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06b Homework due
07a homework:
Orchestrate the first 8 measures of Mozarts Rondo K.511 for 2
flutes(picc), 2 oboes (eng hrn), 2 Bb Clars (Bs. Clar), 2 Bassoons
(Contrabsn). You may add upper and lower octaves as you feel
appropriate. In measures 5-8 neither the melody nor the
accompaniment may remain in the given octave. AFTER you have
written your orchestration, sequence it using a DAW and EastWest Orchestra Library.
Individual Woodwinds
Throughout our study of
the individual woodwinds, Adler will speak of each instruments
registral characteristics.These
characteristics are very important and define the nature of the
instrument in any given register.Just as
we called the middle strings of the string instruments as weaker than
the outer strings, so too will certain registers in the winds be
considered weak or, conversely shrill.These
considerations are intended simply as a caution, not a deterrent to
composers and orchestrators.It is very
important to know the "Registral Characteristics" presented with each
instrument (ie pg. 181) and you may be asked to state those
characteristics for each instrument in the future.
Clarinet
Rhapsody in Blue:
Intro to Clarinet
The clarinet comes in many
varieties from the small Piccolo Eb clarinet to the standard Bb, A,
Alto Eb, basset horn, Bb Bass, and Bb Contrabass.As
with the English Horn, it transposes as designated by its name.That is, when a Bb clarinet reads a C, it
sounds Bb.In orchestration I you are not
responsible for transpositions. However the benefit to the transposing
nature of the instrument family is that it allows for a single, uniform
fingering system thereby allowing a single player facility on the
entire family.Each instrument has a
different range and color but often a player will choose between the A
and Bb instruments based on the key signature of the piece favoring the
A for Sharps and Bb for flats.In Orch 1
we will use only the Bb and Bb Bass Clarinets.
The instrument is probably
the most versatile of all the woodwinds playing all dynamics in any
register.In certain circumstances it can
hold extremely long notes on a single breath.
The clarinet is a
cylindrical tube with an added bell.It
contains asingle reed in the top of 5
joints.
The Body
The Reed
2."The Break"
The next
note, B3 (concert Anat 3) requires the player return all the fingers on the
keys.That is, between concert Bb3 and Bnat3 Concert Ab and Anat) the player must switch from all fingers up to all fingers down.A similar break exists betweenconcert Bb4 and Bnat4.For professional players this does not
present much of a problem in any context.Howeverwith some semi-pro and many amateur players
writing across "the break" can be problematic.Approach the break with some caution.
The Break
Range Characteristics
The above range is the
written range. As with all transposing instruments, the name of
the transposition defines the interval above or below C.
A Bb clarinet will sound a
Major 2nd lower than written. An Eb Clarinet will sound
minor 3rd above written. The Bb Bass Clarinet will sound an
octave + M2 (M9th) below written.
The range of a clarinet can be divided into three distinct registers.
1.
The register contained up
to the first break E2-Bb3 is called the Chalumeau Register and is deep,
rich, dark, at times menacing, dramatic & a bit hollow
2. The register contained
above the break Bnat3-C4 is called the Clarino Register and is bright,
incisive, warm and expressive "Little Trumpet"
3.The
register contained
above the Clarino is called the Altissima Register and is intense and
piercing and shrill. Intensely flute-like when soft.
Clarinet Registers
Articulation
(Adler CD 2-66-69
Legato
Non-Legato (default)
Staccato
Staccatissimo
Soft Tongue
Tenuto
Double & Triple Tongue
Flutter Tongue
1. Single tonguing
is most common but double and triple tonguing are certainly acceptable
for professionals although not as clear as on the flute.
2. Subtones and
Niente: The clarinet is capable of producing extremely
soft notes in any register like no other woodwind.These notes
are called subtones The
marking PPPP will indicate a subtone to the player or you can write
"subtone".Similarly a crescendo or
diminuendo may be marked N (Adler CD 2-70-72)
The clarinet is
famous for playing Glissandi and microtonal bends.It is best to write glissandi above the 1st
break.It is important to understand that
there are open holes on the keys of the Clarinet and the player
executes the glissandi by sliding the fingers smoothly across the holes.Similarto theGlissnado on the string instruments, you
simply write a straight line between the starting and ending pitch.
They are best going up.Since the
Bass Clarinet does not have open holes, this effect is not possible on
the bass clarinet.
All clarinets can
play chromatic scales very quickly thereby producing effective fingered
glissandi.Much like the fingered
glissandi on the strings, you must notate all pitches with appropriate
rhythm.
Intervals
smaller than a semitone. Notations vary, but the examples above show a
microtonal inflection and a quartertone. Produced by using 'fake'
fingerings and/or adjusting the embouchure. Microtones on the clarinet
are practicable, but obviously need a great deal of care and attention
to detail. Consultation with the player is probably the best way
forwards. Microtones on the bass clarinet are much more
problematic, because of the covered holes.
A
combination of bending a note down with a change of embourchure and a
release accent that produces a small clicking sound, this extended
technique is very idiomatic in klezmer music. The Laughing technique
should be available to all professionals.
7. Growling
This
popular saxophone technique is easily produced on the clarinet in a
similar manner. The most common and effective method of woodwind
growling is to hum or sing into the mouthpiece of the instrument This
method introduces interference within the instrument itself, breaking
up the normal quality of sound waves produced.
The vocally produced note can be the same note (though this is believed
to be less effective), a natural third or perfect fifth, or any random
note, usually from a different octave than the note the instrument is
producing. The latter choice is believed to cause the most interference
and yield the darkest, grittiest timbre. The Growling technique
should be available to all professionals.
To extend
the range of the clarinet an octave lower, we use the Bass Clarinet. .Just as the contrabass sounded an octave lower
than the note it reads, the Bs. Clarinet sounds and octave + M2 lowerthan the note it reads. (sounds Bb 8vb when it
reads C)For our purposes now, the Bass
Clarinetworks
with the same versatility
and agility as stated above. However, the Bass Clarinet does not
have open hole keys rendering glissandi and microtonal effects much
more difficult and in some cases, impossible.
Too often the Bs. Clarinet
is relegated to only its low registers as a substitute for the Bb
Clarinet.However, in its upperregisters the instrument is quite beautiful
and can be somewhat sinister or pointed in nature.I encourage all to explore the entire
range of this instrument.
Saxophone
(Adler CD2-87-88)
https://www.youtube.com/watch?v=ZbilsFQUOGw
Because of
its great similarity to the clarinet, the Saxophone is grouped with the
woodwind family even though it is constructed from brass.It is still not widely seen in the
orchestra but is readily available and you should not hesitate to call
for the instrument.
Like the clarinets, it
comes in a variety of transpositions including:
In the
symphony orchestra with winds "in 3's" the sax section usually consists
of one alto, one tenor and one baritone. Adler sort of
skips over this instrument. We will touch upon it.
2. Like
the Clarinet, Single tonguing is most common but
double and triple tonguing are certainly acceptable for professionals
although not as clear as on the flute.
We
have seen that not all players can roll the R.Howevergrowling produces a very similar effect and is
very common.Growling can be notated as a
fluttertongue but should contain the mark "Growl" to be clear.
1.
Trills are very possible in all but the very high register.Tremolos on the sax are very specific to the
player.One should consult with a player
but middle written A-C are very good.
All Saxophones can
play chromatic scales very quickly thereby producing effective fingered
glissandi.Much like the fingered
glissandi on the strings, you must notate all pitches with appropriate
rhythm.
The
Saxophone family can produce a great variety of vibrato.You can specify with a wavy line and the
marking "Con Vib."(With normal vibrato) or"Molto
Vib" (heavy),"Piu Vib" (light)
The bassoon is a woodwind instrument in the
double reed family that typically plays music written in the bass and
tenor clefs, and occasionally the treble. The bassoon is a
non-transposing instrument known for its distinctive tone color, wide
range, variety of character and agility. It is typically the bass voice of the woodwind choir. The Bassoon is
a very versatile instrument and produces wonderfully useful
sounds in all registers. Listeners often compare its
warm, dark, reedy timbre to that of a male baritone voice. The
Contrabasson transposes down an octave like the contrabass and tends to be less agile. (Adler CD2-89-92)
Bassoon is double
reed conical wind instrument made of maple with a small ring of metal
or ivory on the bell.. Bassoons come apart into six pieces. There
is a reed, the bocal or crook, wing joint, boot joint, bass joint and
bell. These pieces must be fitted together precisely for proper playing
to be possible.
1.All
Bassons written Range = Sounding range = Bb0-Eb4 ( C3=Middle C )
2.Like the oboe, it tends
to honk in its lowest register and gets a bit thin and pinched in the
highest register.
3. Bb0-G1 =
Sonorous, dark and vibrant
4. A1-D3 = Sweet,
more subdued, but expressive
5. E3-Bb3 = Thin
but intense
6. Above... = Thin
and pinched (note not loud like flutes just thin and pinched)
Articulation:
Legato (high register)
Non-Legato (Cntr. Bsn Low)
Staccato
Staccatissimo
Soft Tongue
Tenuto
Double & Triple Tongue
Flutter Tongue
1. Single tonguing is most common and can be done very quickly on
the bassoon but double and triple tonguing are certainly acceptable for
professionals. 3. Trills
& Temolos (Adler CD2-73)
Trills are wonderful on the Bassoon
and virtually all are playable but avoid the extreme registers.Tremolos are also possible but less frequent
and the very bottom register should also be avoided.Avoid tremolosexceeding
aP4th
Tremolo
Trill
Tremolo
Trill (Video 0.00-0.30)
Coloristic effects
1 Slurred
Glissandi
The Bassoon has
open holes on the notes from A1-C2and
A2-C3 and thus can do a slurred glissandi within these notes.But , just as the other winds that have closed
keys, slurred glissandi are not practical on those keys. The contra has
no open keys soin general slurred
glissandi are fairly impractical on the contrabassoon.
All Bassoons can
play chromatic scales very quickly thereby producing effective fingered
glissandi.Much like the fingered
glissandi on the strings, you must notate all pitches with appropriate
rhythm. The contrabassoon speaks much slower and therefore
fingered glissandi are not as effective
4.Mutes
The bassoon does have a mute and it is
used to effectively dampen the honky sound of the lowest register.Makes the sound more somber.
5.Timbral Trills
Timbraltrills are trills on a single note, using
different fingerings.
To
extend the range of the bassoon an octave lower, we use the
Contrabassoon. .Just as the contrabass
sounded an octave lower than the note it reads, the Contrabassoon
sounds and octavelowerthan the note it reads. (sounds C 8vb
when it reads C)For our purposes Contrabassoon is somewhat more limited in its scope. The instrument is less agile than the bassoon and tends to speak
very slowly.Extreme caution should be
used when writing fast passages for the contrabassoon.
Too
often the Contrabassoon is relegated to only its low registers as a
substitute for the Bassoon.However, in
its upperregisters the instrument is
quite beautiful and can be somewhat reflective or longing in nature.I encourage all to explore the entire range of
this instrument.
One
word of caution: Some bassoonists will double on contrabassoon
and others will not. It is always advisable to check with the
orchestra manager or player to see if the basson doubles on the
contrabasson
