|
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
|
