THE TECHNIQUE OF ORCHESTRATION Second EditionLA TROBE UNIVERSITY LIBRARY © 1970, 1952 by PRENTICE-HALL, IN ‘Englewood Cliffs, New Jersey All rights reserved. No part ofthis book may be reproduced in any form or by any means without ‘permission in writing from the publisher. Printed in the United States of America 13-900316.9| Library of Congress Catalog Card No. 77-79830 Current printing (last digit): 987 PRENTICE-HALL INTERNATIONAL, INC., London PRENTICE-HALL OF AUSTRALIA, PTY. LTD., Sydney PRENTICE-HALL OF CANADA, LTD., Toronto PREFACE ‘This second edition, which appears some eightcen years after the first, is prompted partly by the need to bring information on instruments and orchestral practice up to date, partly by the desire to make certain changes and additions calculated to give the book greater clarity and completeness. Portions of it have been reorganized; a chapter on special devices has been added; the chapter on infrequently used instruments has been made more comprehensive; and considerable material (including examples) on twen- tieth-century developments in orchestration has becn inserted, especially in the chapter on scoring for full orchestra. [As in the first edition, the emphasis is on the practical fundamentals of orchestration. No attempt has been made to give a detailed account of the construction of instruments, and historical background has been included only where it seemed essential to an understanding of the modern instru- ‘ments or of scores of an earlier period. ince most orchestration classes include students who are majoring in music education and who will be working with high school orchestras, certain problems involved in scoring for such groups are mentioned from time to time, and a short chapter is devoted to that subject. Tt seems self-evident that a knowledge of various styles of scoring must be ‘gained principally through a direct study of scores themselves. Consequently, this aspect of orchestration has been left largely in the hands of the individual teacher, to be undertaken as scores of different periods are taken up in class Some thoughts concerning this phase of the work are included in the “Sug- cnutne far the View nf This Raank that fallpue Apmis ue 205 Ayary: sr0py pod amp aye Supaq Jo peal portosa, uouuyy oy MOO SIHL JO ASN AHL YO SNOLLSHDONS MOL “IMO paqns Af sxoU sf soquumu asay pungjoad stp “0 jasoud pure ased Bunun oywhich should be covered if Chapter 19 on scoring for high school orchestra is assigned, Since much of the most important material on orchestration can. be learned through a study of symphonic scores, it would seem best to equip the student for score reading as quickly as possible. With that end in mind, the author recommends moving fairly rapidly through the first nine chapters of this book rather than dwelling very long on any one of them. Once the student has acquired enough knowledge of all the instruments to undertake score reading, it is always possible to return to individual instruments or sections for more concentrated work. As far as the choice of music for score study and listening is concerned, the author feels that shorter works are preferable~at least in beginning orchestration courses, where time is generally at a premium. ‘The student can grasp the esential characteristics of Mozart's orchestration about as well from the Overture to The Marriage of Figaro as he can from the C Major Symphony (“Jupiter”), for example, and the choice of shorter works allows for the study of more scores of various styles within the allotted time. As a minimum program of score study, one work from cach of the following groups is suggested: 1, Haydn, Mozart, Beethoven 2, Tchaikovsky, Rimsky-Korsakoff, Wagner 3. Debussy, Ravel 4. Richard Strauss There are, of course, many other composers (including contemporatis such as Stravinsky, Hindemith, and Barték) whose music may also be ine cluded if time permits, Following are a few of the many scores that might be used for class study and listening: Mozart, Overture to The Marriage of Figaro. Beethoven, Leonore Overture No. 3; Egmont Overture; Coriolanus Overture. Weber, Oberon Overture; Der Freischitz Overture, ‘Tehaikovsky, Romeo and Juliet Rimsky-Korsakofl, Capriccio Espagnol Wagner, Prelude to Die Meistersinger; Prelude to Parsifal; Prelude and Love Death from Tristan und Isolde ; Overture to Tannhiuser Debussy, Prelude to The Afternoon of a Faun: Ravel, Boleros Le Tombeau de Couperin; Mother Goose Suite. Strauss, Till Eulenspiegel; Don Juan; Death and Transfiguration Stravinsky, Fire Bird Suite. In this lst, shorter works of the composers represented have been chosen wherever possible, for reasons mentioned earlier. As for longer or more Berlioz, Fantastic Symphony Mussorgsky-Ravel, Pictures from an Exhibition, Tehaikovsky, Symphonies No. 4, 5, and 6. Franck, Symphony in D minor Brahms, the Symphonies. Mahler, the Symphonies, Debussy, Ibéria; La Mer; Nocturnes. Ravel, Daplnis and Chloe Suite No. 2. Stravinsky, Petrouhka; The Rie of Spring; Symphony in Three Movements, Prokofieff, Symphony No. 5. Hindemith, Symphony: Mathis der Mater. Barték, Concerto for Orchestra. Schonberg, Variations for Orchestra, Op. 31 At the end of many chapters in this book, suggestions for listening are given. ‘These involve passages from symphonic music that make prominent Use of the individual instruments or groups discussed in the respective chap- ters, Also valuable for listening purposes are the numerous commercial record= ings that give, on one or two disks, characteristic passages for all or most of the orchestral instruments. Some of these recordings are listed here. They (or portions of them) may be presented as they become pertinent to the material being studied, Britten, The Young Person's Guide to the Orchestra, Columbia ML. 4197. Varia tions and fugue by Britten on a theme of Parcell illustrate the various instruments. Liverpool Philharmonic Orchestra, Sir Malcolm Sargent, conductor. First Chair. Columbia ML 4629, Soloists with the Philadelphia Orchestra, Eugene Ormandy, conductor. ‘The Complete Orchestra. Music Education Record Corporation, Columbia transcription, XTV 25861-25870, Wheeler Beckett Orchestra of New York, with comments by the conductor. The Composer and His Orchestra, Mercury, SR-90175. Eastman-Rochester Orchestra, Howard Hanson, conductor and narrator. Examples from Hanson’s Merry Mount Suite, which is also recorded in its entirety. Instruments of the Orchestra, Capitol-Angel, HBZ-21002 (mono only), Music Edlucator’s Series. Various artists; commentary by Yehudi Menuhin, For use in elementary and secondary education, The Instruments of the Orchestra. Vanguard, VRS-1017/8. First desk men of the Vienna State Opera Orchestra, David Randolph, narrator. Instruments of the Orchestea, Victor, 205224, Members of the National Sym- phony. Howard MitcheltMeat the Orchestra, Bowmar Records, 122. Sound-Filmstrip Set. Study prints (3 121) and full color posters of instruments (123) also available Intended primarily for use in elementary and secondary education In planning this book, the author had in mind a year’s course in orches- tration. When the book is used for a course of only a semester's length, even a cursory covering of all the material in it will probably not be feasible The decision as to what material to stress and what to pass over lightly (or omit altogether) must rest with the individual teacher and will be deter- mined by the particular needs of his students. Actual music to be used for the exercises in scoring is not included in this volume but is available in Orchestration Workbook 1 Workbook II, also published by Prentice-Hall, Inc. Orchestration CONTENTS Chapter 1 INTRODUCTION Chapter 2 THE STRINGS Chapter 3 THE STRING ORCHESTRA Chapter 4 BOWING AND SPECIAL EFFECTS Chapter 5 THE WOODWINDS Chapter 6 THE WOODWIND SECTION Chapter 7 THR HORN 32 51 74 103awe ve cee zee ere XSQNI AHAVHDOITaIE SINGHOUISNI 10 STONY a xpuoddy SWUAL TWULSTHOUO ‘SINTANEISNI HOL SUAYN NOIGHOI 40 LSIT Vy xpuoddy SUU¥d ONY TYOOS ONTLEM 0 VUISTHOUO TOOHDS HOIH HOS ONTYOOS ol SINEWMUEISNI GISN ATININOTANT at ssideyy ase ee rez zat 9st ost ret atx VUISTHOUO TIAd YOX ONTEOOS ‘gt saideyy, ONVId ONY ‘VISTI ‘quVH THE sr amdeyy, HOLd GLINIGIONI JO SINTANUISNI ‘NOISSNOUE THL sr sovdey, HOLId ILINIUIC JO SINZANUISNI *NOISSNOUHd HHL er sadouy, SONIYIS ONY ‘SNUOH ‘SANIMGOOM ¥Or ONTEODS: zt aadeyy OISAN ONVId ONIGIOSNVEL NI SWITIOUd Trade, VUISTHOUO YO ANY NOILOES HOVE Yor SCYOHO JO ONTHODS 1 smdeyg NOLES SSWHE THE B39doq VAN ONY 'INO@NOUL ‘IgdWAUL THE audeNOILLYHLSHHOUO IO ANOINHOSL FHLChapter 1 INTRODUCTION How does one go about learning orchestration? In the first place, there is a certain amount of factual information that must be acquired. Under this heading come the following: Names of instruments and orchestral terms (including Italian, French, and German equivalents, because many scores are. printed” in these languages) ; Order of instruments on the page; Ranges of instruments; Proper notation, including transpositions and special clef; General technical abilities and limitations of each instrument (although this does not necessarily involve the ability to lay the instruments); Principles of combining and of balancing instruments; Characteristics of various “schools” of scoring. This material can be learned from classroom explanations, from books, from talks with orchestral players or demonstrations by them, and from a close study of orchestral scores. | But there is another type of information, which can be learned only by careful and frequent listening (along with score-reading) over a considerable period of time. 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