Workbook for The Study of Orchestration 0393958086, 9780393958089

Citation preview

WORKBOOK FOR

THE STUDY OF

ORCHESTRATION SECOND EDITION

SAMUEL ADLER

y \ diny

N

aaa Leal

Saget aS

a,

heel

ie

Acknowledgments Boosey and Hawkes Inc. Bart6k, Concerto for Orchestra © Copyright 1946 by Hawkes and Son (London) Ltd.; Copyright Renewed. Reprinted by permission of Boosey & Hawkes, Inc.—p. 57 Bartok, Fourteen Bagatelles, Op. 6, New Version © Copyright 1950 by Boosey & Hawkes, Inc.; Copyright Renewed. Reprinted by permission.—p. 83 Bartok, Mikrokosmos © Copyright 1940 by Hawkes & Son (London) Ltd.; Copyright Renewed. Reprinted by permission of Boosey & Hawkes, Inc.—p. 23 Bart6k, Six Miniatures © Copyright Hawkes & Son (London) Ltd.; Copyright Renewed. Reprinted by permission of Boosey & Hawkes, Inc.—p. 129 Mussorgsky/Ravel, Pictures at an Exhibition © Copyright 1929 by Edition Russe de Musique, Copyright Renewed. Copyright and renewal assigned to Boosey & Hawkes, Inc. Reprinted by permission.—pp. 54, 134 Riegger, Tone Clusters © Copyright 1947 by Boosey & Hawkes, Inc.; Copyright Renewed. Reprinted by permission.—p. 70

European American Music Distributors Corporation Hindemith, Mathis der Maler © B. Schott's Sohne, Mainz, 1937; © renewed 1965. Used by permission of European American Music Distributors Corporation, sole U.S. agent for B. Schott’s Sohne—p. 56 Heugel S.A. Poulenc, Toccata, No. 2 from Trois Pieces © Heugel Paris—France—Owners and publishers for all countries—p. 69

Warner/Chappell Music, Inc. Bernstein, Jeremiah Symphony © 1943 Warner Bros. Inc. (Renewed). All Rights Reserved. Used By Permission.—p. 58

Copyright © 1989, 1982 by W. W. Norton & Company, Inc. PRINTED IN THE UNITED STATES OF AMERICA

All Rights Reserved Second Edition

ISBN 0-393-95808-6 W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, N.Y. 10110 W. W. Norton & Company Ltd., 10 Coptic Street, London WCIA IPU

1234567890

Contents

Preface to the Second Edition Test Yourself I: Strings Worksheet 1: Clef Exercises Worksheet 2: Bowing Worksheet 3: String Harmonics Listen and Score: 1—4 Worksheet 4: Transcribi for ng String Orchestra Worksheet 5: Harp Test Yourself I]: Woodwinds Listen and Score: 5—8 Worksheet 6: Woodwind Transposition Exercises Worksheet 7: Transc ribing for Woodwinds Worksheet 8: Scoring for Woodwind s and Strings Worksheet 9: Transcribi for Paired Woodwinds ng Worksheet 10: Scoring for Paired Woodwinds and Strings Worksheet 11: Transc for ribing Large Orchestral Woodwind Section Test Yourself III: Brass Worksheet 12: Brass Tra nscription Exercises Listen and Score: 9-14 Worksheet 13: Transc ribing for Brass Test Yourself [V: Percussion and Keyboard Worksheet 14: Transc ribing for Nonpitched Percussion Worksheet 15: Transc ribing for Pitched and Nonpitched Percussion Worksheet 16: Scoring for Woodw inds and Brass Worksheet 17: Transc ribing for Woodwinds and Strings Worksheet 18: Two Tra nscriptions by Tchaikovsky Worksheet 19: Scoring for Woodw inds in Pairs and Strings Worksheet 20: Scoring for Woodw inds in Threes, Brass, and Percussion Worksheet 21: Transc ribing for Woodwinds in Pairs, Harp, Strings, and Percussion Worksheet 22: Scoring for Full Orc hestra Worksheet 23: Scoring for Classic al Orchestra Worksheet 24: Scoring for Small Rom antic Orchestra

vil

11 15 25 27 29 35 37 39

43 45 47 49 51 53 59 65

67 69 71 73 75 79 81

83 85 87 89

Worksheet 25: Scoring for Full Orchestra Worksheet 26: Scoring for a Beethoven Orchestra Worksheet 27: Scoring for a Large Impressionistic Orchestra Worksheet 28: Transcribing for An Orchestra of Any Size Worksheet 29: Scoring for Voice and String Orchestra Worksheet 30: Transcribing for Clarinet and Small Orchestra Worksheet 31: Scoring for Trumpet and String Orchestra Worksheet 32: Scoring for Flute, String Orchestra, and 2 Oboes Worksheet 33: Scoring Vocal Accompaniments: Small Orchestra Worksheet 34: Scoring Vocal Accompaniments: Large Orchestra Worksheet 35: Scoring Vocal Accompaniments: Medium-sized Orchestra Worksheet 36: Scoring Vocal Accompaniments: Woodwinds, 2 Horns, Strings, Harp, and Percussion Worksheet 37: Scoring for Chorus, Brass, and Strings Worksheet 38: Scoring Choral Accompaniments: Medium-sized Orchestra Worksheet 39 : Scoring Choral Accompaniments: Medium-sized Orchestra and Harp Worksheet 40 : Six Transcription Exercises Worksheet 41 : Scoring for Student Orchestras Listen and Score: 15—20 Index of Works

vi

iC 105 10 109 11

113 115

117 119 121 127 131 135

NAME

DATE

Test Yourself I Strings 1. Name the open strings:

a.

Violin

b.

Viola

c. Cello

ND

What is the meaning of sul D?

BS

d. Double Bass

.

What is the III° string on the viola?

.

What is the I° string on the double bass?

a

.

oO

.

eon

.

-

.

What is the II° string on the cello? What is the IV° string on the violin? What is meant by scordatura? Give an example. 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 c. the tip

d. What is the downbow sign? 14, What is meant by portame

The upbow sign?

nto?

15. What is the difference between portamento and glissando? 16. Explain pizzicato .

17. What is left-hand pizzi cato 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 strin instruments. g (Write the correct notation and what the actual soun wiil d be.)

22. What is meant by artif icial harmonics? 23. Write three artificial harmonics for each of the following: violin, viola and cello. (Write , the correct notation and what the actual soun d 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:

— — a = bs —

1s

NAME

DATE

Worksheet

1

Clef Exercises 1.

Rewrite tor viola in alto clef.

3

=

aW

oo

—_!|

=)

LLL}

Ui

™~

=e

——

3 _}} i]

T

t I

2.

Rewrite for cello using bass and tenor clefs.

BE

=

_o

== il

ifI

|

if

}

a

o |

y

I

i ii { I

|

if I

I

al

= t

|

I

bas}

|

ial |

I i

T I

|

]

J

_ al t

ot

|

a

T

|

I

i

mm

I

J

it

I

I

i

1 i I!

}

ti

Tt ai

3. Rewrite in alto clef.

aa

|

al id

re

a

ron

4

|

i

2

T

1

jp

4. Rewrite in treble clef.

be

The

e

an it

5. Transcribe for Quite slowly le

YZ

viola (include bowings).

Cl

Transcribe for cello (include bowings). Use bass clef and tenor clef only.

6.

Andante con moto

4 +

t

t

te

ne

=

Jt

@°

J

r

|

+

if»

t

4

2

t

f

7. Transcribe for

violin (include bowings).

Quietly moving

|

|

ZZ

2

8. Transcribe for cello using only tenor clef (include bowings).

Slowly =

Ly

o t

=

a

|

|

| |

at]

I

I

‘t 4

le

—| 1

J

a

ee s+

9. There are errors in both of the transcriptions below. Find them, mark them with crosses above the incorrect notes, and rewrite them on the blank staff.

Original

ai

bebe |

aed

f

A

Obese

he

fy ©

y

=

te

A

Original

it

e)

oF

he —__@ wi

K

Cs

TT

NAME

DATE

Worksheet

2

Bowing 1. Bow all string parts, then consider the oboe part as if it were a solo violin and bow it as well,

Handel, Concerte Grosso, Op. 4, No. 3, first movement Oboe solo.

f—--—_#.

Violino I.

ees

Violino I.

SS

=

__+*

—

got

eee

—

==

aS

==

Viola.

SS

Bassi

ot

7)

>

SS

et

Seri

>

4

1

——

Set be

-

Pres

=p

era

ee Cio FS

Sate

SE

retot sgn

=

en.

=

a

=|

—

=

“fF

2.

ee

lr

Supply three different ways of bowing this passage. Largo

Cellos

jo

>

|wy aae

JZ. by ams

aes

ee

tla Ti

Le

J_ + a

7

9

as

a ay

ar

ae

os

ae ee

ee

|

| |

re ae Se

eas ES ON

|

2 2

it

t

ar tT y

ic

t

T

i=

2»)

r

oh

-

A

q

+ —I

me

T

f°

ii

f

i

i T 1

1

T

C

T

Tt

L

3. Supply two different bowings for this passage. Andante sostenuto

i

—

aa:

1

|

ot

EH



ANS4

i

—

{

4 oe

|

1. Listen carefully to the passage, making notes on the piano score above.

it exactly as you heard it. 3. Hint: The violas play div. 2. Orchestrate

4. There is an independent bass part, at times.

Vi

I

ll

Vila.

Vel.

oF

):

€

D.B.

11

Listen and Score

2

Mozart, Divertimento No. 10, Menuetto Tempo di Menuetto :

ia)

eo

i

|

|

an

z——*3

>

@

o

|

2

©

be.

—

¢ !

. |

7

|

=== $

ia

aa

o

—

|

i}

t

ee t

1. Listen to this excerpt several times.

2. Transcribe it for five-part string orchestra exactly as you heard it. 3. Supply dynamics.

iho

=

my

Vel.

wr

Il

D.B.

om 4

[2s

12

C

ISS ov

Z

s

a

\ >

4. Supply bowings.

IZII

&

|

a

=

!

ied

~

=|

Listen and Score Beethoven, Symphony No. 3 (‘‘Eroica”), second movement Adagio assai

ee

==

=

1. Score for string orchestra, remembering that some of the pitches may be in a different octave in the piano reduction, for practical reasons. 2. Mark bowings carefully. 3. Supply dynamics.

IT

Vel.

D.B.

iN)

LN)

Vi.

5

13

Listen and Score 4 Tchaikovsky, Serenade for Strings, Waltz Tempo di Valse

ee ee

ee

_ oT

hy

Oh~r

al

Zt

di

te,

ML

oe

Hy

iy

o

Ji)

— we

|

swat

Wd

T

alg

as

ad

ia

+H

aH

oy

ar

Be

wall

.

+"

it is

a

ly

Ae

Ky

GE 1. Listen to the excerpt carefully, bearing in mind that

3. Supply bowings.

4. Supply dynamics.

Hint: The second violins and violas play some non divisi double-stops. 4

Vn. I

fe Fs e

IMT

Oo

Vn. Tf

|

AK Sv

# ae’)

e

t

Via.

es es

Vel

YE #

|S

p.B.

~

14

E

F

pragmatic piano reduction.

2. Score for string orchestra.

5.

gb

NAME

DATE

Worksheet 4 Transcribing for String Orchestra 1.

Transcribe for full string orchestra. a. Be sure that the style is preserved and the chords demanded by the figured bass are

kept.

b. Thicken the texture and follow the repeats, orchestrating differently the second time, especially since it is suggested that the first strain be played ‘‘mf” and repeated ‘“‘p.”

G. F. Handel, Bourrée

—

Schnell +

>

f

ote

t

{

ff

:

;

te

Soe

ae

f

eee

ae mf (Wiederholung p)

ae

"

et

(Wiederholung p) t

-

|

A

t

{_.

=:

a

=

2

= .

.

f=

~

ane

:

mf (Wiederholung p)

+

—

6

6

4

+ '5

>

ft +f

~

t——=

aaa 8

¢

4

=

fF

Tt

= —— -

2

©

=

,

» i

———————

= T

f=

SS

ah

—

6h

Of

——————— 15

2. Here is a canon by Brahms. Complete it by filling in all the independent parts. Then prepare a new version, possibly beginning the actual canon with the lower voices to create new and different independent parts.

Brahms, Wann?

:

Sa ®

t

Alto

TT

—_

—*

f

Wann hért der

~

f

Hie

rs

mel.

Him |

ree

oe

4 Wann hért der

-

Him

-

stra

zu

a

4

T T

1

auf

-_

Wann!

T

t

|

-

mit

fen I

“tT

|

mel

zu

aut

-

stra

und__ init

bums

I

T

Na?

|

if

__~@-

fen

Al

mit

Vi.

|

al

|

ii

lad

+

-

‘

Ht

und_..

bums

+

|

ae!

i

Tt

T

Ty

i

1

T

A

{

a

it

r

as

[

if

——y-

Au

to

gra

rv

f

Ti

-

ie if I

A]

wann?

Wann,

§

I

[

Wann,

phen?

—_~

tte

eee |

if

il

i

=

ee

jg

Sa

|

Tp

ef}

———

7a

hal

t

t

t

1

t

z—

bes 1

T

ie

t

|

‘

t

|

t

D

16

—

1

> T

Hy

«,.

fo I

TOL

Via.

ie

ev I

ne

—

11

can|

|

t

Vi.

-

&

t

Tf

Al

—

ee

nN

? I)

Wann! :

‘sansa

3. Here is a canon by

Haydn. Complete the version below. and then create a new one. Repeated note always give the opportunity for “colorings” (pizzicato, harmonies. etc.). Try some of these techniques in the second realization.

Haydn, Die Prim, die Sekund

p ry)

i

t

:

—

rim.

Die

Se-kund. die

die

|

i

H

——

ss

c= leicht.

~

pee

oe:

.

To

wird

es

die Quart.

ON

a ——s

a

i

Ss

Terz.

Sext. die

Quint. die

ram

er

-

te

sing’ recht_ rein

:

me 1

1

lI

‘a {—+f.

See

f f

L

+=

ee oe

i=

=

f

i

eo

t

ft 2.

fe

ig

=e

fdr-wahr.

“swdr

wun

q

q

3

t

a

1

f

t

a

|

2

a

pizz.

-

o eo

N

ties ef .P

tf ee

:

:

_

l

Vi.

TT

-

H

Via.

2 ———_—— I

i

J

T

|

ee

I

I

7

a mene

I

I

oe I

ot

areo

a Se ee -

~

+

ty

~

-

al

ad

—————

Tt

2

|

feet|

oe

an

“t

a

bar.

_——

——s? |?

ene)

T

A

if

-

fr.

i

f

“|___»

|

+

;

-der

= i

f

C.

val-

en

und klar

f

VI

-

=

:

om

In- ter

man

=

Vd .

bp.

or

lernt

so

3

=

daB man sie

reicht.

ot

Ok-~-

—

T

;

}

:

1.

Va.

Sept. die

3. {

Ka - non-sang__

durch

die

-

17

rd

FS

4. Transcribe each of these two Bach chorales twice. You do not have to retain the original key or the harmonization given. Stick closer to the original in your first version, and then be more imaginative the second time. Be sure to mark bowings, dynamics, and tempo. a. Wo Gott Zum

Haus Nicht Gibt Sein Gunst

God with -

\

draw-eth,. all

Boat se

=v

T

a

the cost And

t

amt

build the—

pains that

house are lost; If

|

}

|

Cee God

keep The

doth

the

watch- ful. guards as

p may sleep.

well_

il

pet

at

last_ might

The work

do

at He

had

planned,

5

24.

|

tah im

flew

4)

F

To

i

P

P

Gal-i

- lee's fair

r

land;

I

His

an-gel quick-ly

was

Ga-bri

PF

id

____-_ His

fed

name

-

el.

an I

18

|

Als Der Gutige Gott

That God

\

|

per

b.

tS

t

J |

a

Hf

ul

a

P

iB

5.

Transcribe for strings and harp.

a. You may want to shift the melody from the bass to either the middle or the top at some point. b. Follow the dynamics and the pedaling carefully: these factors should influence the resultant orchestration.

Chopin, Prelude, Op. 28, No. 22 Molto agitato.

L———TaNn

=

-

Etet wl fieies b aay.

TeSC

as

|fei.,

sar

fe

Ye

= "> > —=== mr eeceelon, $4, a Lise Tp a.

KBD,

Hed.

(qi vO S

fob be

+

4

tt

beng

:

PPP

ee

3

=£ttttio, FS)

cd

Fi

QO.

KRD.

bw 37

HRD. HR,

=

ny

HR, a

be

baeenn

Se

ees

1

a iz

es

=

pot

re

HPD. HRD,

Oe Oe) ee

ee

sees cee

ee

=

HRD. Hed.

ee

Le

a

Sees

ie

oie

|

5

a

HO.

a See _ eats ae eee Ser STS ETL RTGS Plog

va

Pane

eager vn

SF

FS)

ER

Sea EPS

Rites

Pee

H.R.

+

ir #20.

a

err

Pd,BR

BLD

19

supplying bowings to make it sound smooth. Vary the colors occasionally, and don’t necessarily keep the melody in the octave in which it originally appears. 6. Transcribe this quite simply. carefully

Beethoven, Bagatelles, Op. 33, No.

1

Andante grazioso, quasi Allegretto. 4

KT

|

i

r

42 on

by

—" rs

The

ores

6

Ae

—F

T

yi

I

ae

oe

+ i

T

a

=a

4 1

os f iid L

ates

tif

aan

1

t

a

He

a

~

}

ere 5

ae

mcs

i”

~*~

t

sos

a

L

y

pan

Ti ee fait iid ee Oe

733

—

a2

Ay

ast

———

sf rs

Cha

ow

we

ae a

=a

oh

e

A

———=eof eof

Ais Sst {

ese si

-

CTESC.

4

-

.

=

iS

dole.

e

se

ipeFp

oF

fp

eon] Ae ra

[—

-

a

(Ese oe Vv

=p

joy

20

—

awa

trPhe ‘eine

“:

Caf

GN

oe

iis

{

2

z. ;

aetheatettt

beet .

~

[nan

ape pe Oe

Yh

i

aren —

ee iad

rg

oh

— o?

too

ei

—

ed

ae =

.

+

oS

ea

7

mae

rhe ee

:

wae

vad

ae:qa

a.

y,

i

i

ne

Pend Se

7

on

eos

Hee

ee

is

«

rote

et ea =+y ay

=

ij

P4e>

ver

eee

Oy

o,fee je)

Te

st — or og

ia

gt

3. 6

Chg!

vrBhd

jews

im

=

a

ca

ij

oa

Soeeeeee 4

ot

a

nr

if

ees

—

sae

ryt

i

1s

Seas at

ait

ze ed

7

Os

LL 4

pe

Pl

Lv

7. Transcribe for string orchestra. a.

Supply dynamics.

b. Keep the texture light, although the harmony may be thickened at times.

bowings accurately.

|

i

4

Allegro.

|

6

+ {*

Scarlatti, Sonata, No.

ii

c. Mark

_»—

fh

fi

>

‘ed

a

Tha

ts

£)

21

8. Transcribe these two canons by Thomas Ravenscroft for

full string orchestra. a. You may add independent voices, but make certain they are in style. b. The octave in which the original appears, as well as the keys, may be changed. c. Supply all bowings and dynamics.

Oken Leaves Happily

=

— in

en

the

ry wood so

|mer-

[end]

a j wilde,

when

ae

will

and

fayr

grow

you

with

thoube

jul-la- by

child,

green

a

ra

me

| maist thou

|

fend]

=

ul

la

a,

sing

_——— jul-

en tein

ae

mn

lul-_la- by,

e

S

la

Jul

la- by,

JIul-la- by

maist thou

a

sing

New Oysters In the manner of a crier 1

f New

‘=

+77

ia t a

oys-

,

a

T

new

ters,

oys-

;

1

a

groat

|

fetch us

a

—

iN

pecke,

a

a

groat

|

le

fleet

we may eate,

|

ter

oys

|

———

I

t

I

worth

wv

oe

let

us

lose

—a no

—5

“fy

~

~ with

time

.

7

| —

|

such

good

2 '

OYS*

———-

=}

[end]

'

oe

h

t

z

Es

each

pecke,

1

is

bread and wine that

—é

a

at

2 oe

ho

ters,

=

oe

t

—

+

new

'

!

oe

=

£

two

|

1

1

ters, [ena] 3

SF -pence, [end] 1

ban-

quet

for

a

prince.

*This round is ina mixed meter, alternating between two-quarter and three-quarter time.

9. Transcribe for strings and harp.

a. Use some col legno, pizz., prés de la table, and any other effects you feel are suitable. b.

All octave transpositions are permissible.

c. The dynamics and register positions should give you hints as to the instrument suitable for a particular solo phrase.

22

F= meat,

FTy a

Bartok, Wrestling

All

fe

non troppo,

i

J

TT

4

1

Ji sempre

f?

2

mar

rN

44

5

1

fo

sempre sim.

4

rN

of

of to — ar

+

Cu

V

af(sempre

simile)

ea

nag

x

of

af

aN

F706) a

Md

7

hg

ae

‘%

of

tre

oe

Bae

eer

—-

te

ah

iJ

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Watch the dynamics and the accents closely, and vary the color of the solo voice.

b. Be sure to listen to some of Fauré’s orchestral music.

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a. Be sure the score is thought out carefully so that all players have a both pitched and nonpitched instruments.

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b. In your use of nonpitched instruments, be careful to keep the result light.

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Worksheet 16 Scoring for Woodwinds and Brass a. Complete the canon and supply the missing parts, both by transcribing or carrying on the canon as given, and by adding independent parts as desired.

b.

Always stay in style.

c.

Supply dynamics and tempo, as well as phrasing indications.

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Worksheet 17 Transcribing for Woodwinds and Strings a. Complete the canon in the same manner as outlined. b. Begin it again and redo it, staying

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Worksheet 18 Two Transcriptions by Tchaikovsky Before going any further, study these two transcriptions by Tchaikovsky of two short pieces by Mozart. The original piano pieces are provided as are the appropriate pages from Tchaikovsky’s Fourth Orchestral Suite, entitled Mozartiana. Examine these excerpts carefully, paying particular attention to the skillful way in which they were orchestrated, how tastefully this was accomplished without compromising the style. After studying these pieces, listen to a recording; then look at the piano pieces by Tchaikovsky which Stravinsky orchestrated for The Fairy’s Kiss. Stravinsky shows, in these, how much he loves and respects Tchaikovsky’s music, much as the latter honored the memory of Mozart. Stravinsky does a masterful job in his transcription, greatly enhancing the music yet keeping the spirit and intent intact. Notice the Mozartian orchestral treatment thoughout the following piece, with special attention to the treatment of mm. 7—11 in the Gigue. 1a. Mozart, Menuetto

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Worksheet 21 Transcribe for Woodwinds in Pairs, Harp, Strings, and One Percussion Player olor each of the trichords slightly differently.

Notice the tempo changes and remember how each trichord is to be achieved. Be imaginative in orchestrating the melody, and don’t overuse the percussion.

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Worksheet 22 Scoring for Full Orchestra Listen to the first and fourth symphonies of Robert Schumann, and then score all or part of both of these pieces from his piano work, Carnaval. Try to imitate the full sound of his orchestration achieved by the doublings, but be sure that the melody is prominent at all times. Make a big contrast between the forte and piano sections, just as Schumann does.

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Worksheet 23 Scoring for Classical Orchestra In this orchetration use 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. Usually Mozart did not use trumpets and timpani in slow movements. You may certainly thicken the texture, but be careful to respect the harmony absolutely. Octave transpositions and doublings are permitted.

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Worksheet 24 Scoring for Small Romantic Orhcestra bassoons, 2 horns, 2 trumpets, 3 and trombones, timpani, nonpitched percussion, harp, strings would be appropriate for a. It is suggested that 2 flutes, 2 oboes, 2 clarinets.

2

this piece. b.

Try

to project a dancelike quality in your orchestration.

c. Orchestrate

colorfully, being careful of the dynamic range.

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Worksheet 25 Scoring for Full Orchestra Listen carefully to the symphonies of Brahms, especially the First and Fou..... 22.2 orchestrate these two excerpts. Listen to a piano performance of these pieces. or 78""=" play them yourself to ascertain exactly where the harmony is sustained with the pedal anc for how long, so that this may be imitated in the orchestration. Study Brahms’s doublings and try to come as close to his orchestral sound as possible. Use the same size orchestra as he does. a. Brahms,

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Worksheet 26 Scoring for a Beethoven Orchestra Here are two of Beethoven’s Diabelli Variations. As you have done in other Worksheet assignments, listen to some Beethoven symphonies, perhaps the fourth movement of the Third as well as its first movement, in which you will find typical Beethovenian treatment of the “‘sf.”’ Notice the octaves in the second part of Variation 28; give them very special and colorful orchestrations. In these variations, you will experience orchestrating a tempestuous as well as a calm, melodious Beethoven work.

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Worksheet 27 Scoring for a Large Impressionistic Orchestra 1. It is suggested that you study Debussy’s La Mer, as well as the first two of his Nocturnes, before orchestrating this Prelude. Also listen to it on the piano in order to ascertain how long the long notes are sustained. Try to be as idiomatic as possible in imitating the style that the music demands.

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NAME

DATE

Worksheet 34 Scoring Vocal Accompaniments: Large Orchestra This song will test the ability of the orchestrator to score large chords colorfully. Strauss, Ruhe, meine Seele, Op. 27, No.

1

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Worksheet 35 Scoring Vocal Accompaniments: Medium-sized Orchestra Watch the pedal effects in the piano and be sure to observe them in the orchestral transcription.

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Worksheet 36 Scoring Vocal Accompaniments: Woodwinds, 2 Horns. 3:72: and One Percussion Player (on as many instruments as desire :: Debussy, Le son du cor s’afflige from Ariettes oubliées

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p

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\-

DATE

NAME

Worksheet 37 Scoring for Chorus, Brass, and Strings a.

Voice parts may be doubled.

b. Be careful not to overshadow the voices. c.

Don’t use both brass and strings all the way throgh.

Monteverdi, Gloria patri Q

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