CHAPTER 6 EXERCISES Introduction ‘The next two chapters deal with the practical aspect of instrumentation and orchestration, For this purpose, Chapter 6 provides fifty exercises, which students will be asked to orchestrate. In Chapter 7 the original scores of these exercises and their analyses are provided. Naturally itis recommended that the information provided in Chapter 7 should be consulted only after the completion of the particular exercise, The student orchestrator will thus have the chance to compare his or her score with the original and read the analysis. If for any reason the student prefers not to do some of the exercises, the analysis should still be read because it discusses different important instrumentation and orchestration techniques. ‘There are three groups of exercises: a Exercises 1-9: strings alone 1 Exercises 10-27: strings with woodwinds or woodwinds alone w Exercises 28-50: G strings with woodwinds and brass instruments © woodwinds and brass instruments or brass instruments alone © different groupings including plucked and keyboard instruments as well as percussion A reference table is provided below to assist students in making their choices among different types of exercises: for example, exercises for polyphonic scoring of strings and woodwinds or exercises for homophonic scoring of brass instruments. Important guidelines for the exercises Each exercise consists of a condensed score preceded by instructions. The condensed score is a contraction in which all of the lines used in the original score and their octave doublings, all of the dynamic markings, all of the articulations and all of the rhythmic data are provided. Although a list of the instruments involved in each exercise is given in the instructions, the orchestrator has to choose which instrument will be playing which of these lines. Furthermore, special effects such as pizzicato, con sordino, col legno, and so on, are not provided and so have to be decided by the student. While orchestrating from a condensed score: All of the instruments listed in the instructions, all of the lines, octave doublings, dynamics, articulations and rhythmic data provided must be used. 1 These cannot be modified, nor can anything be left out. © No additional lines, notes or octave doublings may be added. Unless the instruction “Not all unison doublings are shown in the condensed score. Use them wherever necessary” is given, no additional unison doubling can be done. © The voices may not be moved up or down to other registers. These are some of the challenges of orchestrating condensed scores. Compromising the - instructions with excuses like “I could not find a line for Horn III, so I did not use it” “[ thought an English Horn would sound better here, so I added one,” or “I did not think an octave doubling would be necessary here, so { left it out” should not even be considered, Escaneado con CamScanneryr we wevevwewez FF Y fh 258 Exercises Further information about the condensed scores Each condensed score is taken from a major orchestral work. Following general information about the excerpt, alist of the instruments involved in that particular section (not in the entire composition) is provided. ; An analysis of the excerpt is crucial before its orchestration is attempted. Even if a small one, each condensed score isa complete unit within the original composition, Therefore its orches- tration should not only conform with the aesthetics and other criteria of the composition but also reinforce them. The “Hints for the exercise,” which precede each exercise, should be con- sidered before attempting to orchestrate the work. Since all of these exercises are taken from well-known works, the basic color of their orches- tration may be known to students. In our experience this is not a disadvantage but rather the contrary. One should actualy try to follow the sound in “the eat” and orchestrate accordingly, After comparing this “new” version with the original score, one will be convinced, even sur- prised, how deceptive the acoustical memory can be. The condensed scores are in C. All necessary sranspositions must be done while scoring. In some of the condensed scores there is an added small staff below the main regular ones, ‘These added staves have the parts of the instruments that are not included in the main con- densed score. For example, Exercises 1 and 2 are basically for the strings alone. However, in Exercise 1 the bassoons and in Exercise 2the horns have a secondary appearance without really changing the string sound. That is why their parts are added separately on a small staff. Such parts written on small staves must be copied by the student and included in the score, These exercises will also help students who may have very little information about instrumen- tation and orchestration. One learns a lot from one’s own mistakes as well. As an old saying goes, “If you want to learn to swim, you must first jump into cold water.” The design of the score page and notation ‘The score page usually has the instruments in a certain order. Needless to say, the instruments used change from one composition to another. They may also change in different movements of the same work. In order to save space, the instruments that are not participating at certain places may be omitted from the score page until their next appearance. (This technique has been used in the notation ofthe scores in the next chapter of this book) ‘The instruments usually appear on a score page inthe order shown in the box: Celli and double basses may be written on the same staff if they play (more or Piccolo less) the same line, Flutes Sufficient information is given in the previous chapters about the notation of all Oboes theseinstruments. Only some of it will be repeated here, together with anumber English Horn of important general rules for score writing: Piccolo Clarinet 19 The beginning of each score page has one straight line joining all staves. Clarinets The following barlines, including the last one on every score page, join only Bass Clarinet the staves of the instruments of the same section: woodwinds, brass instru- Bassoons ‘ments, strings. Individual instruments like timpani, all keyboard and plucked Contrabassoon instruments as well as most of the percussion instruments of definite pitch French Horns do not share barlines. The ones without a definite pitch may be joined with ‘Trumpets a common barline or not. Clarity is the most important criterion here. For Sata certain groupings of percussion instruments, refer to the chapter on these Le instruments. Escaneado con CamScannerae Introduction 259 i Appropriate hey signatures and accidentals mus be provided frallinstu- sents. French Horns (natural or valve) and natural trumpets receive no acci- | 10 dentalsin orthodox scoring. Key signatures of transposing instruments must | Ji™pani be provided accordingly Percussion all instruments must receive their own individual time signature and dyna. | stumen's mics. (On scores fom the twentieth century onwards however, largeand_| C*8* easily visible time signature may be notated only between the staves of main ae sections or only above and under the main score, This technique is particu- cn te : larly useful, especially for conductors if there are frequent metric changes.) a I Wiring a single, general dynamic for the orchestra or a group of instu- | oop rents should be regarded as extremely unprofessional, and orchestratorsare. | 4) i strongly discouraged from doing that. aan 1 Allthe same beats must line up vertically. If, say, the second beat of the bas- eee, soons overlaps with the third beat of the trumpets, the score will be very if- ficult to ead. For that reason it is recommended to notate the “busiest ines” first, then complete the rest ofthe voices, a task that could be disregarded if using a computer notation program, 1 In those works where the orchestra takes over the role of accompaniment (eg, concerti), the solo instrument is traditionally written above the Violin I ine, whereas any vocal parts andor choir are placed between Viola and Cello, sometimes also above Violin I About the symbols and different’notation techniques used in the condensed scores ‘A condensed score consists of two (very occasionally one) or more systems. Although these systems are designed more or less in an order going from higher registers to the lower ones, they do not necessarily conform with the order of the instruments as they appear on the score page (woodwinds, then brass, then strings, etc.). There is no rule for this, For example, if a melodic line is orchestrated in the original score by the cell in the small octave, horn in the ‘one-line and oboe in the two-line octave registers, they will most likely appear on the same staff of the condensed score. On the staff underneath, for example, the clarinet and second violins could be notated: Andante ——> (Oboe) Hom) (Cello) (Clarinet) win) In order to save space and make the notation as clear as possible, chords and octaves are usually slurred and/or tied only with one or sometimes two lines. In such cases all chord notes should receive the same slurs/ties in the score unless otherwise stated (a). Sometimes, however, all slurs/ties are given to avoid misunderstandings, depending on the circumstances (b). Therefore there is no difference between the following two examples: Escaneado con CamScannerBIBLIY FEUM TAN 260 Exercises a b. — — == = Ifa group of notes are slurred with broken lines, this means that those notes will be played at least by one instrument or a group of instruments legato, by another one non-legato. If unison doublings are allowed in that particular exercise, more than one instrument or group can play the same line, itn. GS SSS Otto, = $ Ifa group of notes receive two different articulations this means that those notes willbe played by two different instruments, each playing with one of these articulations. As above, if unison doubling i allowed in that exercise, more than one instrument or group can play the same line: Straight broken lines indicate voice leading, A certain part can split into two or more (a), or two or more voices can unite into one (b): Ist laste. ‘2nd Inst. 7 tetas // 3d ase SS = —S i / 4h Inst, rad aa Escaneado con CamScannerIntroduction 261 on ay ifunison doublings take place on the same staff, these are normally shown in one of the fol- lowing four methods (option (A) is only rarely used; the unison doubling is very obvious here asa result of voice leading and should be carried out by the orchestrator): a be G d, == $55. == == Ifsturs cross each other in the following manner, they indicate not only the articulation but also the voice leading: Ast Instr, 2nd Instr. S=> FS — om. = wo Sr Ifone dynamic marking is followed by another one in brackets, this means that the same line or note will be played by different instruments (even of the same family!, each receiving one of those dynamics: IstInst, Ip o Orchestration and form Theres strong relationship between form and orchestration. For that reason we have to keep the following in mind: Orchestration helps to emphasize the form of a composition. For example, as we seein the music ofthe Romantic period, every new idea or evry repetition of an existing idea almost always receives a new instrumentation, However, the analysis ofa form with regard to instru. ‘mentation and/or orchestration can differ from the analysis of form used by music theo. tists and musicologss. These diferences can be important, especially in the analysis ofthe subdivisions of a composition. For example, two sections that may count as two different Escaneado con CamScanner ne @ Me Oe A dk bb HB BB a a dadaweed EES oi! 262 Exercises SRS tlt et se subdivisions in formal analysis may have the same instrumentation throughout and therefore Count as one whole section for us. On the other hand, one complete section with no subd sions in formal analysis may have three different instrumentation sections, thus counting as three separate parts for us. These differences, however, are not always present, and they tend to disappear as the analyzed forms get larger. For the sake of simplicity the textural descriptions of the excerpts in the exercises are condensed to three types in this book: homophonic, polyphonic and mixed textures. It should be consid- ered that many homophonic textures, especially in orchestral music, have some polyphonic ‘elements and vice versa, For that reason this classification should be adopted with a degree of flexibility. ® Homophonic texture has either a single melodic line with or without some kind of accom- paniment (without outstanding melodic activity!) or a chordal texture where all elements (melody, harmony, bass) share more or less the same rhythmic structure. Sometimes ahomo- phonic texture consists of chords only (i.e, no melody). 5 Polyphonic texture has two or more melodic lines simultaneously. These lines do not have tobea main orleading line. All kinds of subsidiary lines, countermelodies, heterophonicele- ‘ments, imitations, diverse contrapuntal lines, and so on, as wel a all polythematic textures, are included here. Mixed texture has features of both ofthe two types mentioned above; none of them is really dominant. Terminology Instrumental register in instrumentation strictly refers to the instruments and indicates the different locations throughout their range (e.g, low register on the flute, high register on the trumpet). Orchestral register is used to refer to different levels of the orchestral range (eg, alto-tenor register or soprano register). For further clarification: c, for example, isin the lowest register of the flute, middle register ofthe horn, highest register of the contrabass tuba and alto register ofthe orchestra. ‘The term function, which appears in the text of this and the next chapter, generally refers to the melodic, harmonic and bass functions in the composition. The lowest voice is the bass function, regardless of the register. All voices other than the melody and bass lines should be considered as harmonic function. Harmonic lines can be written above the melodic line but not below the bass line or the lowest octave doubling of the bass line. Color stands for the instruments, coloring basicaly for the instrumentation. “Right and wrong” ‘The orchestration of the student orchestrator may be very different from the original. This is perfectly allright. As long as the student stays somewhat inthe style of the composer and/or the period andhasa well-planned, solid approach to orchestration which is devoid of technical problems such as performance difficulties or impossibilities, incompatibility of instruments, dynamic imbalances, overuse of instruments, and so on, his or her orchestration will be suc- cessful The supervising teacher will be rather frequently surprised to observe what beautiful alternatives to the original scores can be offered by students. Escaneado con CamScannerIntroduction Reference table for the selection of specific exercises Homophonic textures Polyphonic textures Mixed textures Strings 34,5 29 1,6,7,8 ‘Woodwinds 10, (17), (20), (21), (16), (17), (19), (22), (10), (17), (22), (24) (22), 26,27 (23) Strings + woodwinds 12,15, 18,(26),(27) 11, 14, 16,25 13,17, 19,20, 21, 22,23, 24 Brassinstruments 33, 39 (40), (50) Woodwinds -+brass 32, 43 (40) (40), (50) instruments Strings + woodwinds 30, 34, 41, (43) 37, 38, 40, 48, 49, 50. 28,29, 31, 35, 36, 44 + brass Other combinations 42 : 46,47 45 ‘The numbers without parentheses indicaté the primary exércises for those particular instru- sents and that type of texture (eg, exercises 12, 15 and 18 are to be used to practice scoring of homophonic textures for strings and woodwinds). The numbers with parentheses are the secondary choices. For example, exercises 26 and 27 could also be used for the strings and ‘woodwinds, but this combination takes place either briefly or is of lesser importance in these exercises. On the other hand exercises 26 and 27 ar listed without parentheses forthe scoring cofhomophonic textures for the woodwinds, where they are of central interest. “Other combinations” include some plucked and keyboard instruments together with other instruments. Timpani have been used in the exercises numbered 14, 20, 28, 29, 32-37, 39, 40, 43 and 50. In exercises nos. 28, 29, 37, 40 and 50 the notation of the timpaniis hidden in the condensed score. Some percussion instruments have been used in exercises nos, 19, 22, 34,42, 43, 45 and 50. ‘Their notation is given on a separate staff in the condensed score except in exercise no. 42, where the notation is given but it is not revealed which of the listed percussion instruments ae playing at those particular moments. In exercise no. 50 only the names of the participating percussion instruments are given, with no indication of their notation. Escaneado con CamScanner 263Schumann: Symphony No. 1 in Bb major 269 Exercise 4 Robert Schumann: Symphony No. 1 in Bb major, 2nd movement General characteristics: an orchestral excerpt in Romantic style of homophonic character Instruments: Violins I, Violins Il, Violas, Celli and Double Basses Hints for the exercise: a Score this excerpt in two ot more ways. 1 Pay attention tothe slurs in the condensed score; they will guide you regarding the voice crossings. 13 Nounison doublings are necessary in the score. Larghetto (2 = 66) Escaneado con CamScannerTchaikovsky: Serenade for Strings am Exercise 6 Peter Ilyich Tchaikovsky: Serenade for Strings, 1st movement, “Pezzo in forma di sonatina” General characteristics: an excerpt in’ Romantic style of homophonic, chorale-like character with occasional contrapuntal elements Instruments: Violins I, Violins II, Violas, Celli and Double Basses Hints for the exercise: 8 Try to create contrasts between the sections of this exercise. 4 In m. 3 ofthe condensed score, only the g' and g" are tied. Middle notes are to be played détaché, # Inm. 15 use triple or quadruple stops in the fff chord (except in Double Bass). 1 All unison doublings are given in the condensed score. No further doublings are necessary. ‘Andante non troppo (2 = 126) sempre maratssino ff marcazsino — LL RD Escaneado con CamScannerTchaikovsky: Serenade for Strings 273 Exercise 8 peter Ilyich Tchaikovsky: Serenade for Strings, 2nd movement, “Waltz” General characteristics: an excerpt in Romantic style of predominantly homophonic character with contrapuntal elements : Instruments: Violins I, Violins II, Violas, Celli and Double Basses Hints for the exercise: Every instrument should be assigned one particular function. However, at a certain point a brief exchange of functions between two instruments will be needed. 1 No unison doublings are necessary in the score. Escaneado con CamScanner274 Exercises (Moderato, Tempo di Water d. = 6) Escaneado con CamScanner286 Exercises Exercise 15 Ludwig van Beethoven: Symphony No. 5 in C minor, 2nd movement General characteristics: an orchestral excerpt in early Romantic style of homophonic character Instruments: Flutes I-II, Oboes III, Clarinets I-II in Bo, Bassoons I-I], strings Hints for the exercise: © This excerpt has two sections, which are further divided within themselves. Find these sec. tions as well as imitations or echo-like units. Score these with mixed and unmixed colors. Be careful not to use excessive contrasts (such as changing suddenly from a pure wind sound to a pure string sound). Milder contrasts, such as only woodwinds (or only strings), followed by a mixture of these groups should be considered instead. This is a technique frequently used in the Romantic orchestration of central Europe. & Notall unison doublings are shown in the condensed score. Use them wherever necessary, Escaneado con CamScannerBeethoven: Symphony No. 5 in C minor 287 (Andante con moto) it See Si orl Escaneado con CamScannerTchaikovsky: The Nutcracker Overture Exercise 19 peter llyich Tchaikovsky: The Nutcracker Overture General characteristics: an orchestral excerpt in Romantic style of homophonic character with occasional polyphonic elements : : oe Instruments: Piccolo, Flutes I-II, Oboes I-II, Clarinets I-II in Bb, Bassoons I-II, Violins I-II, Viola (+ Triangle) Hints for the exercise: g There are two sections in this excerpt with two different formal functions. Try to create a big color contrast between these two sections. 1 Use the woodwinds as the main group. The woodwinds and strings.should be independent of one another and have totally different functions with no doublings. No line or figuration should be shared between these two groups. & The octave sign at mm. 39-40 involves all of the pitches on the upper staff. 8 Try to divide the line consisting of sixteenth notes (third staff) between two groups of your choice or within a section in order to make it easily playable. This technique is called “splitting.” § Allunison doublings are given in the condensed score except the ones that Tchaikovsky used inthe sixteenth-note figuration (third staff). For pedagogical reasons these doublings are not shown in the condensed score and thus the student is expected to find them. Escaneado con CamScanner294 Exercises rf {Allegro glusto) _ Escaneado con CamScanner330 Exercises 4 Exercise 35 Peter Ilyich Tchaikovsky: Symphony No. 5 in E minor, 1st movement General characteristics: an orchestral excerpt in Romantic style with mixed elements Instruments: Flutes I-III, Oboes I-II, Clarinets I-II in A, Bassoons I-II, Horns I-II and IV in E Trombones I-III, Timpano in G, strings Hints for the exerci © This excerpt has harmonic and contrapuntal elements in its texture. Classify these elements and score them in such a way that the resulting sound will be as clear as possible. ® Notall unison doublings are shown in the condensed score. Use them wherever necessary, Escaneado con CamScannerTchaikovsky: Symphony No. 5 in E minor 331 (Allegro con anima d. = 108) us Escaneado con CamScanner344 Exercises Exercise 41 Modest Mussorgsky / Maurice Ravel: Pictures at an Exhibition, “Promenade” General characteristics: an orchestral excerpt in late Romantic style of homophonic character Instruments: Piccolo, Flutes I-11, Oboes I-IHf, Clarinets I-I in Bb, Bass Clarinet in Bb, Bassoons I-II, Contrabassoon, Horns I-IV in F, Trumpets I-III, Trombone II], ‘Tuba, strings Hints for the exercise: 8 Compare the original piano composition with the condensed score to learn more about the scoring ofa piano piece with regard to dynamics, doubling, articulation, and so on. & Use only the brass instruments inthe first eight measures. Then change your orchestration, 18 There is no tutti in this excerpt. Although quite a full sound is achieved at m. 13, the third trumpet, trombone and tuba do not play in this measure. Notall unison doublings are shown in the condensed score. Use them wherever necessary. Allegro giusto, nel modo russico, senza allegrezza, ma poco sostenuto he Escaneado con CamScannerMussorgsky / Ravel: Pictures at an Exhibition, “Promenade” 345 _—_— ————rrv—rrvrevveeereewee=~_scov Escaneado con CamScanner nm =a hOU-:F”6hlCAn OCOUKF 68 4a >. i a =