Andy Brick, composer,
              conductor, symphonist


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01/27/06




HMU 397A Orchestration


Class Notes 4a&b

Scoring for Strings I & II

Please note: All references to "Adler Movie" and "Adler Audio" can be found on
Six Enhanced Multimedia Compact Discs for The Study of Orchestration
A copy will of this CD set will be available for checkout at the multimedia lab.

All other items can be found in zip file on index page

Video: Final Fantasy VI notice how the brass obliterate everyone else.  2nd Video: Arcanum notice the difference between the opening string quartet (Solo Violin 1, Solo Violin 2, Solo Viola, Solo Celli) and the 2nd half of the video where the entire string ensemble plays.

03b Homework due


04ahomework: "Listen & Score" (LS)  #2 & 3    Note that you can listen to the piano part on teh homework by checking out the CDs in the lab.  See the index page for the Lab Schedule.

Study for Quiz


The first quiz is just around the corner....  start thinking about what we have covered so far.....

In addition to the items mentioned in Class Notes 03b you may be asked to write examples of the 6 ways to present foreground material (see below)  You may find a simple melody and be asked to orchestrate it as a foreground element in 3 or 4 different ways using techniques 1-6 below.

Scoring for Strings

We now begin the real creative process of a composer/orchestrator.  As we discuss the various possabilities for orchestral decisions remember that anything is possible and there is no right or wrong way.  However, to set a foundation for understanding I will refer to certain elements as "well conceived" or unlikely.  In the end, it all boils down to what YOU want as an orchestrator.  If something is unlikely but playable and thats what you want, than that is what you should do.

The String Orchestra has evolved since its origins to a point where any of the 5 instruments can stand alone as an independent voice.  Notice the use of registers in each of the variations in the Haydn string quartet Op76 #3 at the beginning of chapter 5 to highlight each of the respective instruments.
(Adler Audio CD 2  1-5) Or 2nd. Mvt Theme, Variation 1, Variation 2, Variation 3, Variation 4

The use of registers in their respective instruments is but one technique available for highlighting or diminishing the prominence of an instrument or group of instruments in a piece of music.  In general we speak of 3 areas of importance in the scope of a musical work:

Fore-Middle-Back Ground
Show Brahms  Symph 3, 3rd Mvt Melody only in Piano staff (see 04a.zip) and discuss possible instrumentation as Foreground material then play the recording

What are the implications of melody in:
1.  1st Violin -Unlikely- weak register... lackluster (adler audio 2-8)
2. 2nd Violin- Unlikely-Sul G... better choice Sul G but 2 fewer players than V1(adler audio 2-9)
3  Viola - Unlikely -again weak register.. bland. (adler audio 2-10)
4. Celli - Well Conceived... strong register carries over resultant accompanyment even in voice cross
(adler audio 2-7)

4 Bass -  Unlikely  - Too high (adler audio 2-11)


Foreground:

     The foreground is the most important voice.  It usually carries the melody and is the one the composer wants heard the most.  It is important to note that this does not mean it is the highest pitch.  As we will see, there are factors other than register than determine prominance of an instrumental figure.

1. Sul [strong string designation] (adler audio 2-9) or Tchaikovsky Symphony 6 Mvt 3 Rehearsal K  On youtube
As we saw in the brahms, the "earthy, rich" Sul G helped what was otherwise a very weak line played on the middle strings of the violin

2. Unison, Octave, double & triple Octave doublings (adler audio 2-12, 16, 18, 19) or Rimsky Korsakov Scheherazade 1st. Mvt. (The Sea and Sinbads Ship) On Youtube
Simply adding more people will make things more prominant!  A passage that is in a weak register in the 1st violins is greatly aided by simply doubling at union with the 2nds (adler audio 2-18).  Adding lower or upper octaves makes it even more prominant (adler audio 2-12)

3. Coupling
Doubling in Rhythm but not pitch has a very similar effect as # 2 above.  This technique, while not quite as strong does add a nice bit of coloration and is a favorite of mine.

4. Mark at higher dynamic
Not the greatest choice but can be effective when necessary. Obviously less effective the louder the passage.

5. Registral Shifts (adler audio 2-14)
A passage that is written in a weak register is more effective if it has already been presented in a strong register

6. Orchestral color or textural change (adler audio 2-15)
A common textural variant in strings is Pizz Vs. Arco.  Even a weak register Arco will stand out amongst the rest of the string orchestra playing pizz.

Look at Tchaikovsky's Serenede for Strings  And Youtube Rehearsal A B  C  D E and find examples of each of these then listen. 

Background:

In logical contrast to foreground material, background material is well conceived in the palest or most nondescript registers of the instruments, containing a distinct, if not less prominant rhythm and often carrying less dynamic weight.

Consider Adler Example 5-29 Pg. 144.  Without looking at the 7 solutions he mentions, see if you can strengthen the melody using the 6 techniques above.

Analyze Tchaikovsky, Serenade For Strings pg 145 in regard to 1-6 above (adler audio 3-3)

Transcribing from Piano To Strings


This is a very important task for the modern orchestrator. It is most important to understand the underlying effect and intent of the work at hand.  The use of the piano sustain pedal will introduce sustains that will often necessitate a different approach to the orchestration than the notes, in and of themselves would suggest.  Read pages 159-162 carefully and familiarize yourself with all the examples.

Discuss from class 2b:

Contemporary Techniques (play Threnody by Penderecki look at score)

a. Tapping, behind the bridge, wide vibrato, highest possible note, wrong side bowing
b. Its fair to ask anything and you can invent notation but you must specify in score
c. Dont do anything that could damage instrument.
d. Show notation chart Contemp.pdf

Combinations of Techniques (play dragon game)

a. Think about what the play is physically doing
b. Gliss + Pizz, Gliss + Sul Tasto, Gliss + Sul Pont., Pizz behind bridge, Gliss + harmonics etc....

Quiz Review:

Multi-stops from workbook
Phrasing & bowings
Registral placement of Clef transpositions