Copyright 2009 Ron Jones

Ron Jones Productions, Inc.
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The Ravel Orchestral Study Group
Los Angeles
Daphnis and hloe
Suites One and fwo
Study created and led by
Ron Jones
Ravel Study Group Los Angeles
Study Notes
part 1
by Ron Jones
Welcome to the Ravel Orchestral Study Group Los Angeles
My name is Ron Jones. I am a professional composer with 40 years of professional
experience composing, arranging and conducting all sorts of groups. The last 30
years I have spent in Los Angeles scoring primarily TV and Film scores. I have felt
a deep desire ever since I was young to know how to create music like the great
composers we all know and love. In high school I ordered a copy of Copland’s
Appalachian Spring and listened to it with my pocket score in hand. I wanted
so much to know and understand how to create music I convinced my school to let
me start taking college music theory and counterpoint classes. I wrote for every
possible group in my area such as choirs, bands, jazz groups, pep bands, and drum corps.
After college I wanted to come to Los Angeles to study with teachers that where the
top pros before returning to my Seattle home. That summer as I prepared to leave
with my wife Laree to attend the Dick Grove CAP program we went to see a film called
Star Wars. That shock my mind. I was amazed at what John Williams created for the
score. That score propelled me as I studied at Grove school. Before I graduated from
the one-year CAP program I had scored part of an NBC movie and was composing
underscore for Hanna-Barbera under music director Hoyt Curtin.Though I had a
great foundation, it was through working on hundreds of shows and then hearing
the Hollywood session orchestra’s play my cues that really taught me orchestration.
Even after all the work and many years I still feel there is much to learn and gain
deeper understanding both in composing and orchestration. I am always studying
scores and listening to all sorts of music. This has lead me to not only teach and lecture
whenever I can but to want to help create more of a community of learning and
communications amongst the composers here in this very creative city.
The Ravel Orchestral Study Group is built on the purpose of people coming together
to study great orchestral works in an open and down to earth way. Also, there is a
great need due to the lack of specific, focused study of orchestration available. One
can sit and study the orchestral literature without a group like this, but the human
interaction and contact is both encouraging and motivating. One still must spend
a lot of time over many years to really gain insight into orchestration and there is
no easy short cut. This group is just, I hope a cool place with other like minded music,
knowledge and creative thinking people who are also somewhere on that road. Ravel
who lived and composed in Paris at the beginning of the 20th century gained inspiration
and encouragement from his friends and a wonderful atmosphere. I hope we can create
something like that.
Ron Jones, leader
Our rst study will be the Dahpnis and Chloe orchestral Suites 1-2 by Maurice Ravel.
So you will need to get a copy of the score to study and a CD recording of these works.
We will be using the Dover edition of the Full Score.
Dover sells this study score for $17.95
I get my copies usually from
This is a great addition to your personal study score
collection and a real must for you to be able to study
this orchestral masterwork.
Dahpnis and Chloe orchestral Suites 1-2
by Maurice Ravel
There are many recordings of Daphnis and
Chloe. I have several and have found the
Deutsche Grammophone recording of
Pierre Boulez conducting to be my favorite.
Also it has La Valse by Ravel which we will be
studying after Daphnis.
I would suggest getting a CD rather than paying
for an iTunes download. You will be tearing this
sucker apart.
Stereo 447 057-2
Get these and start listening and tearing it apart. Always bring your score and a note book for
taking notes to each meeting.
MobileMe iDisk Help: Connecting to a MobileMe member’s Public folder
If you have a Mac or Windows computer, you can connect to a MobileMe member’s Public iDisk
folder using a web browser. If you have a Mac, you can also connect to someone’s Public folder
using Mac OS X.
After you connect, you can see, copy, and, depending on the access privileges chosen, add
and remove les.
To connect to a MobileMe member’s Public folder, do one of the following:
From a Mac or Windows computer, open your web browser and type
“[MobileMeMemberName]” in the browser’s address eld.
If you’re asked for a name and password, type “public” in the Name eld, and then type
the password in the Password eld.
If you’re using Mac OS X version 10.4.11 or later, in the Finder choose Go > iDisk, and then
choose Other User’s Public Folder from the submenu. Type the member name of the person
whose Public folder you want to open in the Member Name eld and then click Connect. If
you’re asked for a name and password, make sure “public” appears in the Name eld, and then
type the password in the Password eld.
How to get course materials for the study group
All the course materials will be found at my intrinsync iDisk via your internet browser.
Follow the directions below.
The MobileMe member name= intrinsync
the password is= compgroup
Simply select the materials you need and drag them to your desktop or hard drive. This copys
them to your computer.
Introduction to Maurice Ravel
Maurice Ravel was born in 1875 in the village of Ciboure in the
beautiful Basque country of southern France. Joseph his father
was french but his family chose to be Swiss nationals. Joseph
wanted to be a concert pianist. He studied music as he grew
up and attended Music Conservatory in Geneva. Joseph also
had an equal gift for mechanics and invention and went on
to become an engineer. He invented a gas powered engine
which became the genesis of the automobile. Marie, Ravel’s
Mother was born and raised in Cibourne and instilled a deep
love and appreciation in both Maurice and his younger brother,
Everyday, upon returning from work, Joseph would play the piano lling the Ravel home with music.
Young Maurice would stop whatever he was doing when his father played and come and listen
with his father. At seven, Maurice began to show signs of having a gift for music. So Joseph arranged
for his son to begin to study the piano.
At age Fourteen, Ravel passed the addition and other musical requirements to be accepted as a student
at the National Conservatory of Music in Paris. Over time Maurice shifted from the goal of being a
concert pianist to focus on being a composer. Ravel had a solid foundation in music from these years of
training and excelled in theory and ear training. He seemed to always have a streak of independence
built into his being. Overtime he began to demonstrate aspects of rebellion in his musical tastes and
interests. Ravel’s interest in the more revolutionary composers of the time created friction between the
faculty and leadership of the Conservatory and himself.
Maurice looked outside the constraining system at school and found acceptance and support in the
larger world of art that was exploding all around him in Paris. He enjoyed the nightlife, the clubs and cafe’s
of Paris. He had many friends and associates not only in music but in the other areas of the art and
social scene. Ravel found this atmosphere highly stimulating to his music. He was friends with Debussy,
Satie, Stravinsky and many other young artistic geniuses. Ravel’s personal traits and gifts and his
intellect was perfectly suited to the time and the city.
He composed rst for piano for which he created pieces that revolutionized the idiom. Ravel was
uent in creating all sorts of music for many instrumental and vocal congurations. Known for his in-
novations, Ravel’s most lasting achievement is perhaps his high level of ability in the area of instru-
mentation and orchestration. It is of signicance also that he considered composing and orchestration
be separate acts in the process of creating a work. Ravel’s keen sense of rhythm has made all of his
Symphonic works to be turned into subjects for dance by ballet companies world-wide. Notable too,
that his works composed for the Ballet have all become standards of great orchestral literature. He has
left us with a rich and ingenious body of work that demonstrates his genius for mechanical invention
, expressive and theatrical depth and mastery of the orchestra as few have achieved.
Recommended reading: Bolero-The Life of Maurice Ravel by Madeleine Goss

Maurice Ravel by Gerald Lamer
About Daphnis and Chloe
Ravel composed Daphnis et Chloe’ (Symphonie Choregraphique) for ballet and orchestra between
1909 and 1912. Commissioned by Serge Diaghilev for his Ballet Russe in Paris. The story is based
on Michel Folkine’s adaptation of a Longus Fable which takes place in mythical ancient Greece. Its
rst performance was given in Paris, June 18th, 1912 with Pierre Montreux conducting the orchestra.
Daphnis and Chloe followed the sensational works, The Firebird and Petrushka by young composer,
Igor Stravinsky. These too where commissioned and produced by Diaghilev for the Ballet Russe. The
highly scandalous performance of Stravinsky’s, Rite Of Spring which caused a riot followed Daphnis
and Chloe a year later.
Ravel composed this work for ballet, orchestra and wordless chorus. The greatest attention to every
detail was poured into the score as he created Daphnis and Chloe. He spent nearly a solid year just
on the “Bacchanale” section near the end of the work. In his quest for perfection, Ravel found numerous
ways to improve and revise the score.
Though Daphnis and Chloe was acclaimed the nest French ballet and Ravel’s greatest masterpiece,
it was not completely successful upon its initial performances. The ballet score and the two orchestral
suites derived from the work have attained over time the greatest success worldwide and belong to
the standards of orchestral literature
How Ravel thought about studying and copying the works
of musical masters
Ravel taught that copying others works was of great value. He did not want young composers to
lift scores literally. Instead, he felt that by studying the works of master composers one would
learn many aspects that would inspire and inform the composer helping to create something
original and organically from him or herself. That the understanding one gains through study
would not make the truly creative composer a rubber stamp, but that this knowledge would
enhance and aid the young composers to express their ideas with newness. In other words, a
creative composer can study Mozart and yet not copy Mozart. The creative composer will interpret
and develop those ideas with new and innovative results. A composer who copies without reinter-
peting something new is merely copying.
Good/Bad Right/Wrong in Orchestration and Art
by Ron Jones
Before we dig into these great works it is worth dening value statements so we speak
and learn with appreciation for a wide palette of possibilities. What do we mean when
we say, Let’s study Ravel because it is great orchestration? Does this mean all other
styles and approaches are bad? Does this mean all of one’s orchestration has to follow
Ravel’s patterns to sound good? The answer is important and has various components to
First, the simple answer to the question, Is Ravel the only way to sound right as you orchestrate?
The answer is no.
There are many ways to do orchestration and many goals and shifting requirements. Sometimes
you need to create a muddy sound. Sometimes you need to express a harshness. Trying to
apply Ravelian rules to all orchestration situations would not work. Art is Art. You as an artist
can do whatever you like with whatever you like at anytime. In Art there is no point to judging
a work. It is what it is. So why study Ravel or any of the great masterworks to learn “Good”
techniques and rules in the eld of orchestration?
The reason it to gain understanding from a master of this craft. When you listen to the masterworks
you hear the culmination and high plateau of musical achievement. It at out sounds great and
by study one can learn ways to make things sound great. If you know how things work you can
always break the rules. If you do not know or understand how to make an orchestra sound great
at all you are doomed to an amateur less than competent capacity. Some rare individuals have
in recent time made big careers in spite if their lack of understanding and ability. These same
uninformed artists typically employ orchestrators who do know how to handle an orchestra to
make there ideas a reality rather than a joke. In music as in anything you really are what you know
and what you can do.
What we are really seeking in this study is really to know and use optimal orchestral techniques.
We want to know instrumentation and dynamic balance. We want to control color, intensity,
expression and to shape with clarity and insight. Someone who knows nothing can create, but
the chances of really greating something great is very low. Finally, you must have an informed
trained ear and brain so you can solve musical problems. Musical understanding will guide and
shape your orchestration. To the extent that one blends all the forces and possibilities together
with what is uniquely inside of you as you create that is of most importance. Knowing the secrets
that the master orchestrators and composers developed and used is a very useful thing to have.
Orchestral Transparency and Plasticity: what the hell is this?
and random thoughts and terms
There are a couple of terms you hear from time to time to disscussions of how a composer/orchestrator
created an orchestration that is transparent? What is meant by this?
Webster’s Dictionary denitions:
Transparent-Clear enough to see through. Readily understood. Translucent.
Plastic (1) Capable of being molded (like clay). Pliable,maluable, adaptable.
Plastic (2) a synthetic or processed material that can be formed into ridgid objects or into lms or
Pg.431. Orchestration by Walter Piston:
It goes without sayingThat The melody should not be overwhelmed in sound by its accompaniment.
Skillfully managed, however, the accompaniment may be quite elaborate and still permit a
melody played softly by one or two instruments to be perfectly heard. This is what is meant by
transparency in orchestral texture.
Piere Boulez, “Timbre and Composition”
“...I would underline that timbre, through composition, should intergrate itself totally with musical
language in a multidimentional world where its specicity will be the measure of its importance”.
Timbre-means “Tone Color”.
Tessitura means the general lie of a vocal part, whether high or low in its average pitch.
Polyphony-Music that combines several simultanious voice-parts of individual design, in contrast to
monophonic music, which consists of a single melody, or homophonic music, which combines several
voice-parts of similar, rhythmically identical design.
Harvard Dictionary of Music
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REVERSE ENGINEERING: The hard way is the best way.
No one is forcing you to learn. No one is demanding you go beyond your current understanding
of orchestration. I do not want to seem at all negative, but you will only get out what you are willing
to put in. This rule is obvious in most areas of study and life. I want only a surgeon who has had many
years of practice to operate on me. I do not want someone cutting into me that has little experience.
The point is you really have to sit down and spend some long hours breaking things down. By reverse
Engineering a score you open up everything and the score will teach you many deep lessons.
From at least Haydn’s era the way you learned was by copying out each part my hand. Guess what?
So in addition to listening many times to a work both with a score in your hand and without, you
really must tear a score apart to gain the most from what it has to teach. I have put together a
reverse engineering form for your use. You can use it or not. Just make as many copies as you need.
I suggest breaking down from transposed score to concert each separate section of the orchestra.
Do the woodwinds all the way through a movement of the score. Then do all of the brass. Follow that
with the percussion (and keyboards). Finally do the harp and strings. If there is a vocal group or choir
do this last. You can do this while you are at a Starbucks or the beach. It is like being a copyist. So
much of this process is more physical than mental. Just sit there and lay all the parts down on paper.
It will be tedious and demand commitment. Do not try to kill yourself. It is like trying to get into
shape to run a race. Build up a little at a time. Gradually push yourself to be faster and nish more pages
per work session.
You will never nd time to do this, you must make time. Design your day so you have time to sit and
concentrate. I know this is very tough, but know that there is no easy way to learn this. You might even
justify not doing the reverse engineering by saying to yourself, I know all of this intellectually. Well
maybe you are smart enough to know it intellectually. A runner may watch a race and say, yes I get
it the fastest one wins. But that is very dierent than actually training to run the race and then actually
doing it. So many smart people just miss the whole point by skipping through things. Never overestimate
knowing something intellectually verses actual experience doing something. You need both to really get
it into your being.
As a variation on Nike’s slogan , ‘Just Do It”, I say, ’Just Do it and think it”. Don’t just think it. The brain
has evolved to chemically dissolve information it nds unimportant. Make knowing very physical and
assign vital importance by doing it all the time. Then your brain will value it and make those skills available
and ready for action. The hard way is the best way. Maybe it is also the only way to really get it.
Ron Jones
See Reverse Engineering work sheet.

Orchestral breakdown/reverse engineering Ron Jones Productions, Inc.
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Measures I to r
Notes: '/. ) _
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Orchestral breakdown/reverse engineering Ron Jones Productions, Inc.
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Score vf--G- {'(/bY; p?-, J .., __ _
Section/Part 5" Measures t'}--c/ to
Orchestral breakdown/reverse engineering Ron Jones Productions, Inc.
Scorej)t-G :r -I Composer
Section/Part fA..) v-.J S Measures 2-") to


Tricky Things-Daphnis and Chloe Suite 1 (Dover Score)
1. This is a transposed score. So to reverse engineer it detranspose it back to concert.
2. Piccolo sounds 8va higher than it is written on score.
3. Grande Flutes are normal C utes.
4. Flute in Sol is an Alto Flute in G. Transpose this down a perfect 4th.
5. Crazy Clarinets!
Use the blank Breakdown/Reverse Engineering form as a template.
Just make a batch of copies as you need them.
Keep a notebook with all your reverse engineering pages.
Refer to your notes as you compose and or orchestrate.
Get a copy of The Range and Transposition Guide for 250 Instruments
by Robert Bornstien. A truely invaluable, quick reference for nding
the ranges and transpositions of most instruments.
Get a copy of Instrumentation and Orchestration by Alfred Blatter.
This is a solid up to date reference book for use as you orchestrate.
Import the CD audio of each Daphnis movement into ProTools or
whatever audio editing software you have. With score in hand cut
up the audio by rehearsal sections. Then save these smaller chunks
for easy access and listening.
Orchestral breakdown/reverse engineering Ron Jones Productions, Inc.
Score___________________________ Composer________________________
Section/Part________________________ Measures_________to___________
Everyone is dierent. We all have dierent brains, points of view, feelings and experiance.
As you study look for the beautiful moments and not just the tools and mechanics of
orchestration. Have a big slice of Aethetic Pie as you study. Yummy!
The ultimate experiance in Thinking and Learning occurs when out of the blue
you make a creative leap. All the sudden a new connection is made. This is
something wonderful and very powerful. May you have many leaps!
Another important layer of questions is contained in the Orchestral Breakdown
Forms. These questions help you focus on deeper, underlying structures of the
music. Print up a set of these three pages for each section you study and answer
as best you can every question.
There is always a main point and a secondary element. This is in basic tearms,
Melody and Accompaniment. Identify who is doing what and when.
This is an important tool to have, knowing how to load the Main Thing with The
Other Thing. That is possibly the core of orchestration. This exercise helps to raise awareness
and skill in this area. This is one tool you must have and use.
RJP Comp Group Orchestral Breakdown form Page 1.
Composition__________________ Composer______________
Section_________ Bars_______ to ________.
Overall style________________________________________
What emotion is being evoked in the music?
Who has the Main Thing?
Who has the Other Thing?
How does the construction of the melody help to evoke this composition’s emotional componant?
Is the melody carried by one section or doubled by others? Is it in Unison? Is it in Octaves? Is it
What about the tesatura the Melody is in. How does the tesatura help the Melody to stand out and
RJP Comp Group Orchestral Breakdown p.2
What is happening in the accompanyment compositionally?
Who is carrying the Accompanyment and why does it work?
How does the tesatura in which the Accompanyment is placed help to support the Main Thing/Melody?
Are the sections of the orchestra which carry the Accompanyment doubled or are they each doing
their own thing? If so, Why?
The Melody defines what scale? Tonality?
What is the Tempo?
Is there an overt, defined Rhythmic Pulse and or Groove? If so, What?
How does the accompanyment help to define the harmony?
How does the Accompanyment define the Rhythmic Pulse and or Groove?
Music by
Copyright___________ Ron Jones (BMI)
RJP Comp Group-Breakdowns
Scales and Motifs
From__________________ _________________
SCALE or Scales
MOTIFS-Tematic material
A way to get into the
FLOW of things
The mind has funny ways of looking at
work. Instead of saying “I have to get some
pages done” try moving some stones.
Collect some stones, say three or so. Place
them to one side of where you work (Piano,
table, computer area). When you nish a
page of reverse engineered score place one
stone on the other side of your work area.
When you have moved all the stones over
you are done or take a break and do it again.
The brain nds moving stones easier than
complex pages of analysis to nish.
Suites I and II
Editor's Note
Names of movements as listed on Boulez/Berlin Phil CD recording
Suite II
Lever duJour(!jvCJN Lwi) 69
Pantomime ( L-erlr) 108
.Danse Generale 07) &erlffi.,/r[ 144 ).
. J
From Dover score
Edi tor's Note
Maurice Ravel (1875-1937) was already a composer of stature when approached by Sergei Diaghilev in
1909 to compose a ballet. The famous impresario of the Ballet Russe had already enlisted Mikhail Fokine to
prepare a scenario and choreography based on the ancient Greek legend of Daphnisand Chloe by Longus.
Fokine hoped for a score overflowing with "the resurrected music of Ancient Greece," and Diaghilev sched-
.uled a premiere for the 1911 season in Paris. Ravel, w.ho had already shown interest in Greek themes in his
vocal setting of Cing Melodies Populaires Grecques of 1906, accepted.
Knowledge of ancient Greek music had always been lacking, and an authentic score constructed from his-
torical materials would have been impossible. Ravel, straddling Impressionism and Neoclassicism, reverted to
his own imagination:
My intention was to compose a vast musical fresco in which I was less cOTlCerned with archaism than with faithfully repro-
ducing the Greece of my dreams, · which is very similar to that imagined and painted by the French artists at the end of the
eighteenth century.
As was typical of his creative habits, Ravel allowed for a period of gestation, delaying work on the score
until 19lO. The process was arduous, and by 1911 only three fragments were ready. These were released for
concert performance and premiered at the Theatre du Chalet on April 2, 1911. Originally subtitled
"Fragments Symphoniques," these three pieces would later come to be known as Suite 1.
Work resumed on the ballet, and Ravel made many changes to Fokine's story line, insisting that the cho-
reography should follow the musical development. To emphasize this point, and perhaps assert himself over
Fokine, the subtitle "Symphonie Choregraphique" was added to the score. Finally completed in April, 1912,
the ballet was rushed into rehearsal and premiered under Pierre Monteux at the Theatre du Chalet on June 8,
Reviews of the production were disappointing, although Ravel's score was praised. "Ravel's art," wrote
Emile Vuillermoz, "is astonishingly consolidated." Two more performances were given in 1912, and a small
revival tour took place in 1913. When in London, Diaghilev omitted the chorus, angering Ravel and prompt-
ing him to orchestrate an alternative version "sans choeur." Mter the 1913 season, Daphnis and Chloe disap-
peared from the Ballet Russe's repertoire, sealing the final rift between the composer and impresario. That
same year Ravel published the Suite II.
Like Bolero, the two concert suites from Daphnis and Chloe have enjoyed wider popularity in the concert
halls than as ballets. Suites I and II are excerpted from the complete score, with the first comprising rehears-
al numbers 70 through 130, and the second from 155 to the ending at 221.
From Dover score
a, all, to, in
aeellmz, accelerando
agill, agitlZ, agitato
aillSi, thus, so on
(m) mtimatll, becoming livelier
mtiml, lively
mtimtz, accelerando
Ap/ltlUliee, Appendix
assa, fairly
altaqlle, attack
(m) allJmmlmtl, broader
all MOllO', a tempo
alilns, other, Its all Ins, the
atlmtl, before
atI«, with
alJOir, have
baglltfte, mallet
beaucOllp, much
bois, wood
bouches, mouths
ce, this, eeS, these
cMa, rallentando
changer m, change to, replace
with (winds), retune
cbefs, first chairs
cboeur, choir
m par,
beginning with
corde, string
COllrt, short
d'abord, at first
dmtse, dance
Jaomttage, more
de, of
d&ul, beginning
(m) dehors, prominently
dernin-e, last
durin-e, behind, derrin-e Ia sci!le,
doil, doivml, should
dll, of the
dllrmtl, throughout
m, in, m 3, divisi in 3
meore, again, still
mltotes, removed, mlwa,
€pcmge, sponge
d, and
itoufJa, dampen
flrr, be
exicutiOllS, performances
txpressij, expressive.
fa, F
famas, closed
.!rapper, strike
jeu ordinairr, jeu ord., j. ord., j. 0.,
ordinario, ord.
jllSqll'a, jllSqll'/fIl, until, up to
la, the .
La, A, instrument in A
laisser, allow
langllellr, languor
It, Its, the
leger, light
ligmmml, lightly; slightly
Iml, slow, lento .
libre, free
10m, far, distant
lumin-e, light
mail/ocbe, heavy mallet, bass-
drum beater
mais, but
milne, same
mesurr, bar, meter
mdta, attach·
mi, E
modil'l, moderato
1IIOi1lS, less
1II0001er, raise, retune
1110110', tempo, mow du dlbut,
tempo primo
lie, not
orcbeslre, orchestra
ote:z, remove
OII0trles, open
par, by; par pllpilrr, one desk at
. a time'
(m se) pertlalll, disappearing
pesalll, heaVily
PeU, little, 1111 peu, a little, peu a
peu, gradually
pillS, more
poillle, point, tip
pos. nat., ord
posies, in place
pOllr, for, in order to
prtcMmle, preceding
prrndrr, take
prmez, take, change to
pro, near
pnsque, almost
(m) pnssanl, pressa, stringendo
progmsioemml, steadily
Pllis, then
pllpilrr, desk, stand
ralmti, ralmlissa, rallentando
rapide, quick
(m se) rapprocballl, coming
rl, D, D string
rrnversa, reverse
rtflaraisSmtI, reappearing
rlplique, cue
ritablissa, restore, retune
rdmll, rrtma, meno mosso
rroma, return
rwlt, harsh, violent
saliS, without
slloigHmtI, becoming more
seroira de, will serve as
seult, alone
si, B
SiIlOll, other:wise
sol, G, G string
sOllnallirel, unstopped, ord.
sOllple, supple, flexible
sOlirdme, muted
SOlltmu, sustained
sllbil, subito; sudden
suwa, follow
sur, on
temps, beat
Iomber, fall
loll, tone, II, 1011, semitone, loll
de La, instrument in A
loucbe, fingerboard
toujours, always, steadily
lollS, 1000Ie, Ioliles, all
Ins, very
l1li, ulle, a, lIIIe a IlHe, one by
lillis, in unison
III, C, C string
utiliser, use
oibrrr, vibrate, ring
oi{, lively
vile, fast
lJOir, see
From Dover score
Piccolo-Petite Flute
2 Flutes-Grandes Flutes
Flute in G-Flute en Sol
2 Oboes-Hautbois
English Horn-Cor Anglais
Eb Clarinet-Petite Clarinette en Mib
2 Clarinets in A, Bb-Clarinettes en La, Sib
Bass Clarinet-Clarinette Basses en Sib
3 Bassoons-Bassons
4 F-Cors Chromatique en Fa
4 Trumpets in C-Trompettes en Ut
3 Trombones-Trombones
Wind Machine-Eoliphone
Bass Drum-Grosse-Caisse
Field Drum-Tambour
Tambourine-Tambour de Basque
Glockenspiel-Jeu de Timbres
2 Harps- Harpes
Wordless Choir*
Violins (I and 11)-Violons
*Orchestral parts contain Ravel's instrumeocal
alternatives to the chorallioes.
Recommended Reading List p.1
Range & Transposition Guide to 250 Musical Instruments Compiled and Edited by Robert Bornstein
Instrumentation and Orchestration by Alfred Blatter
Harp Scoring By Stanley Chaloupka
Range Finder for the Percussion Seeker: A list of Six Hundered and Fifty Percussion Instruments
with their ranges by Emil Richards
Standardized Chord Notation by Carl Brant and Clinton Roemer
Orchestral Combinations: The Science and Art of Instrumental Tone-Color by Gardner Read
Thesaurus Of Orchestral Devices by Gardner Read
The Complete Arranger By Sammy Nestico
Advanced Techniques for Film Scoring (Book and CD) (Paperback) Earle Hagen
THE CARROLL KNUDSON CLICK TRACK BOOK (Out of Print, but there are some books that have similar info)
On the Track: A Guide to Contemporary Film Scoring, Second Edition (Paperback) by Fred Karlin
Contemporay Instrumental Techniques By Garner Read
Music Notation: A manual of Modern Practice by Gardner Read
Modern Music Notation by Garner Read
Arranging Concepts by Dick Grove (Any book by Dick Grove will prove invalualble)
Jazz Composition Theory and Practice by Ted Pease
Arranging for Large Jazz Ensemble by Dick Lowell and Ken Pullig
A Chromatic Approach to Jazz Harmony and Melody by David Liebman
Beyond Functional Harmony by Wayne J. Naus
Recommended Reading List p.2
Orchestration-An Anthology of Writings Edited by Paul Mathews
Orchestration by Walter Piston
The Study of Orchestration by Samuel Adler
The Oxford Companion to Musical Instruments by Anthony Bains
Anatomy of The Orchestra by Norman Del Mar
Principles of Orchestration by Nikolay Rimsky-Korsakov

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