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Arranging For Band Reference PDF
Arranging For Band Reference PDF
Arranging For Band Reference PDF
Instrument Ranges and Techniques
MUS‐E312 Arranging for Vocal and Instrumental Groups
Instrument Range/Tessitura Transposition Considerations
‐ Avoid unison writing for two or more piccs
‐ Avoid writing high and soft
Piccolo 1 octave above ‐ Low register: woody, breathy, hollow, does not project well
(Dylan) written ‐ Mid register: most characteristic sound
‐ High register: Piercing, shrill tone
‐ Similar to flute in technique
‐ Low register: airy, tone closer to the oboe, typically flat, tends to be
soft and blends well with other instruments
‐ Middle register: Clear, full sound, will be heard above the ensemble,
good for doubling the oboe part
Flute ‐ Upper register: can be piercing, usually sharp, difficult to tune across
No transposition
(Sarah F) the section, the loudest of the flute (difficult to play soft), good for
bringing put upper harmonics of the ensemble
‐ Vibrato is used to help create a shimmering effect; no vibrato can be
used to create a different colo and for jazz
‐ Used in orchestra, wind choirs, jazz, band
‐ Low range: thick and reedy, appropriate for slower passages
‐ Mid range: rich and distinctive, effective dynamics
‐ Mid‐upper range: bright sound and agile
Oboe
No transposition ‐ Upper range: Piercing quality
(Meg)
‐ Notes speak clearly and can flow throughout the entire range
‐ Can do single and double tonguing
‐ Upward slurs are more difficult than downward slurs
‐ Wide range of timbre with large range
Bb transposition: M2 ‐ Clarinets appear in orchestras, bands, marching band, and jazz
(most common) ‐ Usually have multiple parts per ensemble
Clarinet ‐ Does an excellent job at fading away to nothing
(Morgan) Play a sounding C? ‐ Typically carries melody or plays a supportive role with
Write a clarinet D. countermelody
‐ Does not use vibrato, double‐tongue
‐ Can add a flourishy effect to the ensemble
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Instrument Range/Tessitura Transposition Considerations
‐ Lowest register is the most resonant and clear; blends well with low
brass, bassoons, and other low voices
‐ Middle range is good for cutting through ensemble; supports clarinet
Bb plus an 8vb choir particularly the 3rd clarinet part
‐ High register has a unique sound similar to saxophone; difficult to
Bass Clarinet
Play a sounding C? project and should be avoided
(Trevor)
Write a bass ‐ The break exists between Bb and B‐natural in the staff; parts should
clarinet D. stay primarily above or below this break
* Lowest note is with a C‐extension ‐ Avoid large leaps, piano dynamics in the upper range, heavy staccato
in the low range, doubling with higher‐pitched instruments; excessive
doubling or boring parts
‐ Can be used in bands, orchestras, and chamber groups
‐ Notated in bass, tenor, and alto clefs
‐ Low register is thick and reedy
‐ Low‐middle register has the fullest ‘bassoon’ sound
‐ Upper middle register is thin and reedy
‐ Upper register is also thin and reedy with lots of different fingerings
Bassoon
No transposition ‐ Versatile instrument that can easily play octave jumps, lyrical playing,
(Tiffany)
and can play humorous sounds
‐ Avoid soft playing in extreme ends of the range, quick articulated
passages in low register, playing the same part as the bass clarinet,
and Variations on a Korean Folksong
‐ Techniques: flutter tongue, air sounds, timbre changes, key clicks
‐ Related family: contrabasson
Eb transposition: ‐ Prevalent in jazz band, combos, and concert band with only specific
M6 pieces for orchestra
Alto Sax ‐ Mainly used as melodic instrument and can include solos
(Andrew) ‐ Can play a part similar to the French Horn, due to their similar
Play a sounding C?
Write a Alto Sax A. timbres.
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Instrument Range/Tessitura Transposition Considerations
‐ The third voice of the sax section
‐ Can be played in a variety of styles from jazz, funk, band
‐ Capable of many expressive techniques (vibrato, bends, glissandi,
Bb transposition: trills)
M2 plus 8vb ‐ Capable of both linear and arpeggiated lines
Tenor Sax
‐ Response is slower in low register, especially RH pinky keys
(Robbie)
Play a sounding C? ‐ Notes are often shrill and out of tune in high register, especially LH
Write a Tenor Sax D. palm keys
‐ Most characteristic range: D below staff ‐D above staff
‐ Lower register blends well with trombone and horn
‐ Upper register blends well with trumpet
‐ The lower and middle registers produce the best tone on the
instrument
Eb transposition: ‐ Articulations include legato, staccato, and double‐tonguing
M6 + 8vb ‐ Breaks are fairly consistent across the instrument
Baritone Sax
‐ Functions as a low‐register instrument and sometimes as a bass in an
(Regan)
Play a sounding C? ensemble
Write a Bari Sax A. ‐ Difficult to play in low registers
‐ Multiple levels of vibrato
‐ Special techniques: flutter tonguing, slap tonguing, multiphonics
‐ The sound in the lower octave of the horn is weak and easily covered
F transposition: P5 ‐ The middle range has a tone that can vary between dark and bland;
(most common) often used for sustained chordal texture
French Horn
‐ Can sound lyrical or heroic when used in solo or in unison
(Sarah M)
Play sounding C? ‐ The higher the range, the stronger and brighter the sound
Write a F Horn G. ‐ It is common to interlock the harmony parts across horn parts
‐ The horn can be muted with the hand (stopped tones) or with a mute
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Instrument Range/Tessitura Transposition Considerations
‐ Typically carry the melody in band and orchestra; jazz used for
melody or ‘hits’; can also be used in a variety of brass ensembles
‐ Mutes can be used and change the timbre of the sound (straight, cup,
Bb transposition: M2
harmon, plunger)
(most common)
Trumpet ‐ Allow the trumpet player opportunities to breath
(Suzanne) ‐ Consider trumpet player endurance when arranging
Play a sounding C?
‐ Give special consideration to articulation markings; trumpets are
Write a trumpet D.
conducive to many different kinds of attacks
‐ Consider the speed of the notes with regards to your articulation and
playing ability
‐ Conical bore
‐ Has the same pitch as trombone along with similar tone color
‐ Upright bell or bell‐front
Euphonium ‐ Dark, rich, mellow tone
No transposition
(Effie) ‐ Articulation: single tonguing, multiple tonguing, flutter tonguing,
staccato, piccato, sforzando, legato
‐ Lip slurs and glissandos; vibrato should be natural and well‐suited
‐ Mutes are used; typically raises pitch 14‐25 cents
‐ Special techniques: glissandos, trills, vibrato
‐ Mutes can be used and change the timbre of the sound (straight, cup,
wa‐wa, plunger)
Trombone
No transposition ‐ Can accompany vocal music
(Eric)
‐ Often plays the alto, tenor, or bass ranges and functions within the
total orchestral soundscape
‐ Also featured in jazz as an ensemble and solo instrument
If BBb tuba: ‐ Conical bore which means lots of harmonics
M2 + 2 octaves ‐ Upper range isn’t particularly brilliant
Tuba below ‐ Lower range are the strongest and most resonant
(Tamara) ‐ Timbre is akin to French horn because of its conical bore
If C tuba: ‐ Used in band, orchestra, marching band as a sousaphone, and jazz
two octaves below ‐ Special techniques: growling, flutter tongue, vibrato, mutes
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Instrument Range/Tessitura Transposition Considerations
‐ Use the fingers to generate sound
‐ Has to be manually tuned per string per performance
‐ Only comes in one key; have to adjust pedals to change the key of the
No transposition
instrument
‐ Special techniques: harmonics, whistling, pedal slides, pedal buzzes,
Harp Has foot pedals to
knocks on soundboard, paper in strings, rod/pencil in strings, nai
(Felicia) change the
glissandos, Pres de la table
instrument into
‐ Check out http://www.garritan.com/tutorial/GPO_HarpTutorial.html
different keys
Information combined from instrument presentations in:
MUS‐E312 Arranging for Vocal and Instrumental Groups
Todd Fruth, instructor, Fall 2010
Trevor K. Ousey, editor
tkousey@indiana.edu
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