Planes of Tone
Much of Orchestration is concerned with the balance between the 3 primary planes of sound.
1. Three Primary Planes of Sound
a. Foreground: That which we wish to be most present
b. Background: That which we wish to be least present
c. Middleground: That which falls between Foreground and Background
In order to orchestrate effectively we have 8 devices that we can use to not only bring attention to our foreground material but, equally as important, create an effective yet unobtrusive background and a dynamic middleground. A great orchestration will understand how to well balance these devices.
2. The critical 8 devices of effective orchestration
a. Movement (rhythm)
The ear is naturally drawn to those planes of sound that posess a distinct and independent rhythm. Those planes that share common rhythmic elements will tend to be less focused
b. Color
Coloration in orchestration can be definied as that which creates a unique timbre. This could include the sound of the instrument itself or the sound of that instrument with the implementation of some external preparation such as a mute or a scordatura tuning. Color can also include alternate playing styles like Pizzicato and cuivre. An orchestration that presents a unique color will draw attention to that which contains the unique color.
c. Texture
Similar to color, texture tends to refer to the overall qualityof sound and is often measured in density. One might say that a piece has a thin sound or a thick sound. As well, Unique textures may be created by combining various colors.
d. Weight
Weight is simply the number of instruments playing at any given time at any dynamic. All things equal, a part that has greater weight will tend to present further in the foreground.
e. Register
The ear is naturally drawn to the highest register as foreground materil. As well, those planes of sound which exist in a register free and clear of conflicts from other instruments will present further in the foreground. Orchestrations that present interlocked and, overlapped voicings will tend to present further towards the background.
f. Expressions and articulations
Special markings such as "dolce", "espressivo" etc... tend to say to the players "do something different or special" and therefore orchestrations that contain such markings tend to present towards the foreground.
g. Reiteration or repetition
Music that has been already presented will tend to present further towards the foreground upon its repetition.
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