WORKBOOK FOR THE STUDY OF ORCHESTRATION SECOND EDITION SAMUEL ADLERAcknowledgments Boosey and Hawkes tne Bartok, Concerta for Occhesie © Copyright 1940hy Hawkes and Son (London) Ltd Copyright enavsed. Roprinied by permission af Hooscy & Hewkes, Ie.—p. 57, Bartok, Fourteon Bagatelles Op. New Version © Copyright 1960 by Boosey & Hawkes, Inc Copyright Renewod. Reprinted by permission —p. 8 Bartok, Miksokosmos ® Copyright 1940 by Hewkes 8 Son (London) Lud. Copyright Renewed. Roprinted by permission o Bootoy & Hawke, Inc.—p. 23 Bartok, Six Miniotums © Copyright Hawkes & Son (London) Lid; Copyright Renowed. Re printed by permission of Boose & Hales. Ine —a. 120 Mussorgsky Ravel, Pictures at an Exhibition ® Copyright 1929 by Edition Russe de Musiave. Copyright Renowed Copyrightand renewal assigned to Boosey & Havrkos, lnc Reprinted by permission —pp. 54,134 [Riegace Tone Clusters ® Copyright 1947 by Boosey & Hawkes, Tats: Copyright Renewed. ‘Reprinted by permission, -p. 70 European American Music Distributors Corporation. Hindemith, Moths der Moler © B, Sehotts Sohne, Mainz, 1947; © renewed 1965, Used by permission of Europea American Music Distributors Corporation, sole 1S. agent for B.Schotts Sohne—p. 56 Heugel S.A Poulenc, Taccoto, No 2 from Trois Poces © Heugel Pais ronco--Owners and publishers forall countries—p 09 Warmer/Chappell Music, Inc Berostsin. Jeemiuh Symphony © 1943 Warner Bios. Ine. (Renewed). All Rights Reserved Used By Pormission.—p.58 Copyright © 1989, 1982 by W. W. Norton & Company, Inc. PRINTED INC THE UNITED STATES OF AMERICA, All Rights Reserved Second Edition ISBN 0-393-95808-6 LW. Nonon & Compan, ine, 510 Filth Avenue, New York, N10 WW, Norton & Company Lid. 10 Coptic See, London WCLA IPUContents Proface to the Second Edition Test Yourself I: Strings Worksheet 1: Clef Exercises Worksheet 2: Bowing Worksheet 3; String Harmonics Listen and Score: 1-4 Worksheet 4: Transcribing for String Orchestra Worksheet 5: Harp ‘Test Yourself Il: Woodwinds Listen and Score: 5-8 Worksheet 6: Woodwind Transposition Exercises Workshoot 7: Transcribing for Woodwinds Worksheet 8: Scoring for Woodwinds and Strings Worksheet 9: Transcribing for Paired Woodwinds Worksheet 10: Scoring for Paired Woodwinds and Strings Worksheet 11: Transcribing for Large Orchestral Woodwind Section Test Yourself Ill: Brass Worksheet 12: Brass Transcription Exercises Listen and Score: 9-14 Worksheet 13: Transcribing for Brass Test Yourself IV: Percussion and Keyboard Worksheet 14: Transcribing for Nonpitched Percussion Worksheet 15: Transcribing for Pitched and Nonpitched Percussion Worksheet 16: Scoring for Woodwinds and Brass Worksheot 17: Transcribing for Woodwinds and Strings Worksheet 18: Two Transcriptions by Tchaikovsky Worksheet 19: Scoring for Woodwinds in Pairs and Strings Worksheet 20: Scoring for Woodwinds in Throcs, Brass, and Percussion Worksheet 21: Transcribing for Woodwinds in Pairs, Harp, Strings, and Percussion Worksheet 22: Scoring for Full Orchostra Worksheet 23: Scoring for Classical Orchestra Worksheet 24: Scoring for Small Romantic Orchestra 29 65 67 69 71 73 73 79 81 83 85 87 agWorksheet 25: S Worksheet 26; Scoring for a Beethoven Orchestra Worksheet 27; Scoring for a Large Impressionistic Orchestra 3 Worksheet 28: Transcribing for An Orchestra of Any Size 3 Scoring for Voice and String Orchestra os Worksheet 30: Transcribing for Clarinet and Small Orchestra 102 Worksheet 31; Scoring for Trumpet and String Orchestra 10 Worksheet 32: Scoring for Flute, String Orchestra, and 2 Oboes 105 Worksheet 33: Scoring Vocal Accompaniments; Small Orchestra 107 Worksheet 34: Scoring Vocal Accompaniments: Large Orchestra 109 Worksheet 35: Scoring Vocal Accompaniments: Medium-sized Orchestra am Worksheet 26: Scoring Vocal Accompaniments: Woodwinds, 2 Horns, Strings, Harp, and Percussion 113 Worksheet 37: Scoring for Chorus, Brass, and Strings 5 Worksheet 38: Scoring Choral Accompaniments: Medium-sized Orchestra ar Worksheet 39: Scoring Choral Accompaniments: Medium-sized Orchestra and Harp tig Worksheet 40: Six Transcription Exercises 121 Worksheet 41: Scoring for Student Orchestras 127 Listen and Score: 15-20 131 Index of Works 133 viNawe are Test Yourself I Strings 4. Double Bass 2. What is the meaning of sul D? 3. What is the II” string on the viola? 4. What is the I string on the double bass? 5. What is tho IF string on the cello? 6. What is the IV° string on the violin? 7, What is meant by scordatutu? Give an example ‘8. What is meant by third position on the violin? 8. What is meant by double-siop? 10. Write five double-stops that would be impossible to produce on the violin. Give the reasons for your answers, 14, Write three triple-stops that would be impossible to produce on the cello. Give the reasons for your answors, 12, Write three quadruple-stops that would be impossible to produce on the viole, Give the reasons for your answer.13. Identify the following terms pertaining to the bow: a. the frog, b. the heel e.thetip____ dd. What is the downbow sign? ‘The upbow sign? 14. What is meant by portamento? 15. What is the difference between portamento and glissando? 16. Explain pizzicato, 17. What is left-hand pizzicato and how is it indicated? 18. What is the mast common way of telling the strings to put on a mute (Italian)? 19. To take the mute off (Italian)? 20, What is a naturul hurmonie? 21, Write {wo natural harmonics for each of the four bowed string instruments. (Write the Correct notation and what the actual sound will be.) 22. What is meant by artificial harmonies? 29. Write three artificial harmonics for each of tho following: violin, vila, and cello, (Write the correct notation and what the actual sound will be.) 24. Describe the difference between the way an artificial harmonic is produced on the violin and on the cello, 25. What is meant by harmonic series? 26, Write out the first six overtones (partials or harmonics) for the following fundamentalsNant —_ —_ — Dare —___ Worksheet 1 Clef Exercises 1, Rewsite for Viola in alto clef 2, Rewrite for cello using tiss and tenor clef, BY eee ee3. Rewrite in alte clef. 5. Transcribe for viola (include bowings) Quite stowly6. Transcribe for cello {include bowings). Use bass clef and tenor clef only. me at gavipe of Andante von moto BSE Gr 7. Transeribe for violin (include bowings). uiety moving at tee _ ee oo pes ieee oo ep te le SSeS‘9. There are errors in both of the transcriptions below. Find them, mark them with crosses above the incorrect notes, and rewrite them on the blank staff. OriginsNaw aa _ Worksheet 2 Bowing 1. Bow all string parts, then consider the oboo part as if it were a solo violin and bow it as wa Handel, Concerto Grosso, Op. 4, No. 3, first movement 2. Supply three different ways of bowing this passage. Largo ce Db Pande ee]3. Supply two different bowings for this passage. Andante sostenuto Bees 5. Listen to the CD containing twenty different bowings of correct letter against the numbers below. egetNase Worksheet 3 String Harmonies Dare 1. Write out the actual sound af this violin 2. Write out the actual sound of this cello passage, ~ 8 aName Dare — Listen and Score 1 Joseph Haydn, Symphony No. 100 ("Military"), second movement Aegtio e bees F seta 1. Listen carefully to the passage, making notes on the plano scare above 2, Orchestrate it exactly as you heard it 3. Hint: The violas play div J. There is on independent bass part at times. "Listen and Score 2 Mozart, Divertimento No, 10, Menuetto 2 eee at sa HSE ae # 4 pipes 2402 i a + cat 1. Listen to this excerpt several times 2. Transcribe it for five-part string orchestra exactly as you heard it. 3. Supply dynamics. 4. Supply bowings 2Listen and Score 3 Boothoven, Symphony No. 3 (“Eraica"), second movement 41, Score for string orchestra, remembering that some of the pitches may be in a different octave in the piano reduction, for practical reasons, 2. Matk bowings carefully 3. Supply dynamics,Tenpost vaio Listen and Score 4 ‘Tehaikovsky, Serenade for Strings, Waltz. = = Ss Be 1. Listen to the excerpt carefully, beering in mind that it is @ pragmatic plano reduction. 2, Score for string orchestra, 3, Supply bowings. 4. Supply dynamics, 5. Hint: The second violins and violas play some non divisi double-stops.a _ Date Worksheet 4 Trans ing for String Orchestra 1, Transcribe for full string orchestra. a. Be sure that the style is preserved and the chords demanded by the figured bass ar: kept b. Thicken the texture and follow the repeats, orchestrating differently the second time, especially since it is suggested that the first strain be played “mj” and ropeated GF. Handel, Bourrée Semel2. Here is a conon by Brahms. Complete it by filling in all the independent parts, Then prepare a new version, possibly beginning the actual canon with the lower votes to create new and different independent parts. Brahms, Wann? sone GAS Aw —— = aan Wonntan der Hin eau yt3 Here is « canon by Haydn, Complote the version below, and then create a new one Repeated nutes alvvays give the opportunity for “colorings” (piezicato, harmonies, ec.) ‘Try some of these techniques in the second realization Haydn, Die Prim, die ekund = erie De Min le Sorkin die Tie die Qui, he Quah le Ste Se = = = naa v74. Transeribe each of these two Bach chorales twice. You do not have to retain the origi nel key or the harmonization given, Stick closer to the original in your firs! version, and then be more imaginative the second time. Be sure to mark bowings, dynamics, and tempo. a. Wo Gott Zum Haus Nicht Gibt Sein Gunst Saas poi reo It : ores) pe ro eu dg tt? LU God with ~ draw -e rere zt t — | —te = == == ate, Tl Be we see estar \ | 5 fp fof 4 =e _ —_ f ‘That God at last_ a2 might do 4 ‘The work that He had plamed, His aate 8 angel qui add - + leo's fair Sida land? ——~ a2 His name was Ga-bri - el. Ai yf 185. Transcribe for strings and harp. a, You may want to shift the melody from the bass to either the middle or the top at sume point, b, Follow the dynamies and the pedaling carefully: these factors should influence the resultant orchestration Chopin, Prelude, Op. 28, No. 22 Molto agiteta, ate 40, #Fo¥te, WIS Bee, Ss as Fo WO. Ha. a, ppt see 196, Transcribe this quite simply. carefully supplyiny Vary the colors occasionally, and don’t necessarily k it originally appears. bowings 1 make it sound smooth p the melody in the octave in which Beethoven, Bagatelles, Op. 33, No. 1 Andante grugioso, quast Allegretto, a _ 207. Transcribe for string orchestra, a. Supply dynamics b. Keep the texture light. although the harmony may be thickened at times. c. Mark bowings accurately. Scarlatti, Sonata, No. 6 Allegen, 2a8. Transeribe these two canons by Thomas Ravenseroft for full string orchestra a. You muy add independent voices, but make certain they are in style. b. The octave in which the or ial appears, as well as the keys, may be changed. ¢. Supply all bowings and dynamics. Oken Leaves Heappty Qn es ee ee fend thoube with lenas, [uti by | mat tow os Moin Me we wg oe eee ao New Oysters Te the manner of a erler =e Zz se fech us bread and winethat we May cats, it us lose no time wih = auch pode, 9. Transcribe for strings and herp. a. Use some col legno, pizz., pros de In table, and any other effects you feel are suitable. b, All octave transpositions are permissible. . The dynamics and register positions should give you hints as to the instrument suitable for a particular solo phrase. 22Bartok, Wrestling 2310. Make a very lush arrangement for string orchestra and harp. a. Watch the dynamics and the accents closely, and vary the color of the solo voice. b. Be sure to listen to some of Fauré’s orchestral music. Faure, Thome et Variations, Op. 73 Quast aduygio. (+50Name. — Dare Worksheet 5 1 See 2. Can tho following progressions be played on the harp? If s should they be onharmoni- cally writton to make pedaling possible? Would it be necessary to leave aut any notes in the right hand? Pano Version Harp Version 25Name a Darr Test Yourself II Woodwinds 1. Name the four woodwind families, 2. What does the word embouchure mean? Wha is meant by overblowing? 4. Hone wants to hear middle C, what pitch must ane write for the: a alto clarinet b. soprano saxophone ©. D clarinet (piccolo) d. E> clarinet (piccolo) —_______ e. C clarinet = f, tenor saxophone 8. Ho clarinet hh. English horn ae i. alto flute a j. allo saxophone 5, For the same group of instruments, name the sounding pitch if the written pitch is middle. (Use the right-hand column of blank lines above.) 6. What does a slur moan ta.a wind play 7. How is a vibrato produced un a woodwind instrument? 8. How does one designale a passage to be played without vibrato? 9. Describe double- and triple-tongiting, 10, Describe Nuttortonguing. What is tho Gorman word for it? —__ 2711. If wo oboes are to play the same part, what is the marking on the score? 12. How does one designate the second clarinet to play a passage alone if first and second are notated on the same line oo the designation solo sometimes used? Why is it superfluous? 19. Why i 14. What are multiphonies: 15. Name some twentieth-century woodwind effects, — 16. Give the ranges of the following instruments, a. piccolo e. oboe bassoon flute £ English horn, j. contrabassoon e.alto fute 8. All clarinets’ writton range k, oboe d'amore bass flute All saxophones’ written range 17. Give the names of the first three registers of the clarinet. 18. What are the register characteristics of the flute, oboe, English horn, and bassoon? 19. What is meant by the break on the clarinet? — 20, Name some things woodwind instruments cannot do.Nowe Dare 1, Listen carefully to this excerpt and make notes. 2, Orchestrate what you heard. 3. Mark both phrasings and dynamics 292m. 200, 2 Bae, vat Va vel ps. an, 20, 2ens| vn. ve. De.Listen and Score 6 Mendelssohn. Symphony No. 5, fourth movement 1. Liston to tho excerpt sevaral times and make notes on the piana version, 2. Orchesteate the passage as you hoard it 3. Hint: Orchestrate the obvious paris first and base subsequent decisions on these. atListen and Score 7 Glinka, Overture to Russian und Ludmilla fe 1, Listen carefully then orchestrate what you have heard. 2. Mark both phrasings and dynamics, 3. Pay particular attention to the distribution of the string parts, oo 206, 2e.inal 2 ne Tap. wnt Vall vel ao.Listen and Score 8 ‘Tchaikovsky, Overture to The Nutcracker Ae Be ak Ae eee Ss 1. carefully t0 the excorpt soveral times, 2, Before scoring. answer these questions for yourself: 1a.Is the melody doubled? 'b. Where does the piccolo enter? ©. Whal are the roles of Vn. Land Va, II? 4. la the ficst chord in root position or frst inversion?2a, vat valName are Worksheet 6 Woodwind Transposition Exercises 1. Find errors in transposition, incorrect accidentals, and weong notes in the two arrange- iments below. Mark all errs with crosses above the notes. a. Chopi Nocturne, Op. 37, No.1seuncing ech 2, Supply the transposition requested in each of the exercises below nH senDare, Name Worksheet 7 Transcribing for Woodwinds 1, Complete the canon below. filling in independent parts whenever desired a. Keep the texture rather full, but do not change the “style” of the piece. b. Supply phrasing and dynamics. Friedrich Kuhlau, Thr Vigel2, Complete the canon as outlined below, Thicken the texture without changing the basic harmony significantly 4, Al instruments do not necessarily have to play at all times b, You may wish to change the colors for the repeat , Supply all phrasing and dynamics. Brahms, So lange Schénheit wird bestchnNawe re Worksheet 8 Scoring for Woodwinds and Strings 1. Make two arrangements for a small group of about sight to ten playors, the first for winds alone, the second for winds and strings. a, Try Lo make them very colorful, but preserve the simplicity of the tuno, b Ihe harmony may be changed, but avoid chromatic complexity ©. Try to effect soma dovetailing from one color to another. Be original in yerur trate ment of the melody and in your counterpoint. d. Supply your own dynamics and phrasing. 2, Make two arrangements of this tune for at least eight winds, strings, and harp: the first for a solo instrument with accompaniment, in which the solo voice is constantly changing and melting, one jnto the next; the second, 2 fuller and more contrapuntal version. 4, Be sure to include some solo strings with wind accompaniment b, Provide your own dynamics and phrasing, Feel free to change the harmony if i doesn't soem appropriate: Doublings and octave transpositions are certainly allowed, ©, Bo sure that in the moving eighth-nol# passages, there Is some sustaining harmony to simulate a piano sostenuto pedal, 39Blow the Wind Southerly (Northumbrian Hymn) 3, You have probably hoard Aaron Copland’s wonderful orchestral treatment of this tune. Itis all very well to be influenced by it, but try not to copy it. Maka two difforont settings for winds and strings, one with and one without harp, a, Try not to make both settings homophonic, and use both octave and double-octave doubliags. b, Retain the lexn harmonic outline and try to add some imitative counterpoint. © Supply all dynamics, accents, and phrasing, Simple Gifts (Shaker Hymn)4, Transeribe this movement for winds in pairs and string archestra @. The piano part is a realization of the figured bass and does not have ta be retained: however, the basic harmony mus! be preserved. b. The dynamics are added by an evlitor and do not have te be strictly adhered to if one eels them differently. 6. Be as colorful as possible in your scoring and do not use all the forces at all times, Purcell, Sonata No. 3 www, fort a15. Transcribe for winds in pairs and strings, a. Use an imaginative foreground-background arrangement throughout b, Neither the melody nor the accompaniment must remain in the octave given. \elody may be doubled or thickened if desired. Morart, Rondo Andante, be, rane L Ban ager Se rea ———Dare, Nave Worksheet 9 Transcribing for Paired Woodwinds 1: Tressel wnoswindasnopateeive te horisto a. Supply your own dynamics. b, Por the most part, use the multiple instruments for coloring rather than thickening he toxture, ¢. Some sustainod pitches may bo added here and there. Scarlatti, Sonata No. 8 4a2, Arrango these Bach chorales for pairs of woodwinds and two horns. a. You may transpose them and thicken the lextures, and, of course, double the melody. b, Be sure the desired phrasing and some tempo and dynamic indications are supplied. a. Es ist Gewisslich An der Zeit | = = f time will come, When men theirdoom, And fds SS ie b. Christ Lag in Todeshanden Christ in the- bonds of death was laid, For our trans -gres-sions giv He rose: way He 9 - pen made To life, the life of heav - mis ia ji 44Name ps Br _— Worksheet 10 Scoring for Paired Woodwinds and Strings 1. Be very creative in scoring this little Rameau piece, but keep the texture light and airy a. You may want to add an accompanying type of ostinato in one of the instrumental atoups for pact of the piece, b. Add phrasing, dynamic, and tempo markings. Rameau. Le Villageoise 2, Orchestrate for winds in pairs and strings, a. Since the triplet figuros are sustained by the pedal, the chords may be sustained in the orchestra also. 5b, The melody may be colored by imaginative doublings. octave transpositions, and ther means. © Don't neglect the countermelodies which appear in lower parts throughout 45Mendelssohn, Songs without Words, Op. 53, No. 2 3. Orchestrate for a large woodwind section, strings, and harp: 4a, Vary the color of the tune in as many ways as possible, but always in good ste! b, Do not use the harp all the way through, bul make its appearance meaninglul ¢. Fill out chords at will and use the auxiliary wind instruments (English hom. bass ¢larinet, eontrabassoon, ete | to good advantage Debussy, La fille aux cheveux de tin 36Name — Dare Worksheet 11 Transcribing for Large Orchestral Woodwind Section 4a, Make this sound like a large windband. b. Use the drone colorfully 6, Use as many octave transpositions as possible, 4d. Supply phrasing, tempo. and dynamic indications, but also vary the dynamics by making texture changes throughout the piece. Rameau, Tembourin a7Nae Test Yourself III Brass Dave 1. What is meant by a natural horn ot trumpet? 2,.Name the overtone series on F, Eh, Bo 4. What was the highest partial demanded during the Classical period?__ 5. What is meant by clarino trumpet playing? 6. What is a crook, and how does it work? 7. What is the difference in the transposition of the F Horn and F Trumpet? 8. What does @ valve do for a brass instrument? 9. What happens if one depresses: athe first valve b. the second valve the third valve ad. the first and third valve the second and third valve the first and second valve all throo valy, 10. What is meant by positions on the trombone? 14. Name the pitch of the fundamental in first position on the tenor trombone. 12, How many positions are there? 4g13. What is the fundamental of the Jowost position? — 14. What are the positions of the bass trombone? = 15. What note is difficult to perform on the bass trombone unless an & attachment is present? 16. Name some brass mutes, 17, What does a mute do to a brass instrament? _ 18, Which is the standard orchestral mute? ——————_________ : 49, What is a Wagner tuba? 20, What is tho major difference between an euphonium and a baritone? ——______ 21, Name the usual brass complement of a large symphony orchestra. __ 22. What do the designations “horn in 8} alto" and “horn in Bb basso” mean? 24, If one wishes to hear middle C, what pitch must one write for the trumpet ain Be ein DI binG____ din 25, What is the lowest written pitch for all trmpets?____ 26, What trills should be avoided for trumpets and horns? —______ 27, What is a valve trombone? 28, What is an ophicleide? — = 29, What Is the range of the tuba? 30. What is meant by F, Bb, Eb, C, or double Be tuba: 31, What does the diamoter of the bell contribute to the technique of the brass instrument? 32. How are most trills produced on the horn? —__ — 50Name gr Worksheet 12 Brass Transposition Exercises Supply the transposition requested int each of the exercises below. eps oT PaFETE eer be pee pod te 52Dare Name Listen and Score 9 Dvorak, New World Symphony, second movement 1. Listen to the recorded excerpt. 2. Score for 2 Horns in E, 2 Horns in G, 2 Trumpets in E. 3 Trombones, and Tuba, 2Hasin B 2 nsia € 2 Tpising| 33Fie 7 Listen and Score 10 Mussorgsky-Ravel, Pictures at an Exhibition, Promenade seit Sse “pie C 1. Listen. 2. Score for 3 Trumpets in C, 4 Horns in F, 3 Trombones, and Tuba. 54Listen and Score 11 Berlioz, Symphonie fantastique, fifth movement fetaempeseiatiae leet Fh gestae Beg 1. Listen, 2. Score for 2 Horns in B+, 2 Horns in ©. 2 Trumpels in Es, 3 Trombones, and Tuba, tins im 2 Hoar in Z 2tpsin o TubeListen and Score 12 Hindemith, Mathis der Maler, third movement 4, Liston. 2, Score for 4 Horns in F, 2 Trumpets in C, 3 Trombones, and Tuba.Listen and Score 13 tok, Concerto for Orchestra, second movement 1. Listen, 2. Score for 4 Horns in F, 2 Trumpets in C, 2 Trombones, and Tuba, 3. Supply the snare drum part. 2 Tpisin eListen and Score 14 Bernstein, Jeremiah Symphony, last movement 7 1. Listen, 2, Score for 4 Homs in F, 9 Trumpets in C, 3 Trombones, and Tuba, “tins in F BTinc ‘ta 4H in Stein sre abeName ate Worksheet 13 Transcribing for Brass 41. Complete the canon below in the manner in which it wes begun. Thon, make a second version of it using the same ensemble, but orchestrating it quite differently Schubert, Der Schnee zerrinnt 2215 SSS SS SSS2, Transcribe each of these twa Bach chorales twice; first for 2 horns, 2 trumpets, 2 tron bones, and tuba; and second for 4 horns, 3 trumpets. 3 trombones, and tuba, a. The first time try to retain Bach's harmony and counterpoint as much as possible doubling and thickening the toxture as desired. b. The second time use other contrapuntal devices, such as canonic or free imitation. as well as reharmonization, Do not worry about stylistic purity, but only about good. taste. a, Der Du Bist Drei in Kinigkeit = a = ty— of prince -ly— might, The © Trini = ty— of_ blese-ed light, OU - mi mr Cronk ee pee a ee ieee o b. Ach Gott, Wie Manches Herzeleid fa Lord! How man- y_ mis ~er-ies As - sault anddis~com - pose my peace; The Pre. ru 2 r a Se T + path that leads to 6 on's gate Is full of thorns and ve ~ xy strait. err ane. gad = 603. Transcribe for small brass section (pairs without tuba) a. You may thicken the texture, but be certain not to add “wrong” notes, 1b. Be as colorful as you wish, to emphasize the different melodic strains. e. Ren lowed, ber, the dynamics are supplied by the editors and do not have to be tol- 4. Supply your own dynamics by the way you orchestrate Bach, Little Proludes, No. 6 Andante, 4. Trunscribe for large brass section (ten players or more), a, Emphasize contrast at the beginning of the contrapuntal section, b. Thicken the texture of the first 12 measures as much as possible. c. Extend the range of the piece to fit the larger ensemble,Marenzio, Thou Queen of All the World Ayers nodes es 5, Transcribe for full brass section, a, The harmony may be thickened as desired, but not altered too radically b, He imaginative in scoring the sforzandos ‘6. Wateh the dynamics: these are by the composer! ‘Tehaikovsky, Children's Pieces, Op. 72, No. 5 Allegre acs 626. Transeribe for a smalll brass section of six players, a, The harmony may be thickened in spots. b. Color changes shuld occur often, but at logical places in the piece. . Supply dynamic, tempo, and phrasing indications. Purcell, To the hills and the vales es | : = ate nea, = Sina tee dae ee tow anche te ews Te te 637. Transcribe for a large orchestral brass section, a. Be sure the dynamics are strictly obsorved and that the melody can be hieard easily b. Good doubling should be a prime concern in this exercise. Chopin, Prelude. Op. 28, No. 20 8. Transcribe for a large orchestral brass section, 4a. Be sure the melody is always legato, and try to build an effective crescendo. b. Both harmony and melody may be thickened or strengthened if the character of the plece is not affected! Kabalevsky, ToccatinaNir Test Yourself IV Percussion and Keyboard 1. Explain the following terms a. idiophomes, b. membranophones 2. Dofino dofinite pitch and indefinite pitch in percussion instruments. — 3. What special considerations have to be given in notating percussion instrumonis? Sp jion-section scare? How does one best set up a perc 5. What are the ranges of the following instruments: 4. marimba a. xvlophone 4 timpani b. vibraphone @. glockenspiel A. roto toms, © crotales £ chimes 9. Explain the following: alam b. drag ¢. four-note ruff a. roll7. How does one notale a roll (on cymbals or membranophones)? 8. What is the difference between finger cymbals and crotales¢ 4. What is a whip or slapstick? —— $$ 140. How does one tune timpani, and what sizes do they usually come in? ——_______ 11, What are tom-toms? (How many can one use?) What are timbales? (How many can one use?) 12. What kind of sticks or beaters are used for the following instruments: a. triangle b, tom-tom cymbals d. conga drum os e, crotales. ——— 13. Name some aerophones. ss 414, What is a cimbalon 15. Give the range of the (standard) organ pedalboard,§<§|§ 18, Namo all transposing percussion and Keyboard instruments and describe how they teanspos 19, What is meant by prepaned piano?Name Date Worksheet 14 Transcribing for Nonpitched Percussion 1, Use four people playing a great variety of instruments. For instance: Player 15 or 6 temple blocks Player 2 — 2 bongos plus 3 or 4 tom-toms, Player 3 ~ 2 timbales, 3 wood blocks, and a bass or conga drum, Player 4 ~ suspended cymbals and triangles. a, Make the sustained pedal quite colorful, yet giving the impression of such a pedal. b, Remember that making the themes too colorful may detract from their effectiveness. Bach, Praeludium et Fuga No. 10 672, Transcribe for nonpitched percussion using four players, Use instsumonts simil jar to those employed for the previous exercise, but in different combinations Bach, Praeludium et Fuga No. 11 Pearhudum, ronan fF — 68Nawe ——_______ bar: Worksheet 15 Transcribing for Pitched and Nonpilched Percussion 1. Transcribe for four percussionists wal for such a combination. Use your imagination to colar the “stamp” ever using the stamp of the foot 1b, Use marimbe, xylophone, and vibraphone and involve the keyboard players in the “stamping” also, Scott Joplin, “Stoptime” Rag 2, Transeribe for percussion ensemble of no more than four performers. Poulenc, Toccata, No. 2 from Trois Piocos4. Transcribe for a percussion ensemble consisting of thrao playors. a. Be sure the score is thought out carefully so that all players have a chance to use both pitched and nonpitched instruments, b. In your use of nonpitched instruments, be caroful to keep the result light. Gli¢re, Aplekiw, Op. 34, No. 8 4. Transcribe this plece for two players using a varioty of pitched and nonpitched instru ments. Both players are capable of playing two instruments at the same time in cerlain laces. And they are able to play scveral notes on the seme instrument at the same time! Riegger, Tone ClustersName at Worksheet 16 Scoring for Woodwinds and Brass a, Complete the canon and supply the missing parts, both by transeribing or carrying ‘on the canon as given, and by adding independent parts as desired, b. Always stay in style, ©, Supply dynamics and tempo, as well as phrasing indications. Mozart, Alfeluja UI 20 int “nF2h 20» 20. au we wn vb De. Nowe Dare Worksheet 17 Transcribing for Woodwinds and Strings a, Complete the canon in the same manner as outlined b. Begin it again and redo it, stayi in style (for the same combination) ©. Supply all dynamic, phrasing, and tempo indications. d. The outlined canon may be texturally thickened if desired. Brahms, Schlaf, Kindlein, schlaf Andante 1 Sonat, Kits, sl: oe ie Tie ter sha Bay one-ten, da ueeeki ack Kind lea, cha Swan, Kiel km 7374Name Dare ___ Worksheet 18 Two Transcriptions by Tchaikovsky Before going any further, study these two transcriptions by Tchaikovsky of two short pieces hy Mozart. The original piano pieces are provided as are the appropriate pages from Thai kovsky’s Fourth Orchesiral Suite, entitled Mozartiuna. Examine these excerpts carefully paving particular attention to the skillful way in which they were orchestrated, how taste- fully this was accomplished without compromising the sivle. Alter siudving these pieces listen to a recording: then look at the piano pieces by Tchaikovsky which Stravinsky orchestrated for The Paity’s Kiss, Stravinsky shows, in these, how much he: lowvis anid respects Tchaikovsky's music, much as the latter honored the memory of Mozart. Stravin- sky doos a masterful job in his transcriplinn, greatly enhancing the music yot keoping the spirit and intent intact Notice the Mozactian orchestral treatment thoughout the folluwing piece, with special attention to the treatment of mm. 7=11 in the Gigue, 1a. Mozart, Menuetto 71b. Tehaikovsky, Mozartiana, Menuet 762a. Mozart, Gigue 2b. Tchaikovsky, Mozartiana, Gigue Ategr 2 ra 2 om 2 Gavin & 2 rapes Ona # 2 Trond B a Attegre Viste ietaeath Cniratnasi 77jName — Dare Worksheet 19 Scoring for Woodwinds in Pairs and § rings J. L. Dussek, La Consolation, Op. 62 Andante con moto, 79Name Dare Worksheet 20 Scoring for Woodwinds in Threes, Brass. and Percu: and two players). ion (timpani Piano may also be used, Watch the dynamics and especially the sf > p offects Dechevow, The Rails, Op. 16 Presto 81Name are ee Worksheet 21 Transcribe for Woodwinds in Pairs, Harp, Strings, and One Percussion Player Color each of the trichords slightly differently. Notice the tempo changes and remember how each trichord is to be achieved. Be imaginative in orchasirating the melody, and don't overuse the percussion, Bartok, 14 Bagatelles, No, 7 Allegretto molto eaprieciosoName —— Dare _ Worksheet 22 Scoring for Full Orchestra Listen to the first and fourth symphonies of Robert Schumann, and then score all ar pact of both of these pieces from his piano work, Garnaval. Try to imitate the full sound of his orchestration achieved by the doublings, but be sure thal the melody is prominent at all times. Make a big contrast between the forte and piuno sections, lust as Schumann does, a. Schumann, Valse noble Un poco macstoso M8. eis. sfb, Schumann, Eusebius Adagio 0. 4-60 Salto voce zName ate Worksheet 23 Scoring for Classical Orchestra In this orchestration use 2 flutes, 2 oboes, 2 clarinets. 2 bassoons, 2 hors, and strings. Usu ally Mozart did not use trumpets and timpani in slow movements. You may certainly thicken the texture, but be careful to respoct the harmony absolutely. Octave transpositions and doublings are permitted Mozart, AdagioName ate Worksheet 24 Scoring for Small Romantic Orhcestra a, It is suggested that 2 flutes, 2 oboes. 2 clarinets. 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, nonpitched percussion, harp, and strings would be appropriate for this piece b. Try to project a dancelike quality in your orchesteation, ¢. Orchestrate colorfully, being careful of the dynamic range. Charles Voss, Allumette d'Amour, Op. 269 Con energie. aName u eas Worksheet 25 Scoring for Full Orchestra Listen carefully to the symphonies of Brahms, especially the First and Fouc0%. 22> orchestrate these two excerpts. Listen to a piano performance of these pieces. o play them yourself to ascertain exactly where the harmony is sustained with the p: for how long, so that this may be imitated in the orchostration. Study Brahms’s doublings and try to come as close to his orchestral sound as possible. Use the same size orchestra as he does a, Brahms, Rhapsody, Op. 79. No. 1 Agitato 91b. Brahms, Intermezzo, Op. 117, No. 5 af A os via aT Fir = faa FName Da Worksheet 26 Scoring for a Beethoven Orchestra Here aro two of Beethoven's Diabelli Variations. As you have done in ather Worksheet assignments, listen to some Beethoven symphonies, perhaps the fourth movement of the Third as well as its first movement, in which you will find typical Beethovenian (reatment of the “sf." Notice the octaves in the second part of Variation 24: give them very special and colorful orchestrations. In these variations, you will experience orchestrating a tem pestuous as well as a calm, melodious Beethoven work. a, Beethoven, Diabelli Variations, Variation 28 %, hactate 93b, Beethoven, Diabelli Variations, Variation 29 Adagio 2Name ate Worksheet 27 Scoring for a Large Impressionistic Orchestra 41. IL is Suggested that you study Debussy’s La Mer, as well as the first two of his Nocturnes, before orchestrating this Prelude, Also listen to it on the piano in order ta ascertain how long the long notes are sustained. Try to be as idiomatic as possible in imitating the style that the music demands, Debussy, La Cathédrale engloutie 952. Revel orchestrated many of his own, preexisting piano four-hands Here is one he did not orchestrate, but which lends itself well to that tm gested that you study Ravel’s La Valse trating the piece, This must be treated you find a clear melody-accompanime possible, and two-piano pieces reatment. Ih is su and his Daphnis and Chloé, Suite No. 2 before orches- d quite differently from the Debussy Prelude, for here ent relationship, Make the orchestration as colorful as Ravel, SonatineNAW RH Worksheet 28 Transcribing for an Orchestra of Any Size a. Try various ways of bringing out the subject, such as octave or double-octave dou- blings by instruments of differen: choirs, psoudo-Klangfarben methods, putting entire choirs on single pitches, ete. b. Make certain there is great textural variety. ©. Supply all dynamies, phrasing, bowing, and tempi ind Bach, Ricercare a 6 97