ORCHESTRATION WORKBOOK III KENT KENNAN Professor of Music, The University of Texas at Austin Author of "The Technique of Orchestration” PRENTICE-HALL, Inc. Englewood Cliffs, NJ.Table of Contents In cases where a piece of music lends itself to scoring for orchestral groups other than the one under which it is listed here, the alternative possibilities are indicated by means of letters: W = woodwinds; B = brass; S = strings; WHS = woodwinds, horns, and strings; O = orchestra, including trumpets and/or ‘trombones. Thus, “(S, 0)" after a title listed under woodwinds means that the music is also suitable for an assignment in scoring for strings or for orchestra, STRINGS (CHAPTERS 3, 4) 4.8, Bac, (harmonization) WAS FRAG ICH NACH DER WELT (W, B, WHE, 0) CRUSADERS’ HYMN (W, B, WHS, 0) ..... 4.8. Bach, (harmonization) AUS TIEFER NOT (W, B, WiIS, 0) 4.8. Bach, SARABANDE® from the First French Suite Exercises in Bowing; Use of Alto and Tenor Clefs (selected fragments) Exercises in Bowing; Use of Alto and’Tenor Clefs (selected fragments) Mozart, SONATA IN Bb MAJOR, third movement (WHS) ... Exercise in Error Detection (strings) based on Schumann TRAUMEREI from SCENES FROM CHILDHOOD . 9 Brahms, ROMANZE, Op. 118, No. 5 10 ‘Mennin, ARIA,* from FIVE PIANO PIECES (0). i Beethoven, SONATA, Op. 2, No. 2, third movement . 12 Exercises in Writing Multiple Stops 13 Beethoven, SONATA, Op. 18 (for writing multiple stops) 13 Exercises in Reading and Notating String Harmonics , 4 WOODWINDS (CHAPTERS 5, 6) Exercises in Notating Transposing Woodwinds (selected fragments) ........ 15 Exercise in Error Detection (woodwinds) based on Haydn SONATA in D ... 7 Schubert, SONATA, Op. 122, first movement (S, WHS) . 18 Kuhlau, SONATINA, Op. 55, No. 4, second movement* 19 Beethoven, SONATA, Op. 7, first movement . . : 21 K¥enek, No. 15 from 20 MINIATURES (8, WHS) | Bee 22 Beethoven, SONATA, Op. 2, No. 3, third movement (S, WHS) |. 8) Bartdk, No. 21* from LITTLE PIECES FOR CHILDREN, Vol. 1 (S, WHS) - 24 4. 8. Bach, (harmonization), CHRISTUS, DER IST MEIN LEBEN (B, WHS,0) ............ 25 ‘Tchaikovsky, A WINTER MORNING, from ALBUM FOR THE YOUNG (W, H, S) . 26 Hindemith, FUGA SECUNDA IN G, from LUDUS TONALIS (8, WHS, 0) ........ 2.00000. 27 BRASS (CHAPTERS 7, 8, 9) Conversion of Parts for Horns and Trumpets in Various Keys to Concert Pitches . . 29 4.5 Bach, (harmonization) O HAUPT VOLL BLUT UND WUNDEN (W, S, WHS, 0) 31 AMERICA (8, WHS, 0) ...... : ye) oa Morley, DAMON AND PHILLIS from CANZONETS OR LITTLE SHORT AIRS TO FIVE AND SIX VOICES . 33 Grieg, SAILOR’S SONG* 34 Mussorgsky, CATACOMBS* and PROMENADE from PICTURES FROM AN EXHIBITION .. 35 Mendelssohn, SONG WITHOUT WORDS, Op. 53,No.5..... ‘Schumann, WAR SONG, from ALBUM FOR THE YOUNG | Brahms, RHAPSODY, Op. 119, No. 4 (O) Baridk, FOLK SONG No. 8,¢ from TEN EASY PIECES for Piano (WHS, 0) - 38 SCORING OF CHORDS (CHAPTER 10) For woodwinds in pairs; for full woodwind section; for brass; for strings .. . 39 For “average” orchestra; for large orchestra 40 ‘The complete work, Only excerpts are given in other cas itiFor woodwinds in pairs; for brass; for woodwinds in pairs and two homs .... al For “average” orchestra; for large orchestra PROBLEMS IN TRANSCRIBING PIANO MUSIC (CHAPTER 11) Rearrangement of pianistic figures (selected fragments) . Beethoven, SONATA, Op. 10, No. 3, first movement a Beethoven, SONATA, Op. 22, first movement .......... 0.0... SCORING FOR WOODWINDS, HORNS, AND STRINGS (CHAPTER 12) Beethoven, SONATA, Op. 90, first movement .......... . 46 ‘Tehaikovsky, AT CHURCH from ALBUM FOR THE YOUNG... 48 Chopin, NOCTURNE, Op. 55, No. 1 (fragment to be scored four ways) 49 Brahms, VARIATIONS AND FUGUE ON A THEME BY HANDEL, Var.X* 0. 0200.00.) 81 ‘Mendelssohn, SONG WITHOUT WORDS No. 14 (fragment to be scored five ways) |... 51 Chopin, BALLADE IV (fragment to be scored five ways) . aca 51 MacDowell, A DESERTED FARM,* from WOODLAND SKETCHES 52 Beethoven, SONATA, Op. 27, No. 1, fourth movement 53 Beethoven, SONATA, Op. 53, first movement (W, S) 53 Kabalevsky, SONATINA, Op. 13, No. 1 (8, 0) Be PERCUSSION (CHAPTERS 13, 14) Schumann, IMPORTANT EVENT,* from SCENES FROM CHILDHOOD (timpani part) ..... 55 Kabalevsky, PRELUDE 24 from 24 PRELUDES (percussion parts) .......- 56 Prokofieff, MARCH from THE LOVE OF THREE ORANGES (percussion parts)... 87 HARP (CHAPTER 15) Kennan, Harp Exercises (rewriting enharmonically) .. eooennng 88 Kennan, Harp Exercises (rewriting, setting pedals for glissandos) 59 ORCHESTRA (CHAPTER 16) Bartdks, No, 12 from FIFTEEN HUNGARIAN PEASANT SONGS (WHS plus perc.) . 60 CRUSADERS’ HYMN (B) ........... cece eeeeeeerceeanee 60 Exercise in Error Detection (orchestra) ‘i eens 61 ‘Mussorgsky, BALLET OF THE CHICKS IN THEIR SHELLS and THE GREAT GATE OF KIEV from PICTURES FROM AN EXHIBITION .. eer 62 ‘Teherepnine, BAGATELLE No, 1* from TEN BAGATELLES 63 Schubert, SONATA, Op. 143, first movement ..............0. 00, 65 Wolf, VERBORGENHEIT* (song accompaniment to be scored) . 66 Strauss, CACILIE* (song accompaniment to be scored) 69 Scriabin, PRELUDE No. 1* from Six Preludes, Op. 13 . aes . J. 8. Bach, FUGUE XXII* from THE WELL TEMPERED CLAVIER, Boo! 5 Brahms, RHAPSODY, Op. 79, No. 1 cae 7 Prokofieff, SEVENTH SONATA, Op. 83... 79 Messiaen, VINGT REGARDS SUR L’ENF ANT JESUS, VII. REGARD DE LA CROIX, IX. REGARD DU TEMPS .... eee pene Bartok, No. 1 from FIFTEEN HUNGARIAN PEASANT SONGS (WHS) |. Griffes, THE WHITE PEACOCK from THREE ROMAN SKETCHES .., Rochberg, BAGATELLE &* from TWELVE BAGATELLES .... Franck, PIECE HEROIQUE (for organ) . cee ee eee Prokofieff, MARCH, Op. 12,No.1......... : obbq Kennan, Grantham, Exercises in Scoring in the Styles of Debussy, Strauss, Mabler, and Schonberg free SCORING FOR HIGH SCHOOL ORCHESTRA (CHAPTER 19) Debussy, GOLLIWOGG’S CAKE WALK, from THE CHILDREN’S CORNER... a1 "The complete work, Only excerpts are given in other eases.Score one of the excerpts below (as specified by the instructor) for strings in six different Use examples 3-6 and 8-11 in Chapter III of the text as general models. It is not necessary to rewrite the clef, key signature, meter signature, or tempo indication in ver~ sions 2, 3, 5, and 6. In version 6, make plentiful use of octave doublings. No bowing indi- cations ‘need be included. Tempo markings and dynamics in parentheses were added for purposes of this assignment. 1 Violins Violas Double Basses Vins, Vas Ve, WAS FRAG ICH NACH DER WELT CRUSADERS’ HYMN. AUS TIEFER NOT (Andante) Beh (J 108) (acagic) Beck dia]Score for strings. Dynamics will have to be added, since none are included in the original; they should roflect the expressivo character of the music without producing an over-romantic effect. The FF and Eb hhalf notes in measure 12 and the F# quarter note in measure 15 are best moved up an octave for reasons of consistent voice-leading and range of instruments. It is suggested that the instructor discuss the ques- tion of octave doublings as it applies here, also that of characteristic Baroque bowing, (Bowing indica- tions should be included.) SARABANDE From the First French Suite (Sostento J~60-66) ach PianoEXERCISES IN BOWING AND IN THE USE OF ALTO AND TENOR CLEFS Each of the following fragments is given first with the phrasing used in the original (piano) version, and on the staff below without phrasing. To this latter version, add bowing indi- cations (slurs, up-bow and down-bow signs where necessary, etc.). Aim at the general effect of the original, Exercises 6 to 8 also involve writing the melody in the clef shown. in Exercise 9, observe the transposition used by the double bass, in writing the part, NOCTURNE, OP. 48, NO.1 Andante sostenuto Cad P coice 3 Violin P cone 7 BALLADE, OP. 118, NO. 3 Allegro energico SONATA IN E> MAJOR Violin SONATA IN A MAJOR Mozart Andante grozioso PEXERCISES IN BOWING AND IN THE USE OF ALTO AND TENOR CLEFS, continued SONATA IN C MAJOR Haydn Allegro id= 63) va 5 ag Viola SONATA IN B MINOR Liszt Allegro energico seo ge 5 arp energico otees, = DE pesonte ‘Pron tegar 7 Viola SONATA PATHETIQUE, OP. 13 Beetho Adagio contobile «4 ven ote 2 SO. 1; f 2 cee ‘p semore legates Cello ETUDE, OP. 10, No, 7 Lento i= 66) Chopin ceto : SONATA, OP. 10, No, 2 Beethoven Allegro 14 = ios) Be Double BassEXERCISES IN BOWING AND IN THE USE OF ALTO AND TENOR CLEFS ‘The following fragments are given with the phrasing or slurring used in the original (piano) version. Write each passage on the staff below it and add bowing indieations—slurs, up-bow and down-bow signs where necessary, ete. Aim at the effect of the original. In the exercise for the double bass, be sure to write the ‘part an octave higher than the concert sounds shown. SONATA IN Bb MAJOR, OP. POSTHUMOUS Allegro ma non topo he Violin BALLADE, OP. 38, Andantino hopin Violin SONATA, OP. 20 Allegro! moderato Schubert P Violin Violin SONATA IN Eb MAJOR Tempo di menueto Haye oe ViolaEXERCISES IN BOWING AND IN THE USE OF ALTO AND TENOR CLEFS, continued SONATA, OP. 87 aay Andante con toto Beethoven eS Se ee . —= = SONATA IN Allegro vivace con delicterta Schubert at Cello ere es ey Celle ‘Allegro con brio,feroce ‘HUT OF THE BABA. YAGA, Poe oe oF Catto SONATA, OP. 2, NO.2 Largo eppassionsto Beethoven » BF | Wie B Double me E = SONATA, oP, 57 Allegro asssi Beethoven a, Doubleic aii ai es i laa. Include bowing indications. The instructor should discuss the voiceleadi SONATA IN BY MAJOR Mozart Violins 1 Violas Cellos Double Basses Menuetto Allegretto 4144) (Piano) f | pa Aa LS = via. Ve.vi. Via. a Ve. DB. SONATA IN BYMAJOR (continued )EXERCISE IN ERROR DETECTION (STRING SCORING) ‘The scoring here contains a number of errors that oceur frequently in students’ first work in arranging {for strings. On this sheet (or orally in class) point out the errors. Score the excerpt for strings if the instructor so directs. a u Violas cas Double ‘Bases <== TRAE a) ee (ano) vw via inomScore for strings. Analyze the voice-leading carefully before beginning the scoring. Division of the cellos (half on the lower octave of the inner-voice melody and half on the bass) will be necessary in mm. 1-8; there the two lines are best written on separate staves, Divisi passages in other string groups may be writ- ten on the same staff, ROMANZE, OP. 118, NO. § oes oo wo Ft _ e. 10EXERCISES IN WRITING MULTIPLE STOPS In Exercise A score the given chords for strings using multiple stops. The numbers in parentheses indicate the number of notes to be used in each multiple stop. Do not add or omit pitches (though pitches may be duplicated). The charts in Chapter 2 of the text may be consulted for practical multiplestop patterns. Make use of open strings where possible and aim at fullness of sound. ‘The chords in Exercise B have been extracted from Beethoren’s symphonies. Write them for strings using ‘multiple stops (chiefly triple stops in the violins). For Exercise C use a separate sheet of music paper and score the passage for strings using multiple stops. ‘The last two chords may be lifted and respaced. SONATA, OP, 13 (Pathétique) Beethoven Allegro molto e con brio (Piano) a 13EXERCISES IN READING AND IN NOTATING STRING HARMONICS In A, show on the staff below the given harmonics how each will sound. Remember that the double bast sounds an octave lower than written, even in harmonies—except when written in treble clef, in which case itis intended to sound as written. In B, write the given concert pitches as harmonics, showing all the possibilities for each even though some are much more likely than others to be used. (In each case as many spaces are provided as there are possibilities.) Include both natural and artificial harmonies for the violin and the viola but only natural harmonics for the cello and the double bass, In ©, show beside each chord how the individual notes will sound, A L 2@ 3. Vin sul E Gul A) Sounds Via. Sounds 1, Mousoresky- Rare, 2. Rew, 3 Webern, Petures om an Exhibition Rapsdie Espagnol Six Piss Op.6* ° nm (Alle) ge ve ye Va a va, vu. pa, a hve ve. * The crinal notation aio incudes jos the pitches of he resting harmon Jee. These are omited here for pu poses ofthis exer x. C 1: © Copyiht 1929 by Edition Ruse de Musqu; Renewed 1956. Copright and Renews sige to Roomy & Haws Ine Re pated by persion, Ex. 2 Copyrgt 1907 Duran $A. Eaton Museu 198, Editors ARIMA ane Dusend SA. Edtons Mest fale, Jia Paton, Und By Felons OF The Pubes, Theodore Preset Company, Sle Repsenatie UA: EX C3: Copy $e 1961 by Une Eon AG, Win, Und pemison fare Amann Mate Ditton Corpor sol en! for “4EXERCISES IN THE NOTATION OF TRANSPOSING WOODWINDS These exercic FIRST SYMPHONY eee FIFTH SYMPHONY Boathoven £ ay > eet THE OLD CASTLE Sounds TRISTAN UND ISOLDE English He Sounds Clarinet SYMPHONY ny = 7 =a express. dalee SECOND SYMPHONY 18Clarinet ina FIFTH SYMPHONY Se Sounds = P —= 7 = B CAPRICCIO ESPAGNOL eee? Clarinet ina con forea Sounds Bass Clas (Grebe cel Bass Clar (hase cle PAMMERUNG Weaver Sounds ti —> = faa == = Se —— ft THE RITE OF SPRING bee. onl fe 5 == Ft Sounds 7 Contra Dastoon, i FIRST SYMPHONY Sounds = SCHELOMO* Solo poco rit P)_rall. molto Block Conte = batsoon BPP doleiss Sounds ‘Copyright renee asiges 1988, 0G Shimer, lee Used by peminson, 16 lSMn ai i i adit EXERCISE IN ERROR DETECTION (WOODWIND SCORING) first work ‘The scoring here contains a number of errors that occur frequently in student inarranging for woodwinds. In the blanks at the bottom of the page, list the error or errors that occur at each corresponding circled number in the music. Points to look for include omission or incorrect use of “1. or #2."or “a2,” instruments written out of their range, poor balance, failure to transpose the part, rests missing, linear flaws, etc. This exercise may be done orally in class but in any case should be undertaken before the first assign- ‘ment in scoring for woodwinds. Aegon ie ° la ahs? t Allegro con brio SONATA a x 0 e (Piano) i= 1 10, 2 u, 3. 12. 4 13, 5 1, 6. 15. 16. 8 a 18, 7Score for woodwinds in pairs. SONATA, OP. 122 Sehubert, Allego moderato 18oF First look over the entire piece, noting any passages that will have to be taken by par- ticular instruments because of the range involved. Then plot the scoring. In bars9- 16, use quarter notes or dotted half notes in the bottom voice in order to approximate the sustained effect that the pedal gives in the piano version. SONATINA, OP, 55, No. 4 Kuhlau Flutes Oboes 2 Clarinets in Bassoons (Piano) ri, Clar, Bsns. 19SONATINA, OP, 55, NO. 4 (continued ) FI. 0b. Clar. Bsns. 20Notice that the melodic line in measure 6 ( right hand ) leads into the top left-hand note in measure 7, The same pattern of voice-leading occurs between measures 8 and 9. SONATA, OP. 7 Beethoven, Flutes Oboes Clarinets Bassoons ‘Allegro molto e con brio = 126) (Piano) Ka Fi, lar. Bsns. aSONATA, OP. 7 (continued) Fi, Char. Bens, Score for woodwinds (including the auailiary woodwinds). 20 MINIATURES, NO. 15 oy. ee 7p | doleisima ‘se by Hind pemison of & W Chest/Eon Wael Hansen London Lied 22 i‘Score for woodwinds in pairs. SONATA, OP. 2, NO. 3 Seherzo 23 ersScore for woodwinds in pairs. No, 21 From LITTLE PIECES FOR CHILDREN, Vol. 1 Allegro robusto_ ¥ 4[Expand the original version by doubling the soprano and bass an octave lower and the soprano, alto, and tenor an octave higher. (The upper-octave doubling of the soprano in the piccolo will sound two octaves higher than in the original. ) Onanother sheet, sketch the scoring of the first measure or so at actual pitch before writing the orchestration in transposed form on this page. CHRISTUS, DER IST MEIN LEBEN J. 8, Bach Piccolo Flutes Oboes English Horn Clarinets Bass Clarinet Bassoons Contra Bassoon 25\ Score for woodwinds in pairs. (Two horns and/or English horn and bass clarinet may also be included at the discretion of the instructor.) The music offers a good opportunity for frequent changes of color and for antiphonal effects: however, at places like measures Sand6 it seems advisable to have certain voices continue to a point of resolution in the game instrument, as shown by the dotted lines, ‘This piece is also sultable for an assignment in scoring for woodwinds, horns, and strings. ‘A WINTER MORNING From Album For The Young OVERTURE TO OBERON Trumpets in DScore the chorale excerpt below for each of the brass groups shown. In the case of the third one, base the scoring on the “expanded version,” which achieves greater fullness by doubling the soprano and the bass at the lower octave. © HAUPT VOLL BLUT UND WUNDEN 1 3 Trumpets in BY “Trombones 2 Tots. 1 TH. Taba Expanded version J. 8, Bach a1Score for brass (four horns, two trumpets, three trombones, and tuba). SAILOR'S SONG Gri Allegro vivace e marcato ® Piano ino’ ben ten. 60 2 lpeeo itard Bete sess i FE 34Score for brass (4 horns, 3 trumpets, 3 trombones, tuba). Also include 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, and double basses (the other instruments used by Ravel) if desired. Compare your completed scoring with Ravel's, CATACOMBS From Pictures from an Exhibition Masongsy ty? PROMENADE From Pictures from an Exhibition Musorgshy Allegro givsto Piano vel Sf, 35Score for brass (4 hors, 2 trumpets, 3 trombones, tuba). In the eighth measure from the end of the excerpt, omit the low G on the frst beat in the left hand. SONG WITHOUT WORDS, OP, $3, NO. S Ailes con i000 $f con forza 36Score for brass (2 or 4 horns, 2 trumpets, 3 trombones, tuba). Transposition of the piece downa half step results in a more comfortable key for By trumpets but detracts somewhat from the brilliant effect. If the original key Is retained and if B> trumpets are used, thelr part should be spelled enharmonically from measure 8 on. ‘This excerpt is also suitable for an assignment in scoring for orchestra. WAR SONG From Album for the Young, schamana Score for brass (4 horns, 3 trumpets, 8 trombones, tuba). Fill in, atleast partially, the gaps between the two hands. Calculate balance carefully. This excerpt is also suitable for an assignment in scoring for orchestra RHAPSODY, OP. 119, No, 4 Brahms Allegro risoluto, PianoScore for brass (4 horns, 3 trumpets, 3 trombones, tuba). Consider the use of mutes. ‘This piece is also suitable for an assignment in scoring for 1) woodwinds, horns, and strings; 2) full orchestra. FOLK SONG No.8 From Ten Easy Pieces for Piano Poco andante J 69 => toa‘These chords are given in basic four-voice form; in scoring them, octave doublings are to be added wherever appropriate, but the chord members now in bass and soprano should be retained; for example, in the second chord below, a G (in whatever octave is desired) should be the top note, and a C should be the bottom note. In scoring brass, be sure to observe the principles of balance discussed in the text. A, Woodwinds in pairs ‘CHORDS c. Brass 2 Flutes 10 2 Horns Oboes mov 2 Clarinets 7 1 ou 2 ‘Trumpets Bassoons, m Hs f ‘Trombones ud m1 and Tuba, Brilliant’ Medium Brilliant B, Full woodwind section + f > ia Piccolo Brilliant Medium Rather 2 dark Flutes D, Strings 2 Oboes Violin 1 English Hora 2 Violin 11 Clarinets i Violas Bass Clarinet Cellos 2 Bassoons Double Contra eee Bassoon £ yw ae £ 2 = Close Open Octave Multi- spacing spacing dou- ple blings stops Givisi) Very Medium =— Dark brilliant 39E. “Average” orchestra Flutes ‘Oboes 2 Clarinets in 2 Bassoons Ion Horns mv ‘Trumpets ‘Trombones and Tuba 1 Violins 1 Violas Cellos Double Basses elm] s£ a2n Brilliant Med. Brilliant oa s2 i EM CHORDS (continued) » 1 sr9e orchestra Piccolo 2 Flutes 2 Oboes English Horn 2 Clarinets in Bass Clarinet 2 Bassoons Contra Bassoon 4 Horns* 3 ‘Trumpets int Ion ‘Trombone m and Tuba Violin 0 Violas Cellos Basses* Very brilliant Medium ™ Written on one staff instead of the usual two because of space limitations.‘These chords are given in basie four-voice form, some with a key signature and some with accidentals instead. When a key signature is used in the original version, write the appropriate key signature in the part for each instrument; when no key signature appears in the original, use none in the scored version but write in accidentals, Chords in open spacing should be converted to close spacing in the scored ver- sions, and octave doublings are to be added wherever appropriate. The chord members now in bass and soprano should be retained; for example, in the third chord below, a D (in whatever octave is desired) should be the bottom note, and a B should be the top note, In the exercises on page 44, an extra staff Is provided as an aid in sketching the chords in advance, A. Woodwinds in pai Flues 2 Oboes Clarinets 2 Bassoons Medium ‘Billant Medium B. Brass (C. Woodwinds in pairs and two horns Flutes mw Oboes 2 Trumpets 2 Clarinets Bassons 1 Medium Baiiant Dark aCHORDS, continued D. “Average" Orchestra E, Large Orchestra 2 Flutes Piccolo 2 Ae Flutes 2 Clarinets 2 Bascoons in Home um Bassoons Contra Trumpets 7 4 tn Horns Trombones a Trumpets 5 im and Tuba i ‘Trombones 1 i and Tube Violins 1 1 Violins| Violas 7 Violas Cellos Cellos Double Basser Double Basses Briiant Datk Medium Medium ‘Very bilan 42Score for strings (or for any other combination of instruments specified by the instructor). Rearrange, fill, ete. wherever appropriate. Include bowing indications. 1 Presto, ma non troppo SONATA, Haya ino t SONATA,Op.53 SONATA Op.10NO.2. yey Allegro Presto Piano ° : t SONATA, 330K.(332) PAPILLONS, No.5 4. Allegre 5, Moderato Schumass te Movant Piano tf op) 2 Es ETUDE IN Db MAJOR ("Un Sospiro") een FANTASIA,Op.17 6, Allegro cantando, dolce con grasia gn gaan ARO te ne : ; Piano wo ¥ ‘Anda pon troppo, INTERMEZZO, Op.117,No.2 con molta esprensione Piano &, %, ES a SONATA IN E MINOR 9, Andonte molto J. z il - (Piano) we aa Pea. "Pes, "Pe, * 43Score for strings (or for any other combination of instruments specified by the instructor). Rearrange, fill, etc., wherever appropriate. Include bowing indications. Presto SONATA Op.10.No.3. — : 8 “4Score for strings. Rearrange, fill, ete. wherever appropriate. Include bowing indications SONATA, OP. 22 Beethoven Allegro con brio i] Piano 45Jn planning the scoring, take into account the antiphonal effect at the beginning. SONATA, OP, 90 Beethoven Flutes Oboes Ciarhaets Bassoons Violins n Violas Cellos Double Basses Mit Lebhaftigkeit und durchous {HP onimotion and with Feeling ond |Empfindung und Ausdruck ionthroughout) (d= 152160) (Piano) 46Sere: ua. Vu, Ve SONATA, OP. 90 (continued) 4Score for woodwinds, horns, and strings. In the repeat of the first 12 measures, vary the scoring and add uupper-octave doublings. From measure 33 on, partially fill inthe wide gap between the hands. This piece is also suitable as an exereise in scoring for an orchestra that includes full brass and timpant, AT CHURCH Lorge Tehaikovsky Piano ro terrer rere arr err er = perdendosi Pp rorrerterrerrerrer seScore the excerpt below in four different ways (versions $ and 4 on the reverse side). Use only the instruments desired in each verston-except for number 4, which is to use all the instruments listed. Include octave doublings of the melody in at least two versions. In ad- dition to these actual scorings, describe two other possible scorings in the space provided fon the next page. NOCTURNE, Op.55,No.1 1 2, Chopin 10 Homns mn Violing Violss Cellos ‘Andante (Piano) 49NOCTURNE, Op.55, No.1 (continued) 3 4 Clarinets Bassoons 1 Home Violins Violas Cellos Double Basses 5. 6. Melody: Middle Bass: 50Score for woodwinds in pairs, 4 horns, and strings. VARIATIONS AND FUGUE ON A THEME BY HANDEL ‘Score one of the following excerpts (as directed) in five different ways for an orchestra consisting of ‘woodwinds in pairs, 4 homs, and strings. Make some use of octave doublings of the melody. In both cases, the bass, though written as eighth notes, will be sustained longer by the pedal, This asignment is of the same type as that on pages 49 and 50 except that here the student must set up the score page. SONG WITHOUT WORDS No. 14 BALLADE IV Alle 0000880 weiss setae noe en Piano wT 7 51Score for woodwinds, horns if desired, and strings. The scoring should reflect the anti- phonal character of the music. SONATA, Op.27, No.1 Allegro vivace Beethoven ‘Score for woodwinds in pairs and strings (or woodwinds alone). SONATA, op.53, Allegro con brio 4, oa ” aa3 salen Sele le Score for woodwinds, horns if desired, and strings. From measure 13 on, there are good opportunities for changing colors and antiphonal effects. ‘This excerpt is also suitable for an assignment in scoring for woodwinds alone or strings alone, although nelther group alone is as effective as a combination of the two. SONATINA, Op.13, No.1 Andante aseai ¢ Tusingands mites Kabalevaky Piano uf =|=—— =| > = — |- >; £74 ro. Ix 1) Write a part for four timpani. For the initial tuning, try to select pitches that will it into the harmo- nies throughout the piece (at the points where timpani are being used). If changes in tuning are felt to bbe necessary, remember to allow at least three or four measures of rest for each change and to indicate Which timpano is to be changed. 2) The second blank staff may be used either for a part for one or more other percussion instruments or for another (alternative) timpani part. The instructor should specify which of these is to be done. 8) This music may also be used as the basis for an assignment in scoring for woodwinds, horns, and strings or for full orchestra, IMPORTANT EVENT tegro mrcite Jno 3 = = (Fine)IMPORTANT EVENT, continued Da Capo al Fine ‘Timpani ‘The instructor is to specify in which of the following ways the next excerpt isto be used: ‘a) Imagine thet the music is to be scored for orchestra and write parts here for atleast four percus- instruments. Except for those of definite pitch, two instruments may be written on the same staff if necessary ) On another sheet, actually score the music for orchestra and include parts for at least four percus sion instruments PRELUDE 24 ee From 24 Preludes ‘poco alla. ...-Meno mosso. Marciale Kabslevshy Piano 56 Aon‘The instructor isto specify in which of the following ways these excerpts are to be used: 8). imagine that the music is to be scored for orchestra and write parts here for at least four percus- sion instruments. Except for those of definite pitch, two instruments may be written on the same staff if necessary, ») On another sheet, actually score the music for orchestra and include parts for at least four pereus- sion instruments, MARCH From "The Love of Three Oranges’ Prokefiett Tempo di marcia sempre staccatoREWRITING EXERCISES FOR HARP Rewrite the following passages for harp in such a way as to involve the fewest possible pedal changes. Do not omit notes but change spellings where that will eliminate pedal Changes. Include a pedal setting at the beginning of each exercise and indicate pedal changes as they occur, Each of these exercises can be rewritten so as to require only one pedal change. Allegro moderato af, ome F . % Harp (rewritten version) Allegro ossoi Harp t 58HARP EXERCISES In Exercises 1 and 2, rewrite (respell) the passages in such a way as to involve the fewest possible pedal changes. Include a pedal setting at the beginning of each exercise and indi cate pedal changes as they occur. These exercises can be rewritten so as to require only two and four pedal changes, respectively. In Exercise3, add the appropriate accidentals to the letters given below each chord to show the pedal: setting that would be needed if the chord were to be played as a glissando on the harp. Also show each pedal setting in diagram form. i 1. { Harp { “serio Gta D by Db Dt ° Dk Bb Cn et By Harp (restiten: Version Herp DCB EFGA DCB EFGA DCB EFGA DCB EFGA 592 EXERCISE IN ERROR DETECTION (SCORING FOR ORCHESTRA) Leaving aside questions of stylistic appropriateness, point out, on this page or on a separate sheet, errors ‘of instances of questionable scoring in the following. Alternatively, this exercise may be done orally in clas. . = p 2 Fats at 2 oboe ad ——, aly Via, baSie of orchestra optional. Make some use of special color effects (pereussion, harp, piano, eaesta etc). Compare your completed scoring with Ravel's. BALLET OF THE CHICKS IN THEIR SHELLS from PICTURES FROM AN EXHIBITION ta Ag eae eey Scherzino Vivo teggiero - PP Score for orchestra, using all the instruments including the auxiliary woodwinds and whatever percussion seems appropriate. Omit the grace notes. Compare your completed scoring with Ravel's THE GREAT GATE OF KIEV from PICTURES FROM AN EXHIBITION Mussorgsky =~ Allegro olla breve ‘Moestoso con grandezza =~Score for an orchestra consisting of woodwinds in pairs, 2 horns, 2 trumpets, 3 trombones, 2 timpani, and strings, SONATA, OP. 143 Alege iusto Schubert 65‘Score for voice and orchestra. The scoring may be somewhat full, in the Strauss manner, but care should be taken not to cover the voice, especially in its lower register. Strauss's own scoring of this song (in the key used here) is published by Universal Edition and may be compared with the student's completed scoring. CACILIE Heinrich Hat English words by John Bernhoft ‘ichard Strate, Op. 27. No.2 ‘seh lebaft und dingend Vivo ecm adore Vous Piano I ee ea SIS aes Wendy ox wom - test was.‘tu- menhelst_vonbrennenden ‘Pye er ince," aweet, wher “sedan fond burt + Kos = sen,von Wan, - dem und Ru = hen mit dor Ge 5, of wand'r = “ing ing with the send und plau ing and chat ©copygne 1911 by oe Alb Vora. Renowed copyright 1998 by Dr, Rha Sues. Ui by pumiion of Basopen Ameen Mu Disetbators Crpeation, sce U.S. agen for Univers Eaton. 69‘wenn du es wis ~ test, could T buttell yor, au neig your heart 32 wenndu es wise ~ test autre see, ee ein sa~men Nich - ten, ext vom Sturm, rightslong and lone = ly by the storm mand tré-stetmil-den Mun-deedie kanptimide See 1B neartoscotieand comfortthestrfeweary spir aTena wenndueswdss-test, du KL = mest zu mir. couldT buttell you, you'dcome, __sweeio. me, nl ————. Wenn du es wiss ~ test, Tr youbutknew sweet, te oe ; ‘welt-schaf - ‘auschwe God, Lord fohoror, Hicht = ge - tm ~ gen, dome on dove > tke pin - fons en 7 wenndueswiss - test, i Youburknew tt nee a ad wenndueswisstest could but tell you, du eb you'd dwelt, R‘Score for orchestra, Where phrases repeat, vary the scoring at least slightly PRELUDE NO. | Six Preludes, “Mazstoso ae Mid 66-63 Sevan Piano B‘Score for orchestra, fe RHAPSODY, OP.79, NO.1 1Score for orchestra, SEVENTH SONATA oP.83 Allegre inguieto Prokotett Piano sp mm lew poco a poco | tresSEVENTH SONATA, continued Andantino ——scorefor orchestra. Harp may be inluded but should not be depended upon entirely for the rolled chords; that Is, other instruments should also take them. ‘thispiece ie also suitable for an assignment in scoring for woodwinds, horns, and strings, NO.1, From Fifteen Hungarian Peasant Songs Rubsto (= s.80-70) ba x i, Piano S.A. Repeated sal Baton; Renewed. 1948, Copyiht and Renewat Aged to Booty & Hawkes ns. for he Copy 1920 by Unies wie ne © Cope 1920 Una Eaton, Used by pemison. Speman of Booey 82—_—— Score for orchestra, Make some use of special color effects (percussion, harp or piano, ete. ) MARCH, OP. 12, No.1 Prokoftett Allegro ma non troppo (pp soccato 87MARCH, OP. 12, NO, 1 (continued ) 4 Some 32 measures, involving the repe- tition of themes ‘already stated, are brine ———— omitted here. The closing measures of the piece follow. 88EXERCISES IN SCORING IN THE STYLES OF DEBUSSY, STRAUSS, ‘MAHLER AND SCHONBERG. ‘These four fragments attempt to imitate the musical styles of Debussy, Strauss, Mahler and Schonberg respectively, and were written expressly to serve as exercises in orchestrating in the manner of these four composers. That is, Exercise 1 is to be scored as Debussy might have scored it; Exercise 2is to be scored as Strauss might have scored it, and so forth. This assignment obviously assumes a previous study of the ‘orchestral works of these composers. In the first three exercises, octave doublings may be used wherever they seem appropriate. The instru: ‘mentation chosen in each case should be typical of that employed by the composer whose style is being imitated, Ex.1 a, (Debussy) , Lento 4 ike on acho Ex.2 (Strauss) | Allegro F 89Ex. 3 Mahler) Bet (d= 56 =F vt Ex. 4 Gchonberd) Langsam (d= $2) Py 90lr Name Test Yourself I Strings Dare 1, Name the open strings: Violin b. Viola fc: Call en . 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 the II° string on the cello? 6. What is the IV? string on the violin? 7. What is meant by scordatura? Give an example, ——_—_________ 8. What is meant by third position on the violin?. 9, What is meant by double-stop? 10, Write five double-stops that would be impossible to produce on the violin. Give the reasons for your answers. 11. Write three triple-stops that would be impossible to produce on the cello. Give the reasons for your answers. 12, Write three quadruple-stops that would be impossible to produce on the viola. Give the reasons for your answer.13. Identify the following terms pertaining to the bow: a. the frog b.the heel . the tip__ d. What is the downbow 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 most common way of telling the strings to put on a mute (Italian)? 19, To take the mute off (Italian)? 20. What is a natural harmonic? 21. Write two 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 harmonics? 23, Write three artificial harmonics for each of the following: violin, viola, 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:Date NAME. Test Yourself II Woodwinds 1, Name the four woodwind families. 2, What does the word embouchure mean? 3. What is meant by overblowing? 4. If one wants to hear middle C, what pitch must one write for the: a. alto clarinet, b, soprano saxophone ¢. D clarinet (piccolo) 4d. Eb clarinet (piccolo) e. Cclarinet = f. tenor saxophone 8. Bb clarinet 1h, English horn i. alto flute j.alto saxophone 5. For the same group of instruments, name the sounding pitch if the written pitch is middle C, (Use the right-hand column of blank lines above.) 6. What does a slur mean to a wind player? 7. How is a vibrato produced on a woodwind instrument? 8. How does one designate a passage to be played without vibrato? 9. Describe double- and triple-tonguing 10. Describe fluttertonguing. What is the German word for it? 27 ee411. If two 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? 13. Why is the designation solo sometimes used? Why is it superfluous? - 14, What are multiphoni¢s? ——————__$_$_$_$_$_$_$_ 15, Name some twentieth-century woodwind effects, ———————______________ 16. Give the ranges of the following instruments: a. piccolo @. oboe bassoon b. flute £English horn j. contrabassoon c.alto flute 8 All clarinets’ written range k. oboe d’amore d. bass flute h. 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, ———__________Nye on uns neeeeeeen == DATE) Test Yourself III Brass 1. What is meant by a natural horn or trumpet? 2, Name the overtone series on F, Eb, Bb, and D, —_____ 3. What is the difference between the trumpet, horn, trombone, and tuba mouthpieces? 4. What was the highest partial demanded during the Classical period?. 8. 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 a valve do for a brass instrument? — 9, What happens if one depresses: a. the first valve bb the second valve . the third valve —__ d. the first and third valve e. the second and third valve £ the first and second valve [g2alL throes, valves#eteeeeeeeeneeeeeee eee 10. What is meant by positions on the trombone?_____. 11, Name the pitch of the fundamental in first position on the tenor trombone.. 12, How many positions are there? 4913, What is the fundamental of the lowest position? ———_—________ 14. What are the positions of the bass trombone? —————__—__$_____ 15. What note is difficult to perform on the bass trombone unless an E attachment is present? 16. Name some brass mutes. : - 17. What does a mute do toa brass instrument? 18, Which is the standard orchestral mute? ————_—________ 119, What is a Wagner tuba? 20. What is the 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 Bb alto” and “horn in Bb basso” mean? —_ 24, If one wishes to hear middle C, what pitch must one write for the trumpet ain Bo in D b.inC____ dink 25. What is the lowest written pitch for all trumpets? 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, Bb, C, or double Bb tubas? 31. What does the diameter of the bell contribute to the technique of the brass instrument? 50Dare NAME Test Yourself IV Percussion and Keyboard 1. Explain the following terms: a. idiophones 2, Define definite pitch and indefinite pitch in percussion instruments. 3. What special considerations have to be given in notating percussion instruments? 4, How does one best set up a percussion-section score? — 5. What are the ranges of the following instruments: a. marimba 4. xylophone g. timpani b, vibraphone e. glockenspiel h, roto toms ©. crotales £. chimes 6, Explain the following: a.flam b. drag . four-note ruff droll — 657. How does one notate a roll (on cymbals or membranophones)? 8. What is the difference between finger cymbals and crotales? ‘9. What is a whip or slapstick? 10. 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?) e 12, What kind of sticks or beaters are used for the following instruments: atriangle = tom-tom eveymbals | d. conga drum — e. crotales 13. Name some aerophones. — 14, What is a cimbalom? — 15, Give the range of the (standard) organ pedalboard. 16. Give the ranges of the harpsichord and the celesta, 17. Discuss the piano as a percussion instrument, 18. Name all transposing percussion and keyboard instruments and describe how they transpose. EIA Wier 1g meant by, prepared icc aes ees es eee aes ues ees mes reerErmerEnEEEEEEE