fortissimo passages. Note: Observe the obbligato in the second brace.
It could be varied and repositioned for the other variations.

A JOYOUS PARTY
Ernst Dohnanyi, Op. 13, No. 8
Vivace giocoso.

[22]
 A JOYOUS PARTY (Continued)

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Tempo I.

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[23]
 I>. IMPLIED BASS PARTS
\ number of the previous examples required the extracting of implied bass parts from chord
formations. The following excerpt presents music which calls for sustained tenor and bass parts
combined * ith a pedal point. By starting the implied bass part on the second beat of the third
measure and treating it as a suspension, the effect intended by the composer can be realized.
This plan changes in measure eleven.

FINALE from SONATINA

Bela Bartok
Allegro vivace (J = 154-146)

a tempo
poco rit.

1 3

[24]
 V. SINGLE-NOTE, INTERVAL, AND CHORD REPETITIONS
The examples for this categoryhave been selected so that they can be represented in their
most familiar forms. Each excerpt should be rearranged idiomatically for orchestral instruments,
as illustrated in Chaps. 10, 16, and 35.

1. Repeated Notes — without Rests

BEAR DANCE No. X

Ten Easy Pieces for Piano
Bela Bartok
Allegro vivace, J/104-120
motto narcato
8* J±f

i=i »/ ^ <F

AW.uu UlfUlS UUU1I unun

l
y uuws ^m. tcrrtrrr msms mz cuirmrr 4 8 2 1 simile
i i

2. Repeated Notes — with Rests

NOVELETTE
Robert Schumann, Op. 21, No. 4
Poco piu animato (J. = 72)

IT" (45) 4.
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3/4 /?
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125]
 RONDO
Ludwig van Beethoven, Op. 51, No. 1

Moderate) e erazioso

3. Repeated Intervals as Afterbeats

VALSES NOBLES (No. 6)

Franz Schubert, Op. 77
Tempo di Valse

[26]
 4. Repeated Chords

SUGGESTION DIABOLIQUE
Sergei Prokofiev, Op. 4, No. 4
Prestissimo fantastico

to. # to. # tot*

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5. Repeated Notes, Intervals, and Chords Spaced for Alternating Hands

BOURREE FANTASQUE
Emmanuel Chabrier

Tres anime avec beaucoup d'entrain J= 152)

marcatissimo
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[27]
 LE POLICHINBLLE
Heitor Villa-Lobos
Presto
4
4(5) 2
1

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BALLADE
Johannes Brahms, Op. 1 18, No. 3
Allegro energico.
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[28]
 —
VI. TWO- AND THREE-PART MUSIC
Most of the music included up to this point has been homophonic. The voice textures have
often been inconsistent, thereby requiring considerable revision, as will be the case with similar
music to follow. The next excerpts illustrate three varieties of homophonic styles and textures.

1. Homophonic

RIGAUDON
Jean Philippe Rameau
Allegretto

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[29]
 ANDANTE
Joseph Haydn
Andante grazioso

ORIENTAL
from DANZAS ESPANOLAS
Enrique Granados, Op. 5, No. 2

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[30]
 2. Polyphonic
Polyphonic music in its most strict forms (canon and fugue, without doublings, fillers, or
harmonization), is comparatively rare in orchestral music. In fugal scoring, some doubling in
octaves is permissible, notably in bass parts and for principal thematic material emphasis.
Occasional outlining and sustaining may also be necessary and even desirable. The harmonized
canon by Schumann needs clarity for the two thematic lines in contrast to and with the har-
mony parts whenever possible. Review this category in Chaps. 10, 16, and 35.

FUGUE No. 21
from the Well-tempered Clavichord
Johann Sebastian Bach
Allegretto.
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[31]
 A CANON
Robert Schumann, Op. 68, No. 27
Nicht schnell und mit innigem Ausdruck MM. J =72
Moderate t con intima espressione s \23^

4 3
2 1 4

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[32]
 3. Style Mixtures

Style mixtures (juxtapositions of homophonic and polyphonic passages) provide a great

source of organic strength, continuity, and contrast for symphonic music. Scoring in this style
should be along the lines discussed under this heading in Chaps. 10, 16, and 35.

ALLEGRETTO IN C MINOR
Franz Schubert
Allegretto

(poco riten.) f^\

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(a tempo)

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[33]
 F

WARUM?
Robert Schumann, Op. 12, No. 3
Lento e teneramente (. = 58)

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trAumerei
Richard Strauss, Op. 9, No. 4
Andantino

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[34]
 VII. SPACING PROBLEMS IN THE MIDDLE REGISTER
Both entries under have been presented as secondary considerations in many
this classification
of the previous categories. They should now be reexamined as isolated, major problems concerned
with orchestral balance and sonority.

1. Large Harmonic Gaps

Fillers in the middle register are needed here for the first two and one-half measures of each
four-measure phrase.

SEVILLA

Isaac Albeniz
Allegretto

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[35]
 2. Sustained Notes, Intervals, and Chords
Sustained parts, indispensable for full orchestra starting in the third measure, ean be extracted
from the upper notes of the broken chords and the implied bass notes.

RHAPSODY
Johannes Brahms, Op. 79, No. 2
Molto passionate, ma non troppo allegro

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[36]
 VIII. CONTRAST PROBLEMS CONDITIONED BY DYNAMICS
Consult Chaps. 10, 16, and 35 for suggested ways of scoring similar and/or identical phrases
with different dynamics.

IMPROMPTU
Franz Schubert, Op. 90, No. 2
Allegro (J. = 69)

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[37]
 SONATINA No. 1

Dimitri Kabalevsky, Op. 13, No. 1

Allegro assai e lusingando

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[38]
 IX. VOICE LEADING
The place and problem of good voice leading is strikingly apparent in this Chopin excerpt.
In scoring it, rearrange the voice structure of the harmony and
bass so that they can be
maintained consistently. Grace notes that are melodic embellishments should be retained when-
ever practicable. Those that are distinctly chordal, as in measures 7 and 8, can generally
be eliminated altogether or incorporated as part of the harmonic texture. Review this category
in Chaps. 10, 16, and 35.

NOCTURNE IN G MINOR
Frederic Chopin, Op. 37, No. 1

Andante sostenuto
a tempo

to. * to. *
to. *
2 a 4 54 5

mmm jRur?Tjit j
m
1

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P
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to. # * to. #
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X. OBBLIGATO OR ADDED SECONDARY PARTS ARRANGED FROM

HARMONIC PROGRESSIONS
Add an and a second, more rapid counterpoint above the
obbligato part in the tenor register
melody. Plan both parts so that their greatest momentum and intensity starts in the twelfth
measure. Consult this category in Chap. 10 for directions and illustrations. The final "8 va." can
be omitted; the others are optional. Work for maximum sonority and brilliance starting at the
2/4 measure. This excerpt is intended for full orchestra only.

GIBRALTAR
from ALBUM DE VIAJO
Joaquin Turina
Allegro vivo

[39]
 GIBRALTAR (Continued)

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XL ANTIPHONAL EFFECTS
Alternate the string and wood- wind sections as given in Chap. 35 under this heading. The
sextolet may be scored either in octaves and/or as broken chords. Seek maximum brilliance
within the instrumentation of the Classic orchestra.

SERIOUS VARIATIONS
Felix Mendelssohn, Op. 54

r.h.
VAR. 7 cJ = so)
SERIOUS VARIATIONS (Continued)

[41]
 XII. TREMOLO TYPES
I orm octaves for the highest treble notes of this Mozart excerpt measure rive and
starting in
score this passage as a measured tremolo. The arpeggiated chords in RHAPSODY No. 2 are
to be scored as unmeasured, fingered tremolos.

SONATA No. 9
Wolfgang Amadeus Mozart
Allegro con spirito (J = 132)

JL JL

SERIOUS VARIATIONS (No. 17)

Felix Mendelssohn, Op. 54
Allegro vivace (J = 76)

ritenu

[42]
 RHAPSODY No. 2
Ernst Dohnanyi
Adagio

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[43]
( I 'istesso tempo) Ibid.

[44]
 XIII. DANCE FORMS
These dance excerpts have been selected primarily to provide music having characteristic
afterbeats. In scoring them give consideration to other pertinent entries in the Reference Chart.

MAZURKA IN B FLAT MAJOR

Frederic Chopin, Op. 7, No. 1

Vivace. (J. = 50.) 4 5

«&fc * (
&d. simile

[45]
 g —
POLONAISE (MILITARY)
Frederic Chopin, Op. 40, No. 1

Allegro con brio

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Johannes Brahms, Op. 39, No. 3
Grazioso

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[46]
 t y
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ITALIAN POLKA
Sergei Rachmaninov
Allegretto (W /as/J

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[47]
 PART THREE

Music Without Classification

(Recommended for Special Assignments)

FUGUE No. 5 IN D MAJOR

from the Well-tempered Clavichord
Johann Sebastian Bach
Allegro moderate J =76.

[48]
 4 3 5
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[50]
 NOCTURNE IN D FLAT
Claude Debussy
Allegretto J = J)

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[51]
 ^ T P

SONATA IN C MINOR
First Movement — Exposition
Ludwig van Beethoven, Op. 10, No. 1

Allegro mo I to c con brio.w.M. *.=«».

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[52]
[53]
 '

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Darius Milhaud
Mouvt de Rumba
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[54]
 •

PASSACAGLIA
Walter Piston
Andantino Q= 12)

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[55]
 P
PRELUDE AND DANCE
(No. 1)

Paul Creston, Op. 29, No. 1

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[56]
 - —

PSALM XXIX
Male Chorus and Two Pianos
Joseph Wagner
. 4/4 (Allegro con fuoco)

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[57]
 1

PSALM XXIX {Continued)

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[58]
 .

Reference Chart of Keyboard Idioms and Patterns

I. Broken Intervals
1. Broken octaves
2. Broken octaves with embellishments
3. Broken octaves combined with thirds
4. Broken sixths
5. Broken thirds
6. Broken sixths and thirds combined
II. Broken Chords
1 Left-hand broken chords in close position
2. Left-hand broken chords in open position
3. Broken chords spaced for two hands
4. Broken chords in right hand with implied melodic line
5. Broken chords with blocked melodic and rhythmic patterns
6. Arpeggiated chords
III. Melodic Lines and Figurations
1. Large melodic skips

2. Outlining a melodic line

3. Dividing a melodic line

4. Melodic lines combined with repeated note patterns; nonmetrical passages

5. Melodic settings: contrasts, comparative strengths, repeated phrases

IV. Implied Bass Parts

V. Single-note, Interval, and Chord Repetitions

VI. Two- and Three-part Music

1. Homophonic
2. Polyphonic
3. Style mixtures

VII. Spacing Problems in the Middle Register

1. Large harmonic gaps

2. Sustained notes, intervals, and chords

VIII. Contrast Problems Conditioned by Dynamics

IX. Voice Leading

X. Obbligato or Added Secondary Parts Arranged from Harmonic Progressions

XI. Antiphonal Effects

XII. Tremolo Types

XIII. Dance Forms (Afterbeats)
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