Audio - Andy Brick, composer, conductor, symphonist

01/27/06

HMU 397A Orchestration

Class Notes Appendix 1

Articulation Table

Please note: All references to "Adler Movie" and "Adler Audio" can be found on
Six Enhanced Multimedia Compact Discs for The Study of Orchestration
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All other items can be found in zip file on index page

String Articulations	Wind Articulations

Legato bowing	Slurred (not tongued) All All winds can connect notes by avoiding the use of their tongue
Detache bowing	Articulated (tongued) All but best on Flute in fast passages All winds can seperate notes by using their tongue to break the air stream.
Con Sordino	Con Sordino Best on Clarinet and Bassoon. Less common on Oboe family. Very rare in flute family Players will use homemade mutes like microphone wind screen, towelette etc.
Jete and Saltando (spontaneous Spicc)	Double and Triple Tongue Flute Nothing in the mouth so flute can most easily manipulate the tongue
Trills	Trills All All winds can trill but one must be careful of specific registers and notes that each deem difficult
Bowed Tremolo	Flutter Tongue All can do it. Rare in bottom register of Bass Clar and Contr. Bsn Nothing in the mouth so flute can most easily manipulate the tongue
Measured Tremolo	Timbral Trills All can do it to some extent by using alternate fingering
Fingered Tremolo	Tremolos Best on Flute and Clarinet. Bassoon is possible. Low doubles can get into very strange figering problems as can very high clarinets.
Harmonics	Harmonics Flute. The first set of overtones (harmonics) in the flute are the normal way to produce the notes so only the notes from the second partial at G4 (mid C=C3) are available.
Glissandi	Glissandi Clarinet. In order to get a continuous change in pitch the player would have to have open holes on the bore of the instrument thereby allowing him/her to slide their finger gradually off the hole and producing a gradual change of pitch. Clarinet has the most standard open holes. Best reserved for the upper half of the instrument.
Pizzicato	Staccato All winds can play short notes by interrupting the air flow with their tongue
Bartok Pizz	"Slap Tongue" Whereas many winds can produce this effect, it is particularly effective on the clarinet and sax as the larger mouthpiece facilitates more sound production.
Sul Tasto, Sul Pont	Sub Tones, Hoots, Whistle Tones Special effects vary by instrument
quarter and micro tones	quarter and micro tones Similar to glissandi it requires that a player have open holes. Since this does not ask for a gradual glissandi it is as effective on the flute as on the clarinet. Most easily executed down.