In the Grieg excerpt, score the first full phrase for horns, the second phrase for trumpets and trombones. A filler and bass octave can be added in measures nine to twelve. No fillers or doublings are called for. Mutes would be effective for harmony parts. Start the first chord of measure A-C-F, then move by nearest positions this to the other chords.
Broken intervals, in this category, usually have a dual purpose: 1 they maintain rhythmic patterns idiomatically, and 2 they complete harmonic progressions. Literal scoring for orchestral instruments is possible only at slow tempos.
The following examples are to be arranged as shown in Chaps. Broken Octaves Combined with Thirds ["his excerpt includes several entries in this classification. The extremes of dynamic range per- mit corresponding variet of range extensions and sonorities. Broken Thirds Reduce these thirds to four-part harmony outlining and sustaining the melody and bass parts.
Retain the sixteenth-note rhythm in the two middle parts. The complete excerpt should be phrased legato. The pedal point in the bass part can also be extended an octave higher. Broken I bonk Spaced for Two Hand- ; should first be reduced to four-part writing with the highest and lou this categ. In this RONDO, these parts would be in half notcv s c rhythmic figuration should be maintained in the two inside parts.
See the example in Chaps. This would be a good example to experiment with, adding two obbi in the high treble and tenor ranges , as explained in the same chapter.
Broken Chords in Right Hand with Implied Melodic Line In scoring the next two examples, keep the implied melodic lines free of the inside harmony parts. The bass parts should also be detached from the two inside rhythmic harmony parts. Vary the orchestration on the thematic repetitions. Arpeggiated Chords The two following excerpts are most desirable for full orchestra.
The arpeggios in both can be scored as follows: Arrange them idiomatically for appropriate strings. In the Mendels- sohn excerpt, supply, the harmony for the first measure and continue it in accordance with the rhythmic pattern given by the composer.
The Rachmaninov excerpt requires sustained middle- harmony parts as indicated in the third measure. Large Melodic Skips At fast tempos it is advisable to rearrange themes of this kind for two voices, yet always re- taining both the rhythmic patterns and interval changes. Outlining a Melodic Line Two plans of outlining are suggested here: 1 above the melody, and 2 sustained an octave lower, combined with the lowest theme note on each beat. Dividing a Melodic Line Dh ide the enure treble part for two or more voices as required.
Parts in the bass range will also need considerable revision to provide consistent voice textures. Melodic Lines Combined with Repeated Notes In scoring this excerpt, retain the tessitura of the repeated notes but rearrange the chord positions starting in measure twenty-one. Melodic Settings: Contrasts, Comparative Strengths, Repeated Phrases These four-measure excerpts, taken from eight-measure phrases, illustrate one composer's approach to seeking contrast with the same thematic material at different dynamic levels.
The orchestration of these phrases should explore the full potentialities of each section, reserving the full orchestra for the two fortissimo passages. Note: Observe the obbligato in the second brace. It could be varied and repositioned for the other variations. By starting the implied bass part on the second beat of the third measure and treating it as a suspension, the effect intended by the composer can be realized. This plan changes in measure eleven. Each excerpt should be rearranged idiomatically for orchestral instruments, as illustrated in Chaps.
The voice textures have often been inconsistent, thereby requiring considerable revision, as will be the case with similar music to follow. The next excerpts illustrate three varieties of homophonic styles and textures. Polyphonic Polyphonic music in its most strict forms canon and fugue, without doublings, fillers, or harmonization , is comparatively rare in orchestral music.
In fugal scoring, some doubling in octaves is permissible, notably in bass parts and for principal thematic material emphasis. Occasional outlining and sustaining may also be necessary and even desirable. The harmonized canon by Schumann needs clarity for the two thematic lines in contrast to and with the har- mony parts whenever possible. Review this category in Chaps.
In perform- ance, the non-legato character of repeated-note attacks is minimized by applying the portato technique. Two alternative bowings are available to cope with this technicality.
The more obvious of the two calls for a change of bow direction for the repeated note. A second and better choice in most cases is a portato type of bowing which does not change the direction of the bow.
Instead, it merely calls for a slight stopping or lifting of the bow for note repetitions of identical pitch. Points for Observation, a Successive repeated notes of the same pitch momentarily stop the movement of the bow and may change its. Similarly, soft, fast legatos need less bow than those in the loud, slow category.
Group Staccato. Examples I-4a and I-4b illustrate one of the several types of semi-legato bowings known as group staccato. It is a form of portato indicated by slurs, with dots or dashes. Dots, used with slurs, indicate lighter bow. Both bowings tend to group into clusters the notes so marked, in a semide- tached style, especially in the faster tempos.
Example I-4a Brahms Maestoso Concerto. The sign V. Group staccato bowings, when applied to repeated notes, intervals, or chords are especially useful in controlling the volume of string ac- companiments to melodic lines. When so used, four to six notes in one bow is a safe maximum for the softer dynamics in moderate tempos. Three notes in one bow should not be exceeded in the forte-fortissimo levels.
It would be played fj J. Passages similar to the above are occasionally bowed with the slur-dash combination for chordal progressions which benefit by extra stress and distinct separation.
Dashes and dots, combined with slurs, is standard group staccato bowing for most long-short notations associated with the J73 note cliche of the Baroque and early Classic composers. String players have a tendency to "push" up-bows, thereby giving a false pulse and accent. This happens most frequently when a short, quick bow is followed by a longer, slow bow.
Distortions of this kind can generally be remedied by using some form of group staccato bowing. Loure is a specialized adaptation of the slur-dash type of bowing which is generally reserved for melodic phrases or for chord progressions of expressive intensity. It differs in notation from the other styles pre- viously discussed in so far as each note within the slur is marked with a dash. Loure bowing is not practical in the faster tempos; its greatest effectiveness is in the medium-to-slow tempos at rather strong dynamic levels.
Its true character is lost when subdued below piano. The bow remains on the string and the notation may or may not include dots. Although playable at most tem- pos, its great emphasis is felt in the medium-fast speeds with relatively few notes.
Allegro appassionato Brahms Concerto, Op. Spiccato bowing, frequently referred to as an "off-the-string" staccato, is limited to passages within a medium loud-to-soft dynamic range.
Since the bow is "thrown" at the strings, the resulting tone is lightand devoid of any expressive potentials. It is a bowing style de- manding considerable control and is therefore somewhat hazardous, except for experienced players. Marking parts with the abbreviation spice. Example Joseph Wagner Symphony No. Piano Vlas. Martele Martellato is a "hammer-stroke" style of bowing possible within a wide range of dynamics. The bow, remaining on the string, produces a dry, brittle staccato indicated by either dots, points, or ac- cents.
When used with the softer dynamics, the bow remains near the tip. Forte or fortissimo. Copyright by Edition Russe de Musique. Copyright assigned to Boosey and Hawkes By permission of the copyright owners. Vaughan Williams Animato Symphony in F minor 8va- 8va-. Copyright in U. Reprinted by permission. Jete, saltando, or saltato employs a "bouncing-bow" technique to give a semi-staccatobowing style restricted to the softer dynamics, piano and pianissimo.
Notes are clustered in groups from three to six and are bracketed with a slur and dots usually with the word, saltando. This form of staccato is ideally suited to moderately fast accompaniments for wood-wind melodies Tchaikovsky's Symphony No. In fast tempos, fewer notes can be combined, as shown below. Example I- 11a Presto J. M 4m4 d 4 P eresc. A succession of all down-bows is a means of emphasis for occa- sional short progressions of chords or thematic ideas. Since the bow is. It is the strings' most powerful bowing attack.
Additional examples of this bowing style are to be found in the Borodin Symphony No. The use of successive up-bows carried over several measures is a. The illustration given in Example I- 12b is the exception rather than the rule. There are two types of string tremolos measured and unmeasured, — — along with two styles bowed and fingered. Both types have rapid repetitions of notes or intervals. As for styles, the bowed-tremolo repe- titions are made by the rapid movement of the bow on the string or strings.
With the fingered tremolo, repetitions are made by alternating finger positions on the fingerboard while the bow moves slowly across a single string as with a trill. A measured bowed tremolo is really not a true tremolo, but an abbreviation of exact note repetitions. Note: Tempo is always the im- portant factor in all tremolo notations. Example J. I Allegro con spirito.
This type and styleof bowing has been a proven asset to composers of all periods for the reinforcement of melodic and harmonic ideas. Bach Allegro con spirito Sinfonia, Op.
The bowed unmeasured tremolo differs from the measured trem- olo in so far as the repetitions are not metrically accurate. Confusion between the two types may be avoided for the performer by the use of proper notation and the abbreviation trem.
In the medium-to-fast tem- pos three flags are satisfactory, with four flags being safer for all slower tempos. All shades of dynamics are possible in both types and styles of tremolos and at all speeds. This type of bowing, greatly overworked during the late s, continues generally to be unused except for programmatic music, ballet, and opera scores. It does have a certain validity in passages of short duration which express agitation or the opposite extreme of restraint, since its dynamic range is enormous.
Twentieth-century examples worthy of serious study can be found in the Sibelius Symphony No. Example I- 15b Verdi Coma prima J. S fet Div, con sord.
The notation for the tremolo requires both notes of the interval to be properly represented according to their metrical division in each measure, the slur lengths indicating the amount of bow to be used.
This style of tremolo is decidedly less agitated and powerful than its counter- part. It was a frequent. Sur la touche - On The Finger Board. Chapter 8. Pizzicato is the word used to Harmonics indicate plucking or picking the Double Stops and Chords strings with the finger tips.
The change from is to arco to pizz. Otherwise, a few seconds of rest should be allowed for this change. Intervals, as well as three- and four-note chords, may be played pizzicato, an open string being a decided convenience in such combinations. Although all dynamic levels are playable — from strong, accented chords to single notes of extreme delicacy — fast tempos with rapid figurations are to be avoided as being unplayable.
Soft staccato accompaniments, common in piano music, may frequently be transcribed effectively as string pizzicatos. It is imperative that the starting points for both pizzicato and arco be indi- cated clearly if confusion with notation is to be avoided.
Example Tchaikovsky Allegro Symphony No. An outlining notation may be arranged by eliminating all the non-harmonic notes in a phrase or pattern. Hudson River Legend. The following suggestions should not be overlooked in writing pizzi- cato for the string section.
Example I- 19b Joseph Wagner. The mute sordino or Ddmpfer is a small three-pronged clamp of wood or metal which, when placed over on the bridge, pro- the strings duces a smooth, subdued tone not possible by any other means.
Mutes not only soften the tone; they change the quality of the tone. Muted strings create a sotto-voce effect that is highly desirable for quiet accom- paniments with imaginative connotations. Both styles of tremolos can also be enhanced by muted string tone when confined to the softest dynamic levels. A few measures of rest are needed for the placing of mutes termed con sord.
An unusual organ-like effect can be produced with solo muted strings playing pianissimo and without vibrato. Orchestral strings, with- out vibrato, somewhat resemble organ tone without the tremolant stop. I Vlns. By permission of Southern Music Publishing Co. New York. Sul poniicello is a directive for the bow to be placed very close to the bridge.
It is a bowing which produces a "glassy," rather un- style musical sound that all but obliterates pitch. Being an artificial effect, its use is restricted to music that is in the realm of the fantastic, gro-. Although possible with regular detached bow- ing, it becomes alive when used with an unmeasured bowed tremolo. The word naturale or natural is written in the part for the resumption of normal bowing.
By permission of Southern Music Publishing Company. Col legno has the back of the bow striking the string, resulting in a clicking sound of rather indefinite pitch. Although composers of pro- gram music have associated this unusual bowing with the macabre, it does have interesting possibilities for abstract rhythmical ideas. The word naturale is used for the return to normal bowing. The eerie effect of col legno is fully realized in the "Witches' Sabbath" movement of the Berlioz Svmphonie fantastique.
The subject of harmonicsone which merits considerable research is. Although natural and artificial harmonics vary but slightly in sound, the methods used in playing them are quite dissimilar. Natural harmonics also called "flageolet notes" have a thin, fiutey quality which is a coloristic device with an impressionistic effect. They appear infrequently as part of melodic lines and arpeggiated chords.
Their greatest asset is the long, sustained inverted pedal point, some- times augmented to include intervals and chords. Natural harmonics are produced by touching the string, without pressure, at varying points of its total length. A small circle over the note's actual pitch is the sign used. Figure gives the natural harmonics for each open string of the violin and viola.
Those for the cello would be an octave lower than those listed for the viola. Artificial harmonics are produced by pressure applied to the first finger while the fourth finger lightly touches the string a perfect fourth above. The pitch of the note thus produced will sound two octaves above the stopped note. The a perfect fourth illus- trations for both types of harmonics have been left in context, since they have little or no significance by themselves.
Harmonics, because of their uncommon timbre and pitch, are a color- istic phase of string technique rather far removed from normal, practical. Conspicuously absent until the late Romantic and Impressionist periods, they have become increasingly frequent in the scores of twen- tieth-century composers.
Representative illustrations in many and varied forms may be found in the works of Bartok, Debussy, Milhaud, Prokofiev, Ravel, and Stravinsky. Double stops of seconds, thirds, fourths, fifths, sixths, and octaves for violins and violas, and fifths, sixths, and.
Chords of three or four notes are exten- sions of practical interval combinations. Keys which contain the greatest number of open-string possibilities are preferable for double stopping and chord playing. The technical skill of unprofessional string players and it is far safer, therefore, to divide intervals varies greatly in this regard and chords rather than run the risk of poor intonation or insecure attacks.
The intervals and chords in Figs. Double stops are not practical for basses. Violoncello One open string first position. Three -note chordss with wi'th t! Four-note chords with three open string! Double stopping is a particular function of the second violins and violas, since most of their parts are centered in the middle-range reg- ister where extra harmony spreading is quite common.
These two instruments combine very well for afterbeats in dance forms where three- and four-note chords may be set as interlocking double stops.
Double stops are inadvisable when the top note of the intervals forms a cantabile melodic line. Write the two parts out divisi. If a two- or three-voice harmony progression is to be played legato, do not write double stops.
Divide the parts so that a legato will be playable. Accurate notation for all intervals and chords is essential since it is only possible to sustain the two top notes.
Example Ia Beethoven Symphony No. Many adaptations of double stopping may be found in a variety of dynamic levels. String intervals or chords may be rolled or arpeggiated, as in piano music. Perhaps their greatest worth comes from playing with successive down-bows while doubling wind instruments.
Trumpets Tpts. The glissando meaning "slurred, smooth, in a sliding manner" produces a smeared, unclear sound and is indicated by a straight or wavy line placed between two notes of different pitch. Sometimes the abbreviation gliss. This effect, used infrequently prior to the early 's, has be- — come increasingly conspicuous for all sections strings, winds, and per- cussion.
Sur la touche or sul tasto , meaning "on the fingerboard," directs the bow to be placed over the fingerboard rather than in its usual place between the fingerboard and the bridge.
The resulting tone becomes softer and more delicate. It is to be found mostly in scores by French composers see Example Chapter 9. The place of Summarized Conclusions resonance in piano music has been examined and established along with the normal distributions for four-part vocal writing.
However, string settings of vocal chorals introduce new problems of spacings for instrumental resonance not heretofore considered. They also place each string instrument in its customary playing range with an emphasis on horizontal voice leading.
Resonance factors, based on chordal spacings and extensions, account for inevitable structural changes connected will with the interchange of the vocal and instrumental mediums. This setting of America does nothing more than double the voice parts in unison.
The primary purpose in working with four-part choral music is to determine the ways and means by which its voice structure may be expanded in order to secure greater instrumental resonance, balance, and tonal strength. The lessons learned from these exercises can be applied to sectional or full orchestra scoring, since the basic reso- nance factors remain unchanged. The first phase of converting choral parts idiomatically for strings is obtained by adding the basses in octaves with the cellos.
A solid bass part is accompaniments which may be used with large essential for choruses. The tessitura of the first violin melody part, as it stands, has a minimum of vibrancy and tonal strength and would be lost if pitted against a large soprano section. If raised an octave, the melody, played on the E string, would sing out loud and clear. This inversion leaves the second violins and violas in hopeless positions, harmonically.
These parts can be better spaced by inverting the alto and tenor voices. These suggestions have been applied to the scoring in Example Example Five Parts America t- Via 8. Consecutive fifths or octaves resulting from added fillers or doublings are not considered objection- able since they are inevitable in most expanded triad progressions in the treble clef.
Examples Ia and Ib differ in the arrangement of the three inside parts. II PP? Vies Cbs. The eight parts in Example Ic represent the maximum sonority possible in this voice distribution without any new changes in the ranges of the melody or the bass. Comparison of this eight-part setting with Example reveals all. A seven-part version is possible by removing the inverted alto voice. This ten-part plan is possible only when five-string basses are available. In this connection, it is of importance to note the tessitura problems caused by key tonalities.
The four inside voices of this arrangement, in the bass part, have special interest because they do not follow rigid chord progressions. Rather, these progressions were selected for the following reasons: 1 to prevent fundamental triad positions; 2 to retain common tones whenever possible; and 3 to avoid unnecessary consecutive fifths and octaves.
This arrangement could be further extended for three additional voices in the treble, but the tessitura of the top notes would then be playable only by the piccolo. Figure Pice. In general, should not be added above the melodic line as they fillers. This point does not refer to added counter- points, figurations, or arabesques which do not affect the tonal profile of the leading part.
High-octave melody doublings without fillers are possible and sometimes desirable if adequately supported by well-spaced middle-range and bass parts. The conclusions to be drawn from working with four-part choral music for orchestra are: 1. Limited range means limited resonance and tonal strength. All voice parts are independent units with horizontal freedom and movement. Thick part writing in the bass register is to be avoided. All models discussed thus far are suitable for sectional or full-.
Before adding fillers, experiment with inverted alto and tenor parts. Overpadding with doublings and fillers leads to unbalanced sonorities. Melodies should not be inserted arbitrarily between harmony parts. The author's use of America as a model for settings of four-part music chorals in his book, Band Scoring, A Comprehensive Manual, will enable students to make definitive examinations and comparisons of this phase of scoring for both the orchestra and band media.
Chapter Ways and means of to the String Section tone production, development of harmonic textures and resonance values and factors have been analyzed, evaluated, and classified. These prerequisites are valuable in acting as a background to the actual study of idiomatic string writing as it applies to the formulas and textures of music for keyboard instruments.
Even a casual survey of music in these categories reveals certain technical formulas that appear rather consist- ently and as integral parts of compositional techniques. Closer exami- nation shows that these technical matters can, in many instances, be isolated from their context and classified as concrete examples of keyboard idioms and patterns.
The Reference Chart has been designed to analyze these technicalities and to readapt them to orchestral dimensions. Thus, each entry in the Chart becomes a specific technical problem which, when properly disposed of, serves as a model for all subsequent repetitions of the same or similar. Since the string section is the very backbone of the orchestra, it is. By so doing, each entry can be examined, ana- lyzed,and applied, thus providing the basis for the subsequent addition of wind and percussion instruments.
It is of the utmost importance for the orchestrator to acquire some with this transcribing process facility since practical orchestration is dependent upon the dispositions made of the string section. Good scoring habits thus initiated become an integral part of a good scoring technique. Broken octaves with embellishments 3. Broken octaves combined with thirds 4. Broken sixths 5. Broken thirds 6. Broken sixths and thirds combined II. Left-hand broken chords in close position 2.
Left-hand broken chords in open position 3. Broken chords spaced for two hands 4. Broken chords in right hand with implied melodic line 5.
Broken chords with blocked melodic and rhythmic patterns 6. Arpeggiated chords III. Large melodic skips 2. Outlining a melodic line 3. Dividing a melodic line 4. Melodic lines combined with repeated note patterns; nonmet- rical passages 5. Melodic settings: contrasts, comparative strengths, and repeated phrases IV. Homophonic 2.
Polyphonic 3. Style mixtures. Large harmonic gaps 2. Sustained notes, intervals, and chords VIII. The composer of piano music approximates the effect of repetition by means of broken or arpeggiated intervals or chords.
It is a technical expedient playable at most dynamic levels and tempos. However, as repetitions of notes and intervals present no difficulties for the string player, most broken intervals can be effi- ciently transcribed as repeated intervals without losing their identity. Broken Octaves a. Bass register.
Example S-l Beethoven Sonata, Op. The broken octaves example have been arranged to offer some in this contrast between the starting piano and the following crescendo measures and may serve as a model for all subsequent intervals in this category. The bass part at 2 emphasizes the pulse of the repeated C's in the cello part while the added quarter notes, starting in the fifth measure, give greater strength and vitality to the crescendo of the last measures. The omission of the viola part 1 points up the fact that instruments should not be used "just to fill in.
Attention should be given to the rearrangement of the directional lines of the second violin and viola parts at 3. This change compensates for the rising melodic line in the first violin partand the necessity of having the progression in open position 4.
Close positions can be resumed as the bass part rises in contrary motion to the melodic line, with the inter- vals to be played as double stops non-divisi. Treble register. The moderately slow tempo and soft dynamic here makes three ver- sions of this broken octave possible —a literal transcription in addition to the two ways given here.
In the faster tempos with stronger dynamics, the version with the repeated octave is advised. Attention is also directed here to the scoring of the duet phrase in the lower treble since it places the violas above the second violins. This has been done in order to take advantage of the viola's unique tonal color in this register as compared to the violin.
It is an application of the fact made earlier that the high and low strings are more distinctive than the middle ones. For practical purposes this Beethoven excerpt can be divided into two parts: the rising scale coupled with the embellished A in the bass and the broken embellished octaves in the treble starting in the fifth measure.
The embellished A 1 has been raised an octave so that the two- octave gap in the middle register will be eliminated and a better balance achieved between the octave melody and the rising bass part. With the dynamic of piano, the pizz.
At 2 the grace note indicates the need of a sustained octave for the last four measures. The broken embellished octaves, starting at 3 in the divided violin parts, establish a pattern for this figuration. The second violin part here maintains the broken-octave effect. However, if stronger dynamics are used, it would be advisable to repeat the figure literally in the lower octave.
At 4 the last three notes of the viola part have been raised an octave as the low B is not playable and the original tessitura of these three notes, if not changed, would cause an undesirable spacing problem in the middle register.
The setting of this excerpt at [a] is adequate at all speeds and dynamics but will obviously be non-legato. For moderate-to-slow tempos, the set- 1. Broken Sixths There are two major considerations involved in transcribing a series of legato broken sixths as here indicated by Beethoven.
The continuous — eighth-note movement must be maintained legato throughout the pas- sage. The problem is to integrate these characteristics so that they will be idiomatically practicable. Example S-5 Beethoven Sonata, Op. Piano PdJdl ] Si:. This adaptation of broken sixths applies the principle of having one legato part combined with a second, non-legato part carrying out the rhythmic notation. It is a setting possible at all tempos and dynamic levels. At 1 the first violins are divided in octaves to compensate for the stronger forte dynamic as well as to fill the need for greater sonority as the figure ascends to a higher range.
The entrance of the bass part at 2 requires a three-octave spread to avoid the large gap in the middle register and to add emphasis value to this part.
Broken Thirds There is very little difference between the method of arranging these and that given for sixths. The type of adaptation will intervals for strings be determined by the style, tempo, and dynamic of the passage in question. See the second movement of Beethoven's Sixth Symphony for string parts in broken thirds. The upper eighth-note stems cello in Example S-6c have an alternative modification which permits a legato effect for broken intervals at fast tempos.
Example S-6 Haydn Sonata No. HtLflcStiaT Continuous legato thirds are possible only when arranged as indicated at 1. This contrary-motion principle, if applied to repeated chords Fig. S-lb , will allow the full chord to sound with legato phrasing. Broken Sixths and Thirds Combined Transcription of intervals in this category follows the same principles given for Examples S-4 and S String transcriptions of all broken in- tervals should include complete interval representation along with basic rhythmic notation.
Example S-7 Weber Sonata, Op. Left-hand Broken Chords in Close Position. The second-violin part, derived from the harmony 1 , fills the harmonic gap created by the rising melodic line. One moving part in eighth notes viola is sufficient here for the piano dynamic. The repeated F's in the cello supply the rhythmic pulse for each measure 2. This excerpt is an example of homophonic two-part writing expanded idiomatically for four voices. It has the texture of string quartet music.
Figure S-2 not recommended. This excerpt continues the study of close-position chords but with a different rhythmic pattern and a changed melodic problem in the treble.
The octave melody is continued in the first violins at 1. Fifths of triads serve well as starting and sustaining notes for common tones in chord progressions second violins.
The triplet figure in the viola part 3 de- rives from the top notes of the original piano triplet. Rearranged figura- tions of this kind should consist of the smallest possible intervals, always moving toward the nearest positions of succeeding chord tones. The cello bowing at 2 is recommended for extracted bass parts with similar nota- tion. Triplet notations, as used here, should not be transcribed as in Fig. S-2 except in slow tempos. Example S Mozart Sonata No.
Broken close-position chords in low ranges present entirely new dif- ficulties not associated with those in the middle register.
Chords in this category will need redistribution retaining the rhythmic element and tessitura of the lowest bass notes. Added harmonic fillers 1 are worthy of part interest whenever possible.
Their design and movement will be influenced by the context of the passage. In- tentional octave passages 6 should remain free of harmonizations. Example S-ll Brahms Sonata, Op. The use of the damper pedal is significant in planning the scoring of this excerpt, for it indicates the need of a maximum string sonority. Transcription of the treble parts is literal 1. Enharmonics viola part — fourth measure are often a desirable device for promoting better intonation with most string players, especially when Cb and Fb are involved.
Example S Schubert. The ranges and tonal strength of the melodic treble justify this addition. Example S Brahms Sonata, Op. Further application of the principles used in the two previous examples may be applied to this progression by Brahms.
This figuration, broken into two parts, has the thirds continuously in the violas, while the cellos and bass combine to clarify the bass part. Note: The D at 1 is possible only on a five-string bass. First, there is the necessity of establishing the continuous sixteenth-note motion for the first three measures. The second concerns the two con- trasting melodic lines which can be extracted from the first and last notes lows and highs of the progression.
The given forte dynamic suggests tutti scoring with a maximum of sonority. The implied melodic lines in the treble and bass are spaced so that the double rhythmic parts in the second violins and violas can func- tion freely. This scoring plan has cohesion within a prescribed range spread. Although this example is concerned chiefly with broken chords spaced for two hands, it is also a good illustration of quasi-contrapuntal en- trances 1 as well as of troublesome distributions of melodic and har- monic elements as found in the piano original 2.
The entrances at 1 have been arranged to give an antiphonal effect, with the violin parts of the last four measures covering the range of the full melodic fine 2.
The close-position chords in the bass 3 have been opened to supply harmonic balance for the revised treble parts. In general, it should be established that numerous broken-chord progressions in this classification will not always be adaptable to string transcription, for pianistic music, at its. This two-part succession of broken chords for two hands is included in this discussion in an effort to show various ways of adaptation not cas- ually obvious.
It presents a challenge to the idea of "making something out of nothing" in a structural sense. These two parts in contrary motion clearly indicate an implied melodic line and harmonic progression.
It may therefore be rearranged from either of these points of view depend- ing upon its place in a full context. Example Sb Ibid. The rhythmic second-violin part in Example Sb acts as a central pivot for the literal first violin and viola parts. The inclusion of the cello is for further sustained unity, and its use would be optional, depending. In Example Sc, the two outside parts outline the implied melodic design while the inside parts remain unchanged from the original version. When this type of transcription is two parts may be as- desired, the signed to any instruments capable of playing them in their entirety and without unnecessary range difficulties.
There is a unique example of this style of two-part writing in the middle of the Adagio section of Saint- Saens' Symphony No. Here, the composer establishes a dialogue of two-part counterpoint similar to the Mozart excerpt previously discussed, which subsequently serves as a background on which the principal melodic material is superimposed. These illustrations effectively demonstrate the premise that there may be several ways of orchestrating a given phrase or passage, each quite different from the other, but each quite possibly correct.
The final choice must, as always, be governed by the appropriateness of the scoring within a specific musical context. With strings, you have live players and textures that blend to create a distinctive sound. With orchestral sample libraries, unless its a great orchestral string library, a unison line might just sound like a fatter synth sound. So in approaching this passage, you need to know your bowings and you need to know how the strings sound in each register so that when you blend them, you understand the sound youre constructing.
Consequently, you have to know: what bowings sound like - what bowings dont sound like what the strings sound like in each register - what they dont sound like in each register. If you dont know these fundamentals, what you submit might make you look like an incompetent dweeb.
I know this to be a fact because I did it to myself a couple of times. Fortunately for my career, I recovered! Benchmarks for orchestral sample libraries The examples from Professional Orchestration: A Practical Handbook are also excellent benchmarks for electronic scoring because from them you discover; if a specic library sounds like real strings or synth strings if the dreaded organ sound is produced.
Youll know in seconds. And when you hear the rst result, youll know why composers in Los Angeles, New York, London, Toronto et al usually have several string libraries, because to get some sort of realistic sound you have to mix, match and blend multiple libraries from other companies. From this exercise, you develop what the late lm composer and conductor Shirley Walker called your signature sound.
The French instructions say tres anime avec beaucoup d'entrain. Since I dont speak French I need to translate. You can nd free translation on the web or use the translation feature available on Dashboard on the Mac. The translation is, Very animated with much spirit. A Sousa march is at BPM. In Professional Orchestration Volume 1: Solo Instruments and Instrumentation Notes, we worked out the tempos at which various bowings can be performed. Starting at bar 8 in the violins, there are four possible bowings that might work: detache moyen sautille - rapid spiccato without lifting the bow off the string crisp, popcorn popping sound spiccato martele How do you know the bowing you want?
The rst place to start is by listening to the recorded piano example to gain interpretation insight that might be transferable to the strings. After listening to or playing the piano part, you draw on your musical experience to determine the most effective bow stroke that supports the composers intent. To repeat, if you havent built up that accumulated experience yet, do what most wise composers do - ask the advice of the person playing it, the violinist. Even Ravel did that!
In fact, Ravel brought in a concert violinist to mark the bowings on the score before the parts were copied and put on the stands. So if theres no violinist around, or you feel ultra embarrassed to ask, go to YouTube and type in the bowing youre thinking about. One thing I want to point out about bowing descriptions - precise descriptions are variable depending on the orchestration textbook author, conductor, violinist and teacher.
As an example, when I wrote the Writing For Strings course I compared bowing denitions between a concert master and a well known conductor, the late Norman Del Mar.
There were both similarities and differences. I found this to be true when I scanned YouTube for bowing demonstrations for sautille vs. The best you can do is pick the bowing you think is right, whether its this example or your own composition. If necessary, use technology to your benet and show the video to the concert master to visualize what youre looking for. While no one wants to say this aloud, many string players consider composers and arrangers to be idiots when it comes to string bowings and will ignore what you wrote and redo it anyway.
Even so! Bowings are part of your device and orchestral effects list. A bowing creates a certain sound, and to the best of your ability you need to mark your parts as best as possible. Back to orchestral sample libraries. Once youve learned the sound of the bowings, now go back and listen to the bow strokes recorded in whatever library you own. Some libraries have named the bowings while others give the bowing and the length in seconds, as was done by both the Miroslav Philharmonik library from IK Multimedia and the Vienna Instruments.
Mastering the sound of the bowings in your musical imagination and comparing them to the libraries you have will quickly demonstrate the strength and weaknesses of any orchestral sample library.
With strings, there is so much to record, its not really affordable nancially to catch all the possible options. So whats recorded will never be all thats needed to accurately reect what the strings are capable of doing. The above slide shows what happens at bar 8 when the piece goes to ve-part harmony. Look carefully for practical counterpoint applications 4 against 1 and 2 against 1.
Once we get to this point, assigning the notes is pretty simple. But there are other decisions. First Violins The Violins 1 entrance is a D phrygian scale. Options are: Sul D depends on the skill of the players being written for Starting on the open D-string with an open pitch and crossing to the A-string Playing under a single bow Detache.
Second Violins I think the Second Violins are the make it or break it part of this example. Notice that the rst pitch of the sixteenth group is assigned down an octave.
If you score this exactly, the Second Violins have a sixteenth rest which at this tempo requires considerable precision. I think thats a prescription for a performance problem, especially if performed by an amateur orchestra or students. So my inclination is to raise that rst pitch on the sixteenth group up an octave so the Second Violins have a steady sixteenth note line to play.
Violas Theres a line over the notehead signifying that the quarter note part is to be performed for the full duration of the quarter note. The violas are performing a descending chromatic line. You could separate each pitch or play them all under a single bow.
Cellos and Basses The cellos and basses are sustained playing in octaves.
0コメント