Orchestration

1. Course Promo: Yes. Yeah. 2. Course Structure: this course is divided into two parts. Part one is on instrumentation, and part two is on orchestration. Instrumentation is an important and necessary for step, since you can't write for orchestra. If you don't know about the individual instruments of the orchestra in Part one, you will learn how each instrument is constructed, how they produce sound, how they're properly notated. They're playing in sounding ranges, register characteristics, dynamic capabilities and common playing techniques. In part to you learned basic concepts for writing for orchestra, including how to create and effectively use different Tambor's and textures. The best methods for scoring cords, the roles each instrument and section play within the whole, how to properly prepare scoring parts and how to prove before publishing the course concludes with an entire section of helpful orchestration, tips and techniques. There are also a number of useful reference charts in the appendix. At the end of each section, you will be given score reading and listening assignments, composing assignment and or a quiz. A vital component to the study of orchestration is score rating, and so throughout the course, you will be asked to read scores. There are some score excerpts in the course, but the majority of score reading will be done on your own. There is an important reason for this. Taking a course in orchestration is a great start to learning how to write for orchestra. But the only way it's become truly knowledgeable and skilled in this very complex art form is through a lifetime of score study through a lifetime of experience gained from actual writing for orchestra, this cannot be emphasised enough. This is not a music theory course or music composition course. This course was written for individuals who already have a basic foundation in music theory , including music notation and music composition. If you need or would like to develop your knowledge in these areas, please see my following courses. 3. Resources: When studying orchestration, it is vital that you have access to scores and recordings. Your access to scores will be through the International Music Score Library project or I am slp I'm S O. P is an online database of scores that are in the public domain. The database contains hundreds of thousands of scores by thousands of composers, and it's completely free to use. You can search by composer or simply type in the name of the peace. The website is. I am slp dot org's note. Some of the scores you encounter may contain instrument names and abbreviations in languages other than English. Please see the appendix for a chart with English translations. You'll also find in the appendix a list of tips and strategies to aid you in your score Studies. Although I am SLP sometimes has recordings. Your primary access to recordings will be through Spotify Spotify as a digital streaming service with nines of songs, and it's a completely free service. You can use Spotify on your computer or download the up to use on your mobile device. The website is Spotify dot com. The final resource you'll need is some type of music notation software for completing the composing assignments. If you do not currently own any notation software, you can download one for free at Muse score DOT or GTA. 4. Scientific Pitch Notation: one of the methods used in this course for specifying instrument ranges will be scientific pitch imitation, also known as international pitch initiation. If you're not familiar with it, you will need to be. Here is a diagram of a piano keyboard to illustrate how the method works Octaves Air distinguished with a number and a letter. The lowest see on the piano is labelled C one Pitches to the right of C one are also labeled with the number one D one e one F one etcetera. Pitches to the right of C two are also labeled with the number two de two e two F two etcetera, the lowest A and B on the piano or labels with zero. Here is how the method looks in staff notation form. 5. Quiz 1: 6. Construction & Sound Production (strings): 7. Bowing: the bow is normally drawn across the string halfway between the bridge and fingerboard in order to change the quality of the sound. WHO performer can also draw the bow across the string in a variety of other places? This will be covered in the videos on playing techniques. When the performer draws the bow across the strings from the heel to the tip, it is called a down bow. A down bow is notated with the following symbol placed above the note. When the performer draws the bow across the strings from the tip to the hell it is called an up bow. A ne Po is notated with the following symbol placed above the notes in string music. The slur symbol is also used to know. Take Boeing's all of the notes under once for or played in one bow direction. In this example, the 1st 2 notes who played with a down bow. The next four notes are played with an up bow on the last noticed play with a down bow. Do not use slurs to indicate phrases in the music. This will only confuse the performer. Slur should only be used indicate Boeing's If there are no slurs. A performer will change bow direction on each note. Here is the same example. Without slurs, it would be played down, up, down, up, down, up, down. There is, of course, a limit. How? Maney notes a performer, complained one bow. This depends on a couple of factors, most obvious of riches tempo. The faster the tempo, the more notes a performer can play with one bow. The other factor is dynamics. The quieter the dynamic, the more notes a performer can play with one bow. This is because there is less boat pressure needed to play quietly. Plus, pressure equals more time to travel from here to tip. More pressure equals less time to travel from here to tip. For example, the following could be played in one bow. If played allegro and piano, it cannot be played 21 bow if played. Addazio and Forte. If you want a passage to be played llegado but don't think you can fit all the notes. One vote. Don't worry. A good performer can change. Bow direction without a notice will audible break to the listener. That's one of the benefits of strings over woodwinds and brass. Since there is no need for the performer to take a breath. They can continue playing a note indefinitely. It is important to avoid cluttering your score with Boeing's for every single note on a piece here, two examples of overly marked Boeing's These would basically be an insult to the performer . All that was really needed in these examples was the first down, remarking and any slurs. In fact, even the first down boat marking could have been left off, and the performers would still have known what to dio. Remember string players been going since they started lessons, and they understand, almost instinctively when to change bro direction. For example, performers will normally play an upbeat with an up bow, since an upbeat is a weaker beach playing up but makes sense since it's harder to apply boat pressure to the strings when playing your the tip. This is because the pressure is coming from your hand, which is holding the heel of the bow. The downbeat, on the other hand, is normally played with a jambo, since the downbeat is a stronger beat. Playing a down bow makes sense, since it's easier to apply both pressure to the strings were playing near the heel. The same principle applies to crescendos and, um, innuendos. Performers will use an up bow for crescendo so that more and more about pressures applied to the strings, as it news from T heal Down below is normally is for dim innuendos that less and less boat pressures applied to the streams as it moves from hell to tip. So if performers already understand when to change bow direction, why write Boeing's in it all well, a composer, orchestrator rights and Boeing's because they want things to be played and sound a very specific way. A single passage could be vote countless possible ways each way sounding slightly different . An invaluable exercises. A beginning composer for orchestra is to write the same passage out with many different Boeing's and then have a string player performed them for you. This way you will get a feel for how different Boeing's could greatly affect the way of passage. Sounds 8. Quiz 2: 9. Violin: the violin is the highest sounding bowed string instrument. A full sized violin is 14 inches in length and has played well. Tucked between the chin and the left shoulder, it is fingered with the left hand and bowed or plucked with the right hand. A standard size orchestra typically has 32 34 players with 16 18 1st violins and 14 to 16 2nd violence. Music for violin is written in trouble, Clough and Sounds as written. It is a non transposing instrument. Here is the range of the violin shown on the staff and on the keyboard using scientific pitch notation. It should be noted that once a player gets above a six, it becomes more difficult to play because there's less space for the fingers on the fingerboard. And because the thumb can no longer properly stabilize the hand in our customs settings, it is usually best not to right above the seven. Since anything above this is really more suitable for chamber players and soloists. The violin has four strings, each tuned 1/5 apart, G. D. A. And the the following diagram shows the numbering of the strings. The highest string is numbered is one on all bowed string instruments, all bowed string instruments have generally the same register characteristics. The bottom part of the range is starker. The middle part is warmer, and the top part is brighter. Besides the General Register characteristics, each of the four strings has its own distinct sound. Many different words have been used to describe the differences in characteristics. Here's some of the more common descriptions for the four violin strings. The G string is referred to his deep and full. The D string is referred to as a weaker but warm. The A string is referred to a sweet. The e string is referred to as brilliant. String players will automatically switch from string to string is necessary. The composer orchestrator does not need to indicate in the score when to play on which string. There's one exception to this. When a composer orchestrator desires a particular sound, they may ask the player to perform an entire passage on a single string. For example, if the composer orchestrator wants a particular violin passage to sound more intense, they may ask the performer to play the entire passage on the G string. This is indicated by the words sold g above the notes in the score or a soul. A. For example, if you wanted the whole passage plate on the A string, when the composer orchestrator no longer wishes the performer toe only play on a particular string, the term ord meaning ordinary, should be placed above the notes in this score typically and instruments dynamic capabilities very within its plane range. One nice thing about strings compared to woodwinds and brass is the dynamic capabilities. Do not change with the register dynamics from triple P. Two double F could be performed throughout the range of the violent. 10. Viola: The viola is the second highest sounding bowed string instrument. It is deeper, sending them the violin but higher sounding than the cello. A full size villa is around 16 inches in length. It is played in the same manner as the violin. A standard size orchestra typically has 10 to 12 players. Music for Viola is written in alto clef. If you're unfamiliar with also Clough, you'll need to become familiar with it in order to write music for the villa. Basically see for or middle C is the middle line in Also, Cliff. Never write viola parts in base. Clough. Just because it's easier for you, the old is generally do not know how to read based cough and trouble. Clough should only be used when necessary in order to avoid too many ledger lines. Switch cliffs if you're writing notes higher than three or four ledger lines above the staff. Here is the range of the viola shown on the staff and on the piano keyboard. In scientific pitch notation, the video has four strings, each tuned to fifth apart, C, G D and A. The lowest string C is the only string that the villa does not have in common with the violin. As with all bowed string instruments, the highest string is considered. The first string has previously mentioned the villas. C string is the only string that the instrument does not have in common with the violin. Because of this, the sound of the sea string is the most uniquely viola sound. It is often referred to a somber or forbidding the two middle strings. G and D have a similar quality to the corresponding strings on the violin, but darker. Many accompaniment type patterns are played on these two strings, and so they're sometimes referred to as the accompanying strings. The view is highest String A is brilliant. Although non as brilliant as the highest stringy of violin, it has a harsher, more nasal quality to it. As with all bowed string instruments, the dynamic capabilities do not change. With register dynamics from triple P, two double F could be performed throughout the range of the villa 11. Cello: the cello is the second lowest sounding bowed string instrument. It's deeper selling in the viola but higher sounding than the double bass. A full sized cello is around four feet tall. The cello is played in a sitting position. The instrument is held between the knees, with the neck of the cello resting on the players left shoulder. As with all bow string instruments, it is fingered with the left hand and bowed with the right hand. There's an adjustable pin that comes out from the bottom of the cello and rest on the floor to help keep the cello from sliding around while playing. A standard sized orchestra typically has 10 to 12 cello players. Music for cello is written in base Clough and Sounds as written. It is a non transposing instrument tenor clef and trouble Clough are only used when necessary in order to avoid too many legislates switch clefts. If you're writing notes higher than three or four ledger lines above the staff, older scores will sometimes have cello music written in trouble. Clough and sounding an octave lower than written today, all telling music written in travel cough sounds as written here is the range of the cello shown on the staff and on the keyboard using scientific pitch notation. Oh, the range given here is the standard range for the cello section. Although some professional players can go as high as E six, the cello has four strings, each tuned to fifth apart. C G D N A. These four strings air tuned a knocked of lower than the four strings of the viola. Although the cello has the same tuning is the viola only an octave lower? It sounds much richer and very distinct. Here's some common descriptions of the tone quality of each string. The C string is referred to his rich and saw onerous. The G string is referred to his weaker but warm. The D string is referred to his lush and captivating. The A string is referred to as brilliant and piercing. Note that shell melodies typically played on the a string. The first active of the string is great for expressive melodies, but above the first active intonation, problems will arise. Dynamics from triple P two double F could be performed throughout the range of the cello 12. Double Bass: The double bass, also known as the base of the upright bass, is the largest and most sounding bow string instrument. It is around six feet tall. Unlike the cello rests on an adjustable in pin at the bottom of the instrument. To help keep the instrument in place for playing the basis performs while standing or while sitting on the stool. A standard sized orchestra typically has 8 to 10 double bass players. Music for a double bass is written in base Clough Tenor Clef In Trouble Club for only used when necessary in order to avoid too many ledger lines, The double bass is the only bowed string instrument that sounds one octave lower than written. That means if this is written, this will be played. Unlike the violin, viola and cello, which have their strings tuned 1/5 apart, the strings of the double bass returned 1/4 apart. E A. D and G help you memorize the strings. Noticed that there simply the reverse order of the violin strings G d. A. Any. Here's the standard range of the double bass. Most professional orchestra bases have a C extension, which extends the eastern down a major third to see one. Some double bass instruments extended the range by the addition of 1/5 string tuned to see one. Sometimes this fifth string is tuned to be zero. To be able to play even lower has a beginning orchestration student. You should not right below the e string off . The pitch is produced on the Jean. De Strings are also in the Chela's range. They have a harsher quality on the double bass. The A string is rich in clear sounding, while the E string is extremely dark and menacing. The E string has such a great volume that it can support the base of the entire orchestra. It should be noted that the lower pitches on the double bass tend to be a bit sluggish and take extra time to sound. Also, there is quite a bit of reverberation after the player subs plane up to 10 seconds on the highest open string. Players will often have to physically stop the strings with their hands, and the reverberation is needed. Dynamics from triple P two double F can be performed throughout the range of the double bass 13. Quiz 3: 14. Score Study and Listening Assignments (sec.3): 15. Vibrato (strings): we have already learned about stopping the vibrating string with a finger against the fingerboard. If the finger is rocking back and forth while pressing the string, it enriches the tone. This is called vibrato. The faster performer rocks their finger back and forth, the faster the vibrato. The slower performer rocks their finger back and forth, the slower. The vibrato for broader is so commonplace to string players that it is not even notated without vibrato. The tone is dull and pale Sandy. If the composer orchestrator desires a pale sound, they must know Tate, non vibrato or sense of abroad. Oh above the notes in the score. To return to playing with vibrato, place the word vibrato or norm or ord in the score. For a more expressive romantic sound with lots of Labrada know Tate multi vibrato librato is easily performed on all boats. String instruments, technically a string player, cannot play ever brought on an open string, since their finger is not stopping the string and therefore cannot rock back and forth. They can, however, produce a vibrato like effect on an open string, while Boeing, the open string of performer, can finger the same pitch inactive, higher or lower on adjacent string and rock their finger. The sympathetic vibrations will make it sound like the open string is being played for broader. 16. Legato & Detache: all bowed string instruments are capable of playing llegado and data. Shea Llegado is playing smoothly so that the pitches air strung together, seamlessly slurs or used to know Tate llegado all of the notes under one slur will be played in one direction with the bow and will sound llegado. We learned in the lecture on Boeing that there is a limit to how many notes could be played in one bow, which varies depending on the tempo and dynamics. Don't worry about a passage with many consecutive slurs not sounding llegado because of all the changes in bow direction, a good string player can switch bow direction without a noticeable audible break. Did O. Shea is basically non McGarr playing where each notice played with a separate bow direction . It is notated by the lack of slurs. This example would be played by alternating between down bow and up Oh, violin, viola, cello, double bass, violin, viola, cello, double bass 17. Portato: Apartado is basically llegado playing with a very slight separation of notes. It is notated by a combination of Tenuta marks and slurs. In this example, the 1st 4 notes would be played down bow, and the next four knows would be played up Bo. 18. Staccato & Spiccato: both staccato and speak Otto are notated with the dot placed over or under the note head. The written notes are played for about 1/2 of their duration, and this creates a space in between. The sound, both staccato and speak Otto are played with short separate, both strokes and their possible on all bowed string instruments. The difference between the two techniques is that with staccato, the boat does not leave the string, whereas with speak Otto, the boat bounces on and off the string. The performer accomplishes this bouncing by rocking the boat back and forth in a V shape, or you shape or a semicircle. A performer will usually determine when to play staccato versus Picado, but things like tempo and dynamics. If the composer orchestra he wishes a passage to be played with a bounce off the string, then they should write the words Speak Otto in the score. Slurred, staccato and slur speak Otto are also possible. Rather than use separate bow strokes for each note, the performer will play all of the slurred notes in one bow direction. The notes are still played 1/2 their duration to create space in between, each sound slurred, staccato and starts picado are notated in the following way. Violin, viola, cello, double bass 19. Trills (strings): a trill is a rapid alternation between the notated pitch and the pitch one step higher in that particular major, a minor. He the picture one step higher in the he is called the Eggs Ilya. Very rich chills air notated with the TR or a TR with a wavy line placed above the note. Here is an approximation of how this true might be played. The exact number of Alternations, of course, depends on the length of the note, and the tempo of the passage shows her possible on all bowed string instruments to play a trill. The written notice fingered on the string while in adjacent finger presses and releases the exhilarate pitch very rapidly for the entire duration of the red note. Most chills are played with two stopped pitches, but a trail may involve the use of an open string. If it does, the other pitch must be played with the stops string. Be aware that the sound of an open string has a different quality than that of a stop string. The back and forth between the open and stop pitches may sound strange compared to a troll on two stopped pitches. If you want to know to trill. That includes an exhilarating pitch that is not in the particular key. Writing in you must add a sharp, flat or natural above the trail site in the key of C major. For example, the exhilarate pitch to see would be D. If you want the exhilarate pitch to B C sharp instead of D, you must place a sharp sign above the chill. This show would be played C C sharp in the key of B flat major. The auxiliary pitch to be flat would be See if you want the eggs Ilary pitch to BC flat and said of C misplace a flat above the trail sign. This chill would be played B flat C flat in the key of F major. The auxiliary pitched a would be B flat. If you want the auxiliary pitch to be be natural instead of B flat, you must place a natural sign above the trail sign. This example would be played a B natural violin, cello 20. Tremolos (strings): There are two types of trim. ILO's for bowed string instruments, Bodrum Lows and Finger Travelers. Abode Tremolo is a single pitch that is repeated as quickly as possible for the duration of the written notes. The performer accomplishes this by alternating between up Oh and down bow in quick short motions. Tremolo zehr easily performed on all boats, string instruments but Trimble's air notated with three slash marks through the stomach. The notes in the case of the whole note, three slashes replaced above or below the note. In this example, the sea would be played as many times as possible during the duration of the quarter note, and the D would be played as many times as possible during the duration of 1/2 note. A finger tremolo is the rapid alternation between two pitches. Oven interval. This interval should be on the same string so that one finger stays pressed on. The lower of the two notes will the other finger rapidly, all straits between pressing and releasing the higher notes. Because intervals are involved a finger Trimble actually resemble a trill and sound being good trim ILO's commonly involved interval of the third. There are, however, limitations to how far players finger to reach. Do not write finger trouble owes larger than the following limits. Finger trim lows consisting of whole notes. Quarter notes. Your daughter quarter notes are notated with three slash marks in between the two notes of the interval. A slur should also be noted to indicate that the tremolo is to be played in one bow. The duration of the tremble oh is equal to the duration of a single note of the tremolo, and not to the combined aeration of the two notes in this example, and may look like the trembler was played for a total of eight beats. But actually the performer will alternate rapidly between the pitches D and B for only four beats. Finger Trumbo's consisting of half notes dotted half notes or beamed notes are notated similar differently. Half notes and dotted half notes are connected by one beam and two slashes. Air placed between the nets beams notes have beamed is normal, but two slash marks are placed between eighth note traumas and one slash mark between all other beamed notes. Violin, viola, cello, double bass, violin, viola, cello, 21. Special Bow Placements: Normally, the strings airboat at the middle point directly between the fingerboard and the bridge. But occasionally the strings abode in unusual places in order to create a different sound. When Saul Tosta was written in the score, the player will bow on the fingerboard. This creates a muffled, flute like sound in which the number of overtones decreases. When soap Monticello was written in the score, the player will bow near the bridge. This creates an eerie, pale sound in which the upper partials or more presence it is common to see soap Monticello used in conjunction with the tremolo. Don't forget to write Ord or norm when you wish the players to return to Boeing in the standard way. Violin, viola, cello, double bass. 22. Glissando (strings): This is a technique in which the performers slides their finger along the string from one pitch to another so that all of the pitches in between the starting and ending pitches are also hurt. It is notated with either wavy line or a straight line between the starting and ending pitches. The abbreviation bliss is not necessary but may be used in addition to the line Cassano's air possible on all both string instruments and maybe performed in either direction, sliding upward on the string or downward on the string look. Lisandro is usually played on one string, but if the distance between the starting and ending pitches is very large, it may need to be played across strings. Let's say the Gasana begins high on the E string. Once the open E string is reached, the performer must switch to the next string in order to keep sliding past the open e. This is not a true bliss ano, since the sound is broken when moving from one string to another. Violin, viola, cello, double bass 23. Portamento: this technique is very similar to and often confused with Cassano. With Port Aumento, the performer is still sliding between pitches, but the pitches in between the starting and ending pitches are not meant to be heard as individual pitches or with a full sound. Think of Port Aumento as a suggested go Sando or 1/2 hearted go Sando port aumento is often used to connect melodic notes that are very far apart. It is possible on all boats, string instruments. Parlamento is noted it like Lisandro, but with the abbreviation port placed above the line to distinguish it from go Sando violin , viola, cello, double bass. 24. Col Legno: colonia means with the wood. This technique requires the performer to turn their boat upside down and play with the wood of the bow rather than with the bow hair. Playing with the word of the bow can potentially damage the wood, and so sometimes performers will carry a separate, less expensive boat. For passages involving Kalina, there are two different types of Colin Yah Kaleena Toronto and Kaleena Ba Tuto. When playing colon, you tryto the performer will drag the word of their bow across the strings. The pitch is produced will be scratchy and wispy sounding. When playing Kelowna Batu toe, the performer will bounce the word of the bow on the strings. This gives a percussive Crosby to the sound. This technique is the more common of the two and is less damaging to the wood to indicate either of these techniques. No, take colon, you're above the notes in the score. Always specify whether you want Toronto are about to toe where the performers will not know which to play. When you want the performer to return to normal, Boeing be sure to play sword or Norman the score. It is important to point out that you will not get as much volume when playing with wood as you would with hair. Since the hair gives more resistance because of this fact, you should avoid dynamics above Forte. Also, it is best to use Colonial when the orchestra's dinner, as it would be very hard to hear during a to T section when all or most of the instruments are playing. Viola Cello, double bass Uh uh, violin, viola, cello, double bass. 25. Mutes: in mute is a device that could be placed on the bridge of any bowed string instrument in order to change the quality of tone. It does this by absorbing some of the vibration Mutar made of plastic, rubber, metal or wood to know tape playing with a mute. The words Concertino are placed above the notes in the score to know. Take the removal of a mute. The words sense of Sir Gino are used. Remember to give performers enough time to place or remove the huge from their instruments . It should also be noted that there is some noise created from a placement and removal of mutes. Make sure that there are other instruments playing during this point in the score to cover up the noise music typically used for quiet passages, but they may also be used for loud passages in quiet passages. The tone quality has a sadness or eeriness to it and loud passages, the tone quality sounds more restricted, intense, as if it is being held back. Violin. Viola, Yeah, cello, double bass. All right, 26. Natural Harmonics: 27. Artificial Harmonics: In the last lecture, we learned about overtones and the harmonic Siri's and how to produce harmonics on bowed string instruments. We saw that using natural harmonics, the string player is limited to the harmonic series of each open strength. But when using artificial harmonics, string player can play many other pitches as harmonics as well. How is this possible? By completely stopping the string with one finger, the player creates a new length of string. This new link. The string becomes the fundamental pitch and has a completely different harmonic. Siri's with another finger that perform Ercan lightly touch the string at various points to create Harmonix from this new harmonic Siri's. The only drawback to this method is that it is limited by how far a player can stretch with their fingers. The most common and practical way of playing artificial harmonics is with the touch. Fourth method in this method of player will stop the strength one finger and then lightly touch the pitch of fourth above it with a different finger. This produces a harmonic two octaves above the stock note. Touch fourth harmonics, air notated with a normal note head and a diamond shape note. had 1/4 above in this diagram. The bottom note is the finger note, which completely stops the string, and the diamond shape note is the pitch, which is lightly pressed with another finger. The result is the sea harmonic, two octaves above the sea that was fingered. Artificial harmonics have the same flute like quality that natural harmonics do, but with one subtle difference. Artificial harmonics are not as full sounding since their played on stop strings rather than on open strings. Artificial remarks do have one advantage over national harmonics. Natural harmonics only useful on playing single pitches due to there being limited to the harmonic series of the open strings. So if you want a phrase played with harmonics, you will want to use artificial harmonics instead. Although the Touch fourth method of producing artificial harmonics is the most common and most practical, there are a few other similar methods to produce a harmonic one active in the fifth above the stuff to pitch use touch fifth harmonics to produce a harmonic two actives and the major third above the stuck to pitch use touch major third harmonics to produce a harmonic two octaves in the fifth above the stopped pitch. Use touch. Minor third harmonics. There are limits to how high you should write artificial harmonics. Artificial harmonics higher than those listed in this following diagram will not produce sound very well. Violin, viola, cello, double bass, normal natural harmonic, artificial harmonic. 28. Pizzicato: 29. Snap Pizzicato: snap Pizzicato is a type of pizza kado, which the strings plucked so hard that it snaps back and hits the fingerboard. It is 1/20 century device, and it's sometimes referred to as Bartek pizzicato because he was one of the first composers to utilize it frequently to know Tate snap pizzicato. The following symbol is placed above the notes violin, viola, cello, double bass, violin, viola, cello, double bass. 30. Multiple Stops: 31. Divisi: 32. Bowed String Demonstrations: 33. Quiz 4: 34. Score Study and Listening Assignments (sec.4): 35. Writing Assignments (sec.4): 36. Harp: The harp is a member of the string family. It is plucked rather than boat. The modern harp used in the orchestra today is known as the double action pedal harp, or concert harp. It was developed around 18 20 and was the first heart able to play in all 12 keys due to its double action pedal mechanism, which will be explained later in this video. The strings are typically gut wound with wire, and it is approximately six feet tall and weighs nearly £80. A standard size orchestra will have at least one harp, but larger orchestras may have up to two. Music for harp is written on a grand staff. Normally, the harpist right hand plucks the higher strings and the left hand plex. The lower strings no take the right hand notes in the upper trouble staff and the left hand notes in the lower based staff change cloths as needed. For example, when both hands were playing the higher register, both Steffes may need to have a trouble cliff or when both hands were playing in the lower register. Both staffs may need to have a bass clef. The heart is a non transposing instrument. It sounds as written, use octave signs when necessary to avoid too many ledger lines. The heart has 47 strings, each tuned to a different letter of the musical alphabet, beginning with C and ending with G. With so many strings, it would be hard for harpist too quickly locate and place specific pitches without some point of reference. And so certain strings air colored on a modern concert harp all of the sea strings or code red. Well, all of the G strings or colored blue. Some harps have the S strings colored blue or black instead of the G strings color blue. There are seven pedals, which can raise or lower the pitch of a string in half step increments. Each petal controls all of the strings of the same letter name. For example, the pedal controls all of the strings of the heart. Each petal has three positions. The pedals lock into place and need not be held in place with the foot. When the E pedals in the top position, all of the east rings on the heart will sound is e flat When the pedal is in the middle position. All of the East rings in the Harpal sound is natural. When the pedal is in the lowest position, all of the east rings on the heart will sound is the sharp. Three of the pedals were on the left of the instrument and controlled with the left foot for the pedals were on the right of the instrument and her controlled with the right foot. The pedals, in order from left to right, are D C B E F g A. The common pneumonic device for remembering the pedal order is, Did Columbus bring enough food going to America? The reason composers orchestrators have to remember the order of pedals is because they have to know Tate at the beginning of the score, the positions of each pedal. They also have to know Tate in the score. Each time of pedal position has changed. It is important to remember that only one pedal could be pressed with one foot at a time. The Harpers, for example, could not make changes to the DNC pedals at the same time, because the left foot controls them both, the composer orchestrator must leave enough time in the music for the harvest of first press, one pedal and then the other. However, if the pedals are on opposite sides of the heart, the harvest will be able to press two pedals simultaneously. For example, the DND pedals could be pressed simultaneously the deep fellow with the left foot on the pedal with the right foot. The two most common ways to know Tate pedal positions are with letters or with a graph. Although some harpist may prefer one method over the other, both are commonly accepted practices. If the letters are used, the starting pedal positions air notated at the beginning of the score above the harp staff . The following pedal positions, for example, would give you the pitches of the major scale. The slash denotes the separation of the left and right pedals. When a pedal changes needed to play other accidental zor change keys, it should be noted in the score. Make sure you give the harvest enough time to change the pedals. There is no need to rewrite all seven pedal positions every time there is a pedal change. Just write the new pedal positions for the pedals that need to be changed. For example, if F sharp in C sharp need to be changed to nationals. You place the following a little before the pedal change in the score. The other way to know tape pedal positions is with the graph. The large vertical line in the middle represents the division between the left or right pedals. Lines above the horizontal lying represent the pedals on the top position. The flats lines below the horizontal line represent the petals of the lowest position. The sharps and lines cut in half by the horizontal line, represent pedals in the middle of position. The natural. This graph with therefore represents D. C sharp, be he flat F g front, a flat. Here is the range of the harbour shown on the staff and on the keyboard using scientific pitch imitation. B zero is notated a C flat one for heart music. Since the lowest string is a C, it is important to remember that the lowest C and D strings are not affected by the pedals and most between manually before a performance on some harps. The highest G string is also not affected by the pedal. The lowest two actives have a full sound but are rather dark and quality. These pictures have a very long resonating time up to six seconds. Because of this, you should avoid writing quick chord changes in the lowest register. Otherwise, the sound of one chord will still be resonating. Well, the next court has played. Players will naturally damping the strings with their hands to stop the residence where necessary, but you must always give players enough time to do so. The middle two octaves have a brighter but warmer sound. Pitches will resonate for up to three seconds, and these actives most of the melodic writing for our takes place in this register as what was chords, arpeggios, single Sandoz, the highest two plus octaves of heart become more and more brilliant. The higher you go. The resonating length also becomes shorter and shorter from about one second to around half a second. Oh oh oh oh! The harp is one of the quietest instruments of the orchestra. It will not be heard and loud passages or passages where the entire orchestra is playing. If you specifically want the heart to be heard, make sure the orchestration is thinner, that the other instruments playing our market acquired dynamic level. In the next few videos, we will look at the playing techniques that were possible on the harp, along with audio examples 37. Quiz 5: 38. Harp Chords: cords air possible on the heart but must be limited to four nights per hand. This is due to the fact that the harvest does not play with the fifth finger. You will need to place a bracket in front of the cord if you want. The court played as a block chord with all notes sounding simultaneously. The harvest will typically play all cords slightly appreciated from bottom to top. If there is no bracket next to the court, place a wavy line in front of the court. If you want a slower, more expressive AARP as you for changes in direction of their precio at an arrowhead to the end of the wavy line, the harvest would play this chord from top to bottom. Very large cords of possible, since a single hand can easily play chords to span 1/10. Here is a chart showing the average maximum stretch for each pair of fingers. Positive video to study the chart or download a copy under the resource is for this lecture . Oh oh, 39. Harp Glissando: Cassano is easily performed on the heart by strumming the fingers across the strings. Be sure to know Tate the beginning and ending pitches, the glass Sando lying and the pedal tunings. The harp is one of the only instrument sticking Lisandro on more than one pitch at a time. Here's an example of a three note Lisandro. Because of the pedal tunings, every B, E and A will be flat. In this close, Sando Cassano's could be performed in both hands at the same time, these could be in the same direction or opposite directions. 40. Harp Trills: there are two ways of harvest can perform. A trail show could be performed with two fingers on one hand, or it could be played with one finger on each hand. Playing the trouble two hands is much easier and allows for much quicker trills. The only benefit to writing a trail for one hand is that you're able to write two trails happening simultaneously. 41. Harp Tremolos: a tremolo involving a single, rapidly repeated pitch can be played by two fingers of one hand. This is not the best option, since it cannot be done very quickly. A second option is to pluck the same string with alternating hands. This produces a faster tremolo, but it's hard to play evenly. 1/3 option that harpist like to use is to tune two strings to the same pitch and pluck each string with a different hand. An example would be tuning the C string to see sharp on the D string to D Flat. Doing things this way makes it a little easier for the harpist applied the tremolo very quickly and more evenly. A tremolo involving more than one pitch, similar to a finger tremolo on a boat. String instrument has also played, using two hands up to four notes or possible on each hand. Just remember that the greater the number of pitches the heart of the tremolo will be. For the performer and this example, the harvest would rapidly alternate between the two notes in the left hand and the two notes in the right hand. For a total of two beats 42. Harp Harmonics: the harp, like all string instruments, is able to produce natural harmonics. Herp harmonics are even quieter than the harps, already soft tone, so uneven, thinner orchestration than usual would be needed if you want them to be heard at all. Are harmonics air notated with a small circle? AboveNet. It is important to remember they sound one octave higher than the grid in pitch. This differs from the notation of natural harmonics for bowed string instruments, which were notated at the pitch you want sounded as a harmonic. The easiest range for producing harmonics is between G two, and they're five. Right hand harmonics and left hand harmonics are produced in slightly different ways. This is due to how the hands or positioned when playing the heart to produce a harmonic with the right hand. The harpist touches the center of the string with the site of the index finger knuckle and then plucks the string with the thumb. Only one harmonic could be played a time with the right hand to produce a harmonic with the left hand. The harpist touches the center of the string with the palm of the left hand and then plexus stream with the thumb and other fingers. Depending on the number of harmonics, up to three harmonics could be played simultaneously with the left hand within the interval of 1/6. There are a few things to remember when asking Harper's to play simultaneous harmonics. Give players lots of time to position their hands. In other words, don't write a bunch of a thought chords at a fast tempo. Played is harmonics. Oh, harmonic should have pedals in the same position. The reason for this is that the center of a string changes slightly when a pedal is pressed . For example, if one pedal is in the top position and another is in the bottom position, the centers of the strings will be further apart relative to each other, and this will make it more difficult for the harpist. Position their hands so that it touches the center of each string. Smaller intervals or easier. It's best to stick with intervals under 1/5 professional players able to play to note harmonics up to 1/7 and three note harmonics up to 1/6 here is comfortable range for simultaneous left hand harmonics. When you write, multiple harmonics of circle is needed for each note, a single circle above a court or interval indicates that only the top note is to be played as a harmonic, while the other pitches are to be played is normal pitchers. In this example, only the sea is played as a harmonic. Here are some things to remember when combining harmonics with normal pitches. The right hand is able to simultaneously play to normal notes and one harmonic note up to 1/5. The highest note is always the harmonic. Left hand is able to simultaneously play three normal nuts and one harmonic note up to 1/10 . The court will be rolled, and the highest note is always the harmonic you normal harmonic. 43. Harp Demonstration: 44. Quiz 6: 45. Score Study and Listening Assignments (sec.6): 46. Writing Assignments (sec.6): 47. Woodwinds Construction & Sound Production: 48. Transposition: 49. Quiz 7: 50. Flute: the flute is the soprano of the woodwinds section of the orchestra. It is a trans verse would win, which means it is played horizontally rather than vertically. Like most other would ones. Modern flutes air typically made of metal and would construction is rarely used. The flute is a relis woodwind instrument, and sound is produced by blowing air across an ambush. Your whole flute players use more air than woodwinds with reads, because much of the air does not enter directly into the hole on is wasted. Be aware of this in your orchestrations and give the flute players more places to breathe. An orchestra typically has two flutes, although larger orchestras may have up to three. Music for flute is written in trouble, Clough and Sounds as written. It is a non transposing instrument. Most professional flutes have what's called a B foot. This means the tubing has a longer foot joint, and there is an extra key so that B three is possible. The practical ranges up to see seven, although D seven is possible, pitches above a six become harder and harder should produce, and nonprofessionals typically have trouble with the highest and lowest fourth Ah ah ah! Here's a diagram showing the general Register characteristics of a flute. The following diagram shows the loudest and quietest the instrument can play anywhere within its range. Composers often mark their scores as if any instrument can play any dynamic in any range. In reality, if you mark Alosi on a flute as Triple F, you only beginning Mezzo Forte. Although the performer will be putting in an effort equivalent to Triple F. If you mark a high A as Triple P, you were only beginning piano. Although the performer will be putting in an effort equivalent to Triple P, the following limits are based on a medium haul with average Acoustics is important to note that the lines between the dynamics and the diagram represents a gradual change in dynamic capabilities, not a sudden change. As you can see from the diagram, you cannot get as much volume of the foods lowest octave. A thinner orchestration is required if you want it to be heard. As you move higher in the register, it becomes harder and harder to play at a quiet volume 51. Piccolo: the piccolo is the highest member of the flu family and extends the range of the flute roughly one octave higher. Like the flute, the piccolo was, a trans verse would win read lis and constructed of metal. An orchestra typically has only one piccolo player. This player is sometimes one of the flute players who doubles on Piccolo is needed. Very rarely. Doesn't orchestration call for two pickles? The piccolo is one of the instruments that transposes Athey active. This is not a true transposing instrument, since it does not sound in a different key than written. It simply sounds walked of higher than written in order to avoid excessive ledger lines. Music for Piccolo is written in trouble. Cliff here is an diagrams illustrating the written range of the piccolo and the sounding range of the piccolo. Uh, the piccolo is somewhat similar to the flute in register characteristics, except that the lowest register is hollow sounding rather than luscious. A thinner orchestration is needed in order to hear the piccolo in its lowest octave. As you move higher in the register, it becomes harder and harder to play at a quiet volume 52. Oboe: the oboe is one of the double reed woodwinds. An oboe player usually makes their own reads and spends countless hours every month. At this task. The oboe requires less air than the flute or clarinet, and because of this, oh, players, especially professionals, are able to sustain very long. Notes. Oboes air, typically made of wood but are sometimes made of synthetic materials. An orchestra typically has two OBO players. The larger orchestras may have up to three. One of the oboe players often doubles on English horn. Music for oboe is written in trouble. Clough and Sounds as ricin. It is a non transposing instrument. Here is the range of oboe. It should be noted that a six is possible, but very difficult even for professionals. Ah, the OBU is very much the opposite of the flute regarding the characteristics of its register, while the higher pitches of the flute or Brighton intense, the higher you go on the obo, the thinner the sound. The oboe is a great solo instrument because it's unique. Nasal quality cuts through the other sounds and does not blend with the other instruments as well as the other woodwinds. Dio. Well, it's very easy to play quiet in the lower register of the flute. It is harder to play quiet in the lower register of the oboe. 53. English Horn: the English horn is a member of the other family. An orchestra typically has only one English horn. This player is sometimes one of the oboe players who doubles on English Horn is needed. The construction of the English horn is similar to Vata Diogo, but it is larger and therefore extends the range of the oboe downward. Music for English horn is written in trouble. Clough. It is a transposing instrument sounding 1/5 lower than written here, Cem diagrams showing the written and sounding range of the English horn. Ah ah, Like the oboe, the English horn sense thinner in its upper register, so much so that it becomes hard to distinguish the two instruments. Composers and orchestrators should therefore avoid the upper register when writing for English horn and exploited slower register instead. The lowest sixth is very Sana rece with lots of carrying power. The changing dynamic capabilities throughout its range is similar to that of the oboe 54. Clarinet: the clarinet is a single reed instrument. Unlike the oboe read, which sticks out of the instrument, the clarinet reed is fixed on the mouthpiece. Clarinets are usually made of wood but are sometimes made of metal, plastic, hard rubber and even ivory. They're transposing instruments, and each member of the clarinet family has a different transposition. The modern orchestra uses both the B flat clarinet and a clarinet. Originally, the B flat clarinet was used mainly for pieces written in flat keys, while the A clarinet was used mainly for pieces written in Sharkey's modern B flat. Clarinets are very capable of playing in any key, and a majority of today's composers write for B flat clarinet. Regardless of the key of the peace. All clarinets used the same fingering system, which makes it possible for performer to play any car net. In the clarinet family, an orchestra typically has two clarinets. Larger orchestras may use up to three players, with 1 to 2, doubling as a bass clarinet player and or an e flat clarinet player where other clarinet has needed music for clarinet has written in trouble Cliff. As previously mentioned, the clarinet is a transposing instruments on a B flat clarinet. A written see will sound as B flat major second lower on a clarinet. A written see will sound as a a minor third lower on an E flat clarinet. A written see will sound as any flats. A minor, third higher note. Every member of the clarinet family has the same written range except for the base. Claridge the sounding range given here is that of B flat clarinet. It is helpful to remember that the B flat clarinet could play four ledger lines below and above the staff. Ah, uh uh Here the register characteristics of the B flat clarinet. Because of their excellent dynamic control, clarinets are the only woodwind instruments capable of a true triple P. 55. Bass Clarinet: Another member of the clarinet family is the bass clarinet. The instrument is typically made of wood and looks a little bit like a saxophone. An orchestra usually has only one bass clarinet. This player is sometimes one of the clarinet players who doubles on the bass clarinet as needed. Music for bass clarinet is written in trouble Cliff. It is a transposing instrument and sounds a major ninth lower than written. Most common and not advisable, is to write in base Clough and Transpose, a major second lower. Here is the written and sounding range of the bass clarinet sounding pitches up to be five or possible but hard to produce. Also, most modern instruments have four additional keys, which make playing down to B flat. One possible Ah ah ah! The register Characteristics of the bass clarinet are similar to those of the clarinet. The dynamic capabilities of the bass clarinet are also similar to those of the clarinet 56. Bassoon: like the oboe. The bassoon is a double reed instrument. The tubing of ABS soon is slightly over eight feet in length, which makes this instrument much heavier than the flute, oboe or clarinet. Because of this, But Souness, who often use a shoulder strap, help support the weight of the bassoon. An orchestra typically has two bassoons, although larger orchestras may have up to three. Music for bassoon is written in base cloth. Tenor clef is only used in order to avoid more than three or four ledger lines. Trouble Clough is being used with more and more frequency in modern scores instead of the tenor clef, and so this is now acceptable as well. It is a non transposing instrument and sounds as written. Ah uh ah, Here are the register characteristics of the bassoon. It is important to note that the sound of the bassoon tends to blend very well with other instruments and will often get covered up by the sound of other instruments, especially in its higher register. The lowest fifth and the highest fifth are both harder to control. Do not ask performers to play pianissimo in the lowest fifth 57. Contrabassoon: Another member of the bassoon family is the contra bassoon, also known as the double will soon. The controversy soon is the lowest sounding woodwind instrument and extends the range of the bassoon down one octave. It is a double reed instrument, with tubing twice the length of the bassoon, roughly 16 feet curving back on itself. Twice a lot of air is required, so be sure to give players lots of resting time in between. Playing the controversy soon is too heavy for a shoulder strap alone, so the instrument rests on an in pin, similar to the cello and double bass. An orchestra typically has only one controversy. Soon this player is sometimes one of the bassoon players who doubles on. The controversy soon is needed. Music for controversy soon is written in base Clough and sounds one octave lower than ricin . Uh ah ah ah. Although the controversy soon can play a few pitches higher than the range given here, it is not recommended. Not only are the pitch is harder to produce, but the instrument in the higher register will sound like just a weaker version of the bill . Soon, as a composer and orchestrator, you should exploit its lower register, especially is Lois 12th. The lowest notes have a buzzing sound. It is important to note that the lower pitches tend to be a bit sluggish and take more time to sound. Because of this, you should avoid writing quick staccato passages in the lower register. Other than that, the register characteristics and dynamic abilities are roughly the same as those of the bassoon. 58. Quiz 8: 59. Score Study & Listening Assignments (sec.8): 60. Woodwind Vibrato: librato is possible on all woodwinds and is used to enrich the quality of the tone without for brought of the turn is dull and pound sounding to produce for broad. Oh player will pull see the air with the lips and jaw, throw muscles, the abdominal muscles or by using a combination of fruit and abdominal muscles. There is no need to noted for brought in the score, since women players normally play with librato. The clarinet is the one exception. Classical clarinet players to not use vibrato as this is reserved for use in jazz music. If you desire a dull, pale sound, I went to particular passage in the music to be played with Alvarado. Place the words sense of Alvarado or non for brought in the score. Make sure you indicate when the players to return to normal for about a thing by placing con vibrato or Norman the score. Yeah, 61. Woodwind Tonguing: woodwind players are able to articulate pitches through a technique called tongue ing. Tongue is basically the starting and stopping of a player's airflow with the time. This is usually accomplished by producing a T sound with the time all notes that are played with a distinct separated articulation. Such a staccato or marcano are played by tongue ing, each individual notes. It is important to remember that when a passage does not indicate any specific articulation , the player will also tongue each individual note. Tongue is used a bit differently, and the god of passages when slurs air notated only the first pitch within each slurs times . In this example, the airflow is briefly stopped. By the time every three notes. There are three basic types of timing. Single talking, double timing and triple timing. Single tongue is easily performed on all woodwinds. This is accomplished by making the tea sound as mentioned previously, in order to produce a very fast procession of pitches. Double time. These used This is done by rapidly alternating between A T and in case sound. Triple Tony is used when performing triplets double and triple Tunney are typically performed on Relis instruments such as flute and piccolo. Although double and triple tying are possible by some performers on oboe, clarinet and bassoon, they're rarely used because the articulation is hindered by the read uh. 62. Woodwind Flutter Tongue: flutter tongue is basically the woodwind version of a bowed tremolo for string instruments . This technique is accomplished by rolling and our while blowing air into the instruments. By rolling in our the tongue creates rapid pulsations of air, resulting in a fluttering of the pitch. It is also possible to produce a flutter tongue effect with a guttural are rolled in the throat. Flutter tongue is possible on all Woodman's, but it is more difficult to perform on double reed instruments such as oboes and bassoons. The notation for flutter tongue is the same as the notation for a bowed tremolo on the string instrument. Place three slash marks through the stem of the note or, in the case of on the three slashes, placed above or below the note. Another way to know Tate flutter time simply by placing the words flutter time where the abbreviation for futher time above the notes and score. If you choose this option, be sure to know Tate Order or Norm when you want the player to stop using Father time flute , oboe, uh, clarinet. But soon 63. Woodwind Trills: chose air playable on all woodwind instruments for a complete discussion on trails and trump notation, please see the lecture trills under the section playing techniques for both string instruments. Here are some safe guidelines to follow in writing trolls for wood wins, the pitch is given refer to the lowest note of the trail. Shows are well suited to the flute and are very common half step. Whole step trails between D four and B six can easily be played. Avoid shells involving any pitches below. Defour. The piccolo can easily play half step. Whole Step shows up to a seven on the obo half step. Whole step chills from B flat three. T six can easily be played, although you should avoid shows from B Flat 32 D four. Since these air a bit sluggish, the English horn can play half step in horseshit shells from the sounding pitches E three to G five on the clarinet half step Whole step trills from written pitches E three to F six can easily be played. Bass clarinet can play all half steppin holds it shows anywhere within its range trills or not as easily performed on the per soon. Compared to the other woodwind instruments, the best trail range is G two to a four. Avoid shells in the lowest fifth and shells above C five. Chills are possible but not advised on the contra bassoon because the sound is so sluggish . Flute, Yeah, oboe e don't know clarinet, but soon I know. 64. Woodwind Tremolos: while flutter tongue is the would win equivalent of bowed tremolo for strings. A would win tremolo is the equivalent of a finger trouble of her strings. No Taito would win tremolo the same way you would know Tate finger tremolo on a boat string instrument. Remember to include a slur to indicate that the tremolo is to be played without stopping the air flow with the tongue on every note. Here are some guidelines and writing Tremble owes for wood wins. The pitch is given refer to the lowest pitch of the tremolo. Although troubles are easy to play the flute, you should avoid writing sham loads in either extreme of the range. This consideration of place to piccolo as well do not write. Trumbull is larger than 1/5 in the lowest auction in the upper range. Trim lows of 1/4 are possible is far as a five, and some lows of a major third are possible. As faras, you flat six do not write a tremolo larger than 1/5 anywhere in the Rba's range. Trimble is above the staff are quite difficult for players, and the larger the interval, the slower the tremble is able to be played. The same considerations applied to the English horn as well on clarinet, all Tremmel's air possible, although those above the staff for a little more difficult tremolo Sa's large is an active are feasible as long as no pitches go above sea. Six. Shambles for bass clarinet have difficult finger rings in the lower register and harder to play tremolo zehr, not well suited to the bassoon and should be no larger than a major third at the most of fourth. Their best use in four passages so that the orchestra covers some of the sound Gemmill owes between C three and G four are easiest for players. Trammell's air not advised on the controversy soon because the sound is so sluggish. Flute, oboe, clarinet. But soon. 65. Woodwind Glissando: Obasanjo is a slide from one pitch to another so that all the pitches in between the two pitches or hurt with bowed string instruments. We learned that this is accomplished very easily by sliding a finger along the string. But producing a glass Sandro on a woodwind instrument is much more difficult due to their mechanics, and there are some limitations. As a beginning, composer and orchestrator, you should generally avoid writing Grisanti for Woodman's. If you do wish to reckless on the here are a few things you should be aware of. Douglas Oddo's accomplished either by rolling the fingers to slowly uncover or cover the open holes of the instrument, or by changing the on Fisher Gasana through changing armature, is referred to as lip gloss. Sandra Lip gloss Sando should only be used for slides in small intervals of no larger than a second clay. Sandy are easiest on the clarinet and ascending in pitch no typical Santa with a wavy line or straight line between the starting and ending pictures. The derivation bliss may also be used. Uh, 66. Woodwind Mutes: 67. Woodwind Demonstrations: 68. Quiz 9: 69. Score Study and Listening Assignments (sec.9): 70. Writing Assignments (sec.9): 71. Brass Construction & Sound Production: 72. Quiz 10: 73. Trumpet: the trump. It is the highest sounding brass instrument. It's totalling. The tubing is nearly five feet. It could be changed with three piston valves. The standard trumpets used in the modern orchestra are the sea trumpet and the B flat trumpet the sea trump. It is a non transposing instrument, while the B flat trumpet is a transposing instrument. For a complete discussion on transposition, see the lecture called Transposition. Under the section introduction to Woodman's, it is up to the composer orchestrator to choose which type of trumpets to use. The sea trumpet has a brighter sound. Where is the B? Flat trumpet has a richer sound. It is safer to write for the B flat trumpet, since it is the more common instrument. And because most non professional players do not even own a C trumpet, an orchestra typically has three trumpet players. The larger orchestrations may require up to six players. Music for Trump, it is written in trouble. Clough The sea Trumpet sounds as written to B flat trumpet sounds a whole stuff lower than written. A written See will their first sound as B flat orchestral music for Trump. It is written without key signatures. All sharps and flats are written directly into the score. This method of notation dates back to the very beginning of orchestral writing. If you write a key signature in the score, performers will have a difficult time reading their part and may unintentionally missed the Sharps and flats. Since they're not used to reading music written with key signature trumpet music written for bands like wind, military or jazz would typically be written with key signatures. Here's the range of the sea trumpet Ah, here is the written range and the sounding range of the B flat trumpet. As with all breasts instruments, the higher you go, the more brilliant the sound becomes. The highest part of the register can easily cut through the rest of the orchestra and should be used frugally, such as or cultural climaxes. The bottom fifth is slightly less powerful than the rest of the range. In the top fifth, it is difficult to play quietly. Be aware that non professional players have a hard time playing quietly anywhere in the range 74. Horn: the horn is the second highest sounding brass instrument. The tubing of the modern horn is roughly 12 feet in length. Three rotary valves operated with lovers change the length of the tubing. The modern horn is actually a double horn, which is two horns in one an s horn and in all toe B flat horn composers kept asking horn players to play higher and higher pitches, but the higher partials were harder for players to produce on the F one. So rather than have to separate instruments, these two horns were combined into one. 1/4 lever, operated with the thung turns Thea Foreign into a B flat horn through an alternate set of tubing. An orchestra typically has four horn players. Larger orchestrations may require up to eight players because of its very large range. Music for Horn is written in either trouble. Clough or based Cloth Change Close were needed in order to avoid too many ledger lines. The horn is a transposing instrument and sounds a perfect fifth floor than written in some older scores. Pitch is written in base, Clough transposed up of perfect fourth. This is no ever done today on all pitches sound a perfect fifth lower than written. No matter the Clough, as with the trumpet or custom music for Horn is written without key singer Truce. All sharps and flats are written directly in the score. This method of notation dates back to the very beginning of orchestral writing. If you write a key signature in the score, performers will have a difficult time reading their part and may unintentionally missed the Sharps and flats. Since they're not used to reading music written with the key signature horn music written for bands like Wind, military and Jazz will typically be written with key signatures. Uh uh. The horn has the least brass like quality of all the brass instruments it is often referred to as the bridge between the brass and the woodwind sections. Because it's slightly warmer, sound enables it to blend very well with Woodman instruments. Although the horn has a large range, the notes on either extreme or difficult to produce a comfortable playing range is C three to a four sounding pitches. Pitches in the lower register sound a bit weak and unfocused, especially for non professional players. The lowest Arctic should be used for sustaining parts and not quick moving parts. If you want a more focused, powerful sound, leave these lower pitches for the trombone, never right in the higher register for long periods of time. This demands a lot of energy from the players, so be sure to give them spots in which to rest the highest fifth is hard to produce as piano. 75. Trombone: the trombone is the second too low. A sounding brass instrument. It is the only brass instrument that does not use vows. Instead of valves, it uses a slide mechanism in which one piece of tubing slights their second piece of tubing , thereby shortening or increasing the overall ng for the tubing. The total length of tubing is roughly nine feet. There are a total of seven different positions for the side. Each position produces a different fundamental pitch. The fundamental pitches themselves are rarely used in our custom music. But by changing the ambush, er a player can produce the pitches in the harmonic Siri's that are derived from the fundamentals. An orchestra typically has three trombone players, two tenor trombones and one bass trombone. Larger orchestrations may require up to six players, 1 to 2 of which would be based trombone players. The trombone is a non transposing instrument and sounds as written. Music for trombone is written in base cloth, but tenor clef is used as needed to avoid too many ledger lines. Unlike the trumpet and horn parts, the trombone part is written with a key signature. The range given here is the practical range of the tenor trombone professionals can play slightly higher up to F five with difficulty. Many tenor trombones now include an F trigger, a rotary valve, which instantly connects extra tubing to extend the range downward. Because of this, the tenor trombone may often have the same range as the bass trombone shown in the next slide. I just realized that it won't sound quite his resident in the lower register as a true bass trombone. Will ah ah all right. Ah ah The following are the register characteristics of the tenor trombone. The bass trombone sounds similar, but it's lower. Register is fuller sounding. It's middle registers darker, and it's high. Register is hard to play. The range of the trombone is fairly homogeneous and does not change characteristics as much as some of the Woodman's do. When played forte, the lower register sounds threatening. Well, the middle and upper registers sound heroic when played piano. The lower and middle registers sound mysterious or grave. Well, the upper register sounds full and brilliant. Dynamic capabilities are not very affected by register in either the tenor or bass trombone 76. Tuba: with nearly 18 feet of tubing. The tuba is the lowest sounding brass instrument. There are anywhere from 4 to 6 valves. The change, the length of the tubing there, many sizes of tubas. And based on what a peace demands, professional orchestral players will often choose different sized tubas for different pieces of music within the same concert. The most common tubas are the F tuba and the sea tuba. In the United States. The C two, with four valves, is used as a type of all around instrument. Due to its size, the tuber requires more air, earth and other brass instruments. Be sure to give players lots of resting periods. An orchestra typically has only 12 but player larger orchestrations may require up to two players. The tuba is a non transposing instrument and sounds as written Music for tuba is always written in base. Clough is important to remember that the to a parts like trombone parts are written with key signatures where his horn and trumpet parts do not use key signatures. Um ah, The notes in the lower register are a bit sluggish and slower to sound like the lower register of the controversy soon. Therefore, you should avoid writing very fast passages in the lower register. The upper register is very full sounding in soft llegado passages and begins to resemble the quality of the horn somewhat. In fact, the tube in horn sounds very much alike. When played piano and quieter, the louder they get, the less they sound like each other. The lower register sounds fuller and is easier to play on larger tubas. Well, the upper register sounds for and is easier to play on. Smaller tube is dynamics are not very affected by register. 77. Quiz 11: 78. Score Study & Listening Assignments (sec.11): 79. Brass Vibrato: the plane technique of a broader is possible on all brass instruments, very little for brought It was necessary and his mainly reserved for solo passages. There is no need to know Teva broader in the score, since players will know and decide for themselves when and how much for gravity's. If you do want a particular passage in the music to be played without vibrato, place the words sense of abroad over non vibrated with score. Make sure that you indicate when the players to return to normal for brutal playing by placing convert Botto or Norman. The score for broader on brass instruments could be performed in a number of ways. Lip for a broader is probably the most common and is done by changing the ambush. Sure, another method of playing with fire brought I was accomplished by gently shaking instrument with hands there by varying the pressure against the mouthpiece. This type of for brought it was called hand vibrato. Although possible, the least common way to play with for broader on a brass instrument is by using the abdominal muscles to change. The airflow has come be done with wood wins 80. Brass Tonguing & Flutter Tongue: on brass instruments, all notes that are played with a distinct separated articulation. Such a staccato or marcano are played by turning each individual note when a passage does not indicate a specific articulation. The player will also tongue each individual notes in llegado passages only the first pitch within each slurs. Time for a complete discussion on turning Please see the lecture tongue ing under the section playing techniques for women's. A lot of areas needed to play a brass instrument and so slurred passages should not be as long as those for Woodman's. Remember to give players time to breathe. Hmm. Single double and triple timing is possible in all breasts instruments and has accomplished in the same manner as unwitting wins. For more information, see the lecture tongue ing under playing techniques for woodwinds. Trump it corn trombone, Ah, tuba and I trump it corn trombone, tuba. Trump it corn trombone. Although flutter tongue is playable on all brass instruments, it is easier on horn and trumpet, then on trombone or tuba. Flutter Time is also more difficult in the extreme registers. It is accomplished in the same manner as un would wins and is notated in the same way. Trump it corn, trombone, tuba. Uh, 81. Brass Trills & Tremolos: all brass instruments are capable of playing trills shoulder typically performed with the valves. Although some shows in the higher register may be produced with the Amish. Sure, they're called lip trills. The more valves that are involved in the show, the harder it is to play. For example, trolling with a single valve is easiest. Two valves is uncomfortable and three is very difficult. Trolls are not typically played with the trombone, since the trombone does not have valves. The trombones light can be used to troll, but it is very slow and awkward sounding. All breasts instruments are capable of playing trim ILO's since the tremolo on a brass instrument involves two pitches who will actually sound more like a trill If you want to sound resembling a bow. Dremel on a string, they use flutter tongue instead. Typically, a brass player could smoothly play a tremble of a minor third by changing their amateur a major third or fourth or a bit slower and awkward. Do not write trembles larger than 1/4 as they will be very slow and fairly ridiculous sounding as with trills, the more valve sitter involved in playing the tremolo, the harder it is for the player to perform the trombone complaints from along with slide, but it is slower and awkward sounding. Trump it. Corn, trombone, tuba. Uh, trump it. Okay, Trombone, tuba. 82. Brass Glissando: of all the brass instruments go Sando is easiest to perform on the trombone due to its sliding mechanism. The slide creates a true bliss on the sound similar to that of sliding your finger across a string on the bow string instrument. It is very important to remember, with the largest interval playable as ical Sando is the trade zone. This is the interval between the first and seventh slide positions and is this far as you can possibly move. The slight trumpets and horns use Olympic Lysander to create a glass on the effect. By quickly changing their Amish ER, players are able to run through pitches in the harmonic Siri's at a rapid speed. This works best higher up in the instruments range where the partials air closer together, ascending go Sandoz are easier to perform the descending ones. Gasana is also possible on the trombone and tuba, but it is more difficult and is rarely used. Trump it corn, trombone, tuba 83. Brass Mutes: there are various mutes that could be placed inside the bells of brass instruments. These meats change both the dynamic character and the tonal quality of the sounds. For example, of passage played fortissimo, more muted well, not only sound slightly quieter than a normal fortissimo passage, but the Tambor will also be different as well. Teoh tape playing with a mute. The words Concertino are placed above the notes in the score to know Tate the removal of a mute. The words sense of Sir Gino are used. Remember to give performers enough time to place or remove the mute from their instruments . It means they're not used quite a soften in or custom music as a jazz music when they are used. The most common is the street mute. This is the mute players will typically use when they see concertina in the score. On the horn, there is an alternative to play with a mute, which has a somewhat similar effect. It is called stopped horn. When a horn player plays stopped, they placed their right hand inside the belt to stop most of the sound. The result is a softer, more nasal quality to indicate that a performer should play stopped. Simply know Tate stopped or choose above the staff. Be sure to know Tate the word open in the score when you want the one player to no longer stop the war with her hand. An alternative way of noting stopped horn is to place a plus sign over each. No, you wish to be played as stopped. Trump it. Horn trombone. Uh uh. Tuba. Ah. 84. Brass Demonstrations: 85. Quiz 12: 86. Score Study and Listening Assignments (sec.12): 87. Writing Assignments (sec.12): 88. Percussion Classifications: 89. Quiz 13: 90. Timpani: also known as kettle drums, the timpani, or one of the oldest members of the percussion section. In the modern orchestra, they're typically a set of four timpani drums, played by one timpanist. Each drum is a different size and thus has a different register. Sometimes 1/5 drum is used to extend the range higher or lower. The bull of the drum is made of copper or brass, and the head of the drum is made from animal skin or plastic. One benefit to using plastic is that the head is not affected by humidity or change in temperature, like animal skin is. If animal skin is used, the timpanist will have to check the tuning of their instrument multiple times during a concert. Early methods of changing the pitch of the drum were time consuming. About 10 screws around the entire drum had to be tightened or loosened in order to adjust the tension of the drum, and thus changed the pitch. Around 18 70 the pedal drum was invented, which allow the timpanist to adjust. The tension of the drum had very quickly using a foot pedal. All modern timpani drums have this pedal mechanism. It should be noted that the timpanist is a special type of percussionist that specializes in playing the company jumps. In other words, the timpani only played by a timpanist. The timpanist may sometimes help out with playing other percussion instruments, but other percussion players are very rarely allowed to play the company. Music for timpani is notated on a single base cross staff. It is a non transposing instrument and sounds as written. Here's the range of a standard set of four timpani drums. Oh oh! Each drum has a range of about 1/5. The dimensions given here are typical sizes, but these may very slightly, according to each instrument, with a 20 inch piccolo to video drum pitches up to see for possible mark the tunings for each drum above the staff, the beginning of the score from lowest to highest here, the timpanist would tune the drums toe a C, D and G. Any tuning changes need to be marked as well. For example, to change the D Tony, you would know Tate de Dashi above the staff at the earliest possible place. A performer could make the change. Another alternative is to know Tate, an upper down error in between the pitches, and some prefer this method. You can also use scientific pitch notation, but this is less common if there are multiple changes, right thumb, one above the other from highest to lowest tuning. Changes are best during rests, but it is possible to change a pitch on one drum while playing on another. A good timpanist has acquired muscle memory and can adjust the tuning with his foot simply by feel still is safer to allow the player 1 to 2 seconds to tune orally. Tuning aurally involves the 10 minutes placing their here next to the drum and tapping it gently while adjusting the pedal. Complete silence is not needed to tune. In fact, tuning can even take place during a full two T in the orchestra. Avoid writing tuning changes during very quiet passages so that the audience doesn't hear the timpani being turned. The Tim Paneer, capable of triple P two triple F anywhere in their range, it takes roughly 3 to 5 seconds for a note to die away, depending on how hard the drama struck. A timpanist can change the timber of the pitch by hitting the drum in different places. The sweet spot where the turn is purest and most definite, is about six inches from the edge. As you get closer to the center of the drum, the tone becomes less pure and less definite until it sounds more like a thud. The timber can also be changed by using different types of ballots. Now let's come in soft to medium and hard. The harder the malot, the brighter, the sound softer than malot, the darker the sound. Wooden sticks are also sometimes used. If you know the exact hardness and material type you want to be used, indicate this inwards above the notes on the staff. At the very least, you should specify hard mallets, media mallets or soft mallets. Whenever there is a change in mala type during a peace, make sure that you give the performer enough time to make the switch. And if you do not indicate the mallet type, the timpanist will decide which type would be best suited for each particular situation. Here's some audio examples of mallet types. Medium Ellen. Hard amount, then would, uh one of the most idiomatic plane techniques for Tim Petit is the drum roll. Girls are similar to bowed tremolo Zahn string instruments and should be notated in the same manner for a complete discussion. Entre malos and their notation please see the lecture entree. Melo's under the section playing techniques for bowed string instruments. Before the 20th century, generals were notated with the trail sign to roll a single pitch. The timpanist will rapidly alternate to Mel. It's on a single drum. Trembles, consisting of two different pitches are played on two different drums. Rolls typically have a cut off stroke, which is the last stroke of the role. Be sure to know Tate the length of the cut off stroke. In this example, the cut off stroke is 1/4 note. The timpanist will have to stop the sound by placing their hand on the drum had at the quarter rest. Here's an audio example of the timpani roll. Playing single pitches is very common in Tim Pretty music, but it is also possible to play two pitches simultaneously, using two drums. Since the timpanist has a mallet and you Chand, they can strike two drums at the same time. Here is an example that involves the total of three drums tuned FCF played two at a time by altering the pitch with the pedal, a glass Sando of about 1/5 as possible on the Tempe. They could be performed at any dynamic and can be ascending or descending. Allessandro can also be performed while rolling. Here's some audio examples. Oh oh! 91. Xylophone: xylophone is an idiot firm of definite pitch. It was the first of the Mela Instruments to become part of the percussion section of the orchestra. Some of the first orchestral appearances of the xylophone, who are in 18 75 in 18 86. The names I the phone comes from the Greek. The instrument is made up of many wooden bars of different sizes, which one struck with a mallet, produce different pitches. The wooden bars air range dramatically according to size. The larger the bar, the lower the pitch, their place in two sets of rose, like the white keys and black keys on a piano. The Moderns I. The phone also has resonating tubes for each bar, which helped to simplify the sound. Music for Zyla phone is notated on a single staff in trouble. Clough. It is a transposing instrument and sounds one octave higher than written. The silent phone comes various sizes, the most common being the three active version. The xylophone is capable of triple P two triple F anywhere in its range. The instrument has very little resonance, and all notes basically sound staccato. Its overall tambor is a bright wooden sound But like all mala instruments, the timber is warmer in the lower register and becomes brighter. Is one place higher? Zyla phone mallets typically have somewhat flexible handles and small round heads. The heads are made of rubber, wood or plastic. Softer mallets may have heads wrapped in yard. The timber of O'Malia instruments can be altered by using different talents. If you know the exact hardness and material type you want to be used, indicate this inwards above the notes on the staff. At the very least, you should specify hard ballots, media mallets or soft mounts. And whenever there is a change in mala type during a piece, make sure that you give the performer enough time to make the switch. If you do not indicate the mallet type, percussionists will decide which type would be best suited for each particular situation. Preferred Mala type for his island phone this hard because of the particularly bright tone quality provides with the hard Mellat. The sound of the xylophone can usually cut through the orchestra. Playing techniques include the trill, tremolo arpeggio and Dalesandro. Black chords and chord temblors are also possible if the player holds two melons in each hand. The standard is one millet per hand intervals up to 11th or possible to melons in one hand . But some players with larger hands and longer mallets can reach up to 1/13 yarn soft plastic hard plastic, then would more. 92. Marimba: the Marambra is an idiot phone of definite pitch. It is basically a larger, lower version of design a phone. Its first introduction into the percussion section of the orchestra was in 1947. Remember Mallett's come in hard, medium and soft, and while harder mallets preferred for this I'll a phone. Softer mallets air preferred for the marimba. This is because Merima bars are more delicate. The melon heads are made of rubber, wood or plastic, and they're typically covered in urine. As always, the composer orchestrator should noted in the score whether the player should use hard, medium soft mallets and give them enough time if they were to switch melons during a piece . Music from Marimba is notated on the single staff in either travel club for based Clough change cloths as needed. It is also sometimes notated on a grand staff, and many marimba players seem to prefer this method. It is a non transposing instrument, and sounds is written. The Merima comes in various sizes. The most common are the four active and five Octa versions. Here's the range of the five active marambra, the more MBAs. Wooden bars are softer and thinner than xylophones bars and therefore have a darker Britcher tone in the upper register that Marambra resembles the sound of the Zyla firm when writing from marimba, it is the lower register that should be exploited, since this registers tone is unique to the instrument. Not only are the lower pictures darker and richer, they also resonate much longer, 2 to 3 seconds. The members capable of triple P two triple F and you were in its range. All of the playing techniques possible on xylophone are also possible on marimba. It is standard for most marimba players to play with two mallets in each hand. This does not imply that all member writing should be cordial. Single strokes can also be played well, holding to mallets in each hand. When writing intervals and chords, remember that the width of the bars gets thinner the higher you play. Unlike the Zyla phone, where all the bars are of equal with inactive is roughly 24 inches in the lowest active of the instrument and about 16 inches in the highest active. This means that larger intervals and chords air possible. The higher you play here, the average maximum intervals possible to millions per hand nineths from sea to tents from me too. 11th from me three and 12th from C four softy on medium yarn, hard yarn rubber, then would oh. 93. Glockenspiel: the glockenspiel is an idiot phone as definite pitch. The name glockenspiel is German for Bell play. Unlike this Isla phone of Marambra, which were made up of wooden bars, the glockenspiel is made up of metal bars. As with all mala instruments, the bars arranged dramatically according to size and come in two rows like a piano keyboard . Unlike the other mala instruments, the glockenspiel comes in a way one size and has a smaller range. Mallet heads come in various materials harder. Melons are made of metals such as brass. Softer mallets are made of wood, plastic and rubber. It is typical for a Glock Ishmael to be played with metal mallets, since the steel bars air denser than wooden bars and take more force to make them vibrate. One unique aspect of the modern glockenspiel is the damper pedal. When the pedal is not pressed down, the metal bars air dampened by a felt rail. This allows a performer to play choose to Qatar nuts. When the pedal is pressed, the dampers were raised and the pitches can resonate for a long time. Pablo should be noted beneath the staff using either of the following methods because metal resonates much longer than wood a performer can achieve. I botto by moving a cupped hand up and down over the vibrating bar to indicate for broad Oh , right with, for a broad above the staff to indicate a return to normal playing right without vibrato above staff music for glockenspiel is notated on a single staff in trouble. Clough. It is a transposing instrument and sounds two octaves higher than written. - The glockenspiel is capable of triple P two triple off anywhere in this range. Its overall Tambor is a bright, metallic bell like sound, But like all mala instruments, the tambor is warmer in the lower register and becomes brighter as one place higher. All of the plane techniques possible on xylophone marimba are also possible in the blackish bill. Typically, only one mallet per hand is used, but players may use up to two per hand for larger courts, the largest interval possible to mallets in one hand. His two actives, plus a second would hard plastic than metal you , no 94. Vibraphone: the vibraphone is an idiot phone of definite pitch. It is an American invention developed around the time of World War. Although it has been used more and more frequently, it has never attained quite the same standing as the other Mala instruments, the vibraphonist similar to the blockage bill, and that its bars are made of metal rather than wood. Mallet heads or other round or elliptical. Hard mallets are typically used to in playing vibraphone because it takes more force to vibrate metal bars. Common materials are brass and hard rubber. Softer mallets include plastic and wood butter. Rarely used. The vibraphone has a damper pedal, like the glockenspiel, which is notated in the same manner. It also has resonating tubes underneath each bar, like the marambra and xylophone on top of each resident YouTube. They're small rotating discs controlled by a motor, the's rotating discs, creative vibrato effect. The motor speed is adjustable and the disk and rotate anywhere from 0 to 12 times per second, indicating the score if the motor is to be used. And if so, the speed of the motor music for vibraphone is notated on a single staff in trouble cloth. It is a non transposing instrument and sounds as written. The vibraphone comes in various sizes. The most common is the three active version, with the range of F three to F six. Uh, - vibraphone is capable of triple P two triple F anywhere in its range. The Tambor resembles the glockenspiel, but much more mellow. Most metallic and brights, it's sound, has been called glassy and ethereal. The vibraphone is capable of all the common playing techniques used for a xylophone, marimba and glockenspiel. Like the marimba the vibraphone has bars have graduated with This means. The higher you go, the larger the interval possible. Here, the average maximum intervals possible with two miles per hand nineths from F three 10th from G three, 11th from D four 12th from a four soft mela, then hard mallet. 95. Tubular Bells: This instrument is an idiot phone of definite pitch, also known as chimes or symphonic chimes. The tubular bells were originally used in operas to imitate the sound of church bells. Some of the earliest appearances were in 18 53 18 59 and 1900. A Standards of Tubular Bells consists of 18 climatically, two cylindrical tubes. They hang on Iraq and arrange into rose. The back row is equivalent to the black keys on the piano, while the front row is equivalent to the white keys. The tubes are struck with hammer ships, mallets made of wood or plastic. There are also metal mouths, but these air usually not used because they can damage the tubes. The mountains are covered and felt or leather in order to achieve different levels of hardness. A damper pedal allows the player to dampen the sound of all the tubes at once. A player can also dampen the sound of any particular tube by placing their hand on the tube . Music for tubular bells is notated on a single staff in trouble. Clough. It is a non transposing instrument and sounds as written. The standard 18 tubes gives a range of C four toe F five. Larger orchestras will often have a set with more tubes, allowing a range of F three to G five. Uh uh. - The tubular bells are capable of triple P two triple F anywhere in their range. The sound is made up of two parts. The strike note and the residence. The strike note is the sound or ear perceives as the pitch and corresponds to the pitch written in the score. The residents contains the fundamental a knocked of lower and many overtones. It's a very rich tone. When struck, the sound will resonate for an extremely long time unless dampened playing techniques include single strikes. Single Notre Melo's played using to mallets on a single tube. English Sandoz close. Sandoz typically played by running a stick across the tubes. Two simultaneous pitches air possible if the player uses to mounts. One. Any chant. If a three note or foreigner corn is desired, another player is necessary. Both playing on the same instrument felt then plastic. The O Way 96. Quiz 14: 97. Score Study and Listening Assignments (sec.14): 98. Writing Assignments (sec.14): 99. Snare Drum: the snare drum is a member and a phone of indefinite pitch. It is also known as the side Drum because originally it was played on its side and military bands where it hung at the drummers left hip. Possibly its first appearance in the orchestra was in 17 49. The snare drum actually has to drum heads. The top head where the percussionist plays upon is called the batter head. The bottom had where the snares are attached is called the snare Head. They're usually 8 to 18. Snares made of silk or nylon wound with wire. The sneers could be turned on or off with a switch with snares. Switch off. This near drum sounds like a typical Tom Tom from a drum kit with sneers switched on. This snare drum has a very unique sound, which is bright metallic. Snare drums have special wooden sticks that air thin, taper out near the top and have either around oval tip. Sometimes mallets were used Such a small timpani, mallets or marambra mallets. The type of stick use changes the way the drum sounds when struck, for example, small timpani mallets typically used for snares off and produce a short thud. The snare drum can also be played using wire brushes. This is common in jazz. Wire brushes have a much softer sounding wooden sticks. There, two ways to play with brushes. The first is to strike the head of the Germans he normally would with a stick, and the second way is to rub the brushes in a circular motion on the drumhead. No Tate, the word brushes in the score if you want the drum to be struck with wire brush, and if you want a circular rub, know Tate the word swish. Single strokes and roles are typical playing techniques, very quick rhythms of possible due to the short residence of the instrument. Here are some common strokes the flam, the drag, the three stroke rough, the four stroke rough and the role. Another stroke is the room shot to produce a room shot. That percussionist places one of the drumsticks on the drum. The tip is resting on the drumhead, and the handle is resting on the rim. They then hit this stick with second drumstick, and this creates UNIX town that has been mike into a pistol shot. It should be noted that The orchestral room shot is different than the rim shot of the pop rock world. This type of room shot is accomplished by the simultaneous hitting of the Grim and the head . This has a more powerful sound, but it's harder to perform precision. The snare drum is capable of playing double P two triple F music for snare Drum is typically notated on a single line staff with the percussion class, either the following percussion close is acceptable. 100. Bass Drum: the bass drum is a member and a phone of indefinite pitch. It became firmly established as part of the orchestra percussion section by the last third of the 19th century. The drum sits vertically and has a drumhead on both sides. One side is the batter head, where the player hits and the other head is the resonating head. The batter had his thicker, but both heads are made of the same material, usually calf scared. The bass drums typically struck with the mallet, similar to a timpani mallet, only larger, with a softer, more felt covered head. Sometimes wooden sticks were used. The striking spot, which produces the full of sound, is about a hand with from the center. Single strokes and roles are typical playing techniques. Rapid single strokes are not as common because the great resonance of the instrument blurs the sound. If each stroke is to be distinctly heard, a cloth maybe placed over the drumhead and would sticks used. The bass drum is capable of playing triple P two triple F and can easily overpower the rest . The orchestra at his loudest. The sound of the bass drum has been like into the sound of thunder music for the bass drum is notated on a single line Staff with the percussion Clough Oh, oh oh! 101. Triangle: the triangle is an idiot phone of indefinite pitch it's using. The orchestra dates back to the mid 18th century. The triangle is around rod. Typically made of steel. It has been bent into the shape of a triangle and left open at one end. The instrument hangs from a piece of string or wire attached to the top corner. The triangle comes in various sizes, but the most common or 68 and 10 inches sound is produced on a triangle by striking the instrument with a metal beater. Beaters come in different thicknesses. The thicker the beater, the lot of the sound playing in different spots on the triangle can also change The quality of the sound. Striking near the center of any of the three sides gives the purest, most bell like sound. Striking near to the corners gives him or shimmering quality to the sound. Playing techniques are limited to single hits and trim. Ilo's a tremolo is accomplished by rapidly alternating with strikes from side to side in one of the corners. The instrument has a very long decay time, but it could be dampened with the non striking hand for shorter nuts for quick complicated rhythms. Two beaters may be used. The triangle is capable of playing triple P two double F music for triangles, notated on a single line staff with a percussion cloth. 102. Cymbals: The symbols are a Nydia phone of indefinite pitch. The instrument is another one of the older, non pitched instruments of the percussion section, with one of the earliest uses in 17. 82 symbols are made of brass wire, she brass, nickel, silver or bronze allies. The diameter ranges from 16 to 24 inches. There's a hole in the center of each symbol where a leather hand strap is attached. The instrument comes in a pair, and the percussionists will hold one symbol in each hand. Using the hand strips, the Cymbal crashes the most idiomatic, simple technique. The crash could be played from double P two triple F. Glad loudly. A Cymbal crash can easily be heard over the entire orchestra. The symbols have a very long to K time, but this decay time could be shortened by dampening the sounds. This is accomplished by the player touching the symbols against their body, usually their chest. It is important to know Tate how long the symbol should sound and when they should be dampened. Typically, if you place rests in the score, the player will dampen the sound. But not always. There's a special type of notation that tells the performer when to dam the sound and went to let it continue to vibrate. If you want the sound to resonate, you should know Tate a tie or LV let vibrate above the nuts. The following two measures would be played exactly the same way 4/4 notes would be played, and the performer would not dampen the sound in between each note. If you want, the sound dampening in between is now. You could simply leave off the ties that this might be ambiguous. It is better to know Tate Seiko above each now. The phony two measures would be played exactly the same way 4/4 notes could be played, and the performer would dampen the sound in between each note. Other techniques beside the standard crash, Our roles Instru Shadow roles are performed by rubbing the two Cymbals together in a quick circular motion. They're typically notated as a general, would be mistress shadows performed by starting with the two Cymbals together and then quickly sliding them apart to create a zing or hissing sound. It is typically notated with wavy troll line. Suspended symbols may also be used in the orchestra. These air suspended on a stand and are struck with sticks, mallets or brushes and can even be bowed with a double bass or cello bow. Always indicate in the score if the symbols air to be played as crash Cymbals or suspended symbols. 103. Tam-tam: the Tam Tam is an idiot phone of indefinite pitch. Although it is a member of the Gong family, it is differentiated from boss gongs, which air knobbed in the center and produce definite pitches. The instrument is a circular, slightly convex disk made of hammered sheet bronze cast bronze Tam tams range in size from seven inches over 60 inches. Holes were drilled in the rim at places that do not vibrate in order to suspend the instrument by wire. Playing techniques include single strokes, repetitions and rolls. The Tam tam is typically struck with a special Malik called Agong beater. Other techniques include rubbing the surface of the instrument with a triangle beater in a circular motion. This could be notated as a tremolo with triangle rub placed above the staff. You can also scrape the room of the instrument with the triangle beater. This is notated as a tremolo, with triangle scraped placed above the staff. Another interesting technique isn't bowing. The rim of the instrument with a double bass bow or cello bow simply no tape boat up of the staff. This is only effective, quieter, dynamic levels. The resonating length could be over 30 seconds so be sure to use very clear notation. As with symbols, sustained notes must be march, either with ties or a lot vibrate. Damn bananas should be marked Sekou. The larger tandems air difficult to stop from vibrating, and the performer will typically have to grab the instrument with both arms and bring it to rest against their body for half a second. The tantalum is capable of playing Triple P to quadruple F. A True pleasure Bluff is possible and crescendos by the accumulation of energy and repeated strikes. Music for 10 Tim is notated on a single line staff with a percussion cliff. 104. Tambourine: the Tam Marine is a meme Brenna phone of indefinite pitch its name in small drum. Although the instrument has had a place in the percussion section of the orchestra since the mid 19th century, the tambourine made even earlier orchestral appearances in the late 17 hundreds. The instrument consists of a wooden hoop over which has stretched a calfskin, or plastic head around the wooden hoop. Our slots with small breast disks there could be anywhere from 4 to 20 pairs of discs in two rows. The tambourine comes in various sizes, 10 inches being the standard. Other sizes include six inches and 15 inches. The tampering is typically held in one hand and struck with the other hand, but it can also be struck with the fingers Nichols or palm. If placed on the stand, it can be struck with mallets. A common playing technique for tampering is the tremolo to create a tremolo, the instrument is rapidly shaken, which causes the small breast disks to rattle. Another type of tremolo is the thumb role to perform ephemeral, a player will wet their thumb and then rub it in a circular motion around the rim of the drumhead This creates friction that makes the small breasts discs rattle. The dynamics are controlled by the amount of pressure from the thumb and the speed of the circular motion ephemeral gives them or intense tremolo effect. But the downside is that it only last for a few seconds. Roughly three seconds played. Forte and eight seconds played piano to indicate a standard tremolo place the word shake above the tremolo to indicate a thumb roll. Place the word thumb about the tremolo. The tampering is capable of playing triple P two Triple F. A true triple P is only possible if you lightly tap a single pair of discs. Music for Tampering is notated on a single line staff with the percussion cliff. 105. Percussion Demonstrations: 106. Quiz 15: 107. Score Study and Listening Assignments (sec.15): 108. Writing Assignments (sec.15): 109. Intro to Keyboards: 110. Piano: sound is produced on a piano. When hard felt hammers strike the strings, these hammers air activated by striking the keys on the keyboard, the strings air stretched across a very large cast iron frame. This frame is so strong it can bear 20 tons of tension from the strings. The error and the picture indicates the dampers. When a key struck, the corresponding damper is lifted off the string just before the hammer hits it the hammer that hits the string, causing it to vibrate. When the key is released, the damper returns to the string, stopping the vibration and its sound. The dampers make it possible to play true staccato on the piano. There are two basic divisions of pianos. The upright piano and the grand piano. The upright pianos, strings, frame and soundboard are vertical. Where is the grand pianos? Strings, frame and soundboard or horizontal? The grand piano was superior in both its mechanics and sound and is therefore the only type of piano used in the orchestra. A grand piano and most upright pianos have three pedals from left to right there. The U. N accord a pedal, the sustenance of pedal and the damper pedal. Some operates have only the right and left pedals. The damper pedal is the most frequently use pedal. It is sometimes referred to as the sustain pedal. When the damper pedal is pressed with the foot, all of the dampers on the entire piano are lifted off the strings. This allows the performer to remove their fingers from the keys and play other keys if needed, and the notes will continue to sound. It also allows for sympathetic vibrations from other strings that have not been struck, thus enhancing the piano's tone. A good pianist instinctively knows when depressed released the damper pedal. If you want a specific peddling of the damper pedal in the score, you should know Tate it. No. Take the abbreviation pet to indicate when a performer is to press the pedal and the asterisk indicate when a performer is to release the pedal on alternate pedal. Marking is the bracket. The short vertical line on the left means pedal down. The long horizontal line means continue to hold the pedal. Death on the short vertical line on the right means pedal up. Overlapping pedal, sometimes called llegado pedal, is when the pedal goes up and back down again very quickly. The stamp ends the preceding sounds and sustains the next sounds without a break in the continuity of the sound, It is used to seamlessly connect harmonies and clear any unwanted distances. The point in the middle shows where the performer would quickly left their foot up and down again. The U. N Accord a pedal is the second most frequently used pedal. It is used to allow the performer to play quieter, and the mechanics work in one of two ways. Pressing this pedal on an upright piano causes the hammers to be brought closer to the strings. This reduces the amount of velocity that Hammer could gain, thus reducing the volume of sound. Pressing the one a quarter pedal on a grand piano works very differently and to explain the mechanism we was first mentioned of, really, in fact, about the piano bolos notes on a piano have one string for hammer. The middle notes have two strings. Brammer and the highest of us have three strings per hammer. This arrangement of strings keeps the dynamic capabilities roughly uniform throughout the piano's range. For example, when you present a in the lower register of the piano. The hammer is striking. A single fix string turned a. When you press in a in the middle register of the piano, the hammer is striking to thinner strings. Two into a single A. When you press in a in the top register of the piano, the hammer striking three very thin strings tuned to a single A. They've been accorded pedal on a grand piano cause of the hammers to move slightly to the right so that the hammers that air hitting multiple strings hit one less strength. This makes the sounds slightly quieter and allows the performer to play expressively lower dynamic levels with greater ease. No, take these of this pedal with words in 1/4 to return to play without this pedal. No, take the words Trey Corta assassinated Pedal is the least frequently used pedal. It works in a similar way to the damper Powell, but sustains only those notes that are being played at the time the pedal is pressed and is not effect and even express thereafter. This makes it possible to place to counter pitches While the previously played pitches are being sustained. This is something that is not possible with the damper pedal. Note the middle pedal on some lower quality grands and upright. Panoz sustains only the notes in the base register and some uprights. The middle pedal lowers a piece of felt cloth between the hammers and the strings, which mutes all of the notes of a spanner. This is called a practice pedal and allows students to practice at a lower volume. Music for the piano is no teacher on a Grand Staff and Sounds is written. The piano has the largest range of any of the standard instruments. The modern orchestra, - the timber of the piano, is fairly homogeneous throughout. A strange of of the lower end is darker and the higher and becomes brighter, the higher one place. The resonating time is around 20 seconds of the lower end and decreases as you move higher and higher until it becomes around one second. Using single notes. That piano is capable of playing triple P two double F anywhere in his range. But with the use of the pedal and multiple simultaneous pitches, a triple F could be obtained 111. Celesta: The Celesta is one of the most commonly used keyboard instruments in the orchestra, who was invented in 18 86 in Paris in 18 92. Tchaikovsky made the instrument popular by using it in the Dance of the Sugar Plum Fairy from his ballet, The Nutcracker. The instrument's name comes from the French Celeste, meaning heavenly. When the instruments keys are pressed, felt hammers strike still bars, which then vibrate over wooden resonator boxes because of the resonator boxes. True staccato is not possible. Unlike the piano, the Celesta has only one pedal. The damper pedal. Pressing down on the damper pedal causes the dampers to be removed from the steel bars, thus allowing the pitches to resonate longer than they normally would. Lifting the foot off the pedal causes the dampers to return to the still bars, Thus stopping the sound. Music for the celesta is noted on a grand staff and sounds one octave higher than written. Here's the written range of the celesta shown on the staff, and the sanding range of the Celeste is shown on the keyboard. A five octave German model extends the range downward by one active, and it's starting to replace the standard for active French model. Uh, especially in its higher range. The sound of the celesta is reminiscent of a glockenspiel only more delicate and dynamics in timber. The celestic, um, play pianissimo anywhere in its range. The higher one plays, the easier it is to play lovely. E o more you, uh 112. Quiz 16: 113. Score Study and Listening Assignments (sec.16): 114. Writing Assignments (sec.16): 115. Preparing the Score: 116. Quiz 17: 117. Preparing the Parts: 118. Quiz 18: 119. Method for Proofing Score and Parts: 120. Doublings: a familiarity with different Tambor's of individual instruments and the ability to use timber well important parts of orchestration. Tambor is the color or tone quality of an instrument. It is largely determined by an instruments overtones and is the reason why we're able to tell the difference between a flute and an oboe playing the same pitch, or even between two different flutes playing the same pitch. There are two basic types of timber. Pure chamber and composite timber. In the strictest sense, Pure Tambor is the sound of one type of instrument playing pitches that are not duplicated by any other instrument or composite timber results from two or more different instruments playing the same pitches. Let's delve a little deeper into this with some examples. Here is an example of a single flute playing melodic line. This would be an example of pure timber. If two flutes played the same melodic line, it would also be considered a pure chamber, although slightly less pure since no two flutes have the exact same timber, here is the same example, this time played in perfect unison by a flu to know Bo. This is called unison doubling and is an example of a composite chamber in unison, doubling zones. The individual timber of each instrument blends together and creates a new composite temper . All right. The more homogeneous sounding the two instruments are, the more complete the composite sound will be. Let's replace the oboe with the clarinet and listen to the difference. Notice how the bite of the oboe in the preceding example stood out against the flute. Well, the warmth of a clarinet in this example blends better. This is because the tambor's of a flute and clarinets are more homogeneous than the timbers of the flute and oboe. Now listen to what happens if acquire network to play the same lines. The food but an octave lower when two instruments play the same line in octaves, and it's called octave doubling. Active doubling is a very common technique and orchestration. Both the unison double ings and active Dublin's are used to blend Tambor's but octave doubling allow each Tambor to retain more of its own identity. Think of units and doubling Xas, mixing two colors of paint to get a new color like yellow and blue me green. Now think of octave doubling Xas two colors next to each other on the canvas used to complement or contrast with each other. Octave doubling is do not always have to be two different instruments playing the same line inductive apart. They can also be any of the following two of the same instrument playing the same line an octave apart, two of the same instrument playing the same line, two or more actions of parts, two different instruments playing the same line, tour Moroccans apart or multiple instruments playing the same line in multiple octaves are active. Doubling is considered pure or composite Tambor's well, Technically, each instrument is playing a different set of pitches, and in that respect, the Tambor's pure. But since each instrument is playing the same musical element in this case, the melody the timber comes across is somewhat composite sounding, and so we see that the musical element each instruments playing can have a large impact on whether the timber will come across is pure or composite sounding. For example, if the flute and clarinet were playing completely different and distinct melodies, the resulting sound would be that of, to contrast ing pure. Tambor's, who would not come across a sounding composite like 121. Doublings Within A Homophonic Texture: Although texture will be studied in the next section, it is necessary to mention it here briefly as it relates to timber texture deals with the number and type of musical elements in the score. In this lecture, we will take one of the most common textures home a phonic texture and look at the different ways in which we can use pure and composite timbers within this type of texture. These differences could be settle, especially if you've not previously trained your ear to recognize differences in timber to aid you. In hearing the subtle differences, it is recommended that you listen on a good set of speakers in a quiet place. Here we have the viola playing the melody and the cello playing the accompaniment. Each part has appeared. Hambor I Here we have the video of playing the melody while the bassoon doubles the cello in unison on the accompaniment. This adds color and slightly reinforces the accompaniment, but at the same time makes the pure Tambor of the video a standout. In contrast, here we have the cello playing the accompaniment well. The oboe doubles the viola and unison on the melody. This adds color and slightly reinforces the melody, but at the same time makes the pure Tambor of the cello stand out. In contrast, here we have the viola and oboe doubling in unison on the melody. Well, the bassoon and cello double and unison on the accompaniment. The sound is fuller, since both melody and accompaniment are doubled, but now there is a lack of pure chamber. Here. All parts are once again doubled in unison as an example for, except this time we've introduced a knocked of doubling by having the flute play the melody octave higher than the oboe and viola. This adds color and reinforces the melody even more. It also as a little brightness to the melody, since the flute retains more of its own tambor due to the octave doubling rather than blending in and becoming a true composite, as with unison doubling. Here we have the same example is example five. Except this time we've added another active doubling. The double bass is doubling certain pitches in the tell apart, but one or two octaves lower. Remember, the double bass sounds one octave lower than written this EDS color and reinforces the accompaniment even more. The pizzicato articulation. Also, as a certain degree of brightness, the double bass retains more of its own timber. Due to the difference in articulation and also due to the octave doubling, a skillful orchestrator is able to effectively balance the use of pure Tambor's and composite tempers to obtain the desired sound or composite. Tambor's could be different and new. Keep in mind that if you're constantly mixing Tambor's with the unison doubling, you will lose the contrast and exhilarating sound of pure Tambor's. It is vile to vary the Tambor throughout a piece to avoid a bland, flat sounding orchestration. But be aware they're constantly changing. Tambor's could become Justus, monotonous as rarely changing Tambor's. 122. Doublings Within A Chord: Now let's look at Dublin's Within the context of accord. In orchestral music, option doubling is within. Cords well by necessity, be present due to the large number of instruments and their ranges. Here's an example of the string section playing a chord. The Pitch D is doubled by first violins, the cello and the double bass in octaves, with the octave doubling zin, this court be considered a composite timber or pure tambor. Each instrument is playing a different pitches, and so, technically, the Tambor's pure. But once again we see the effect that musical elements can have on Tambor, since each instrument is playing the same musical element in this instance of part of Accord the timber comes across is somewhat composite sounding. Here is the same chord with woodwinds and brass added. Now we have both active double ings and units and Dublin's. I noticed that every pitch involves the use of unison doubling in order to create a composite timber except for the top D, played by the flute, which is a pure Tambor and a four played by the second trumpet, which is also appeared. Tambor 123. Reasons for Doubling: 124. Imbalance Due to Register: whether you're using perfect unison or octave doubling, he must always be attentive to each instruments. Register characteristics. So is not to create an imbalance. If poor registers were chosen, certain pitches in accord may stand out over, others will be buried and not hurt. The choice of register can also affect a melodic line. In this example, the over will be heard more prominently in the beginning because it is in a strong register while the flute is in a weaker register. Towards the end of the line, the flu will be heard more prominently, since it is strongest in its higher register. This sort of imbalances, sometimes desired it could make him a lot of climb or interesting, as different instruments become more or less prominent over the duration of the line. If, on the other hand, you're looking for more complete blend, then you will need to be careful in your choice of instruments and registers 125. Imbalance Due to Dynamic Ability: 126. Common Doublings & Instrument Combinations: 127. Quiz 20: 128. Score Study and Listening Assignments (sec.20): 129. Writing Assignments (sec.20): 130. Monophonic Texture: In the next few lectures, we will be discussing various types of orchestral textures. Texture refers to the different elements that make up music such as melody and harmony and the ways in which these elements are used or combined. Understanding texture is an essential part of writing for orchestra. We will start with the simplest type of texture, which is a Monta phonic texture. The word Monta phonic means one sound. Amman. A phonic texture is a texture involving a single element. The melody included in the category of modifying texture, our perfect unison, arctic doubling and parallel doubling. Let's start with perfect unison, which is the first and most basic type of model phonic texture we first encountered. Unison is when we discussed unison double ings in this section on timber Perfect unison occurs when every instrument playing at a particular moment in the score is playing the same pitches in the same octave. Here's an example of Amman, a phonic texture that uses perfect unison. All transposing instruments have been written. Is sounding, pitches tell visually illustrate the perfect unison. Perfect Unison is often used to create a powerful statement of a melodic theme, the result of so many instruments playing the same pitches creates a mixed massive color. In this example, we see that Busy has used as many instruments as possible to see the opening theme. Because of the melodies range, certain instruments have been left out. This particular melody is too low for the flutes and oboes and too high for the double bass . Perfect unison is rare. Our custom music. When it does occur and usually only last for a brief period of time, they're a couple of reasons for this. First, it is a particularly simplistic texture. They can become un interesting if used for longer than a phrase or two. Second, it is difficult to write a melody that is well suited to the ranges of numerous instruments . Certain instruments may end up playing too high or too low in their range. Therefore, stand out not surely blending in with the whole. The next type of Monta phonic texture is octave doubling. We first encountered active doubling in the section on timber. Here we speak of it in relation to texture. Active doubling is still considered a modifying texture because no new elements have been added. The one element the melody is simply played inactives. One benefit of Oxford doubling is that it allows the composer orchestrator to place each instrument in a suitable playing range so that it doesn't stand out. Here's an example of Amman, a phonic texture using Arctic doubling. Notice that the melodic line is spread across four octaves at the start, - a texture consisting solely of Oxford. Doubling is rare in our custom music, but not as rare as perfect. Unison, when it does occur, usually only last for a brief period of time and is used as a dramatic to T effect. In this score example, we see that the ox of doubling texture does not last very long. Puccini is interspersed with cords for a variety of texture. Another type of Monta phonic texture can be seen in the technique of parallel doubling. Although active doubling zones are technically also parents siblings, the term parallel doubling is reserved for intervals other than inactive. The most common parallel doubling Zehr surged in six less common or fourths and fifths parallel doubling works best when played by the same type of instrument or at the very least by mostly homogeneous sounding instruments. This is especially important if there are other textures occurring simultaneously, as in the case of complex textures. But true to learn about shortly by using the same instruments, the texture is me clearer through Tambor. Here's an example of Amman, a phonic texture. They uses parallel doubling, played by three trumpets. Parallel doubling is still considered a mono phonic texture because no actual new elements have been at it. The one element, the melody is simply prayed, using intervals when using perfect unison and Arctic doubling the melodies reinforced but with parallel doubling the melody is reinforced in a different way, is reinforced harmonically. 131. Homophonic Texture: one of the most common types of texture and music is home a phonic texture. The word Homo phonic means the same sounds. This texture consists of a single melody with harmonic accompaniment, even though the melody and harmonic accompaniment are two very different elements. We refer to them as the same sounds because their combined together in such a way as to form one whole and complete sound. Here's an example of home a phonic texture flute. One is playing the melody well, flute to the clarinets and the person's provide the harmonic accompaniment. Harmonic accompaniments could be either sustaining or moving like broken chords and other harmonic figures. In this example, the harmonic accompaniment is sustaining in a home, a phonic texture. The melody always takes precedence over the harmonic accompaniment. The melody can be brought to the forefront through various means, including using an instrument of contrast ing Tambor for the melody, using a louder dynamic for the melody, placing the melody and ah, her registered than the accompaniment. By doubling the melody in octaves or any combination of these techniques, 132. Polyphonic Texture: a polyphonic texture is a texture made up of two or more independent melodic lines for it simultaneously, the word polyphonic means many sounds. Although there is no harmonic accompaniment in a polyphonic texture, harmonies will results from the vertical interaction of the notes. Melodic lines and polyphonic textures can be similar, as in a few, but more often they're completely different melodic themes heard simultaneously. These completely different themes may have been played separately earlier in the piece, and her then played together later on, or they may be made up of completely new material. Here's an example of imitative polyphony. The melodic theme begins with the first violence every four measures. The same theme has begun again, with a different set of instruments at a different interval or active. The resulting sound is intricate and quite impressive. Here's an example of non imitative polyphony. The main theme is played by the videos and shallows, while the bassoon and double bass played two distinct counter maladies. Counter melodies are sub ordinance or secondary melodies. Whenever you're writing counter melodies, you must make sure that you're not overshadow the primary melody. There are a few ways to ensure that this does not happen. Mark the primary melody with a ladder dynamic were placed the primary melody and a stronger and more noticeable register than the secondary melody. Or reinforce the primary melody with unison, Dublin's or better yet with Doctor of Dublin's When you were writing a polyphonic texture for orchestra, the following may occur due to the sheer number of instruments. There may be overlapping pitches, which occur when two melodies meat on the same pitch in the same opted for a brief moment. There may also be some crossing of lines, which means that either a higher line drops below a lower line or lower line rises above a higher line. For a brief moment, you should try and avoid these two scenarios as much as possible, especially crossing lines so that each line is clearly heard and the sound does not become muddy. One way to avoid crossing lines is to refrain from using octave doubling for the inter lines. Doubling in her lines will almost always lead to the crossing of lines. Any active doubling is used. You should double the highest line an octave above with the lowest sign, an octave below. If you do enough haven't overlap pitches or cross lines. You can help to eliminate some of the confusion, the list or may experience by using instruments with noticeably different timbers for each line. Remember, texture is made clearer through chamber. 133. Chordal Texture: because the topic of scoring cords is lengthy, involving discussions of Tambor voicing spacing and balance. We will devote the entire next section to these issues. In this lecture. We will be speaking, of course, in general, as they relate to texture. They're basically two types of quartile textures, those that express a strictly harmonic element and those that express both a harmonic element. Animal out of element. Here's an example of a Cornel texture that expresses a strictly harmonic element. Quartile textures are typically home arrhythmic, which means that every line are most. The lines will have the same rhythm. When reduced to a panel, score becomes very easy to see the quartile texture. There is a harmonic element and a rhythmic elements, but not really a melodic element present. Here's an example of a quartile texture that expresses both a harmonic element animal out of elements. This excerpt from Mueller is an illustration of part writing part Writing typically consists of four unique parts called voices. The top voice usually outlines a melody well, the other voices beneath it contribute to a vertical harmonic structure. Although these other voices are part of the harmonic structure, they're also cause I melodic nature. - At first glance, it may look as if there are five voices in the Mahler example, but the tuba and controversy soon, which is not shown here, are just doubling the fourth trombone Must the time trump on two and three also double each other in the first measure of line, too? Only in the second measure of lying to to be get a true taste of five distinct parts. Here's a reduction, so you can more easily see how each voice moves Within the whole, - some erroneously classify part writing as a home, a phonic texture. It may seem similar to home a fine texture because it has a definite melody and perceived underlying harmony. But since this underlying harmony is actually made up of individual, quasi melodic voices of roughly equal importance to the melody, it is not truly, ah, harmonic accompaniment. Part writing is also sometimes it was taken as a polyphonic texture over both make use of simultaneous melodic voices. There's an important distinction impart rating. Each voice, all the separate and unique, relies on the other voices to create an intended vertical harmonic structure. These voices air connected to one another. It would not stand very well on their own as independent maladies. With the exception of the main voice, which is typically the top voice and probably Fonda, creating each voice is completely independent of the others and could stand very well on its own. Yes, harmonies may result from the vertical placement of the notes, but the primary intent in a poet fine texture is melodic writing, not her Monica writing Every orchestrator should have knowledge and experience and four part writing. If you're not familiar with four part writing, it's highly recommended that you take a course in it. Traditional four part writing continues to be taught at universities and is an essential part of music. Education, of course, in for Portraying is available on you to me, by this instructor. 134. Complex Texture: the final type of texture, we will look at his complex texture. Complex texture is any combination of two or more types of textures. One of the most common complex textures is the combination of a home, a phonic texture with the polyphonic texture. This type of complex texture typically appears and scores in the following format a primary melody, a secondary melody and a harmonic accompaniment. Here's an example of a complex texture. Here we see the clarinet playing the primary melody against the secondary melody played by the flute just prior to this. In the score, the texture was strictly home. A phonic and the flute had been playing The primary melody. Notice that the harmonic accompaniment is made up of three different elements. The violin, viola and cello provide a sustaining element. The harp provides a moving element, and the double bass pizzicato provides a reinforcement and coloring of the basements. This provides variety and adds to the oral dimension of the harmonic accompaniment. - If all of the elements in the texture are equal weight, then there will be no death to the texture, just a massive sound. A skillful composer orchestrator knows how to balance each part of the texture so that certain parts are more prominent than others. This is a very important task. This brings us to the topic of the three grounds foreground middle ground and background. Let's define each one foreground material is that which is meant to be heard more prominently than everything else. This is typically the melody. Although you can mark foreground material louder than everything else, you should not rely simply on dynamic level to bring it to the foreground. You can also accomplish this by use of a contrast ing or vivid timber by use of an instrument strongest register or by placing the melody higher than the other instruments. Middle ground material is that which is meant to be less prominent than the foreground material but still fairly noticeable. This is typically a counter maliti, or important motive IQ material. Although middle ground material could be marked at a lower dynamic level than the foreground material to make it less prominent, you should not rely solely on this practice. Other methods include the use of less vivid Tambor's weaker instrument registers. We're placing the middle ground material lower than the foreground material background material is that which is meant to be least permanently hurt. This is typically the harmonic accompaniment. The harmonic accompaniment could be sustaining, moving or both. If it's moving, just remember that the more active apart is, the more attention it will draw to itself. Although you can mark background material at a lower dynamic level than the foreground of middle ground material, you should not rely simply on dynamic level to make it less prominent. You can also accomplish this by using less active material by using mild Tambor's or by using middle registers of instruments middle of registers air well suited for background material since they're less noticeable than extreme registers. Now that we've discussed foreground middle ground and background, let's look at a more elaborate example of complex texture. In order to fit all of these stabs onto the screen, the size had to be reduced, and so a full sized example is available for you with this lecture as a download. The foreground material consists of four trumpets that are playing the melody. The middle ground material consists of two trombones that air playing the counter Maliti. The background material consists of violins, upper woodwinds and glockenspiel that air playing the moving harmonic accompaniment pattern . The lower strings and there were woodwinds are playing the Kordell harmonic accompaniment. We'll play the audio three times each time. Pay attention to a different element. First, listen for the foreground. Now listen for the middle ground and finally listens to the background. Writing a complex texture with the right balance of foreground middle ground on background takes many years of score studying, orchestrating to become skilled at it. But in general, what you need to remember is it. The listener will typically follow the loudest part, the most melodic part, the highest part. The part with the most vivid tambor and the most active part. Most orchestral compositions do not consist of a single type of texture. Using a single texture for an entire piece would be absolutely monotonous. For the listener, it is necessary to switch between the various types of textures to create variety and continued interest in the music. Although it's vital to vary the texture throughout a piece to avoid a bland and flat sounding orchestration, constantly changing textures can become Justus monotonous as really changing the texture. As a composer, you need to find the right balance between these two extremes. We'll talk more about texture in the final section of the course 135. Quiz 21: 136. Score Study and Listening Assignments (sec.21): 137. Writing Assignments (sec.21): 138. Spacing: 139. Voicing: In the last lecture, we learned about spacing. The other basic component to consider in scoring cords is voicing. Voicing is the way in which different instruments are arranged with an accord. There are five types of voicing. We will define each of the five types here before looking at how cords air typically voiced within different sections of the orchestra. You know the following examples. Pair one refers to two of the same kind of instrument. Pair. Two refers to two of another kind of instrument checks to position pairs of instruments replaced, one above the other interlocking. The lower note of the upper pair is place beneath the upper note of the lower pair enclosure. One pair of instruments is enclosed by another pair of instruments, overlapping one or more pitches. Air doubled in unison by the pairs of instruments single voicing. Each pitch of the court is played by a different instrument 140. Chord Voicing for Woodwinds: now that we've defined the five types of voicing, let's take a look at how cord you typically voice within the different sections of the orchestra. We'll begin with the Woodman family. Juxtaposition is probably the most frequently used voicing for woodwind chords, typically the pairs or placing order of register, with the higher instruments playing the higher pitches of the cord and the lower instruments playing the lower pitches of the court after juxtaposition. Interlocking is probably the second most frequently is voicing for Whitman courts. Some find the definition of interlocking to be lengthy and confusing. It may be easier to simply think of interlocking as alternating between pairs of instruments, like in this example, from top to bottom, We have oboe, clarinet, oboe, clarinet interlocking, allows the Tambor's of different instruments remixed with an accord in a unique way. But with this mixing comes the risk of imbalance and the following example. The elbow would stand out over the flute because the oboe is stronger in this lower register, while the flute is weaker and its lower register. This is one reason it is so important to know the unique strengths and weaknesses of each instruments register enclosure carries the same risk of unbalance as interlocking. Voicing the pair of instruments in closing the other pair will usually be an octave or more apart. This means that the lowest note in the highest honor will have different strengths and timber because they were most likely being different registers overall and closed. Voicing does not blend as well as interlocking voicing for woodwinds and is not used as frequently overlapping. Voicing was more common before the 20th century. Today it is used mainly for custom to t passages when using overlapping, voicing their two issues to consider the first deals with pure and composite timber. In this example, the top and bottom pitchers air pure. While the middle pitch is composite, this can affect the overall color you were trying to achieve within the court. The other issue with overlapping voicing is that the pitches prayed in unison will have slightly more volume. The pictures, played by single instruments, the middle pitch in this example, stick out slightly since it is double by flute and oboe. Sometimes this imbalance could be exactly what we intend. For example, when we're trying to emphasize the root of a court, we could solve and balance problems caused by overlapping if three different pairs of instruments were used. Here are a few common options. As you can see in these examples, every pitch is played by two instruments. If you were writing for three of each woodwind rather than two of each, the imbalance caused by overlapping is even more easily soft. For example, with three flutes and three clarinets, we can simply overlap a three note chord, and the timber will be completely composite. Single voicing should be avoided in writing courts for woodwinds, it is typically only used in small ensembles where there is only one of each woodwind instrument. If you absolutely must write a word or in court and single voicing, do not use close position. If you do, the different, Tambor's will be hard to balance, and the players will find it hard to play in two with one another. Instead, he should always right single voice chords in open position. This will have a much better balance and the easier to play into 141. Chord Voicing for Brass: 142. Chord Voicing for Strings: when scoring cords for woodwinds or brass, we saw that there were problems with blend and balance with strings, these problems or less of an issue. There are two reasons for this. The first is that strings are much more homogeneous, and timber can therefore blend easily with one another. The second reason is that they're standing. Strength is fairly uniform throughout the registers, from low to high in the following slides, the double bass would be notated, it sounding pitch so the spacing of the cords can usually be seen. Juxtaposition is the most common type of voicing for scoring string chords. String chords like cords for woodwind or brass are typically space to resemble the spacing in the harmonic Siri's intervals or larger near the bottom of the cord. I think it's smaller, smaller near the top. You may noticed that in this example of six is used at the top of the cord. This is often effective since it can be found in the major court outlined in harmonic series. Interlocking voicing is probably the second most common voicing for string chords and is often used with double stops, or DIV. Easy enclosure is extremely rare. Invoicing string courts. Overlapping is seldomly used, but when utilized, it creates unique a rich blend of timbers. All pitches in this example would be heard simultaneously. They've just been spread out so that you could more easily see which instruments are overlapping one another. Remember, when writing to visi, you must not divide each string section into more than two groups unless you were writing for a professional orchestra that has enough of each instrument to divide sections into groups of three or four. Single voicing of one instrument per voice, which is not to be used for woodwind or brass, may be used in scoring courts for strings, since there are fewer problems with blend and balance. 143. Chords for Orchestra: 144. Quiz 22: 145. Score Study and Listening Assignments (sec.22): 146. Writing Assignments (sec.22): 147. Who Does What and for How Long: 148. Section Playing Frequency: a common mistake. Beginning orchestral composers is having all or most instruments playing all or most of the time. There are two problems with this. First, when too much is going on. At the same time, the listener will often overlook or miss parts of the music. Second, each section of the orchestra can only be tolerated by the listener for a certain period of time. Before are all fatigue sets in, it will be useful to remember the following. The greater the intensity of the sound, the quicker it will wear on the ear. If Cymbal crashes, for example, were played for 30 minutes straight, the son would become unbearable because the sound of the Cymbal crashes very intense. If, on the other hand, the violin were to be played for 30 minutes straight, we wouldn't mind at all because it sounds were mild in the orchestra. Each section has a certain degree of intensity, the order of the sections from most intense to least intense. His percussion press woodwinds, then strings. The intensity of a section has a direct correlation to the percentage of time that a section typically plays during a piece. So according to this list, the percussion section should play for the least amount of times, since it is the most intense, the string section for the greatest amount of time since it is the lease intense, we can see that this is generally the case when we analyzed or customs scores of the great composers. Let's look at the famous symphony to get a sense of how frequently each section of the orchestra place in the following charts. Each movement of Tchaikovsky's Symphony number six was analysed measure by measure to determine the percentage of time each section plate. Although these numbers will be slightly different for every piece, composer and time period. This will give you a general idea of how often you section place. Pause the video to study the graphs here, the percentages for all four movements combined. As you can see, the more intensive section is, the less frequently a place does this mean that when you write a piece of music, you need to keep track of how many measures each section is playing. Of course not. When Jackowski wrote this symphony, he didn't count up the number of measures the brass were playing to determine whether he had too much or too little breasts. He just instinctively knew what a good amount of brass would be. As a beginning composer for orchestra, simply keep these percentages in mind as a guideline, and try and be aware of how often your using each section. You may have noticed that the strings play for almost 100% of the time. In addition to their mild sound, there are a number of other reasons for this string. Players did not need to breathe like woodwind or brass players, and can therefore play for longer periods of time. Strings are very agile, are capable of more playing techniques than any other instrument. They have an extremely large range, both individually and as a group. There are almost no problems with blending or balance. Dynamics are not affected by register like woodwinds and brass are. And now we turn to the frequency of two T. How often should the entire orchestra played together to T does not necessarily mean that every single instrument is playing. T. Also comely refers to instances where a majority of the orchestra's plane in the same symphony. We find the following percentages of two T passages. If you compare this graph with the previous graphs, you will see that the percentage of time that a majority of orchestra plays together is much less than the percentage of time the string woodwind or brass sections play to tear generally used in climaxes and other key moments in a piece. If the majority of the orchestra is playing the majority of the time, then there's absolutely no possibility for climaxes or any contrast, and the audience will quickly experience or fatigue. 149. Section Tasks: 150. Instrument Playing Frequency: just a Z. Each section of orchestra has a different degree of intensity, sort of the instruments within each section. Therefore, we can apply the same guideline regarding are all fatigued to individual instruments. The greater the intensity of the sound, the quicker it will wear in the air. We will once again used Tchaikovsky's Symphony number six as our case in point, this time calculating the percentage of time each instrument is playing. Pause a video to study each graph. - Here are all four movements combined. What can we learn from this information? The pickle is used much less frequently than the other Woodman's. It sounds too intense to be heard for extended periods of time. The oboe is more intense than the flute clarinet soon, and so it is used slightly less often, since the sound of the horn is less intense and the other brass instruments, the horn will typically play more often than any of the breasts. Because the one is also the bridge between the woodwind section and the brass section, it will often play as frequently as some of the woodlands. The timpani usually plays more frequently than any other percussion instrument, sometimes as much as the heavy brass. The trumpets, trombones and tuba indefinite pitch percussion play very infrequently, since indefinite pitches are more intense and can quickly where in the year all strings play for roughly the same amount of time. Because, unlike the woodwinds and brass, the strings air all nearly equal in intensity. Any differences are due primarily to the types of tasks they're performing and not due to the differences in intensity. This analysis considered only the general intensity of each instrument. It is important to remember that all instruments tend to be more intense in their extreme registers. How often they're playing in their extreme registers must also be taken into account when deciding how frequently they should be heard. Yet another factor is dynamic intensity. A tamped him, for example, could be used more frequently if played pianissimo. Then, if it is played fortissimo 151. Instrument Tasks: 152. Quiz 23: 153. Score Study and Listening Assignments (sec.23): 154. Writing Assignments (sec.23): 155. Other Uses of Timbre and Texture: 156. Doubling in the Harmonic Series: in the section on scoring cords, we saw how the harmonic Siri's is used as a model for spacing courts. It is also a model for how frequently we should double the pitches in accord. Many beginning composers and orchestrators make the mistake of doubling the third of Accord as frequently or more frequently, then the roots or the fifth of Accord. They mistakenly think that all pitches haven't equal importance and should be heard equally or even worse, that since the third determines the quality of the court major reminder. It should therefore stand out. Let's take another look at the harmonic Siri's beginning on sea and count the pitches of the C major court. We find that C occurs five times, G occurs three times and e only occurs two times. From this, we can conclude the following. Within any fundamental pitch, there is a natural occurrence of doubled pitches. The root of a major chord is the most frequently double pitch, the fifth and then the third. Now that you're aware of this fact, let's take a look at what is actually happening every time you choose to double a pitch in accord for every G that you double in a C major chord. You are, in essence, also adding all the overtones from the harmonic series of G into the overall sound. This isn't a huge problem because most of the lower partials, up until 11 are in the key of C major and will therefore not create too much dissonance. Higher partials air not as audible as lower partials and do not cause as much of a problem . Now let's look what happens when you double the third of major chord for every E that your double and a C major chord you are, in essence, also adding all the overtones from the harmonic syriza e into the overall sound. This becomes a problem because of partial number five, which is fairly loud, less of a problem because of the higher partials 9 10 11 and 15. This will create much more dissonance within your cord. Therefore, to construct the most acoustically pure shining cords, we should not only model are cords after the spacing outlined in the harmonic Siri's, but also model them after how frequently the court tones recur in the Siri's. Let's listen to some examples to hear what we're actually talking about. Here's accord scored for strings with Poor spacing and Doug Ling. The third occurs three times. The fifth occurs once, and the root occurs twice the lower pitches or not far enough apart. Here's the same chord with spacing and doubling, which more closely resembles that of the harmonic Siri's. The third occurs once the fifth occurs twice, and the root occurs three times the lower pitches air far enough apart. 157. Contrasting Dynamic Markings: 158. Adding and Subtracting Instruments: 159. Punctuation: it's not always necessary to double an entire line in order to add color. It can also be effective to add color by punctuating key parts of the line. The following example is from the opening of the Sorcerer's Apprentice, my poultry house. Here we see the piccolo and flute, doubling the key pitches in the line, played by the first and second violins. Rather than simply having the piccolo and flute playing the same note duration as the violins. 1/4 note tiger 16th Acosta gives them a rhythmic motif that not only colors those particular pitches but makes him stand out even more in the line. 160. Use of Vivid Timbre: 161. Marking Dynamics: 162. Pitch Distribution of Elements: If two musical elements air placed in the same general pitch location, neither will be her distinctly. In the following example was playing the melody and the second violins air playing the harmonic accompaniment in the same pitch location. This is poor writing and will sound as if each element is fighting to be heard over the other. If we simply move the over an octave higher, it's pitch. Location would not clash with that of the second violins, and each element would be heard more clearly. 163. Contrast Through Articulations: contrast is a vital component to interesting orchestrations. We have already seen how contrast could be created through use of pure Tambor's different textures and register contrast can also be created by signing different articulations. Two different musical elements. Take, for example, ah, home, a phonic texture of melody and harmonic accompaniment. If both elements air played llegado, there is no contrast of parts. Listen to what happens if the melody is played llegado and the harmonic accompaniment is played staccato. Both parts suddenly become much more defined and much more interesting due to the contrasts . This is not to say that you should never have all parts playing llegado are all parts planes to kind of just do it sparingly or for special effect the majority of the time, you should aim for a variety of articulations played simultaneously. In addition to using articulations to create contrast between different musical elements, you can also use articulations to create contrast within a single element. Here's the melody from the previous example. There is no contrast within the line have played entirely llegado. There's no contrast within the line of played entirely staccato. Now listen to how the line is much more interesting if it is played with a combination of llegado and staccato 164. Contrast Through Antiphony: and Tiffany is the alternation of musical ideas between two groups. Its basic structure is a call followed by a response, one instrument or group of instruments, states and musical idea and the other instrument or group of instruments. Because back the same musical idea or variation of the idea and Tiffany has been comin from the earliest days of orchestration, you can find many examples in the scores of Tchaikovsky. The contrast is strongest when the ant, if it'll material, is presented by instruments of different timbers, such as instruments from different families. Here, the brass state of musical idea and the streams echo it. Although it's not necessary, the response is typically in a higher or lower octave to intensify the contrast. The contrast is more subtle when the ant, if it'll material is presented by instruments of the same family. If, for example, we replaced the brass with low strings, the contrast would be less stark. Here. The contrast is more from register, unless from timber and Tiffany does not need to be heard in isolation is also effective to combine, and Tiffany with another musical element, such as a harmonic background. Here's an example from the opening of divorce Shocks Serenade for strings. The videos were playing a harmonic accompaniment. Well, the second violins and cello owes play in an Tiffany. Remember, The response does not need to be a strict echo. Here we see the cello echo back for themes starting on E rather than on G sharp. 165. When to Use Octave Signs: 166. Variation of Pitch Distribution: 167. Dovetailing: dovetailing is also known as overlapping. It is used for a variety of purposes. In this lecture, we're going to take a look at some of the more common uses, dovetailing to make a technically difficult passage easier to play. Although this could be played by a single flute, a technically difficult passage could be split between two of the same instrument to make it easier to play. This lowers the chance of any problems with rhythm, tempo and intonation. Here's the same example played by two flutes. To make the passage sound seamless, we dovetail her, overlap the parts at the same time one flute is ending. The other food is beginning dovetailing to make possible a passage with a range too large for a single instrument. If a passage has arranged that is too large for a single instrument, it could be split between various instruments. This works Best of the instruments are from the same family or section. The following passage extends five actives and would be impossible on anyone instrument. By using various members of the string family, this passage becomes possible. To make the passage sounds seamless. We dovetail or overlap the parts as the cello ends, the viola is beginning. As the video ends, the violin is beginning and so forth and so on, dovetailing for a sustained pedal effect. If this were played on the piano, the sustain pedal would sustain all of the pitches. Although the orchestra does not have a sustained pedal, we can approximate the effect. One solution would be to sign a different instrument to each pitch and simply have them sustain their own pitch. Although this creates a sustained, it is a poor solution because we lose the sense of motion and continuity of the line dovetailing Consol. This problem. The trick is to have some instruments moving and then sustaining, all the while dovetailing various parts he received dovetailing in the cello and viola parts. The eighth notes they play helped create the sense of motion and continuity of the line from the original piano version. While the hell pitches approximate the effect of the sustain pedal of telling to color, a single pitch dovetailing could be used to change the timber of a single pitch almost seamlessly when different instruments take turns playing the pitch. This works best with instruments from the same family or section and when crescendo and diminuendo are added to cross fade, the sound dovetailing to create Alternations of timber. If you orchestrate so that sections air constantly playing together, the sand will become monotonous since it will lack of change of sectional timber. If you orchestrate so that only one section is playing at a time, you will have change in sectional timber, but you lack a mixing of sexual temper. This can also become tedious. We can use the technique of dovetailing to create a sort of hybrid between these two types of writing. Here, the timber of the strings is hurt first in isolation, followed by a mix of tambor between woodwinds and strings, which is then followed by the timber of the woodwinds heard in isolation. This alternation of sectionals, Hambor has a much more interesting type of orchestration. This technique can also be applied to individual instrument tempers as well, dovetailing to create a subito piano effect. If one group of instruments is playing loudly, you can have another group of instruments begin playing quietly right before the loud group stops playing. The resulting sound is a subito piano effect 168. Double Bass with Cello: the double bass full, oftentimes double the cello part in unison or an octave lower. If the cello part is quick or intricate, the addition of the double bass may result in a sluggish sound due to the slower attack time of the double bass. A common solution is to double only the principal notes from the cello part. 169. Moving and Stationary Voices: always use one timber for the stationary voice and another timber for the moving voice. Using different Tambor's helps to differentiate the voices. The voicing in the following example is unclear, since the oboe is playing both the stationary voice and the moving voice. If we give the stationary voice to the elbow and the moving voices to the clarinet, the line becomes very clear. 170. "Solo" vs "a 2": 171. Clarinet and Oboe: 172. Brass Entrances: 173. Dissonance: you can intensify dissonance and accord by using the same instruments to play the dissonance. You can also weaken dissonance in accord by using different instruments to play the dissidents. Here we have two trumpets playing a second, followed by a trumpet and clarinet playing the same interval. The contrast of Tambor's in the second example slightly weakens the dissidents of the second. This works in home a phonic textures as well. Here we have the trumpets playing both melody and accompaniment. The distance between the D, played by Trumpet three and The IV Goodbye Shumpert. One is very harsh. Here's the same example, this time with the bassoon playing the melody. The distance between the D and the E is now less harsh due to the contrasts and Tambor's. 174. Instrumental Motion: a common mistake that beginning or customer composers make is writing with a lack of instrumental motion. A good rule of thumb is to write every part with enough instrumental motion so that if it were played by itself, it would still sound interesting. In other words, even the smallest insignificant part should be interesting. If you follow the sky vine, then the orchestra as a whole should have a sufficient amount of instrumental motion. Here's an example of an insufficient amount of instrumental motion. The cello part is very boring, since it is basically just marking each strong beat of the meter. If we add just a little more motion to the cello part, the passage becomes more interesting and a little less empty or hollow sanding. If we add even more instrumental motion to the chill apart, it is now interesting enough that it could stand on his own. The hollow sound from lack of instrumental motion is now gone. We also want to be careful of having too much instrumental motion. Too much instrumental motion could be just as detrimental as having too little. Various musical elements could become blurred and unclear when there's too much going on Don't have instruments doing busy work Just for the sake of doing busy work, there should always be a reason or purpose for your choices. 175. Making Things Easier for the Performers: 176. Quiz 24: 177. Tips for Analyzing Scores and Recordings: 178. Congratulations: