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2
PROJECT LESSONS
IN

ORCHESTRATION
PROJECT LESSONS IN
ORCHESTRATION
BY
ARTHUR EDWARD HEACOX, Mus. B.
Author of

Harmony for Ear, Eye, and Keyboard,

Keyboard Training in Harmony, etc.

1.50

A MUSIC SUPPLEMENT CONTAlNINCi

THE MUSIC REQUIRED IN THE
LESSON ASSIGNMENTS OF THIS TEXT
IS AVAILABLE IN A SEPARATE VOLUME

PRICE .75

OLIVER DITSON COMPANY

THEODORE PRESSER CO.. DISTRIBUTORS
1712 CHESTNUT STREET
PHILADELPHIA
MADE IN U. S. A.
Copyright mcmxxviii by Oliver Ditson Company

International Copyright Secured

 PREFACE

The central idea of this book is to provide a series of interesting

"lesson-problems" in orchestration, arranged in groups according to the
subject in hand, with each group leading to its own logical "project"

of the student's choice.

The lessons are short, planned to require an average of about two

hours each in preparation, while the project —orchestrating a piece for
which the student is prepared by the lessons leading up —mayto it require
several hours. It is in the projects that the student demonstrates his
ability and his grasp of the lessons which lead to each successive stage
of the course.

To begin with, the student is given a bird's-eye view of the field.

This, which embraces a list of the instruments of the symphony orchestra

and the opening page of an important orchestral score, is followed im-
mediately by the short lessons in arranging, which lead to the successive
projects already mentioned.

One group of lessons leads to string treatment of simple four-part

writing, doubling of parts, the addition of filler parts, etc., another to
the string interpretation of pianoforte accompaniments, others to bowings,
to the use of winds, to combinations, to substitutions ; all with a view to
the most practicable uses of present day arranging. To this end, histori-
cal data, unusual instruments, and much of the usual discussion of crooks,
disabilities of natural horns, etc., will be avoided so far as possible. For
the same reason, simple directions, and avoidance of controversial matter,
form, intentionally, a part of the policy of presentation.

The development of these lessons has largely depended upon three

important factors to which the author acknowledges his obligation: (1)
the numerous text-books on the subject, a partial list of which appears
in Appendix B, (2) the courtesy of publishers who have from year to
year permitted students in this course to orchestrate copyrighted music,
and (3) the generous assistance of players of orchestral instruments in
Oberlin Conservatory of Music, both faculty and students, who have made
it possible for members of the successive classes to hear their own scores
well performed.

Oberlin, Ohio
January 5, 1928
 TABLE OF CONTENTS

I tSSONS PAGES
1 to 8. Introduction. The orchestral score. Filler, duplication, dis-
tribution of chord-tones. Easiest arranging for strings. Scores
with from four to nine voices 1-19
PROJECT 1. A choral or processional selected by the stu-
dent and arranged for string orchestra . 19- 20

9 to 14. Bowing, double-stops, lifting and re-arranging chords in piano

music, dance music, special forms of piano accompaniment.
Arranging various types of easy piano music for strings 21- 43

PROJECT 2. A short March, Waltz, or other number selected

by the student and arranged for string orches-
tra , 43

15 to 20. A variety of types of piano music, and song accompaniments,

more adapt to the idiom of the strings. Summary
difficult to

of the problems pertaining to string writing. Arranging more

difficult piano music for strings 44r- Tl

PROJ ECT 3. A piano number, or a song, selected by the stu-

dent and arranged for string orchestra, with a
view to public performance 72

REVIEW : Test problems on the string 72- 73

21 to 25. Wood-winds. Arranging a choral for solo winds, and for

winds in pairs. Piano music arranged for various groups up
to nine wood-winds 74-100

PROJECT 4. An interesting number suitable for some com-

bination of wood-winds which the student
selects 100

26 to 32. Wood-wind solo, also various combinations of wood and strings.

Saxophones, quartet, and solo. The horns, old notation,
quartet, solo with piano or string accompaniment. Horns com-
bined with wood-winds: reduction of such a score to piano
score 101-133

PROJECT 5. Arranging a special number for concert use,

using one or more horns, with wood-winds,
strings, or pianoforte, as desired 133
 TABLE OF CONTENTS— Continued

S3 to 36. Brass from trumpets to tubas. Arranging a four-part song

for brass alone.Kettle-drums. Scoring for large orchestra
and chorus. Other percussion. Scoring for full school orches-
tra. Study in color . . 134-156

PROJECT 6. Scoring an original March or Processional for

school orchestra 166

37 to 39. The harp. Arranging a song for harp, flute, and violin. Or-
chestralaccompaniment to voices. Significant types of accom-
paniment. Scoring an orchestral accompaniment to a given
solo. Making the score, assembling a score, reducing a score,
reading the C clefs 167-174

PROJECT 7. —
The most important a group-project orches-—
trating the accompaniment to an entire Can-
tata, making the score and parts ready for
actual performance 174-176

APPENDIX A. Less used instruments 176

APPENDIX B. Bibliography 176

MUSIC to be used in this Course 177

INDEX 178
 LESSON 1

Introduction

1. Orchestration (Instrumentation) is the art of arranging

music for the orchestra. This implies an intimate knowledge of
the range, qualities, and varied capabilities of all the orchestral
instruments, together with a mastery of the essentials of a good
course in harmony.
2. In these lessons the harmony is considered a prerequi-
site — the orchestration proper receiving the student's attention.
In these days, a student of orchestration who has not heard at
least a small orchestra play, who has never seen a violin, nor noted
the difference in tone between a big horn and a little one in the
band, is inconceivable. Because of this fact, and furthermore be-
cause the number of books which describe all the instruments in
detail is very large, the present lessons omit all description not
necessary to the problems in hand. For the number of pieces of
wood in a violin, the history of the oboe, and all such material the
inquiring student is referred to the bibliography in Appendix B.
3. The successful arranger must be a good listener. He
must be able to hear the orchestral instruments singly and in all
sorts of small groups. He should be able to name each instru-
ment by its sound as readily as he would recognize the voice of a
friend. If possible, he should play some instrument in an or-
chestra and listen. Listen with concentration to every part,
focus the ear now on this instrument, now on that again, on one ;
2 PROJECT LESSONS IN ORCHESTRATION
or another small group as it comes into prominence. In addition
to this he should get his hands on the various instruments, learn
the "feel" of them quite as a child makes his acquaintance with
every object within his reach. Ideally the successful arranger
will be able to play at least a little on one instrument of each
group and the scale on many others.
4. In the second place, the student of orchestration, if he
would be successful even in a small way, must be an intelligent
reader of orchestral language. To the eye this language is the
orchestral score. The best way to learn this language is to read
scores, listen to an orchestra, score and practice arrang-
in hand,
ing under expert guidance. Let these arrangements be short,
easy pieces selected from piano score — the most universal music-
idiom —and songs. This is not a question of original composition
—one can not profitably learn the grammar of a language and
write poetry in it at the same time.

5. Finally, the student should hear his own scores per-

formed. To assure this, he should give the greatest care to keep
within the practical range of each instrument. He must depend
as a rule upon student, or non-professional, players. If he is to

obtain their co-operation the parts placed before them must be

easy to read, clean, and free from errors. Their parts must be
interesting to them as players also. In this preparation of a
score and parts, and in hearing his own work performed, the
student will get what no book can give — -a thrill of pleasure where
fine results confirm his success in scoring a given passage, perhaps
disappointment in another strain too weak, too thin, or too thick,
possible chagrin at wrong notes in the copies ; but through all this

will come a quickened imagination, a finer appreciation of orches-

tral values, and a surer pen.

 PROJECT LESSONS IN ORCHESTRATION 8

The Instruments of the Symphony Orchestra

6. The instruments of the symphony orchestra are usually
divided into four groups, or "families." These groups, in the
iiiszt, £ea Preludet

Clarinets in C

Violin 2

Viola

Violoncello

Double-bass
^ /
4 PROJECT LESSONS IN ORCHESTRATION
order of their importance, are the Strings, Wood, Brass, and Per-
cussion. If a harp, or piano is added to the score, the place for
it is immediately above the strings. The arrangement of the
groups in an orchestral score has varied greatly in times past, but
present day usage generally conforms to that of Liszt in the
example on page 3.

7. The following reference table indicates the customary

arrangement by groups. Some
more instruments
scores contain
than are listed here, many employ fewer instruments. The num-
bers at the left of the page indicate the usual number of each
instrument in a full symphony orchestra. Here again the num-
bers are sometimes greater or less for various reasons. It is not
expected that this apparently appalling list will be memorized,
but that it will afford a bird's eye view of the field, and a starting
point for the treatment of the following lessons. To this page,
therefore, the student will often refer. He must not permit him-
self the "bad guesses" all too often indulged in by the beginner
in score reading. Until he knows that "Trombe" does not mean
the trombone, that "cors" are not cornets, and that, for example,
"pauken," "timpani," and "kettle-drums" do mean the same, he
should turn frequently to the following:

REFERENCE TABLE
No. insts. (Approx.)

English Italian German French

1 Piccolo Ottavino Kleine Flote Petite Flute
Ci 2 Flutes Flauti Floten Flutes
§ 2 Oboes Oboi Hoboen Hautbois
fc^ 1 English Horn Corno Inglese Englisches Horn Cor Anglais
"*
2 Clarinets Clarinetti Klarinetten Clarinettes
2 Bassoons Fagotti Fagotte Bassons

OQ (4) Horns Corni Horner Cors

^ 2 Trumpets Trombe Trompeten Trompettes
^ 3 Trombones Tromboni Posaunen Trombones
BQ 1 Bass-Tuba Tuba Bass Tuba Tuba basse
(Till about 1860 the Ophicleide supplied the low brass bass)
 ;

PROJECT LESSONS IN ORCHESTRATION

English Italian German French
§2(3) Kettle-Drums Timpani Pauken Timbales
J2 1 Side-Drum Tamburo Kleine Trommel Tambour (mil.)
CQ 1 Bass-Drum Gran cassa Grosse Trommel Grosse caisse
f^ Pr. Cymbals Piatti (cinelli) Becken Cymbales
ft5
Set Chimes Campane Glocken Cloches
Bq Set Chime-Bells Campanetta Glockenspiel Carillon
a,
12 to 16 Violins I Violini Geigen (Violinen) Violons
10 to 14 Violins II *(S. form: Violino) *(S. form: Geige) »(S. form: Violon)
OQ 8 to 12 Violas Viole (S. form: Bratschen Altos
Viola)
§ 6 to 10 Violon- Violoncelll Violoncelle Violoncelles
2^ cellos
^ 4to SDouble- Contrabassi Kontrabasse Contrebasses
Basses
•(S. forms: Contrabasso Kontrabass Contrebasse

8. The above table, though not complete, will meet most re-

quirements. Additional instruments, when used, would appear

with their respective "families" according to their compass; for
example, the double-bassoon, just below the bassoon. The ce-

lesta, like the harp or piano, would appear just above the violins

the xylophone would find place among the "percussion." In

school orchestra scores the piano part is often printed below
everything else. Voice parts are usually placed between the
cellos and the violas.

9. The composer indicates all the instruments needed for a

Movement, or "Piece" on the first page of his score, including the

"key" required for certain instruments like the clarinets, horns,

or timpani. After this first page, he may omit from the score all

the instruments which are not to be used for a time, but every
such change must be clearly shown at the beginning of the page
concerned. For all this, however, the student should go directly
to the scores themselves. First, a bird's eye view. In succeed-
ing lessons, the groups will be studied in the order of their im-
portance.

•Singular forms.
6 PROJECT LESSONS IN ORCHESTRATION

Assignment 1

Make a "^tour of observation" through the miniature scores

which are a part of this course (see p. 177), noticing especially
the various groupings of the instruments at the beginning of the
different movements. Bring copied in ink the first seven meas-
ures of the Wedding March, p. 58, Mendelssohn, M. N. D*
This will fill the first page of your MS book. In making your
copy, leave a two-inch margin at the left for the names of the in-
struments as printed in the score, and underneath each name, as
copied from Mendelssohn, write the English equivalent. Rule a
line in your score for the piatti. Copy expression marks, slurs,
stems of notes, etc., with fidelity to the original. You will need
everything you learn from this detail work in succeeding assign-
ments.
(The Ditson Manuscript Music Book, No. i, is recommended
for the first twenty lessons, and No. for the remainder.
J/, When
the course is completed, these books will form two small volumes
of valuable models of many types of orchestration.)

LESSON 2

The Strings

10. The Strings consist of first violins, second violins,

violas, violoncellos (cellos), and double-basses (basses). The up-

ward limit of each instrument depends greatly upon the skill of

the performer. Practical orchestral range lies about midway

between the easy school orchestra range and the solo range.
Within its compass, each instrument affords all the diatonic and

•Midsummer Night's Dream.

 PROJECT LESSONS IN ORCHESTRATION 7

chromatic tones. Strings played without being touched by the

left hand are called open strings. The easiest keys for the strings
are those containing the most open string tones.
11. Though divided into "firsts" and "seconds," the violins
as instruments do not differ from each other, but their functions
in the group often vary widely. In general the second violins
lack personality. Their service is indispensable but their role is

humbler. They should seldom be asked to play as high as the

"firsts." This applies to the other instruments when divided.
12. In the school orchestra a third violin part is now fre-
quently written to be played in the absence of the viola. This is

a makeshift, though certainly justifiable and often advisable

under certain conditions, but a third violin can not supply the
characteristic deep quality of the low string on the viola. In fact
nothing else can really fill the "hole" that results from the absence
of violas, but many a small orchestra is obliged to get along with-
out them and arrangers are very skillful in their efforts to meet
the resulting handicap.
13. Music for the viola is written in the alto clef (middle C
on the third line) ; but the G clef is used when high notes require
many leger lines. The point where this change is made is not
fixed.

14. Music for the violoncello is written in the F clef, the

tenor clef (middle C on the fourth line), and in the G clef. For
a school orchestra it is best to use the F clef only. A cello part
too high for this is pretty certain to be uncomfortably high for
amateur players.
15. Music for the double bass is written in the F clef, an
octave higher than it will sound. This is therefore a transposing
instrument, the only one among the strings and one which makes
no trouble; but the actual range of the instrument should be
8 PROJECT LESSONS IN ORCHESTRATION
borne in mind. The cello and bass written in unison will there-

fore sound in octaves.

Tuning and Recommended Ranges of the Strings

(a) Easy school orchestra range: all the quarter-notes with stems.
(b) Practical range for general orchestra work: all notes with stems.
(c) Solo resources, better avoided: the black notes without stems.
These instruments have all the intervening chromatic tones.

^^ ^^m
Ex.2

^
Violin 1 middle C
Tuned
i
^ %»* * iH r i ng

-^t^S String Difficult

m
Violin 2
TT-
TT"

Viola
^ m f-
^^^

}Middle C

m
Violoncello
^^m rrfir rrn
! Difficult
m >MiddleC

^ ^^m i fflgf-tfS

C
Difficult
m
jMiddle C

^ ^
Double-bass
351
i mm middle

¥
—
Written Soundi7ig one octave lower than written

16. The strings are by far the richest and most expressive
group "Although very distinct, the timbres
in the orchestra.

which they embrace have a perfect homogeneity they compose a ;

vast chorus whose ideal voices attain the extreme musical limits
from low to high."* Mastery of the technique of writing for the
strings is of the first importance. Poor treatment of the strings
—poor orchestration.
17. In their range of expression the strings have almost
limitless possibilities, in flexibility they meet every musical need;
their tone does not pall, whole movements are sometimes written
for strings alone.

•Gevaert.
 .

PROJECT LESSONS IN ORCHESTRATION 9

18. The first lesson problem is easy. One can do it and he

certain that it will sound well. Any simple song, harmonized in
four parts, like a hymn-tune, provides in its soprano, alto, tenor,
and bass, a part for first violin, second violin, viola, and cello re-

spectively. Each part is written on its own staff, the four staves
comprising the score. Abbreviations of the names of the instru-
ments in the margin is sufficient for manuscript. Dynamic
marks, p, f, etc., are placed under each part, but a tempo mark,
like Andante, is placed at the top of the score and suffices for the

group.
19. Stems are turned down for notes above the third line,

and up for those below it —a convention in the interest of good

appearance. Notes that are to be struck at the same instant
must be copied in a vertical column. Carelessness in these mat-
ters is inexcusably crude. Here follows a model. Study it,

verify the points just mentioned, and you are ready to proceed
with the assignment.
20. A word of warning the : alto clef is perfectly adapted
to the viola's general tenor compass. Be careful not to copy the
part an octave too low. Compare the viola part in Ex. 3(a) with
the same notes in the third violin, Ex. 3(b)

America

V.ll m
^
Andante con moto

mf
m ^ ^^ ^

V.2l
Wrjt^
s m -zr:

m
rnf

Va. 3 m ^
mf

Vc,

mf
^ ? %^ m
10 PROJECT LESSONS IN ORCHESTRATION
Simple as these first assignments may seem, they are impor
tant and in no case should be omitted.

Assignment 2
Following the model, Ex. 3(a), score America for a quartet
of strings.
Also score America, as begun in (b) for 1st, 2nd, and 3rd
violins, and cello. This is a fair substitute for (a), possible, in
the absence of the viola, wherever the tenor does not go below the
violin range. It is best to copy these two arrangements on oppo-
site pages, the better to compare them.

LESSON 3

21. To obtain increased resonance, a "filler" is often added

to the original four part harmony — see the small notes in Ex. 4.

This filler is not a true fifth voice in a polyphonic sense, but

simply what its name implies, an added part invented by the ar-
ranger. It consists partly of chord-tones already present in the
harmony, though not always in the same octave, and partly of a
portion now of one neighboring part, now of another, as occasion
affords. This filler may be used to strengthen momentarily any
part but is more in its character as a middle part. In skilful

hands it may take on something of the independence of a real fifth

voice, but to be a useful filler it must often play a very modest

role. An extension of the use of filler material is sometimes prac-
ticed so that one might say there were two or more fillers, but
duplication of the four real parts is 'to be preferred to this, at
least until the score is very full.

22. Since a filler part has no personality, the consecutive

unisons or octaves occasioned by its use are not objectionable. A
 PROJECT LESSONS IN ORCHESTRATION 11

good filler will add resonance to correct harmony, it will not make
good harmony bad.
23. Simple as arranging a choral may seem, the necessary
familiarity with the strings and the understanding of the use of
a filler can best be obtained by orchestrating the same music in
many different ways. To this end, the following choral (Ex. 4!)

is given in full with a filler part in small notes, and the student
will be shown how to make six different representative arrange-
ments in this and the lessons immediately following. Tliis work
is unquestionably too important to be omitted at this point.

Russian Hymn

^^ &
Ex.4 Alexis Lwoff

:z=zm—m ^2 ^g S i 3x:

s £JmA J-J^i jfVJ. J A

u T99
i % 3Ex:

-G

J JJ.
^ ^ «=tz
zz

i^a i^ IM
t9-

ZEzm. i fey
W ^
^jji
xxz

^m 9-

Assignment 3
? ^ «

Arrange the Russian Hymn, Ex. 4, as begun below. Give

the filler to the viola. Mark the second violins divisi and give
them the alto and tenor. This arrangement will sound a little

fuller than it would if the strings played the four-part harmony

only. It is the first step toward providing a richer resonance
through the use of filler and duplicate parts.
12 PROJECT LESSONS IN ORCHESTRATION
To prepare the lesson, copy the first half of the original
(No. 4) across the top of a left hand page, making filler notes
very small as shown. Follow this with the string arrangement
immediately below it, spacing your measures to fill the staves.
Next, copy the remaining half of the original across the middle
of the same page and complete the string parts as before. This
will just fill one page of the MS book.
When copying the filler into the viola part make the notes
the same size as the others, but label each part as in the model,
Ex.5.

Ex.5 Five voices

m
A Sop.

V.l
m ^n
V.2'

Va.
^
Alto

Ten. "^

^\'t
divisi

23

? ^
^
^^ ^^
3

^
Z

77"

^
Filler

Bass
Vc.
t9-
m.
G- i
^
LESSON 4

Assignment 4

Arrange the Russian Hymn begun in Ex. 6. Here the

as

double-bass is added, playing the same part as the cello but

sounding an octave lower. This combination provides the ideal
bass in the string orchestra. The violas now take the alto and

tenor divisi, and the second violins the alto and the filler, also
 P

PROJECT LESSONS IN ORCHESTRATION 18

divisi. Strings playing divisi do not provide more volume, in

fact there is some loss in the frank directness of their sound, but
this is compensated for in the more beautiful blending of their
resonance. In this arrangement, the first violins playing in uni-
son on the melody will bring it out perfectly against the other
strings divisi.

Seven voices

fi-
fe
^ 2Z

m
Alto dimsi

Filler
» £
m ^-r, 3 s^
_Alto dt'vist
m m
^ rr s:

ff—
e
(Double-bass sounding in octaves with the Cello)
^ ^

LESSON 5

24. As already seen (§ 22), duplication of the parts of

correct harmony does not make objectionable consecutive octaves
or unisons. This greater freedom from the rules of strict poly-

phonic writing is characteristic of the "mass-harmony" resulting

from duplication and should be clearly understood.
25. Consecutive fifths arising from the superposition of
chords of the sixth upon each other are freely allowed, as in Ex. 7.
 — ,

PROJECT LESSONS IN ORCHESTRATION

Unobjectionable consecutive fifths

26. Enrichment of a score by duplication of parts in the

octave is best made by doubling the upper three parts in their
upper octave and the bass in its lower octave. This will maintain
the clarity of the harmony —a matter
paramount importance of
and prevent the bass from mixing with the upper parts, Ex. 8(a)
(b), (c). At (d) the soprano is doubled in both its upper and
lower octave. Tliis is frequent in very full scores, but in every
such case the doubling of an upper part downward must not fog
the bass part.

(b)
^ <y
<c)
^'^]s_ ^^^
^
Tl"
31:
Orig.
xe:2
TV m <y
3£
3^
S
^ =8^
"
«
^TO 3g to
^
xr^
Enrichment by duplication

Assignment 5

Arrange the Russian Hymn as begun in Ex. 9(a). Now

the soprano is doubled in its upper octave. As before, the bass
is doubled in its lower octave. The second violins divisi take the

alto and tenor. The upper violas take the regular filler through-
out; the lower violas, the bass in unison with the cellos so far as
their range permits, but when this is impossible the lower violas

will play a few notes of filler chosen for the purpose at the dis-
 PROJECT LESSONS IN ORCHESTRATION 15

cretion of the arranger. This arrangement will sound both full

and brilliant.

An arrangement begun at (b) could be made, but

like that

this would be too thin in the middle and too much "all top and

bottom." It is an example of what to avoid.

Eight voices
^^) ^'^**'»
Ex,9 o (b)
Sop. f]^pP ^
V.ll
l^=IK -- m
f
Alto divisi

V.2l
= i i EZSE
Ten. ^ :i'^^ -» •&

Va.
IB
Filler

Bass
^*^***

(or
m
new filler)
i m KiJ J J

Vc.
Bass
yi.^
^-^^
Will sound full and brilliant
I ^
^ S Too thin -all
top and bottom

LESSON 6

27. A fine arrangement, applicable to many cases, is to

double each of the upper parts in their upper octave and the bass
in its lower octave. In this case no filler is necessary. To obtain
the finest resonance follow model, Ex. 10(a). The violas divisi
will play the alto and tenor in their original compass ; the second
violins taking these two parts in their upper octave. The so-
prano and bass will be doubled precisely as in the last lesson.
These parts could all be played by setting them as in (b),
but the instruments would not blend so well.
 g

16 PROJECT LESSONS IN ORCHESTRATION

Assignment 6
Arrange the Russian Hymn as begun in Ex. 10(a) with no
filler but with all four parts doubled in the octave.
Eight voices
Ex. 10^^) dtvist
£#
a ^ (h)
Sop. r:^ fi' £ ? f^ :£ :^
21
V.l
f

i —
\.2\ a: 7
a:

42-
P
ya..
P
Ez:
E
I
12^ nz
9 ^ le =K

Vc.
Db. r t>4^
No filler,
e
i5>-

but a fine arrangement

^
^ ^ Poor am
-will
not blend well

LESSON 7

28. The best distribution of chord-tones is that which con-

forms to the normal order of the harmonic series, the wider spaces
below and the intervals becoming smaller as the upper register is

approached. There is no objection to an octave or even a sixth

between the upper two parts but the masters have carefully
avoided open spaces in the middle of the harmony, and with equal
care have sought open spaces at the bottom, Ex. 11.

The Harmonic Series

(b) :^ Cc)
^^^^k^ «i_
-ri-^ 331 ^iP® 10 14 16 16 IT » it *^*
o o
-&- 10
$
nit: 3
Good spacing
*'» *^ *•
^^ Bad
 PROJECT LESSONS IN ORCHESTRATION 17

29. The spacing resulting from the various settings of the

Russian Hymn which you have made in the preceding lessons may
be considered satisfactory. When spaces wider than normal oc-
curred in the higher parts they usually resulted from doubling
the soprano in upper octave, or because the upper two parts
its

moved in sixths, both of which methods are good.

30. Empty spaces in the middle of the harmony, often al-
lowed in pianoforte music, are very bad in orchestral writing and
should never be permitted. In Ex. 12 notice the chords for the
pianoforte and the satisfactory equivalents for the orchestra.

Ex.12 _
^
, .

(d)

S S
« s ZJ s*
jf
p
ff JET

XE g -JO.
lOL
XE
Pfte. Orch.
Pfte. Orch.

Assignment 7

Arrange the Russian Hymn as begun in Ex. 13(a). We

now give the double-bass its own staff, the cellos divisi will play
the bass and tenor, wliile the lower violas will take the filler. This
arrangement doubles all parts, besides using the filler, and will
sound rich and full.

In copying this arrangement leave two staves at the top of

your MS book. When the first eight measures of the score are
completed reduce them to piano score on the two staves saved just
above them, by writing seven parts on the upper staff and two on
the lower. This reduction will begin as shown in (b) . The page
will contain the rest of the arrangement without its reduction.
 —g — — t

J8 PROJECT LESSONS IN ORCHESTRATION

Nine voices
Ex.13 (a) jt^^gt
^Sop. p«- ^ ft it* -^ ^ t: ^ fi- ^
9-
E^=z 7 »
v.i
i ^

V.2I
Alto

Ten.^
^^^'«*'«

ry^
^ fS>-

n: V g

Va.
^^ Alto

Filler
divtst

<y
y
p —m m JZL
z:
m m
?^
77—
g ^r^
I
Ten, ii'ji^' -^ ^
Vc. ^ I 5^
^
Bass '

Db. ^ Bass

Sounding
8

8X.^ lower
i ? f
^1

^ -^
~:
<
~: — —w—
w-» T7
Reduction of (a) to piano score

LESSON 8

31. In Ex. 14 the soprano is doubled in both its upper and

lower octave (triple octaves). This lower octave of the melody
lies in a beautiful part of the cello range and the setting gains
thereby a certain richness which is very desirable. The filler

nearly disappears —only here and there a few notes, here indi-
cated by a cross, are used (to add perhaps a missing fifth), this
being at the discretion of the arranger, that is you. The dis-
tribution of the parts will be easily understood by those who have
 PROJECT LESSONS IN ORCHESTRATION 19

prepared the preceding lessons. Although there is very little

filler, this last setting is the fullest and most effective of our entire
series.

Nine voices
Ex.14 divisi
^ f^ ^ £ £
t9- S>-

V.l
2:
f
^ «-
V.2I
g 2: 2:

Va.
Ten*
i m i
w=m TZL

Vc. ^ I

Sop. L-^

Bass^
divtst

g i 2
&.

9-
^ -^

Db. ^ Bass

^ 19-
-6^
«-
^
Assignment 8
Arrange the Russian Hymn as begun in Ex. 14. Save the
two staves at the bottom of 3^our page. On these write the reduc-
tion of the last half of the piece in piano score, six parts on the
upper and three on the lower staff.

PROJECT 1

(To follow Lessons 1 to 8)

Select a fine choral or hymn-tune and give it a full brilliant
setting for strings. Use a filler and such duplications as you
think most suitable. As stated in the plan of these lessons, the
pupil demonstrates his grasp of the work in these projects.
20 PROJECT LESSONS IN ORCHESTRATION
The following numbers, and many similar ones, will be found
suitable for treatment in all the foregoing ways.

A Mighty Fortress is our God, Luther

Now Thank we all our God, Johann Criiger
Hark! The Herald Angels Sing, Mendelssohn
O Paradise, Joseph Barnby
Passion Chorale, Hassler, har. by Bach
Austrian Hymn, Haydn
Adeste Fideles (Portuguese Hymn), Anon.
Vox Angelica, J. B. Dykes
Vrhs Beata (Jerusalem the Golden), Le Jeune. Trans, to A
 :

LESSON 9

Bowing
32. The term, "Bowing," is used in a two-fold sense mean-
ing (a) the movement of the bow on the strings or the player's
style or method; and (b) the manner in which a passage of music
is to be played and the signs by which this is indicated. To
"bow" a piece of music is to insert the bowing-signs which express
the desired style of performance.
33. Bowing-signs should always be provided by the ar-
ranger. The excellence of an orchestral performance depends in
large measure on the observance of these apparently minute de-
tails. The student who does not play a stringed instrument will
need to give this matter special attention, and, in bowing some of
his first work, will doubtless find it necessary to rely on the advice
of an experienced friend. The long slurs often found in piano
music to indicate the boundaries of a musical phrase have no place
in orchestral music.

34. The Down-how is marked thus : rn , the Up-bow thus

V . Successive notes not connected by a slur (or tie) are played
with alternate "down" and "up" bows. On the other hand, while
a slur continues, the direction of the bow is not changed.
35. Detache (Broad - Detached, Marcato) : long bow
strokes, rn V . The bow remains on the string. Vigorous pas-
sages, distinct articulation. No slurs. Dots (or no dots) over
the notes. Nearly any speed, but becoming difficult as the speed

21
22 PROJECT LESSONS IN ORCHESTRATION
is increased. Significance of the dots not precisely the same as
in piano music, Ex. 15(a), (b).
Detache Moycn (about 1/3 of the bow), and Petit
36.
Detache (tip of the bow) are modifications of the Detache to —
meet the needs of increasing speed and lightness, see (c), (d).

Ex.15

^
Schubert, Unfinished Sym.

g
J^^ Andante con moto

y Detache
^P ^a
I
(b)
Allegro

K',
i y

f Detache
M
Handel, Messiah (m
Allegro moderato

Detache moyen,
(d) Allegro vivace about ^
of the bow

^
Petit detache, tip of the bow

37. All down-how to produce the utmost vigor, even to vio-

lence. Bow lifted for each note, attack at the heel. Short pas-
sages. Speed limited, Ex. 16.
Ex.16 Allegro con fuoco
n n " " n n n n n

iE t -» i M
.^ A 1 1 do wn-b o w
38. Martele (Martellato) : a hammer-stroke with the ex-
treme point of the bow, quick, hard, and dry. Dynamic range
y to /. Indicated by strokes ( ' ' '
) over the notes and best ac-
companied by the words, a punta d'arco, Ex. 17(a).
39. An especially vigorous form of martele is made with
the heel instead of the tip. Indicated by ... or ' ' *
and the
words, martele du talon, or simply du talon, see (b).
 PROJECT LESSONS IN ORCHESTRATION 28
Ex. 17
^^^ Allegro ^t>) Allegro con brio

a punta d'arco ^^du talon

40. Sautille (Saltando, Saltato, Spiccato, Sciolto balzato) :

a springing bow, at the middle, utmost lightness and speed. In-

dicated by ' ' '
. Shades of distinction among these terms, made
by some authorities, can not be discussed here, Ex. 18(a).
41. Jete (Richochet, Jumping-bow) : a form of sautille.
This is a down-bow thrown on the string, picking up a cluster of
two or three notes with a hopping motion so rapid that the hair
scarcely leaves the string. Notation ... or ' ' '
under a slur.
Characteristic of certain dance rhythms, see (b).

Ex.18

* i i *
jfp ' *

Sautille

42. The Slur, used in none of the preceding bowings, ex-

cept the Jete, is an important feature in all the following. In-
stead of alternate "down," "up" bowing, we now come to various

clusters of notes played without changing the direction of the

bow.
43. Staccato: a strictly solo type, performed by an "up"
bow (from the point to the middle) picking up a rapid group of

distinctly separated notes. To make the marvellously swift suc-

cession of little "pushes" each followed by a distinct stoppage of
the bow is extremely difficult — practically impossible in the or-
chestra. Notation, a slur including the entire group, with a dot
over each note, Ex. 19.
24 PROJECT LESSONS IN ORCHESTRATION
Ex.19 Allegro
n V

Staccato bowing
44. Group Staccato, Type 1 : notated like the true stac-
cato, but limited to small groups of equal notes, slow or fast,

clearly separated from each other within the group. This is well

adapted to orchestral use. Like the true staccato, this is prefer-

ably an "up" bow stroke and not so well adapted to forte pas-
sages, Ex. 20.

Ex.20 Allegretto
/^ V V V n
r. J J J

45. Group Staccato, Type 2: a conventional notation for

groups of two notes of which the second is the shorter and unac-
cented. Although the bowing signs for these groups vary con-
siderably in different scores, one ruling idea embraces them all,
namely the : first note of the pair is distinctly shortened, never the

second, and both are played without changing the direction of

the bow. Many dotted rhythms in the older scores require a
group staccato rendition though no bowing is given, but now-
adays the bowing should be supplied unless a down-up bowing is
wanted which is rarely desirable, Ex. 21(a) to (h).
Ex.21
^^? Prefer this one(b) (c) (d) (e) y y n
i
i m
Four different written types
^ - All played thus
(f) (g)n n V n ^h)
n n Handel
nanaei

Written Played
CHd score, no marks, played as group stac.
 PROJECT LESSONS IN ORCHESTRATION 25

46. Loure: a highly expressive bowing for cantabile pas-

sages, notated with a slur embracing the group to be played
under one bow, and a dash ( - ) over each note. Strong pressure
of the bow on each note with a minimum pause after it. The
groups best limited to two, three, or four notes, since in f passages
each note requires considerable bow. The intensely emotional
rendition signified by this bowing led Tschaikowsky to use it in
a rich variety of ways in his Pathetic Symphony —a score so fully
bowed and so broad in its scope as to afford a liberal education in
bowing to the student who will give it intensive study, Ex. 22.
^^vr^ Adagio lamentoso ,^,

.ff
^ -

^ mf
Measured Tremolo', the rapid reiteration of one (or
47.
two) notes by drawing the bow back and forth across the string.
This gives an impression of agitation and force frequently desir-
able. So long as the speed of the note repetition is not excessive,
the exact number of strokes can be indicated, written in full at
first and then abbreviated to save time in copying, and space as

well. Really not a true tremolo but an approach to it, Ex. 23.
Ex.23 D'Indy
<^a) Allegro _ .
(tv _ . ., :i

yp cresa - _ _
ff^
48. Bowed Tremolo (Tremolo Vibrato) : the most com-
monly used orchestral tremolo demanding the rapidest possible
reiteration of the note (or interval). Notation, three or four
strokes across the stem of the note (simply above or below a whole-
note), and accompanied by the word tremolo to avoid possible
confusion with the measured tremolo.
 —
26 PROJECT LESSONS IN ORCHESTRATION
49. This device is available through a wide dynamic range
and from mysterious effects on the low strings to the most ethereal
on the high ones. As a filler for accompaniments in the middle
range it is one of the easiest types to fall back upon, and for that
reason has been overworked and is in a measure "out of style"
nowadays. "Nevertheless," says Widor, "there are cases where
there is nothing better to express energy." Care should be taken
to express note-values correctly, Ex. 24.
Ex.24

^^
Weber, Freischiitz Overture
(b)
i^) Allegro Adagio

/Trem P
¥ 5F^

50. Fingered Tremolo (Slurred Tremolo) : the bow moves

constantly across the string (not strings), and the tremolo is pro-
duced by a finger movement similar to that in the trill. The
interval is usually a third, fourth, or at most a diminished fifth
what can be done easily on the same string. On the viola the
perfect fourth, and on the cello a major third should be the limit
of a finger tremolo. Any larger interval requires an open string
or the use of two strings, neither procedure being first rate,

though possible. When made on adjacent strings, limit the

violin to the minor ninth, viola to the perfect octave, and cello to

a minor seventh.
51. Even more care must be given to the notation than was
required in the bowed tremolo; to reckon the time value of any
pair of notes but one of the pair is counted, Ex. 25(a), (b).
Ex.25 ^.
(a) Fingered tremolo

The same passage without tremolo

 PROJECT LESSONS IN ORCHESTRATION 27

52. Fingered tremolo in all the strings, crossed with itself,

with various divisions of the violins, violas, etc., is best studied in

modern scores. Notable examples are the oft quoted passages in
the Tannhduser Overture and other Wagner scores. A beautiful
passage occurs in the second movement of Mendelssohn's piano-
forte Concerto in G Minor. In older scores this type of tremolo
is conspicuous by its absence.
53. Pizzicato the : bow is not used but the string is plucked.
For all short pizzicato passages the bow is kept in the hand, but
a little time must be allowed to get it back into position after the
plucked notes. A "up" bow, however, can
note finished with an
be followed almost immediately by pizzicato. The arranger must
here, as everywhere, consider the player's convenience.
54>. Indication of pizzicato is pizz. A return to the bow is

marked arco. Failure to indicate this return leads to confusion

in rehearsal.

55. Pizzicato passages can be found in practically every

score. Single notes, intervals, three and even four-note chords
which lie in the hand, are available. As a sparkling accompani-
ment to a solo part, and in many other ways, all or a part of the
strings are often effective in this style of playing. The finest

resonance for this is in the lower strings of each instrument but

this need not preclude the use of any reasonable upper range. It
should be added that the lowest string on the double-bass is less

resonant in pizzicato than the upper three but not seriously so.

56. The Mute (Sordino, Sourdine, Dampfer) : this article

looks something like a three-toothed comb. When squeezed down
on the bridge of the instrument, the tone is greatly altered, be-
coming mysterious, repressed, or veiled. It is used on all the
strings, but for the double-bass so large a mute is necessary, to
 :

28 PROJECT LESSONS IN ORCHESTRATION

really modify the tone, that its use is frankly neglected by many
players.
57. Indication of the use of the mutes is usually con sor-
dini, avec les sourdines, or mit Ddmpfer, and the arranger must
allow several seconds for their placement. Removal of the mutes
senza sordini, otez les sourdines, or oline Ddmpfer.
58. Col Legno: a direction, found occasionally, to play
with the bow-stick instead of the hair. Little used in serious
music. The tone is hard and dry and the stroke is hard on the
stick.

59. Sul Ponticello: a direction to play very close to the

bridge producing a disagreeable glassy tone ; not frequent.
60. Harmonics the : flutey tones obtained by lightly touch-
ing a string at the half, third, fourth, etc., of its length, are the
upper partials of its harmonic series, and are called natural har-
monics. The sign is a small circle over the note.
By stopping any note with the first finger and touching
lightly what would make the tone a perfect fourth higher, one
obtains a harmonic two octaves above the stopped note. This is

called an artificial harmonic. Indication, a diamond-shaped note

a perfect fourth above the stopped note.

Assignment 9
Arrange Schumann's Kinderscenen, No. 2 (Curiose Ges-
chichte) for strings. Place the cello and double-bass on one staff.
This is simple four-part harmony, but the bowing requires care-
ful attention. It is impossible to use the slurs just as found in
the original. In addition to the portions for strings given below
as models which should be compared minutely with the piano
score, the bowing of every part throughout must be carefully
marked. In case of uncertainty, the advice of an experienced
 PROJECT LESSONS IN ORCHESTRATION 29
violinist should be sought. Use a double bar with dots indicating
repeat of first eight measures, and of the last twelve. This will
make the whole piece just fill one page of the MS book and save
much time in copying.

Ex.26 Schumann, Ainderscenen, 0/)./5.JV'>2

Allegro giojoso 6 7
1

Pffe.^

V.l

V.2

Va.

Vc.
Db.

In Ex. 26, the grace notes in measure 1 are purely pianistic.

These are better omitted in the violin. In measure 3 the domin-
ant seventh chord is adapted to the hand, with no third and a
doubled seventh: this chord is much better spaced in the strings,
the third provided and one seventh and one root omitted.
In the strings, two charming characteristics of this piece are
(a) the group staccato which falls on the first beat of many of
the measures and (b) the accented down-bow on the third beat.
The four measures of contrast preceding the return of the
principal theme might be done without the double-bass, whose
temporary omission and return will afford a bit of variety.
In some editions of the piano score dots are placed under the
30 PROJECT LESSONS IN ORCHESTRATION
first eighth-note of many of the measures. This dot can not be
used in the strings. On the contrary, special slurs and dots are
necessary in the bowing of the strings, as shown in the model.

LESSON 10

61. Double-stops (double-notes) require the simultaneous

use of two adjacent strings. The term is applied even where
open (unstopped) strings are included. In slow to moderate
tempo most double-stops are possible and many of them are easy,
especially where at least one open string can be used. In rapid
tempo all double-stops are too difficult for orchestral purposes
and had better be avoided. Triple-stops require three strings,
quadruple-stops, four. Intimate knowledge of the strings, of
what hand" of the player, of how to make the most
"lies in the

advantageous use of the open strings, by choosing the best keys

and most suitable distribution of the chord-tones, enables the com-
poser or arranger to obtain from skilful players an astonishing
amount of full, brilliant, and varied string effects. Without this
intimate knowledge, and especially when writing for a young or-
chestra, double-stops should be of the easiest, or, better yet,
marked divisi.

62. But occasions arise when you have a quartet of strings,

or at most a quintet, and really need a few double-notes to com-
plete the harmony. Again, in the dance orchestra where the
strings are few and must "hold theirown" against a number of
winds, the second violin and viola must be given a great deal of
easy chord accompaniment placed in their best range. The cello

is given comparatively little double-stopping, the double-bass

should have none. In a later lesson on dance music, this matter
 PROJECT LESSONS IN ORCHESTRATION 81

will receive further attention. For present needs the following

examples are ample, Ex. 27.

Ex.27 6ths yths Oct.

2nds 3rds
"- 4ths
••- 5ths
"-
(j^\
^ - maj. rain.aug. maj. niin.dini. per.
maj. rnin.aug.
niin.aug. maj.
raaj. min. dim. per.
cim. pcr.aug.
du^. dim.per.
uun. pui. aug.
auj;. n^
U.
^
Violin
i^^-'W^m-'^
*^ b*
"^^ to
F'ossible
P» to
Mostly easy
to
Possible
i--^
^ to
Possible
^i-'^
#
Easy
i''^ to
i'^
VPossible ^
Possible
to to
II

(b)

i ^^^^ #
•^ «>rds i„
ardsto J
avoid
;

8^'?s to avoid
i^^^^
Obviously impossible TripI','-s'.ops (practical types)

63. The viola, though less agile than the violin, can do
practically all the double-stops possible to the violin, allowing for
the difference of its range — the perfect fifth lower.
64. On the cello it is major and
safe to write perfect fifths,
minor sixths, and minor sevenths, with both notes stopped. Ex-
cept these intervals, it is better to limit double-notes to those
which permit the use of at least one open string.

Assignment 10

Arrange Schumann's Trdumerei, No. 7 of the Kinderscenen,

Use five staves. In measures 1, 5, 9, 13, and a few other similar
places, the cello will double the bass on the first beat but play
double-notes on the next beat, filling the harmony as shown.
There will be a few places where the viola, or second violin, or
both, will play double-notes.
This piece requires more care throughout than the one in the
last lesson. Notice that the real bass in measure 2, second quar-
ter, is Bi? which the double-bass must hold through the measure.
Similar treatment is required in measure 6, bass C*. In 14, 15,
16, leading to the return of the main theme in 17, it might be well
to omit the double-bass and thus obtain a change in the resonance.
The double-bass then re-enters on the a tempo.
32 PROJECT LESSONS IN ORCHESTRATION
The charming canonic imitation should be allotted to the
various instruments with careful attention to their bowing, and
the student must not be troubled if the parts cross momentarily
here and there.
The long slurs in the piano score must be discarded here, but
several of the short ones are usable as shown in the model. Rule
this piece so as to fill just two pages.

Ex.28 Schumann, Traumerei, Op.I5,N^?

/^^ Lento » (c) 1
(b) (d) 1

LESSON 11

i^b. In some piano music the chords for the left hand lie far

from the melody, and often rather low. A literal transcription

of such music for strings would be poor and thin. Such chords
must be lifted and re-arranged —placed where string-chords pos-
sess their finest resonance. This resonance lies in the range from
about a sixth below middle C to a sixth or seventh above it.

Compare the piano Ex. 29 with the string scores just

scores in
below them. These may be considered typical models of what to
do in similar cases.

^^, In arranging three-note chords, it is best to give

double-stops to the more numerous second violins, and single notes

 PROJECT LESSONS IN ORCHESTRATION 33

to the violas. In four-note chords the violas will also play double-
notes. Care should be taken to use open notes where possible,
and avoid unnecessary difficulties. In practice the arranger sel-

dom uses three-note chords exclusively but mixes these with four-
note chords as occasion demands, Ex. 29(d).

£x.29 Mozart Allegro

Presto Kuhlau

^ i rA«^-r r r r I
r r r p
«/

67. In the above examples notice that broken eighths be-

come repeated eighths. This is good, but one must not alter a
characteristic rhythm, as, for example, changing eighths to six-
teenths.

68. Notice the abbreviation signs in (b). Their use to

34 PROJECT LESSONS IN ORCHESTRATION
indicate successive similar measures is legitimate in all prelimin-
ary sketches, and is recommended where not confusing to the
reader.
69. In (a) the "dovetailing" in the violas and seconds is

better than the arrangement at (b), though Mozart used the lat-

ter in this particular instance, (Don Juan, Orch. Score, Peters

Ed., p. 118).

Assignment 11
Arrange the Andante of Kuhlau, Sonatina, Op. '20, No. 1,
as begun in Ex. 30. Notice the lifting and re-spacing of the low-
chords for the left hand. The violas play single notes between
the double-notes of the second violins at the beginning, but this
procedure does not prevail throughout; in fact, there will be
places where the violas only will take double-stops, and still other
measures where no double-stops are needed.
In measure 4, the motive given to the cellos and basses alone
would be too bare and thin, hence the viola doubles it in the upper
octave. This is a point to notice in all pieces where an isolated
bit is taken low on the piano.
Here and there the arranger will supply lacking notes to fill
the harmony, but this piece does not need much of this treatment.
In adding notes to the middle harmonies, remember that the bass
in inverted chords is rarely doubled in the upper parts.

In measure 11 the climax is best obtained by using double-

stops in both the middle instruments. Place carefully all the
expression marks, and observe how frequently bowing signs differ
from the slurs in the piano score.
This lesson should use a page and a half of the MS book,
with the original piano score copied above the strings as begun
in Ex. 30.
 PROJECT LESSONS IN ORCHESTRATION 35

Ex-30 Kuhlau, 0p.20,mi

Andante 3 4 5

Pfte.<

V.l

V.2

Va.

Vc.
Db.

LESSON 12

70. Dance music usually presents a melody carried by the

first violins and supported by an accompaniment consisting of the

bass on the accent, played by the cellos and double-basses, and

chords on the after-beats spaced and divided between the violas
and second violins in a manner that will provide a good string
resonance. Three important principles of good orchestration
rule here: (1) the melody must be sufficiently prominent, (2) the
bass well defined, (3) the harmonic filling ample and well-spaced.
71. Pianoforte chords which lie in the middle range, as in
Ex. 31, need little or no modification for strings and will sound
well as arranged below. Double-stops in the viola and a few
added notes make (b) and (d) somewliat fuller than the others.
36 PROJECT LESSONS IN ORCHESTRATION
Though very easy to play, these double-stops might well be
marked divisi for young players.

Well spaced chord accompaniment

Ex.31 given to the strings

Pfte.
i
m Tf i ^ N
mnt ^ ^ s ^ Aim ^ ^
>=: f
'^'^
t
k
m Tf»

V.2
(a^

m ^ •#•#
^
(0

iE3 3
Va. ^ m ^ ^ ^^
? p ^ ^:
Yc. 'mm ^ ^ ^ ^^ m ^
^E
V.2
: (b)

J £ a=a: ^ aifl:
(d)

Va.

Vc.
Db.
^
v^gj^ru
^ ^ ^ l^B^ ^
^ ^ ^ ^^ Sf
^
a
72. Notice that in all the above "good" examples the chords
are spaced within a general compass whose center is middle C.
Chords which, in the piano score, lie entirely below middle C must
be lifted wherever possible. If left too low the string resonance
will be dull and ineffective — altogether bad for dance music.
73. A word here about the proverbial "second fiddle." It

lies in the very character of dance music to require after-beats in

the middle strings, and attempts to avoid this by giving all parts
 PROJECT LESSONS IN ORCHESTRATION 37

a "tune" to play, though laudable, are seldom satisfactory.

There is much other music where the second fiddles will find a tune
in their part.
74j. Occasionally the melody is given to the bass, with
chords in the right hand, as in the Strauss Waltz, Ex. 32. Here
the cellos and double-basses will play the air, and the first violins
assist the seconds and violas in the chord accompaniment. Such
a passage is often bold and pompous and lends itself to the use of
double or even triple-stops as in the following oft-quoted waltz.
As scored here, these chords "lie in the hand" and are easy for
skilled players, but if desired they could all be marked divisi a2
or a3.
Ex.32 Strauss, Morgenhldtter Walzer, N95
Tempo
^U^}Ul^^ ^
di valse
»t
v^ i
Pfto

^ /
/
0.

itp S
m.

F
n:
i^
pL.
^=m:
F" m m '
4

V.l ^^ % WW %
V.2 ^ /

/
= m
Va. ^^ § /
—
m -m
^ w—m. i eMM ^# ^ m —m ^
Vc.
Db. ^
^m /
Solo
m
%
m.
iii i t^
42-

t
G-

Assignment 12
Arrange the Pesther Walzer, No. 5 (35 measures) as begun
 :

38 PROJECT LESSONS IN ORCHESTRATION

in Ex. 33. In the first strain, these chords lie in a good range
and need not be lifted. The opening of the second strain is also

shown here (measures 17 to 20). Notice that the chords in this

part are lifted somewhat, and, in addition to this, the cello takes

the melody in its lower octave, above these chords. It will thus

double the melody in measures 17-21 and 25-29. The first violins

play divisi all through the second strain.

Much use of abbreviation signs is possible in the first strain

and is advisable in MS of this kind. In the second strain very

little abbreviation is possible.

The strong dynamic contrasts, and the exultant bits of cello

melody add much to the interest in this waltz.

Joseph Lanner, Pesthtr Walter, 0p.93,N'J5

Ex.33 12^17 I
:8 ^r-^ 19 20 "

^^^^
5

gggage
^^ Ei
Pfte.'*

ittM LxJupf JT
^m
^r;J ^^ Ig ^ffffffft^
Sautille

v.(| f;rrrrrrir«r r|f:r

ff
^^
|

V.2I
3^
^ ^ S
m F^ ^E
ff m ^^
Va. U\
V
ff ^ s ^=w^ 5
m^ p
J- I
V'itJ
Z'
Ml/ ^ ^ -f ^ <
«fi-^J
Ip^-f-l-f^^

Other suitable numbers

Strauss, Morgenbldtter Walzer, No. 6, arrange through the first

strain as begun in Ex. 32

Schumann, The Happy Farmer, Op. 68, No, 10
 PROJECT LESSONS IN ORCHESTRATION 89

LESSON 13

75. It is profitable to compare in detail several settings of

the same phrase. Ex. 34 is a fragment of a Sonatina arranged

Ex.34
Allegro Kuhlau

^ ^ r^r f
Pfte.

^ /
^
\

aj^ a^\^Lj^^jj
40 PROJECT LESSONS IN ORCHESTRATION
in six different ways for the strings. The low broken chords in

the original must be lifted to a more suitable range. This is even

more necessary here than in Assignment 11. Besides this, the
Ex.35

Pfte.<

'^^S
p do he
J J ^JJ I
J.
f^
V.2
^^m pizz
i^^*-j«y^ ^^m li.J j.J -Jr^

Va.
'ii"'V>/ ' r
> •p <
-f
i
^m
K i tZ^-T^
Vc. sE
pizz.

^ -M-f^-t i i r <
r
'

V.l

V.2

\^.

Vc.

V.l

V.2
^^ pdoice

as ^^^^^^
chords must be supported with a better bass, and some added filler

harmony.
 :

PROJECT LESSONS IN ORCHESTRATION 41

In (a), sustained filler in 2nd v. rhythmic figure in viola.

In (b), rhythmic filler in both middle strings, heavier bass.

In (c), crisper style of bowing in 2nd v., chords in viola, pizz. bass.
In (d), martial setting, double-stops, vigorous bass.
In (e), poor arrangement, too much melody for low, weak ace.
In (f),very poor. High melody, low and muddy ace, nothing be-

tween.
76. Ex. 35, a quite different type of pianoforte passage, is

arranged in three wa3^s, all of wliich will sound well. Here is no

question of lifting low chords, but of what to do when there is no
"elbow room" between soprano and bass.
In (a), rhythm in 2nd v. smooth long bows, lower strings pizz.
In (b), rhythm in viola, crisp; cello and 2nd v. sustained.

In (c), melody 8va., room for widely spaced chord-tones.

Assignment 18

Either of the following assignments is sufficient for an aver-

age lesson.
(a) Arrange for strings the first sixteen measures of the

Rondo in the Kuhlau Sonatina, Op. 20, No. 1. The suggestions

in previous lessons, and the models under Ex. 34 will be ample for
this work.
(b) Arrange the first twenty measures of the Minuet in the
Beethoven Sonata, Op. ^9, No. 2, for quintet throughout, or using

the double-bass in the last eight measures only. The models under
Ex. 35 will afford suggestions, but the student's ingenuity is pur-

posely challenged somewhat in this assignment.

Other good numbers for additional work at this point are

Kuhlau, Op. 55, No. 2, /, 1st 8 measures.

Kuhlau, Op. 55, No. 4, 1, all.

Kuhlau, Op. 55, No. 1, 1, 1st 20 measures.

 — y

42 PROJECT LESSONS IN ORCHESTRATION

LESSON 14

77. We come now to piano pieces which require more or less

real modification to adapt them successfully to the strings. Ex.
36 faithfully reproduced would sound very thin and inadequate
in the strings. The repeated low "a" is not the true bass, but a
rhythmic element which must be treated as a chord filler. The
bass is best supplied as shown in (a) and (b). Either of these
arrangements will sound well. They should be studied in detail
and compared with the original. Arrangement (b) is fuller and
more animated than (a). Transposition to D, from the original
key of E^', is made here to give the strings one of their easiest
keys ; however, the key of El? might have been kept if desired.
Ex.36
Tempo di menuetto
Mozart, Sonata in E^ Menuetto If

-Pfte. )P
Tr. to DV

VI
^H ''::JTrj^f^^ mm
^ ^^ ^^
I I

/ p /
V2

^^^
m p / p /
Va. ^g^ — -m I

§/ p
* IT

/
i w
It. ^i>
'

\H^J
/
f
P
If— J r N J J I
f

VI
(b)

u \ \\x rnn
i ^ ^ Ff-^ i
W ^ p f
r r fgr
^^^

V.2
^
^^
^ P

-*
P
~9
/
i
/

/
^ s
Va.

P
"WfW £^p ^^F
Vc.
Db. ^^ ^^ /< /
/ /
 PROJECT LESSONS IN ORCHESTRATION ta

Assignment 14

Arrange for strings the Cantahile of Kuhlau Sonatina, Op.

55, No. 2, to the middle of the first ending (measure 16). Tliis

music invites treatment very similar to that in Ex. 36. A pedal

point, "g," in the bass through measures 9 to 12 would make a
bit ofgood contrast, measure 13 resuming the original treatment.
In measures 13-14 it would be well to let the second violins double
the melody in the low^er octave and place some double-stops in the
viola. In measure 15 the violas should help the basses with the
sixteenth-note figure, as in a similar place in Ex. 30.

PROJECT 2

(To follow Lessons 9 to 14)

Select a short March, Serenade, Waltz, or other piece which
lends itself to treatment for strings similar to that in the preced-
ing lessons. Considerable range of choice is now possible to the

student, but it would be a waste of time to attempt a type of piece

not already discussed and illustrated in the models. Arrange for
strings. Keep everything easy to play and easy to read.
The following numbers, among many similar ones, are suit-

able:*
An Alexis t Himmel (20 m.)
Turkish March, Mozart (24 m.)
Serenade, Haydn
Moment Musical, Schubert, Op. 94* No. S
Prelude, Chopin, Op. 28, No. 4
Salut d* Amour, Elgar
Waltz, No. 15, Brahms, Op. 39

•These are all in the Mumil Masterpieces of Piano Music as well as in many other
good collections. See music list on page 177.
 LESSON 15

78. The harplike broken chords in the following Chopin

Nocturne, and many pieces of this type, require faithful mainten-
ance of the rhythm, and, in addition to this, the support of sus-
Chopin, Op. 27, N92
Ex.37
Lento sostenuto

Pfte.-<

V.l

V.2

Va.

Vc.
Db.

V.l

V.2

Va.

Vc.

^^ ^^ ^^^^
pizz. (or arco'.

Db. ^^irfff V ^ ff ^ HfT ^ V ft ^ Mrr ^ V IT ^ y Iff y »

P

44
 PROJECT LESSONS IN ORCHESTRATION 45

tained chords; because so slow a movement without the filler

harmony would be very poor in the strings. With good violas,
Ex. 37(a) would come out well. In (b) the rhythm is entrusted
to the second violins, and the cellos and basses are both given piz-
zicato notes. This is a finer treatment than the preceding, the
cellos coming through the supporting upper strings in a charm-
ing manner.
79. It should be observed that the original is transposed to
D for the strings, a much better key for young orchestras. With
skilled players, the key of T)^, with almost no open strings, would
be beautiful ; with beginners, simply bad.

Assignment 15
(a) Arrange the first twelve measures of Field's Nocturne
in B^, No. 5, for string orchestra, following in a general way the
suggestions and models in this lesson. The key is good and
should be kept. The rhythmic figure could be given to the violas
for eight measures arco, then transferred to the cellos pizzicato,
with a sparkling effect ; or the second violins could be responsible
for the rhythmic figure and with very slight changes this would
not need to go below their range. This, while a rather short as-
signment, demands discriminating taste and care.
(b) In place of the above, if desired, arrange the first fif-

teen measures of Field's Nocturne in E^, No. 1.

(c) Still another choice: the first thirteen measures of the

Chopin Nocturne, Op. 27, No. 2, as begun in Ex. 37(a) or (b).
The transposition to D, as shown, would be best.

LESSON 16

80. Another beautiful type of accompaniment is used in

46 PROJECT LESSONS IN ORCHESTRATION
Chopin's Nocturne in E^. Here is neither the repeated chord of

dance music, nor the harp-Hke figures in Ex. 37, but a sort of re-

fined fusion of the two, deserving careful attention. Under Ex.

38 are three ways of arranging this number for violin solo and

Ex.38 Chopin, NochtTTte in E^,0p.9, N?2

Andante

Pfte.
Tr.toDl

.^j&5t2v ^
^^ ^^t^
sim

Violin
Solo

V.l

V.2

Vo.

Db.

^Tiolin
Solo

V.i

V.2

V».

Vc

Db.
 :

PROJECT LESSONS IN ORCHESTRATION 47

string accompaniment. In all these the first violins now assist

with the chord figures. In (a) the cello provides the sustained

bass obtained in the original with the pedal, while the plucked
double-bass notes point the rhythm. In (b) the direction of the
chord-figure in the second violin is altered, involving slight
changes in the viola. The bass here is more elastic but adequate.
In (c) the accompaniment is faithful to the original harmony but
reduced to the simplest terms, as for a very young orchestra.
This is legitimate enough, even advisable under such conditions,
and will sound passably well, but is not so fine as the other models.
81. To make comparison easier, we have transposed the
original to D, the key recommended for this study. If desired
the original key of & could be used, the whole effect (on more
closed strings) then becoming less frank but none the less beau-
tiful.

Assignment 16
Arrange the first nine measures of the Chopin Nocturne as
begun in Ex. 38, for violin solo and string accompaniment. Make
a transposition of these measures to the key of D and copy them,
measure for measure, just above your arrangement. Use (a),
(b), or (c) as desired.
Other suitable numbers are
Mendelssohn, Venetian Gondellied, S. W. W. Nos. 12 and IS.
Rubinstein, Romance, Op. 4-4* -^o. 1
John Field, Nocturne in jBb, No. 8
Pierne, Serenade in Ah (tr. to A)

LESSON 17

82. The string tremolo, a commonplace of today, was a

noveltv in 1600. With Monteverde, its probable inventor, it
48 PROJECT LESSONS IN ORCHESTRATION
never got beyond the stage of measured tremolo (cf. § 47). The
marvelous possibilities in bowed and fingered tremolo were not
discovered until later. Every lover of the orchestra will recall
many passages of indescribable charm, such as the Waldwehen
music in Siegfried, and the Venus music in Tannhduser; but the
student of orchestration must learn how such passages look and
how to get them on paper, he must hear, score in hand, and score
tremolos to be played and critically listened to. The following
quotations give a hint of the wide range of expression possible in
this style of bowing.
83. In Ex. 39 notice the well-spaced harmony, all above the
cello melody. Bowed tremolo, triple piano. The one pizzicato

bass note launches the whole passage which floats on the "imagin-
ary" pedal.

Ex.39
Piu lento Mac Dowel 1, 2V^ Pfte. Concerto
ffio. i

VII i
V.2l
^ ^
Va.
ai: ^ m
i.- ji^i ii- jji '

J-'7 < i
Vc.
Db.
^^
pizz.
pp

84. In Ex. 40 the very soft harmony, placed high, supports

a still higher flute solo of exquisite beauty. Here the spirit of

the music is comparable to sunshine, mountain valleys, purity, the

etherial rather than the earthly.
 PROJECT LESSONS IN ORCHESTRATION 49

Grieg, Pfte, Concerto

Poco piu tranquillo
Ei.40 '5'<'i2—„ fl^
~ =4?*? ^£\,Af: ^
Flute
g I
V.l i i i
/2.
tzz
V.2 if: j^5 3?

Va. ^ i i
Vc.
Db.
pizzJjogt?

85. A sharp contrast to the preceding is found in Ex. 41

where, with this same bowed tremolo placed low and played fortis-
simo, horror, darkness, and extreme agitation are as graphically
expressed in the strings as by the singer. Notice the low "g" in
the piano score, omitted in the strings which are "horrible"
enough without it. Four horns help to launch this passage.
Special attention is called to the conventional pianoforte imitation
of the tremolo. The one can never duplicate the effect of the
other but the student must be able readily to translate one idiom
into the other.
 ^

60 PROJECT LESSONS IN ORCHESTRATION

Ex.41
Weber, Der Freinckiitz

Voice

Pfte.

Db. &^^
86. In Ex. 42 is shown the finger tremolo in divided violins.

Compare minutely the string notation with the piano version at

(b).

Glockenspiel 8^1^ Wagner, Waldweben fr. Siegfried

Ft 4? Piccolo ' ^^^ ir^ — ^
'
(b)
^ ^ %A
^Shiii^ V^-'-^ \\

V.l
A Pfte.
version of
wt
^ i>
-«»^

V.2
Ar^l Wf^
^T^-
I thestringSi

^S ^
 PROJECT LESSONS IN ORCHESTRATION 51

87. Every arranger wishes, sooner or later, to give a song

an orchestral accompaniment. For a study of this kind, Schu-

bert's Am Meer is an ideal number for the next assignment. If

it is desired to put this on a real instead of an imaginary program,

the first consideration is the choice of key for the singer con-
cerned, since it is futile to prepare the score and parts in a range
too high or too low for actual performance. Assuming that our
arrangement is to be for a soprano voice, the models in Ex. 43 are
set in the original key of C major. After the opening chords are
assigned divisi to the lower strings, as in (a), the measures which
follow (3 to 11) will be found as simple as a hymn-tune and can
be written in a few minutes.
88. With the opening of the "storm" in measure 12, two
types of tremolo are available — all bowed, as in (b) or partly
bowed and partly fingered as in (c). In either case, one should
write divisi and fill the harmony in the smoothest simplest finger-

ing.
89. Although used to the point of being somewhat out of

fashion at the present time, bowed tremolo would be better for

young players in this accompaniment and one need not hesitate
to use it.

90. For practice in writing the considerably more difficult

notation, the fingered tremolo is here recommended to the ambi-

tious student. Combine it with bowed tremolo as begun in (c)
and limit the intervals of the fingered tremolo to what can be
reached on one string, not exceeding the diminished fifth (see

§50).

Assignment 17
Score Schubert's Am Meer for strings as begun in Ex. 43,
and use tremolo from measure 12 on, as in (b), or in (c), as de-
52 PROJECT LESSONS IN ORCHESTRATION
sired. If preferred to score this for low voice, the key of A is

best.

By carefully planning 1st and 2nd endings, repeating from

the beginning of measure 3, you can save much copying and place
the whole song on two (facing) pages of your MS book.
Ex.43
Sehr langsam Fr. Schubert, Am Meer
1 2 ^ 12 13 12 13

Sop.
DasMeer er-glanz-tc Der Ne-belstieg, Der Ne-belstieg,
molto legato

prte.<

V.l

V.2

Va.

Vc.

Db.

LESSON 18

91. A problem similar to that in the Chopin Nocturne (see

Ex. 37) is presented in The Swan by Saint-Saens. Here is a

flowing melody supported by a filigree of chords. To arrange
this number for cello solo with string accompaniment, one must
retain the broken chords in some instruments while providing sus-
tained harmony in others. In Ex. 44, sustaining chords in the
 PROJECT LESSONS IN ORCHESTRATION 63

second violins nourish the harmony. The cellos and violas in piz-

zicato eighth-notes, and the first violins in sixteenths, arco, supply

the rhythm. The double-bass pizzicato, as shown, is adequate;

longer notes would make the music too heavy — it must be airy,

must float. In this key, the cello solo lies in the instrument's

finest "singing" range.

Ei.44
Adagio et legato Saint-Saens, Le Oygtie

-^r^Tw^r^r^ scr ecr scr scr slt ^

V.2
1
VP

^^^
pizz.

Va.
i^VP J^^E
pizz.

J J J

^I=f T=f T=r

Assignment 18

Score the first nine measures of The Swan, Saint-Saens, for

cello solo with string accompaniment, copying these two meas-

ures and adding the others in this style. Work from a good
piano score. It would not be difficult to arrange this entire num-
 : a

64 PROJECT LESSONS IN ORCHESTRATION

ber but in nine measures you have the kernel of the problem. The
tenor clef is best for most of this solo.

Other fine numbers suitable to this treatment

Mendelssohn, Songs without Words, No. 19, Op. 53. Orig. in Ab;

transpose to A. Double-bass, pizs., cello, arco, rhythm carried

between viola and violin 1 or 2

Schumann, Schlummerlied, Op. 12^, No. 16

Chopin, Prelude, Op. 28, No. 6
Gabriel Faure, Romance sans Paroles, Op. 17, No. S; transpose
from Ab to A

LESSON 19

92. The next quotation, Ex. 45, shows significant portions

of the well known Minuet by Boccherini. This charming number
was originally written as a part of one of the composer's many
string quintets, for first and second violins, viola, and first and
second cellos. In the following examples, the upper four strings
are shown exactly as Boccherini wrote them and are well worth
detailed study. The piano score is therefore not an original but

an arrangement, and the student's problem is the less usual one

of working back to an original.

93. Among other things, notice how, in (a), the second

violins are given a kind of finger tremolo on the octave "e" —
figure whose existence is not even hinted at in the piano score;
also, how the violins are asked to use the mutes, but the other
strings are pizzicato with no mutes. The bowing is also Boccher-

ini's and is distinctly different from the piano version.

 PROJECT LESSONS IN ORCHESTRATION 66

Boccherini, Minuet
(From orig. string quintet)

Pfte.

V.l

V.2

Va.

Vc.

Db.

94«. In (b) the opening of the second strain affords a clue

to all tliat is needed to complete the Minuet.
95. In (c) the opening of the Trio shows interesting con-
trasts, in nearly every item, from what has preceded. Change to
arco, crisp detached notes in the lower strings answered by short
slurred clusters in the upper.
96. In (d) observe how the composer repeats the high "a"
in the first violin instead of making the second leap as in the piano

score.

97. As here shown, these parts are true to the original edi-
tion of Janet et Cotelle, Editeurs, Paris. A thorough under-
standing of this piece as a whole will give the student an insight
into some of the fine ways in which the strings can be handled to
obtain contrapuntal charm and rhythmic variety. It is well

worth intensive study.

56 PROJECT LESSONS IN ORCHESTRATION
Ibid

Assignment 19

Score the Boccherini Minuet and Trio, using the original

material given in Ex. 45 and working the rest from the piano
score.
Note: To do this work with attention to every detail of bowing, phrasing and
expression marks, will require from four to six hours and, if desired, the Minuet
might well be considered a lesson, and the Trio another.

LESSON W
98. Before taking temporary leave of the strings, atten-
tion is called to a number of matters which every orchestrator
should consider — some more or less new, others in the nature of a
resume of the preceding lessons. First, observe a variety of

waj^s to give especial prominence to the melody, and what the

composer does with his remaining instruments.
99. In Ex. 46(a), with the melody doubled in unison by
 PROJECT LESSONS IN ORCHESTRATION 67

all the violins, Hadyn lets the viola simply double the cello in its
upper octave, a very common procedure with pre-Haydn com-
posers and frequent with Haydn and even Mozart. In (b) all

his strings and all his wood-winds unite to announce the melody ff
in the minor key.

Ex.46 Haydn,
'
Surprise Sym.
.'a) Andante f^„
(b)

100. In Ex. 47, with the melody doubled in the octave by

first and second Mozart requires the viola to double-stop
violins,

chords for middle harmony, depending on cellos and double-basses

for the bass. Notice how the violas spread the chord to allow the
second violins "elbow room."

Ex.47 Mozart, Sym.j GnUn.

^fe m
Allegro molto

V.l

V.2 \i' it - f
w ^ m-
Va. ^ p E
cue:
P

!
EECKE
!
i SEj
sgEaiaE £3
Vc.
Db.
'
H (MP '
^ - ^ ^ ^
68 PROJECT LESSONS IN ORCHESTRATION
101. In Ex. 48, with the melody doubled, as in the preced-
ing example, Weber gives the violas double-stop intervals in syn-
copated rhythm. This is but one of several settings of the same
melody in this overture, no two are alike, and all are worth careful
study.

Ex.48 Weber, FreischiltZf Overture

VI
Allegro vivace

p dolce
M ^-f^ m i

V.2'

p dolce

1^ ^ —« —« —#2^ Hi ^^
^ ^
Va.

p P
rr^ t
Vc.
Db.
Vf^ J
P
I J ^m i
102. In Ex. 49, the violas rise above the second violins and
play the melody in octaves with the firsts. Cellos alone play the
bass, second violins play filler harmony.

Ez.49
Allegro con brio Beethoven, Eroica Sym.

103. In the next example, the violas play the melody in

 PROJECT LESSONS IN ORCHESTRATION 59

unison with the second violins, in an inner part — in this register

inciescribably rich and appealing. The first violins, though high,

are pp. Having used his violas for melody, Beethoven double-
stops his cellos to fill the space. The double-bass appears to cross
but docs not, since it sounds the octave lower. Notice the stems
on this staff.

Ex.50 Beethoven, Ninth Sym., Adagio

Andante moderato

V.l
^ ?
^ ^^ r j)...
\

V.2l
HP

^^ -itd^id-
J- J 171 e

Va.
ISp^ m mm
t£
^ i^
Vc.
Db. ^ ^j
pizz.
J i^^
i
^T
\^ji

t
ip
T
^^
104. In Ex. 51, the score is reduced to cellos 1 and 2, and
violas, to which is added the double-bass a moment later. This
exquisite passage recalls the opening of the Nocturne in the same
composer's Midsummer Nighfs Dream music. Notice how the
first cello sinfifs above the viola.

Ex.51 Mendelssohn, Pffe, Concerto

Vc.l

Vr.2
60 PROJECT LESSONS IN ORCHESTRATION
105. In Ex. 52, violas unite with the cellos to give the
melody in unison over a pizzicato bass. Notice the wide space
between the double-bass (sounding an octave below the written
notes) and the upper part. The upper partials of these low bass
notes are sufficient to make this wide space negligible.

Beethoven, Fi/fh Sym.

Ex.52

106. In Ex. 53(a), Beethoven takes a very unusual method

of announcing his first theme; in (b) notice the theme in every

Ex.53
Allegro con brio Beethoven, Syyn. /
(a)
Fls
Obs.
Cls
Hns.
Tfts

^^
^ & B,
Brass

V.l

JT
^ ^ iUjJiJjJ i ^
V.2
i *
Va.

Vc.
Db.
1 ^ 5
^
^
 PROJECT LESSONS IN ORCHESTRATION 61
Mendelssohn, Af. N.D., Ein Tanz von Rilpeln

^ ^
Cb) CI

^m
Allegro di molto Oh. Oh.
CI.
iA JOZT3E
Wood i
/ (actual, sovnd)

unts
V.l M w ^ ^
iik
^
m*n0
i ^ §
m^ ^
V.2
/
Va.
^^
M
/
^ ^

Vc. V'¥ii
|
|
t f
f
0~^
^ ^ i ^ i
Db. ^^w XE

part but the double-basses, no sustained chords, while even the

wood-wind catches up the motive in dialogue.
Avr 54

^^^
Vivace Weber, Freischiitz, Overture

^ i
Winds
Tymp.
i
jy
r r
^ ^^S
«-^

^^
«—

sm)

^ ^m
//^/.v.

V 1 dhJ ^-5:
i
§
ff (Fla.uniH)
\'.2
i ^ ^ i
ffi 22

Va.
^m a^ i5>- ife
tf
Vc.
Db.
^
Wi;car
ff --»^

rr j-j^
i
m
62 PROJECT LESSONS IN ORCHESTRATION
107. In Ex. 54, Weber marshals his strings in two grand
divisions, or companies, which enter upon a pompous dialogue
supported by solidly massed wind harmony.
! 108. Since arranging the accompaniment of a song from
the piano score is so frequently the student's problem, we will add
two models showing how to treat the first few measures of two
more songs by Schubert. In Ex. 55, the rhythm is confided to
the first violins, the harmony to the lower strings. This figure in
the sixteenth-note rhytlmi lies well in the hand and is not altered.

Ex.55

P^ ^ ^
Massig geschwind Schubert, To be Smtg on the Watert

Az I i s
I
^
m ^^ ^
Pfte.
ace.
kt^
SW ^

V.l

V.2
4tU
m
M•'
pp

jiiii
^^j^iiJfBS'

,i ii i-i. F I?
^
^TW^mmV^k''

W
V:a.
x^^i m J
I
1 I K »

Vc.
Db. ^ Vc.

jPP
rrrrr
t^
Db.
3
zzzzcz I

Ex. 56 presents two good ways to score the opening

109.
measures of Schubert's Linden Tree, The restless figure in this
piano accompaniment is not simple for the strings and should be
 PROJECT LESSONS IN ORCHESTRATION 68

modified. In (a) the rhythm is maintained and a substitute fig-

ure, better adapted to the strings, is invented as shown. In (b)

the broken sixths in the original are carried in triplets of double
sixths, an arrangement inferior to (a) but perfectly adapted to
young players. Observe that, in both models, filler notes are used
where needed.

Ex.66
Schubert, The Linden Tree
Massig __

Pfte.
64 PROJECT LESSONS IN ORCHESTRATION
110. Ex. 57 shows passing tones in the melodic hne which
clash with the supporting harmony. These are not bad. The
melody "carves" its way through the harmonic texture without

Ex.57
Beethoven, Violin Concerto
(a) Allegro, ma nontroppo

Clars.

(actual sounds)
=o-
Horns ')'-h r. g. -o-
xt XE
p
V.l te
p
^ ^ XE

V.2 te
^ J=^ p# # dt

Ya. ^ tFf^
p

P
:^ i
Vc.
Db y-H^'.rt

(b)
PP
-
^ r V r ^r^

Vincent d'Indy, Sym. II

Tres anime
Horn
(actual
somids)
ffllJJJ^^ i ^
.j^V^i^^'^^
/
V.l
V.2
Va.
1^

g
/
l
|« u

^
l

* ^^ a: i ^
-n^-

Vc. •-^•^''
J / J ^^
/
 PROJECT LESSONS IN ORCHESTRATION 66

oflPense to the ear, though such a passage may look bad to a stu-

dent fresh from studies in pure part-writing. The greater the

contrast in timbre, the more freely such crossings, or clashes, may

be written. In (a), see cello and viola, measure 4; violin and
clarinet, measure 2: and in (b), ascending horn against all the

descending upper strings.

111. Ex. 58 presents a melody in three different forms pro-
gressing simultaneously. A melody thus treated, frequently con-

tains numerous clashes, or dissonances, between the instruments

concerned ; but one writes such a passage freely, especially where
the modification adapts the melody to the genius of each partic-

ular instrument.

Ex.58 Rimsky-Korsakow, Snegouvotchka

Vivace
Oboe
Clar.

Trumpet

V.l
V.2

112. Rapid passages on the double-bass, though written by

all the great composers, rarely come out distinctly even in the
hands of the best players. On the E and A strings it is easy to
make a passage sound like thunder (the Storm, Beethoven's
Pastoral), but for clarit}^, rapid rhythms and rapid figures must
be simplified for low heavy instruments, Ex. 59.
60 PROJECT LESSONS IN ORCHESTRATION
Ex 59
'

^ ,,
Beeihoven, Sum.VKT/iimdersform)
(a) Allegro

Vc, (^S
Db.

Adagio
Beethoven, Sym.lV
(b) M
Vc.

Db.

(c) Allegro Elgar, Enigma Van

Vc.
^^^^^m
(d)

'/»
Allegro

'ur.ii rj
.

m
M ^ ^^ ^ Jfsf

Db. a
T ^ ^*/
Liszt, Les Preludes

Vc. v^UhJl tT r^ ^ ^ S
(e)

^S
>^ **

^ ^
^/ «/

Db. zt i5>-
l
'-""^_^'^
Contrast in the Scoring for Strings

113. Contrast in the strings is obtainable in so many ways

that the following list should be considered suggestive rather than
complete.
1. Violins alone, the seconds accompanying a melody in the firsts.

2. Violins and violas only, in character of trio for women's voices.

3. Violas, cellos and basses only, in character of men's chorus.

 PROJECT LESSONS IN ORCHESTRATION 67

4. The violins alone divis'i, very high, tremolo bowed or fingered.

6. All the low strings tremolo, no violins.
6. Pizzicato in all the strings, or in part of them.
7. Use of sordini in all or part of the strings.
8. Various types of bowing, e.g., detach e for one passage fol-
lowed by a sharply contrasted type in the next.
9. Solid passages in unison (or octave) on the lowest string of
each instrument.
10. Use of sharply contrasted ff and pp in quick succession, or

through crescendos or decrescendos.

114*. Finally, to arrange a number of pieces of music for

strings, according to the explicit directions given in the preceding
lessons, is, indeed, foundation work of first rate importance ; but
for the student who aspires to independence of judgment and skill
in orchestrating music of his own choice, much more is needed.
now necessary to consider a number
It is of matters partly new,
and partly by way of stressing general principles already laid
down.
115. In scoring music for the orchestra, one must con-
stantly study two sorts of values: (1) Relation of tones, (2) Re-
lation of color (quality or timbre). And these values must be
considered from three important standpoints: (a) Melodic, (b)
Harmonic, (c) Rhythmic.
(a) The Melodic Line
The melody must be of a quality (timbre) tliat assures it due
prominence. The weaker the melodic line, the farther it must be
from the accompaniment —sometimes more than a sixth.

Passages with independent melodies need air ; they are often better
spaced rather widely.

Where the texture of the melodic line is contrasted with its sup-
porting harmony, passing-tones which clash with the latter are
negligible to a considerable degree (Ex. 57).
68 PROJECT LESSONS IN ORCHESTRATION
A melodic figure and its simplified form may proceed together, the
resulting dissonances are of no moment (Ex. 58).

If the upper strings are all divisi and the cellos are not, the latter

will be rather heavy — a matter to consider.

The deep rich quality of <^he G string on the violin must not be
forgotten — it frequently figures in an entire melody (marked sul G),

For strings, many playing in unison are finer than one alone.

Violin and viola doubled in unison high is intense, low, rich, and
appealing.

Violin and cello in unison, poor high, good low. The violin absorbs

the cello.

The second violin lacks personality.

The viola low is eminently expressive.

Viola and cello in unison, better than in the octave.

Double-bass in unison with cello, grave, rich.

Combinations of timbre in the melodic line, involving winds will be

discussed in § 174- and 181.

(b) Harmonic Relations

Fullness depends on the writing of the harmony, that is to say, on

the arrangement of the chord-members with regard to their spacing,

and the proportion of strength of timbre of each instrument.

The typical disposition of a chord is that of the harmonic series

(cf. § 28), i.e., "Nature's Chord." Low, the parts must not crowd
each other or the harmony will be thick and muddy, while, if the
higher parts are too greatly separated, the effect will be thin and
ineffective.

No one part of a chord must stand out too much —due proportion
of root, 3rd, 5th, 7th, must be considered.
 PROJECT LESSONS IN ORCHESTRATION 69

The note on which a new instrument enters must not be one that is

bad when unduly doubled, e.g., the 7th in a chord.

It should be clear to the arranger whether the passage he is writing

is three-, or four-part; the addition of a part should be made with
the entry of a new idea or new theme.

Harmony is now usually four-part — all the rest is filler or dupli-

cation.

In pre-Haydn times, the strings were frequently reduced to two-

part harmony, the composer depending on the organ or clavichord
for fulness. Haydn and Gluck frequently did the same. Such
writing is not a model for the modern mode.

Spacing is often determined by the resolution of a chord, a matter

of importance; but short string cliords (which usually require the
support of winds) must be spaced with especial regard to their
resonance and ease of performance; here the progression of the
parts is secondary.

If your string harmony is incomplete, the winds will not complete

it. Possible exceptions : horn for low notes of tlie viola, bassoon
to fill out string harmony.

From the foregoing, we deduce a good general rule: Each body,

or group, when playing harmony, must be complete in itself, but

we may add to this: any melody, already present in the strings, may
be re-inforced by a wind instrument at pleasure.

Finally, there must be harmonic affinity in any group of instruments

on which you rely for the harmonic structure. Details on this will
be found under wind instruments.

(c) Rhythmic Elements

Quick rhythms must be simplified as the material reaches the lower
ranges. This is especially true with low passages in a heavy
instrument, Ex. 69.
70 PROJECT LESSONS IN ORCHESTRATION
The quicker the rhythm, the more care is necessary to avoid long
leaps, except to an open string, which is always easy.

The quicker the rhythm, especially when broken chords are avail-
able, the less need of sustaining (filler) harmony.

Chromatic scale passages are more difficult than diatonic ones.

Broken chords (arpeggio forms) are easier as triads than when
containing diminished sevenths. But all these are mere hints; the
arranger who will score difficult music should be intimately ac-
quainted with the instruments concerned.

Cellos are better divisi than double-stopped. They are es-

pecially fine where there are enough to take the place of the horns.
If horns are added to them, a double-bass is needed.
Cellos are very satisfactory on the real bass. The double-
bass, pizzicato, adds to them without robbing them of their inde-
pendence.
The autonomy of the cellos from the double-bass was a grand
conquest of the 19th century ; not till then did they come to the
aid of the middle parts, or play an independent, or a counter-
melody.
Double-basses rarely divide.
The extremes of dynamic range should be ff and pp. They
were so to the end of the 18th century.
sfz is simply an accent mark and can be applied in a pp pas-
sage ;but fp means forte followed immediately by piano.
All entries of an instrument must be indicated p, /, ff, etc.

The o must be placed carefully and show clearly what is to

follow.

Assignment W
'J^here are several valuable and interesting things to do at
 :

PROJECT LESSONS IN ORCHESTRATION 71

this point. Whether one or all of the options that follow should
be done before proceeding to the wood-winds, will depend upon
the time that can be given to the course.
(a) Reduce Exs. 47 to 51, inclusive, to piano score for two
hands. Scarcely anything you can do will more quickly challenge
your discrimination, or ripen your musical judgment, than work of
this kind. You must retain the essential, discard unplayable dupli-

cation, above all, make your score practical.

(b) Arrange the first 29 measures of Schubert's To be sung

on the Waters, for voice with string accompaniment; see the opening
bars in Ex. 66. The original is in Ab ; A is easier for the strings.

There is a low-voice edition in F. As to key, read again § 87.

If you select this problem, you could give the solo, later, to

clarinet, cornet, or other wind instrument.

(c) Arrange the first 24 measures of Schubert's The Linden
Tree, using the opening measures as in Ex. 56 (a) or (b).

Other numbers suitable for string orchestra are

Beethoven, celebrated Minuet in G
Mendelssohn, S. W. W„ Nos. 2, 4, 9, 12, 1^, 48
P. Scharwenka, Moment Musical, A maj.
Gluck, Caprice from Alceste
Humperdinck, Prayer from Hansel and Gretel (Mumil, p. 622)
A. Ilyinsky, Cradle Song, Op. IS. Trans, fr. Gb to G
Schubert, Moment Musical, Op. 94, No. 3
The above pieces and many others of similar scope lend them-
selves to arrangement for small orchestra, or to strings with one
or two solo winds. The best practice, however, at this time is to
learn to make the most of strings alone —a procedure too often
neglected by the impatient learner, who wishes to use all the colors
of tlie full orchestra before he has mastered his drawing.
72 PROJECT LESSONS IN ORCHESTRATION
PROJECT 3

(To follow Lessons 15 to 20)

Make your own choice of a fine number for string orchestra,
something giving an opportunity for contrast and variety in
treatment, and make as beautiful a setting for strings as your
experience permits.

Test-Problems in Scoring for the Strings

Note: In the following very short test-problems the student is given an excellent
opportunity to try out the knowledge he has gained in the preceding twenty lessons
on the strings. Here is nothing that can be considered new to him, but to score
(wo or three dissimilar problems and finish them in a musicianly way in 30 or 40
minutes will put him on his mettle. If treated as examination questions, selection
by the teacher from these, or similar types, should embrace those which offer the
most useful practice.
Ex.60 March
. ^ Serenade
 PROJECT LESSONS IN ORCHESTRATION 78
(h)
Song- accotnj). ^^ Largo appassionato

7f -n
V
LESSON 21

The Wood-Winds
116. The Wood-zcinds rank next .to the strings in impor-
tance. While sufficiently homogeneous to provide in themselves
a satisfactory choir, their individual qualities give them primarily
the character of soloists entering now here, now there, singly, in
pairs, or in various groups, to answer the strings, or to converse
among themselves, with or without an accompaniment. So great
is this peculiarly personal quality, that a solo entry of any wind
instrument makes an immediate appeal.
117. Like human voices, the wood-winds need breathing
places. They require more rests than the strings. Further-
more, they have their "best notes" and love to use them, and other
notes too high or too low to risk in solo passages. Each of these
instruments has a register which admits of its most expressive
playing —the one in which it is best qualified to use crescendo,
diminuendo, forte, piano, etc. This register is called by Rimsky-
Korsakow "the scope of greatest expression." It is, fortunately,
the easy middle range of the principal wood-winds that is thus
described, while, at either extreme, these instruments have some
notes whose difficulty or quality, excludes their use except in a
futti, or for special purposes, as will be seen later (see Ex. 61).

Orchestral Ranges of the Four Principal Wood- Winds

(a) Easy school orchestra range: all the quarter-notes with stems.
(b) Practical range for general orchestra work: all notes with stems.
(c) Solo resources, better avoided: the black notes without stems.

74
 PROJECT LESSONS IN ORCHESTRATION 75

These instruments have all the intervening chromatic tones.

Note: No sudden change from one quality to the next; quality names are merely
hints.

Ex. 61 J^fL^p\^:±±
Flute

Q
? f«
, ,, Mellow, sweet, idyllic, bright, brilliant, high ^ I Shrill
O*
I

Tol^:yt^P~'- r^J notplayable^y,

i
Oboe

^iJjJJ^J rrr Mi
[Thick but sweet, liquid, penetrating 1 High, intensgJL/'
Coarse, thick
Clarinets in Bl» sound a maj. 2".*^ lower

Written:--«- *' I
P»". -""O". sweet, clear Silvery, bright, piercing
Sonorous, dark

Bassoon
(Chalumfau) W^*
J^
rrff ^rr?
3
t'Ji
^^
Thick,
T^-^
reedy, full
I
^^ ^ r r r
Somber but excellent J
i

High, difficult

118. It must be clearly understood that the ranges given in

the above table (Ex. 61) are conservative as concerns what is

termed "easy school range." For, orchestral writing should he

easy to play if it is to stand any chance of being well performed
by an amateur group. An inexperienced arranger who writes
for imaginary players, giving them difficult passages which re-

quire the extreme limit of range and solo technic, invites failure.
119. The student is cautioned not to place undue emphasis
on the attempt to describe tone quality (timbre) as given in this
table; nor, on the other hand, to disregard it. The scale of tlie
flute, for example, does run the gamut of qualities somewhat im-
perfectly described by the adjectives used; be it understood, how-
ever, thatno one note marks the boundary between timbres —one
might as well attempt to fix the limit of the rainbow's tints.

The Flute
120. Music for the flute is written in the G clef, and sounds
76 PROJECT LESSONS IN ORCHESTRATION
as written. Although much flute music lies high, the player is

accustomed to leger lines and prefers them to a too frequent re-

sort to 8va over the notes. In writing for two flutes it is custom-
ary to give a piccolo part (if required) to the second flute. This
principle holds for all winds in pairs —the first player is not asked
to change his instrument. In threes, the third player must make
the change. If possible, he should always be given a little time to
warm his instrument which, when cold, is almost certain to begin
out of tune.
121. Within its three-octave compass, the flute can do al-
most any kind of passage possible to the violins. It is the most
agile of all the wind instruments ; in scale passages, arpeggios,
trills (except its lowest and highest three tones), repeated notes
(through double- and triple-tonguing) , it is quite in its element.
In cantabile passages it is eminently expressive, but is not at its

best in long sustained notes.

122. In the orchestra, the flute in the upper ranges of the
harmonic mass is the natural counterpart of the double-bass in
the lower strings. Its grace and ornamental charm give to the
upper harmony an atmosphere of azure light. Its ability to ex-

press melancholy or mystery (when played low in minor keys) has

been recognized by composers of dramatic music (Freischiltz,
p. 132, full sc. Ed. Peters) but the great symphonists of classic

fame did not employ these low breathy notes.

123. At this point, the student will learn more from a care-
ful reading of the flutes in Mozart, Beethoven, Weber, and Men-
delssohn, than from reading about them in any book ; but, most
of all, he must hear significant passages played. In Ex. 62 are
given types of notable flute solos. To these might be added
scores of others equally interesting. Others should be selected by
 PROJECT LESSONS IN ORCHESTRATION 77

the student and made a part of his background for future refer-
ence in practical arranging.

Flute
Ex.62 „ Dvorak, New Wojid Sym., Largo
(^) Poco piu mosso

Andante quasi allegretto

Bizet, Carmen

(c) Allegro vivace Mendelssohn, M.N.D., Scherzo

124?. Music for the oboe is written in the G and sounds

clef,

as written. In writing for two oboes it is customary to give an

English-horn part (if required) to the second player, and at least
a dozen or more measures in moderate tempo should be allowed to
make the change of instruments.
125. The oboe is a double-reed instrument. It has not the
flexibility of the flute, but within reasonable speeds it can do al-

most anything that the flute does. So little breath is required

that the oboist is practically unable to expel the air from his lungs
except between phrases. It is therefore very taxing to play long
78 PROJECT LESSONS IN ORCHESTRATION
unbroken passages. The arranger should know what kinds of
melody are best suited to the instrument.
126. The tone of the oboe is penetrating, eminently expres-
sive, appealing, sweet, and simple. It is equally suited to rural
gaiety on the one hand, or poignant sorrow on the other. What-
ever its mood, the timbre of the oboe, like a deep red, invariably
st ands o ut on the orchestral palette. Its quality will modify that
of any instrument with which it is doubled, the flute, for example,
will sweeten it ; but blend it will not, and this unique cliaracteristic
must always be reckoned with. In certain passages the oboe's
"red line" may be too intense, in others, a precious and almost
indispensable resource.
127. Typical melodies perfectly adapted to the oboe are
given in Ex. 63. Who, having heard these, can ever forget the
individual appeal of each.? Notice that these all lie in the finest
part of the instrument's compass.

Oboe
Ex.63 Gluck, Orpheus
A Andante
3E
^^lr^'r•Q^lc;r^
^ m m

(b) Allegro moderato Schubert, Unfinished Sym.

*
s ViglW
^^UniH.,nfhCL
I

ficxf f l l
^^f
Beethoven, Sym. III., Marcia fmiehre
^c) Adagio assai

^i> 'JlU'-^irFv rfU;' i !!

f
,

[;|
Beethoven, Sym.VII

[> i r p rzf rrr:^'^

i
i^'
^^
 —
PROJECT LESSONS IN ORCHESTRATION 79

The Clarinet
128. Music for the clarinet is written in the G clef and
sounds as written only when played on a C clarinet —the only one
that is non-transposing. This instrument (in C) is frequently
indicated in older scores but is now practically obsolete; it has
proven less mellow and resonant than those in J^^ and A which are
now standard in all modern scores, the B^ having the preference
where a choice is possible.

Transposing Instruments
129. For purposes of illustration, suppose that, at the end
of a long vacation, 3^ou return to find that your piano has gone
below pitch so ; much so that when you strike middle C you get Bl?,

a whole-step lower. You play a song written in C, it sounds as

if written in B^. Your piano has become a transposing instru-
ment. It is in B^. Because of this, if you really want your song
to sound in C, you must play it a whole-step higher than that
that is the key of D. To avoid the difficulty of reading from a
copy in C and transposing it up a whole-step, as you go, you will

prefer a copy printed in D which can be played as written and

your piano (now in B^?) will do the transposing itself.

130. In a similar manner, we may consider the behavior of

all transposing instruments ; with this difference — they did not
merely drop in pitch over summer, but are made that way because
of the resulting superior resonance. Thus a clarinet in C is non-
transposing, but not of maximum resonance or quality ; one made
in every way just like it, except that it is a little longer and there-
fore lower in pitch (say in B''), meets all requirements. Result:
C clarinet discarded, B^ clarinet used. This is all in the interest

of the plaver —
and the music items of first importance. Alas for
the arranger! He must remember what this B^ clarinet does and
 .

80 PROJECT LESSONS IN ORCHESTRATION

write his part a whole-step higher than it will sound. The A
clarinet is a little longer than the Bl', its written C will sound A,
the minor third lower. To get C therefore on the A clarinet, one
must write E^, the minor third above it and for a piece to sound ;

in C, one must write it in &. Another result: the score becomes

a "fearsome" thing to a beginner in arranging, or in score read-
ing — one part with one signature, another with a different one;
but the difficulty is not insurmountable. Remember the behavior
of the low pitch piano.
131. Now to return to the clarinet. It is a single-reed in-
strument, the most useful wood-wind for range, quality, ease of
execution in any speed and in any variety of force. Its peculiar

quality is due to the absence of the even numbered upper partials

(harmonics)
132. The clarinets are the soul of the wood- wind group at
the present day. Their mellow tone and great flexibility place

them midway between the high and low winds, with any or all of
which they blend. Their lowest register was not fully appre-
ciated until Weber's day. By the use of this low (chalumeau)
register, AVeber gave the orchestra an instrument embracing the
entire range of the feminine voice and exceeding it in both its
upper and lower compass. Melody, arpeggio passages, sustain-
ing chords, filigree ornamentation, are all easily within its possi-
bilities, while its resources are still not exhausted by the modern
composer.
133. In its lower range, the clarinet represents a deep,
somewhat hollow, alto voice; in the middle to medium upper
range, a splendid soprano, rich, full, and brilliant. In its ex-
treme upper range it becomes piercing. It embraces the compass
of nearly all of the violin and viola combined. Trills and tre-

molos are possible with so little exception on the modern clarinet

 PROJECT LESSONS IN ORCHESTRATION 81

that, aside from those requiring g*, a, or bb within the treble

staff, one need not hesitate to use them, as needed, in any ordinary
orchestral work. Ex. 64 presents a few types of fine clarinet
passages.

Clarinet
Ex.64 Tschaikowsky, Sym. VI
Adagio mosso Wiih, per of the House of Rob Forbergj Leipzig
(a)

m mp
—^olce pnssihiU

^ -^
A^ Allee^ro molto vivace

p
^ ^/'^ Kv I r^[' ^ f T^
Ibid

^vjiT^J>v js,viJ- ^ir^^^^j''^ jv,v

p
Wagner, Ooerture, Tannhduser

CQ- CiT '

^'^ '
^^fe Mozart
(d) Allegro

^
i
''
du J3TJ I

H H^g
(e)
Allegro (f;
'f X
l^te
Jf
134. Choice of Clarinet. General Rule: Choose the clar-
inet which permits the smallest number of sharps or flats in the
signature of its part. Practical Rule: Since many school boys
own but one clarinet (the Bb) and many skilled players prefer to
use the B^ exclusively, even to transposing their parts for this
when necessary; choose the Bb clarinet in all cases up to four
82 PROJECT LESSONS IN ORCHESTRATION
sharps or fiats in its signature, or even up to five if necessary,
Ex. 65.

Ex.65

Actual
sound ^m(*) Choose either Clar.

^
^b^
,

i;.;jjj
Choose A Clar.
i
j.joi<^''^
(c)
Choose

^
B\> Clar.

^
^S ^ ^^^
Choose necessary

^
B\> Clar. if

for
Written
Bk Clar. fte^ m
for
Written
A Clar.
^^ j =irrr r7rlf'' -'i-^rr
l
i

^
The Bassoon
135. Music for the bassoon is written mostly in the F clef

and sounds as written. For convenience the high passages are

notated in the tenor clef (middle C, 4jth line).

136. While less obvious than the clarinets, the bassoons

hold an equally vital and important place in the wood-wind
group. They are })re-eininently suited to ensemble work. When
combined with the clarinets and horns their tone acquires some-
thing of the richness and body which the double-bass gains when
blended with cellos and violas. Isolated, their sonority is rather

meager.
137. The bassoons are double-reed instruments. They
possess a wide compass, great flexibility, and a fairly even scale.

They can not play as loud as other instruments of their pitch, nor
as soft as the clarinet, yet their dynamic range is adequate for all

reasonable purposes. For solo (lightly accompanied), rapid

scale passages, arpeggio, background, reinforcement of the bass
in strings and horns, bassoons are indispensable. It is regrettable

that so many school orchestras, through scarcity of players, must

forego the superb support of these instruments.

138. In Bach's da}^ the bassoons did little more than double
 PROJECT LESSONS IN ORCHESTRATION 83

the bass of the strings. Since Haydn the art of orchestration

tends more and more to nourish the inner parts, to enrich the body
of the harmony in its middle register. For this enrichment, the
bassoons combined with the clarinets, form an ideal quartet (so-
prano, alto, tenor, bass) which may be said to form the founda-
tion of the wood-wind group (cf. § 14?8, 161).
139. In a limited space it is impossible to give more than a
mere suggestion of what the bassoons do. It would richly repay
the student to go through many standard scores giving especial
attention to these particular parts. Begin with Haydn and
Mozart proceed; to Tschaikowsky, Rimsky-Korsakow, Elgar.
Ex.66
Piu mosso Beethoxen, Si/m.V
(a) .9^/o^--l^ ^ ^ ^
. ^ '

^
,

.T T^ r ^^^^ Pm ,P J
Bn.l tekU. ^
ffif^P i^ .

i ^^
dolce (Solo with light accomp.)
Bn.II r
V. 1
V.2

^^ ^^ ^s ^^^ ^s
Va.

Vc.
Db.

(^\ Alle gro v ivace Beethoven, Sym.IV

Bi ^^ ^? 1

"P (Solo, light accomp.)

%

V.l
V.2

Va.
Vc.
Db.

Weber, Concerto for Bassoon^ Rondo

^W
fc) Allegro

Bn.
^urJV^'.H[f g^ju
4
84 PROJECT LESSONS IN ORCHESTRATION

^
Ex. 66 cont.
and oj'ck.,0p.80

^^
^
Allegro moderato Beethoven, Fantaaie foi' piayio, cho.
.(d) ,

Ob..
w ^
r==^ i

^m
(folce

^
Bi

M
^^^
wdolce

Adagio Solo
I
m ^ m m

W\i\x per. of the

Ts ch a i k o wsky, Sym.VI
House of Rob. Forberg, Leipzig

Bi
•m- "vT
-^
^:p.
T^ ^ ^^
:/A^/?-

^ ^^
divisi
lO_ 1Q_
Db. 9%^ 331 J=PZ=|^
^
2Jp cresc.

Andante maestoso Wagner; Overture to Tannhaiiser

'f
! i I

«^^ -J=^
Clars.
Horns
(actual
.sounds)
^^^ Z'6'?^
?
tenuto
P ^
Bn. .
^^ i^
P
hen temtto

j2 i
.y
Z7

i j 4 ;:^Jj
^ -ia J^
Clai
Horns
.

s ^
g fep:^
B"-2^l
SJ^ir

r
On the Use
r
^
"T pr
of the
— ^^ n*

Wood- Winds
140. In the table, Ex. 61, the wood-winds appear in what
is termed their normal order, that is, reading do^vnward: flute,

oboe, clarinet, bassoon. This order is generally best. For

special purposes, for example, to throw a certain timbre into re-

lief, or to obtain a peculiar resonance, etc., parts are sometimes

 PROJECT LESSONS IN ORCHESTRATION 86

crossed, or dove-tailed as has been shown in the use of strings

(Exs. 49, 51).
141. One of each kind is called solo wind; two of a kind,
winds in pairs three, winds in threes,
; etc. Two of a kind playing
in unison is indicated by a^, three in unison, by a3.
142. The ways in which the wood-winds may take their
place in the orchestra are three: (1) as an independent choir with
all the other instruments silent, (2) wood- wind melody accom-
panied by the strings, (3) to color the sonority of other instru-
ments or complete the harmony, or act as an accompaniment.
Scores should be examined with special reference to these three
uses of the wood-winds. Illustrations of the three uses will follow
in the order stated.

The wood-wind as an independent choir

143. This includes any passage in an orchestral score where

only the wood-winds play. Such passages are seldom long.
Their beauty is enhanced by a not too frequent use of winds alone.
144. The flutes, oboes, and clarinets are essentially soprano
instruments. Harmony for them alone is best in close position,
as in the chorus for women's voices. The lower range of the clar-
inet, covering the low alto notes when necessary, make possible the

occasional open position found in such a chorus, but the lowest

notes of all the wood-winds are coarse, reedy, or whistling, that is,

of a quality that will not blend well with the middle register of any
of them, and therefore must be used with caution.
145. The bassoons are bass-tenor instruments. Alone or
in conjunction with the lower notes of the clarinet, they are well
adapted to harmony in close position in the region of the men's
chorus.
146. For harmony adapted to the mixed chorus there
86 PROJECT LESSONS IN ORCHESTRATION
should be both bassoons and instruments from the soprano group.
147. The modern orchestrator tends strongly to close posi-
tion for his wood-wind, and to the use of winds in pairs, threes or
even fours. Solo winds, three or four different timbres playing
as a trio or quartet, are usable, if necessary, but never provide an
ideal resonance. Such winds can be used in better ways.
148. The foundation of the wood-wind harmony is a quar-
tet consisting of clarinets and bassoons in pairs. These are the
wood-winds most closely allied to the strings, and since their com-
bined range is large they can be entrusted with a wide variety of
passages. They are equally adapted to the low or to the middle-
range harmony, and their resonance is much superior to that of
four solo winds.
149. A few examples of the wood-winds as an independent
choir are here given. Happily placed in the course of a compo-
sition,such passages possess an inexpressible charm (§ 150-3).
150. Soprano instruments playing high or in the upper
middle range, Ex. 67.
Ex.67
Allegro ^ ^
lAdLy^Viy Military Sym.

Fl, fe fe^ feJ;

i
ftjA i=i
pi£^ ^=U
Obs.

ir
n
Fl. I^fffrtfifrfeg '^M § ^
J J J J
UAAJ. j
Ob s. 3=^
 PROJECT LESSONS IN ORCHESTRATION 87

Larghetto non lento Weber, Euryanthe

(b)A^

Fls.

Clars.j
inBl»

151.
b 'I

Lower
g

dnlce
J>U
register of the clarinets
i ^
combined with the bas-
E

soons, somber, gloomy, even sinister, Ex. 68.

Ex.68
Meyerbeer, Les Huguenots
Poco andante
Clars./ -/t-^HL
m Bl
lit?

r a>
^^
f ^ 1^P Ts:
J

«- >l-p
BnJ^^ zc
a:
^^ 5^ -^
s:

J
i^
152. Oboe above flutes, and bassoon above clarinets, gives
peculiar prominence to the melody —an example of disturbance
of the normal order, Ex. 69.

Ex.69 Himsky-Korsakow, The Tuar't Bride

. Allegro non troppo

Ene.Hn

Qui frappe - ci7 Tu vrr-ra* li tu ou-\m

 —

88 PROJECT LESSONS IN ORCHESTRATION

153. Winds in pairs in superposed double thirds, in two
and in three octaves. They seem to take a special delight in this,
and at such times abandon themselves to the doubled melodic line
and trust to the support of (usually) the horns. The effect is
typical and charming, Ex. 70. The actual sounds of the horns
are given for present convenience.

Ex.70
commodo Mendelssohn, M.JV.R
(a) Allegro molto

Obs.

Clars.
in A

Bns.

Horns
(actual
sound)

Allegro ma non troppo Beethoven, Ruins of Athena

Ob<
(b)

gjp^ ^m ^ f=t

CI ars.
in C
^J ^ *=*

Bns.

Horns
p^ P
^^
t

m —w
m
(actual
snvnd)
m. 21
f
y =ZI
V
154«. Before leaving the subject of wood-winds as an inde-
pendent choir, several arrangements for them should now be made.
 PROJECT LESSONS IN ORCHESTRATION 89
With the assignment of the first of these we shall conclude the

present lesson.
Arranging a choral for mixed voices for
four solo winds
155. A quartet of solo winds, (1 fl., 1 ob., 1 cL, 1 bn.) is

best suited to the harmony of the mixed chorus. They can do

any choral, or similar four-part harmony for mixed voices, except

where the alto is too low for the oboe. In other words, for four
solo wood-winds open harmony is best. Four different timbres
in close position should be avoided, or, if necessary, kept in the
higher rather than lower positions.
156. To set the
Ex.71 Russian Hymn Russian Hymn for the
For mixed voices
four principal wood-
;S
winds, one should arrange
f them in the normal order,
and give to each its own
i staff, as shown under Ex.

^^
71.
157. Ex. (a) is

what one would write if

m these instruments had to

^ ^^ play with a group of

singers, keeping, because

of this, the original key.

Not a fine resonance.
? The flute is sweet and
mellow but weak, the oboe thick and relatively too prominent, the
clarinet passable,and the bassoon excellent but all will be found
;

within the range of the instruments and with a chorus singing it

would go very well.
90 PROJECT LESSONS IN ORCHESTRATION
Ex.Tlcont. 158. In (b) the
,(b) higher range is better for
both flute and oboe; the
former will be clear and
bright, the latter sweet.
The other instruments are

Clar. good. Though too high

inBl> good
for singers, it lies in a
ke}^ for winds alone.
159. Ex. (c) is the
best of these four models.
Here one chooses at pleas-
ure a key high enough to
afford all the instruments
the advantage of their most

Clar
effective range. Though
in A this part of the bassoon is

not so heavy as its lower

octave, it can provide an
excellent bass for the
group. The B^ clarinet
(written in E major)
would be equally good here
and many players would
prefer it.

160. Ex. (d) illus-

trates what not to do. It

is too low. Not only do

four different timbres re-

quire open harmony, but

they are better in the higher than in the lower ranges. For ex-
 PROJECT LESSONS IN ORCHESTRATION 91

ample, here the flute is weak and breathy, the oboe raw and coarse,
the clarinet dark and sonorous, and the bassoon thick and full.

Such a setting would have a timid soprano, an unbearable alto,

and altogether a disappointing resonance.

Assignment 21

Arrange the Russian Hymn in its original key for four solo
winds, flute, oboe, clarinet, and bassoon (see Ex. 4). Use the Bl?

clarinet, and four staves as shown in Ex. 71(a). Omit the filler

notes.

Also arrange America^ the Beautiful (Materna) for this

same quartet of solo winds. The original key is too low for a
fine resonance, though possible if it were necessary to play with
singers. Transpose it up to G major. Use B^ clarinet written

in A (three sharps).
These two arrangements, one supposed to keep the original
key for use with singers, the other transposed to a higher key
solely to obtain the finest resonance in the instrumental group,
should be placed on opposite pages and their purpose indicated.

Note: Solo winds, used as in this lesson throughout an entire composition, are
seldom employed as compared with winds in pairs. Nevertheless, many beautiful
arrangements for solo winds could be made by the ambitious student, especially
if he himself played one of the instruments and selected his music with the neces-

sary discrimination. The wind section of nearly every amateur orchestra suffers
—
from too little practice in small groups practice of easy music especially ar-
ranged for them and not merely consisting of their parts as they exist in full
scores. Although modern arrangers accomplish remarkable things in making a
score, of say 24 parts, available for any group that employs a piano and a first
violin, still such an "every-purpose" score seldom meets the needs of a small group
of winds who wish to enjoy fine things done especially for their instruments. In
other words, with all the excellent material which many leading houses now
provide, there is still room for beautiful pieces adapted to the particular group
of winds of which the student-arranger may happily be a member.
92 PROJECT LESSONS IN ORCHESTRATION
LESSON 22

161. As has been and bassoons in pairs

stated, the clarinets

form the foundation of the wood-wind harmony; they are in a

way, therefore, the "string quartet of the wood." Before the
advent of the clarinet, composers used a pair of oboes with the
bassoons for the same purpose. This was less elastic but excel-
lent. This combination requires care in placing the second oboe
whose lowest tones are likely to spoil the resonance. A quartet of
flutesand bassoons is more rare and little used. The flutes in this
combination must play in their lower, rather neutral, range.
162. Various settings of the Russian Hymn, employing one
or more winds in pairs, will illustrate both good and bad proced-
ure. Both (a) and (b), Ex. 72, are excellent.
Ex.72
(a)

Clars.
inBl>
m ^^=^ Obs.
T^r
^^
rr

Bns.

163.
^ ff
Ex. 73(a) is not
Bns.

fine.
ff
Ideal resonance can not be
expected from all soprano instruments playing open harmony;
yet this is a possible combination, and certainly better than (b)
where the second oboe is low, raw, and coarse.

""(a) J- J- A J.- J) I
iii J..

Fls. i
f if rr I ff r Fls.

Clars.j
inBl»
^ Obs.

rr
 PROJECT LESSONS IN ORCHESTRATION 93
164. Ex. 74(a) is satisfactory and does the open harmony
well. The sweet clarinets in this range blend with both their up-
per and lower neighbors. In (b) the second oboe is rather too
prominent. This arrangement is inferior to (a).

m
Ex.74
.(a)
y
fe^^ m
A^^^

Fl.

Clars.
inBl>

Bn. ^^
^
^ ^^ ^
faJ-44
f
i:^ Obs.
Fl.

Clar.
inBl>
#£

f
^ti
rff
m

s
165. The foregoing models are only a few of the possible
combinations, but will serve to form a basis for further studies.
To present the wood-winds and some of theii* uses has required
several pages. At this point let the student fix in mind the fol-

lowing :

General Principles

1. The wood-winds rank next to the strings in importance.

2. Their various registers demand special attention.
3. Their easy middle range is generally best.
4. The oboe is a "red" individualist, but precious.
6. The clarinet is the most useful of them all.
6. Every orchestra should have bassoons.
7. There are three types of wood-wind employment in the or-
chestra.
8. A quartet of solo winds is usable, but not superior.
9. Ideal resonance requires winds in pairs, threes, etc.
10. The modern orchestrator tends to write his wood-wind har-
mony close.
04 PROJECT LESSONS IN ORCHESTRATION
Assignment 22
Arrange the Russian Hymn in its original key for clarinets
and bassoons in pairs as begun in Ex. 72(a).
Also arrange Ein Feste Burg, Luther, for one flute, one bas-
soon, and two clarinets. Transpose this choral up to A major
for finer resonance, and use A clarinets (playing in C major).
This use of A clarinets is not necessary, but better for this assign-
ment.
Note: The student who has three different instruments available, for example,
ft a clarinet, and a bassoon, need not hesitate to arrange for them any trio
flute,
end "try it out." The chief point to keep in mind is the choice of key which allows
each instrument its best available range. Numerous combinations, determined
purely by the players at hand, rather than by a demand for ideal resonance,
could be profitably made and played over as studies in color.

LESSON 23

166. The next problem is less simple: to arrange the

Andante of Kuhlau, Sonatina, Op, 55, No. Jf, To retain the
original key would keep the bassoons in an uncomfortable range
and force the clarinets needlessly high. In this case it is better

to transpose the piece down to F and use Bl? clarinets.

167. Notice that in (b) the clarinet 2 takes the eighth-note

figure while the bassoons play quarters. A literal transcription

Ex.75 Kn\i\d.n,0p.55,N24
Andante con espressione

From HofmanrCa Practical InstrumetUation,

rviih frr. of Dorffling A Franie, Lnpti)^.
 — — —
PROJECT LESSONS IN ORCHESTRATION 95

of the original would be too thin through this strain. In the

original in a few places the G clef is used. Remember that it is

the tenor clef (middle C, fourth line) which is used for the bas-
soon's high notes, when one leaves the F clef (cf. § 135).

Assignment 23

Arrange the Kuhlau Andante^ begun in Ex. 75, for clarinets

and bassoons. There are 27 measures space them to just fill one ;

page, placing the original above the winds as shown.

Other beautiful numbers suitable for w^ood-winds are:
Mozart, Sonata in A major, Thema (18 measures) 2 oboes, 2 bas-
soons. This would need a few filler notes and sustaining bass
in measures 9-10.
Mendelssohn, Op. 72, No. S from his Six Pieces for Children, 2
clarinets, 2 bassoons. Original key.
Schumann, Kinderscenen, No. 2, 2 clarinets, 2 bassoons. Those who
did this for strings could easily make a good arrangement for
wind. The original key is good.

LESSON 24

168. The following version of a theme by Haydn is very

simple, in three-part harmony, except in a few measures, and con-
tains interesting material for wood-wind treatment. This theme
is the basis of Brahm's Variations for Orchestra which would
make an excellent study after the pupil has made his own score.

Ex.76
And ante Joseph Ha ydn, arr.

•teJ

^
^—
^^'-
^ ^ ^4 '
h~0-m-m — -»
1

•
H
— F^
—— —
•

*
» — iJl^lu--^h
=sh- \\ -w trff

V 1
L
——
^
I -'
1
J
-»—»

-m
M=l
7
—
96 PROJECT LESSONS IN ORCHESTRATION
Ex. 76 Cont.

^m
16 17 18 / 19 20 ^^ 21 22*^

v^i.'' r r r I

r ly yy \
J I r J I r'rnr
fi iri:7=^ I

I fl i^=i3
i ^~a^=iJ:

27
/ 23 24 25 26 28 *29

sf
169. Melody in sixths or thirds is best given to one timbre^

hence wood-winds in pairs should be used here if possible.

170. It is suggested that the score consist of flutes, oboes,

clarinets, and bassoons in pairs, with one double-bassoon which,

like the double-bass, transposes the written notes down one octave.

A string bass could play the same notes with excellent effect if
desired. Here follow suggested beginnings of the well contrasted
parts, Ex. 77.
Ex.77
Andante d2
Obs
 PROJECT LESSONS IN ORCHESTRATION 97

Assignment 24*

Arrange the Theme from Haydn, Ex. 76, for wood-winds in

pairs with one double-bassoon as outlined in Ex. 77. For the

first 10 measures use no flutes or clarinets, but cue the oboes into
the flutes. Make the cue-notes small enough to contrast sharply.
The flutes, in the absence of oboes, can then do this strain. In
measures 11-18, cue the oboes into the clarinets. Notice that this
cue is to a transposing instrument and must be copied where it

will sound right when the clarinets play it. In measures 19-22
the four pairs double as shown, and, from 23 on, the flutes play
a£ on high Bb.

Note: To make the most of this study, it should also be arranged for the parti-
cular instruments locally available, and played for the benefit of the class. Always
give the sixths to instruments in pairs, where possible. If this is impossible, say,
with but one cl., one ob., one bn., support them with strings as in Ex. 78 (a).
This would sound well. Or with such a group as in (b) it is better to complete
the little piece and hear it, even though it fall quite short of an ideal resonance.

Ex.78
S^} Andante
08 PROJECT LESSONS IN ORCHESTRATION
Andante

m t
(b)

Fls.

p
Clar.

^
in B\>

Bn.
i?
p
^
2 Vns.

Db. ^^
p
arco
*^^
P
LESSON 25
171. An effective setting of Mendelssohn's Spinning Song
can be made for five wood-winds, studies for which are shown in
Ex. 79(a), (b), and (c). We have seen (Ex. 29) how chords
must sometimes be and respaced; how (Ex. 45) material
lifted

must be added that does not appear at all in the piano score and ;

how (Ex. 75) harmony is divided among wind instruments to give

each its most appropriate idiom. These all required a fair knowl-
edge of harmony. The present problem, demands more —knowl-
edge of harmony plus skill in the manipulation of a more or less
contrapuntal accompaniment.
172. The "spinning-wheel" effect of flowing sixteenth-notes

must be so devised as to "lie" in the clarinets. It must be "clari-

net music." At the same time, the harmony should not be essen-

tially altered where notes are added to maintain the "flow." A

close study of these three models should enable a student to do this

fine number.
 PROJECT LESSONS IN ORCHESTRATION 99

With five instruments, no one of them should be required to

play throughout the piece. In a total of 96 measures the flute

and oboe might well have 20 to 30 in rests. Rests well placed are
eloquent.
Ex.79 Mendelssohn, Spttmtng Song, S. W. W. A?.?4
Presto Iiioo

xij^iTixni
pft.'

Fl.

Ob.

Clars.
in Bl>

Ba. vnJ-£±J^r
n^ eruc
^3 ^ ^^^rrrrr^ jsr
^
 :

100 PROJECT LESSONS IN ORCHESTRATION

Assignment 25
Arrange Mendelssohn's Spinning Song for 1 flute, 1 oboe,
2 clarinets, and 1 bassoon, through the first 40 measures, using
the models under Ex. 79 as desired. Let clarinet 1 begin alone
(measure 1 is here omitted merely to save space) and notice that
the clarinets occasionally relieve each other on the sixteenth-note
figures. No flute till measure 14. This assignment needs four
hours. The student whose score is best might complete this num-
ber for his "project" while the others follow the suggestions given
below for their project 4.

PROJECT 4

(To follow Lessons 21 to 25)

Select a number suited to treatment for wood-winds, and ar-
range it all for some group of instruments that you believe would
be able to do it best. If the piece offers opportunity for contrast
in color, take advantage of and avoid a setting that
this fact

might be monotonous. The contrasts suggested in Ex. 77 may

be suggestive. The longer numbers, of those which follow, would
require several hours work, but are well worth the time.
Numbers suited to this part of the course are
Mendelssohn, Kinderstiicke, Op. 72, No. 1
Mendelssohn, Song Without Words, Op. 102, No. 6
Mendelssohn, Song Without Words, Op. 30, No. S
Mendelssohn, Song Without Words, Op. 19, No. J/.

Mendelssohn, Song Without Words, Op. 62, No. J/.

Grieg, Op. 17, No. 13, Traveler's Song

Kullak, Barcarolle, Op. 62, No. 7
Schubert, Deutsche Tanze, Op. 33, No. 7
Beethoven, Andante, Op. 26 (Piano Son.)
Beethoven, Menuetto, Op. 31, No. 3 (Piano Son.)
 LESSON 26
Wood-wind melody accompanied by the strings

173. The simplest, but far from least efficacious procedure,

is announcement of the melody in a single wind. The appeal of

such an entry — as a true solo part — is always felt. Variety of
color and expression is greatest when individual, instead of com-
posite, timbres are used in this way.
174. Any two or more instruments may unite in the unison
or octave, double octave, etc., on any desired melodic line. Such
combinations of timbre produce composite colors of more or less

value.

Some Combinations of Wood-Wind in the Melodic Line

In the Unison In the Octave
(a) Two flutes, Melodic line strength- Combines weak regis-
or any
two similar instru- ened; adds no new col- ters with strong, not
ments. or; destroys individual- generally advisable.
ity of a true solo part.

(b) Flute and oboe Good. Better. Piquant.

(c) Flute and clarinet Soft in mezzo-sop. Full resonance, perfect

range. blend (fl. above cl.)
Lowest register, mys-
terious.

(d) Flute and bassoon Little value. Fine two octs. apart
with cl. between. Clas-
sic.

(e) Oboe and clarinet A favorite of Schubert. Very rich (cl. below).
Incisive; high, intense. In chalumeau register
cl. vibrant support to
the ob.

101
102 PROJECT LESSONS IN ORCHESTRATION
Some Combinations of Wood-Wind in the Melodic Line — Continued
In the Unison In the Octave
(f) Oboe and bassoon Little value. Oboe does not mix.
Less used now than
formerly.

(g) Clarinet and bas- Good, intense. Fine, rich but not bril-
soon liant. Perfect blend.
Low register sombre.

(h) All soprano woods Intense, No special Excellent on reaffirm-

value. ing a melody already
presented by a solo
wind (or string).

(i) Flute and oboe, Two composites in

unis. combined octs; interesting treat-
with clarinet and ment of two composites
bassoon unis. as if they were pri-
mary colors. Newer
practice.

175.Because the strings have the power to subordinate

themselves as required, and since the difference in timbre is
marked, any wood-wind solo "come through" a string accom-
will

paniment, if given a reasonable opportunity. The melody will

come out best when entirely above the accompaniment, Ex. 80(a),
(b).

Ex.80 Schubert, Unfiniahei Sym.

Andante con moto
 PROJECT LESSONS IN ORCHESTRATION 103
(b) Allegro con fuoco Webrr, Oheron, Otfului*

CUr.

^Db.

176. Schubert was fond of doubling the oboe and clarinet

in unison. The pungent oboe is sweetened by the clarinet, but
the color remains intense, Ex. 81.

Ex.81 Schubert, Unfinished Sym.

Allegro moderato

V.l
V.2 iw^^^m OT^F^
\a,.

Vc.
Db. S ^^ F r ^r
 «

104 PROJECT LESSONS IN ORCHESTRATION

177. In Ex. 82 the melody in three octaves comes out rich
and full in the wood against a closely spaced string accompani-
ment. The clash of the bassoon figure against the string chords
is of no moment (cf. § 110).

Weber, Der Freisckiitz, Overture

Fl.
Ex.82

^
jmTMi
Suioy
'Mi-A

Clar.
inBl>
b
(f^
'^
q
J iJ73 i ^ ^^^
Bn. ^n(^,^^ 1]
J J7J] ^ i^ ^^^
dolce

Hns.
inEl>

V.l
I
H
<M

g
j
:5
^3
% J'J J J i)
m
^^
V.2 y'lMMyj hjgjj — §
j)
| # §
i
JJ ^^^
^^
Va. •d \

\(f. J J JjJ>J J J j) j^j J J ji

Vc.
Db. ^A'uhp Jr
178. After the opening eight measures of this interesting

five-four melody in cellos only, it is at once restated (or con-

tinued) in three different octaves by the entire choir of seven so-
prano wood-winds, Ex. 83.
 PROJECT LESSONS IN ORCHESTRATION 105

Tschaikowsky, Sj/m. VI
Ex.83 With fer. of th» House of Rob t'orberg, Leiftig
Allegro con grazia

Va.
i^m=^ ^th- i ^i)^< >^
Vc.
m.
mf

mf
^^ ^ ^ #^

* T,; ^
pizz.
5IM
^ ^ M>
rf/>)

-
Db. y f V » - t V ^- i ^'w
w/"' ^
179. Several interesting problems in the use of wood-wind
melody with string accompaniment may best be studied by select-

ing such a song as Schubert's Du hist die Ruh and treating it as

suggested in Ex. 84. The original is in £•?, a key that might

Ex.84 Schubert, />?» bit/ die Ruh

(a) Langsam

• Double-bass only when melody is doubled in the octave

 : :

106 PROJECT LESSONS IN ORCHESTRATION

have been retained, but D is easy for the strings and still gives the
oboe the advantage of some of its finest notes. The strings may
begin their introduction, measure 1, as shown in the model in
measure 8.

180. The string accompaniment to this song may now be

used unaltered for any of the following instruments
(a) Clarinet solo sounding in the same octave as the oboe.
(b) Flute solo written an octave higher than the oboe.
(c) Bassoon solo written an octave lower.
(d) Any two, or three, of these wood-winds combined in the
melodic line, see table, § 174.

It would be best to present all of the first stanza in one wind

even though one or two others were available. Then beginning
with the second stanza, instruments might be combined on the
melody in such a way as to heighten the interest as the climax is

approached. This can hardly be termed "orchestrating" but is a

valuable study of what to do with small means.
In arranging a song in this way, avoid using any wind in the
accompaniment. The strings are adequate and a single wind at-

tempting to help them might easily become ridiculous.

Assignment 26

Arrange Schubert's Du hist die Ruh for oboe solo with string
accompaniment. Or, if desired, give the solo to any other wind,
or winds, as suggested in § 180.
Other suitable numbers are
George Henschel, Oh that we two were Maying (Duet)
Santa Lucia (Barcarolle [Naples]), and Dearest Maiden (Shep-
herd's Song [Norway]), from One Hundred Folksongs of all

Nations (The Musicians Library) Oliver Ditson Co.

 PROJECT LESSONS IN ORCHESTRATION 107

LESSON 27

Wood-wind used to color the sonority of other instruments or

complete the harmony, or act as an accompaniment

181. This by far the largest of the three classes of wood-

is

wind usaffe. Under this head come numberless combinations of

wood and string in the melodic line, in the harmonic mass, in dia-
logue between contrasting solo instruments or opposing groups,
and finally b}^ quite reversing the usual procedure and accom-
panying a string melody by winds alone. In arranging music
for the dance-, theatre-, or school-orchestra, whether for a few
instruments with piano, or for a larger group, one is constantly
challenged by the demand for maximum effectiveness in resonance,
color variety, and dynamic contrast; and, from the player's
standpoint, for parts that "lie well" in the individual instrument.
When an audience demands the repetition of a number, and the
players become enthusiastic over their parts as well as over the
piece as a whole, someone behind the scene has met this challenge
and has done a fine piece of arranging.

Some Combinations of
Wood-Wind with Strings in the Melodic Line
In the Unison In the Octave
Flute and violin Good. In soft melody fl. Frequent (fl. usually above
1

adds an idyllic quality vi.) In a tutti color sec-

to sparkling vi. Nothing ondary to mere volume.
gained in forte passages.

Oboe and violin Ob. exaggerates the clari- Ob. above low vi. is valu-
ty and intensity of vi. able.
Rather raw. Used f reel}'
by early writers. Now
limit to forte with cl.
added.
 PROJECT LESSONS IN ORCHESTRATION
Some Combinations of Wood-Wind with Strings in the
Melodic Line —Continued
In the Unison In the Octave
Oboe and cello Intense, brilliant, festive.

Clar. and violin Good. CI. adds warmth Good (cl.usually below
or viola to vi. Chalumeau notes vi.). Striking with the
with low strings resemble low cl. register.
cellos and bassoons.

Clar. and cello Low — rich and valuable.

Plus bassoon, eminently
rich and full.

Bassoon and Beautiful blend in the Good. Frequent.

violin or viola lower vi. register.

Bassoons and Classic. Constant com- Sounding in octs. (writ-

cellos (d-bass) panions. Bn. gives body ten unison) the double-
to the vc. either arco or bass supports the bassoon
j)izz. Less good in rapid well.
passages.

182. The student could profitably spend hours with the

best scores studying this question of color in the melodic line. If

the preceding table helps the score reader by suggesting how to

compare color values and how to experiment with them in his own

arranging, it serves its purpose. Care should be taken to avoid

using too many colors. Color must not be permitted to absorb
the idea of the music. Special or rare timbres must be used with
discretion.

183. An opening melody is better presented in one color

(whether primary or composite), that the music itself may make
its impression ; then, on its repetition, change of color is often de-
sirable. Do not change color in the middle of a phrase —but this
 PROJECT LESSONS IN ORCHESTRATION 109

does not preclude the use of dialogue between instruments, so fre-

quent in the development of extended numbers. Neither does
this apply to chords answering each other, for example, alternate
string and wind in quick succession.
184. After opening his movement with the principal melody
in violins only, and following this immediately by its repeti-
tion in octaves by flute and violins, Haydn, on its third appear-
ance, gives the melody to flute, bassoon, and strings in the triple
octave, Ex. 85. Four times, in this particular movement, he uses
this combination.

Ex.85
Allegro di molto Hay dny Surprise Sym,
1

Fl.

Bn.

V.ll

V.2|

Va.

Vc.
Db.

185. In Ex. 86, Mozart doubles every string part with a

wood-wind. Notice the sustained harmony in the wood, while the
lower strings add much to the intended spirit of gaiety through
their rapid note-repetition. There are all degrees of this kind of
110 PROJECT LESSONS IN ORCHESTRATION
doubling; (a) literal, (b) exact, but with different rhythms as in
this example; and (c) not exact, but varying in greater or less
degree. To look for passages representing a wide variety of such
wood and string combinations, would give a valuable and definite

point to much of the student's score-reading.

Ex.86
Mozart, Magic Flute
Allegro

Fl.

Clars.
inC

Bns.

V.l
and
Piccolo

V.2

Va.

Vc.
Db.

186. In Ex. 87, Saint-Saens makes his wood-winds respon-

sible for the entire accompaniment to the melody in octaves in the

strings, a reversal of the usual procedure. For a short passage

this is effective and, with a good wind makes a striking con-
choir,

trast. A long passage of this kind, however, would weary the

wind players and soon become insipid.
 PROJECT LESSONS IN ORCHESTRATION 111

Ex.87
Allegrogiocoso Saint-Saens, Suite Algeriemis

187. At this point, a fine study is to orchestrate some suit-

able piano music for strings combined with a very few wood-
winds, for example, a single flute and two clarinets. To make the
most of these resources, one should examine the chosen piece, jot
down in pencil a plan that assures appropriate variety, possibility
of climax where needed, etc., and then proceed to "build up" a
score accordingly. It may even be best to do the climax first, to
guard against using maximum resources too early.
Our first number, Schumann's Sclilummerlied, Ex. 88, re-

quires but little explanation. The flute doubles the melody in

unison with the violins in these opening measures, but since it will

thus run very low in measures 7-8, it might better rest here and
enter for the first time in measure 9, in the upper octave. The
flute will be of no use in the accompaniment, cf. § 180. The
112 PROJECT LESSONS IN ORCHESTRATION
double thirds in the clarinets add warmth and roundness, blending
perfectly with the middle strings. But if desired, clarinet 2
could double the viola on the broken chords, a better arrangement
if the viola is weak as often happens in a small orchestra.
This number repeats its principal melody so many times that
one must make a special study of its color combinations ; otherwise
it might easily become a "slumber song" through sheer monotony.

Ex.88 Schumann, Schlummerlied, Op. 124, N916

Allegretto

Pfte.

Fl.

tiars.
ixiBl>

V.l

V.2

Va.

\c.

Db.
 PROJECT LESSONS IN ORCHESTRATION 113

188. The next number, Rubinstein's Romance, Op. 4j4,

No. 1, offers much more opportunity for variety, as may be seen

in the models, Ex. 89(a), (b), (c). In (a) the clarinets again
take essential thirds, harmony; in (b) clarinet 2 takes
etc., in the
broken chords in its chalumeau register, leaving clarinet 1 to
double the melody with violin 2. At (c) all resources are concen-
trated on the ff climax.

Ex.89 Rvbinsiein, Bomatice, 0p.44,N9J

Andante con moto

Pfte

Assignment 27
Arrange Schumann's Schlummerlied for strings and three
wood-winds. If desired to restrict this to a two-hour assignment,
do the first 24 measures. In this case place D. C. at the end of
measure 24 and Fine, at the end of measure 16.
Hi PROJECT LESSONS IN ORCHESTRATION
atfmpo
Ex.89 cont
(b)

Fl.

Cl.l

C1J2

V.ll

V?l

V*.

w.

^^- WW f T
/> XT ' ^^ ^f

Alternative assignment: Rubinstein's Romance based on the

models under Ex. 89. This number well done makes an effective

setting for these instruments and is well worth the time of a double
lesson.

LESSON 28

The Saxophones
189. Graduated in size from the small high sopranino in
El? —the only one wliich transposes up —
to the heavy contra-bass

in E^, the saxophone family numbers seven instruments essen-

tially alike in principle, fingering, and written compass. They
are hybrid instruments having a single-reed mouthpiece like the
clarinet, a conical tube "overblowing" the octave like the oboe,

and made of brass. In the words of Forsyth, "they have no past

history of which to be either proud or ashamed."
 PROJECT LESSONS IN ORCHESTRATION 115

190. Omitting the two extreme sizes, mentioned above, the

following table shows the written compass of the most used instru-
ments. The tenor is made in two keys — as are all the instruments

in Europe —and both appear in the table for purposes of com-

parison.

Written Compass of All Saxophones

AND THE
Corresponding Actual Sounds of Those Most in Use
(a) Easy school range: all the quarter-notes with stems.
(b) Practical range for general orchestra work: all the notes.
These instruments have all the intervening chromatic notes.

^ ^m
Ex.90
Notation of all Saxophones: always in Q 42. :e £
^^ ^

^
*

sfc*
Sep.,

Alto,
B\>

El>
T^ ^m i9-^
i
^^'^'/,h
l

\
n t> P~^ ^
^ ^
r r ^^iiJi J

^
\

^^ ^ Ten.,Bl>

^J

C Melody
^
'

^
S=F
^
^ -<9 if
(Is a tenor in
zz:

C)
f^-F
feii
^^ zz:

Bar.,El>

g
;^S ^^ P
^
^
Bass, Bo

^ ^
m 1^-^
gM
Top limit
 :

116 PROJECT LESSONS IN ORCHESTRATION

191. Music for all saxophones is written in the G clef. Il-

logical as this may appear to the beginner in arranging, it is

simplicity itself for the player. His fingering is always the same
and the instruments themselves attend to the transposing.
192. The saxophones possess flexibility and volume com-
bined with qualities admirably adapted to the full harmony of the
military band. Their friends predict their early acceptance in
the orchestra, where thus far they have not been generally wel-
comed.
193. A quartet of saxophones unaccompanied and playing
complete harmony affords a characteristic and homogeneous res-
onance. Some arrangements carried out as shown in the follow-
ing models would sound very well

Hymn of Joy
Ex.91 Arr. f r. Beethoven

Ug =31 t4 U I
r
Oi-ig.

^^ nx ="^i^
p PAk ^
Sop.
Saxophone
(a) Transposed in (a) and (b) to

^ ^
sound in

W
Bl>

Alto
Saxophone
El> ^^ ^ ^^ "^^
^ ^^ ^
Tenor
Saxophone
Bl>
P ^m ^ i
?
Baritone
Saxophone
El>
w m
W ^ ^ * J —J-
 PROJECT LESSONS IN ORCHESTRATION 117
Ex. 91 Con.

•(b) ..... .i^ ^-^ i2_

2 Alto
Saxophones i ^ $ mm
(Ten.)
C Melody
Saxophone
#iJ Jpf W ^m S ^
Ten.
Saxophone
[i

V '^rrrr m

Assignment 28
^ fe
«zzz

Arrange the Hymn of Joy as begun in Ex. 91(a) for a

quartet of saxophones —soprano, alto, tenor, baritone, to sound
in AK
Also arrange the same number for one alto, two C melody,
and one B^ tenor.
Any of the fine chorals or part-songs for mixed chorus are
suitable for combinations of this kind. Before beginning an ar-
rangement the piece should be examined with reference to the
range each part will require. Occasionally a transposition will
be found advisable.

LESSON 29

194. It is sometimes desirable to so arrange a melody for

saxophone with pianoforte accompaniment, that any member of
the saxophone family may be used with the one copy of the piano
part. This procedure is illustrated in Ex. 92, with Schubert's
Morgengruss. Since the melody does not run high, the original
key of C could have been kept, but we have transposed it to B^?,
thus making the highest written note for the & instruments their
easy high C.
A separate part is written for E^, B^, and C saxophones, as
118 PROJECT LESSONS IN ORCHESTRATION
shown below, all of which sound as at (d) with soprano or alto
instruments, or as at (e) with tenor or baritone.
Ex.92 Schubert, Aforgengrutu
Moderato
moneraio ^
^^
«

Voice 9^=^SS w^ £ 3
Gu-ten Mor-gen,sch6-ne Miil-le-rin! wo So muss ichwie-aerge - hen, so muss ich

Orig.C
4 5 6 15 16 ^— ^ ^ 18

Pfte.

Sax. '.yj'vr (T^jfir J ^J'lr- u

C
Sax.

17

Pfte.
15

>
|
< i
16

^jj ^ 18

mm 'd)

4 rJ l EzM Actual sound if the Saxophone is Et Alto, Bl> Soprano, or C Soprano

The melody meas. 4 y^

^'p 41 I I
I
**raBgrrj Actual sound if the Saxophone is Et Baritone, Bl» Tenor, or C Melody

195. Some of the widely used school orchestra scores pro-

vide for the use of saxophones, others do not. As an economy
measure, some editions are made to give the same music to differ-
ent instruments. For example a B^ clarinet part may carry the
caption B^ Clarinet or Soprano Saxophone, Since these instru-
ments transpose the same distance they would sound in unison.
In this way oboe parts are playable by the C soprano saxophone,
since both sound as written. The number of such substitutions is

when dealing with both band and orchestral instru-

considerable,
ments, but from an artistic standpoint too much "economy" in
this direction tends to cheapen the quality of a score.
 :

PROJECT LESSONS IN ORCHESTRATION 119

A
well-known device for playing bassoon parts with
196.
Eb saxophones is to change the clef and add three sharps (or re-
move three flats, or their equivalent) as shown in Ex. 93.
Ex.93

^^ Bassoon, or

197. The
El?

treble
Saxophone

r-

clef
^
I

with
'^
its
I r- yr
signature in parenthesis,
^ g

makes this bassoon part a typical saxophone melody. When a

player understands this really very simple scheme he requires no
written indication but simply "thinks" the treble clef and the
added sharps, and plays any bass part within his range. Those
not familiar with this juggling with the clefs should compare
Ex. 93 with Ex. 92(a), (e). Observe that the written notes are
identical. With a baritone saxophone the player reads the notes,
treble clef, where they are ; with an alto saxophone he reads them
as if written an octave lower, so far as his range permits. In
either case the part will then sound unison with the bassoon.

Assignment 29

Complete the arrangement of Schubert's Morgengruss for

pianoforte accompaniment in Bb, with parts for three different
saxophones as begun in Ex. 92. Do not omit the introductory
bars of accompaniment. Also write at the bottom of your score
what ivould he the signatures for the three saxophones if the song
had not been transposed from C.
Other songs suitable for treatment similar to that in this
lesson are
Mendelssohn, // with Your Hearts,
all fr. Elijah
Schubert, To be Sung on the Water
Schubert, Who is Sylvia
Hahn, Reynaldo, Were my song with wings provided
120 PROJECT LESSONS IN ORCHESTRATION
LESSON 30 ^
The Brass

198. The Brass in the modern orchestra should be regarded

as of two types: (1) the horns which blend perfectly with the
wood-winds and are sometimes classed with the latter as part of
the second group (Gevaert), (2) the trumpets, trombones, and
tubas —a pompous family, indispensable to the tuttis of the large,
or "full" orchestra. As a rule, the horns are classed with these
other brasses in what is termed the third group, or simply "the
brass." The brass provides the brilliance and power associated
with military pomp, splendid tuttis^ and imposing climaxes.

Orchestral Ranges of the Principal Brass Instruments

(a) Easy school range: all the quarter-notes with stems.
(b) Practical range for general orchestra work: all notes with stems.
(c) Solo resources, better avoided: the black notes without stems.

These instruments all have the intervening chromatic notes.

Ex.94
Notation for all Horns. In ^ the sound is always below the written notes.
Poor nofes

Written

^
Valve -Horn in

Acttial'
sounds
F

zi—»

U, sounas
In C,
/In sounds as written
^ ^—^ ^
Trumpet and Cornet Jin Bb, sounds a maj. 2^1" lower
,
'in A, a min. 3™ lower

ten: u
Tenor Trombone (sounds as written)
Pedal notes

[> h P'»'[a gap here]^

Tuba, 3 valve (sounds as written)

With 4 valves this compass extends to El» below this

 PROJECT LESSONS IN ORCHESTRATION 121

199. As was stated regarding the table of wood-wind

ranges, § 118, "easy school range" in the above table is conserva-
tive and need not be interpreted rigidly. Nevertheless the best
notes, with scarcely any exception, lie in this middle range.

On Horn Notation
200. Until about 1850 the horn had no valves. Its only
good (open) tones were limited to the harmonic series of its par-
ticular fundamental. If this were C, the horn was at its best in
the key of C. To do its best in the key of F, it had to be crooked
in F, that is, changed to an F horn by changing tlie length of its

tube. Composers always wanted the horn at its best and there-
fore demanded a different crook for nearly every change of key.
So many crooks made the player's outfit resemble a box of
plumber's supplies, and changing crooks at ill-timed places in the
course of a single composition became a burden. All the earlier
scores and even many later ones abound in directions for horn in
F, or E, or D, etc., and in some cases, with four horns, one pair
in the key of the piece, the other in a related key. But, whatever
their absolute pitch, one always wrote for them with no signature
and as if their fundamental were C.
201. Fortunately, with the invention of valves, the whole
clumsy system of crooks was largely, if not entirely, discarded;
the valves gave the horn a complete chromatic scale, made it "all-
liorns-in-one" for all practical purposes, and, finally, as a survival
of the fittest, the horn in F is the only one we need consider in
modern orchestration.
202. But the scores ! Fortunes are tied up in the old nota-
tion, horn players are accustomed to it, it seems "natural enough"
to them, and experienced players will use a crook, or transpose
the part, as seems best to them. If it were not for reading scores,
122 PROJECT LESSONS IN ORCHESTRATION
the beginner might ignore the horn's family history, but read he
must.
203. Music for the horn is written almost wholly in the G
clef. When so written, the sound is always lower than the written
note by the distance from C down to the key in which the horn is

crooked. This is shown in the following table of the most used

horns, Ex. 95.

Ex.95 Horns in high keys Horns in medium keys Horns in low keys
This written note BkAlto In A InG InF InE InEl» In D In C Basso In B? Basso
for all Horns
m: ^
(rare) (best one) (Band)

^
(or simply C)

^*^''"
rs^how^l? Maj.Z^.dMin.aid Per.4«> Pcr.5lh Min.6t> Mai.6t> Min.7ih Pcr.SXe Maj.9t^

204. Occasionally low notes for the horns are written in the
bass clef, hut an octave lower than they should he. Because of
this absurdity in notation, most horns in the hass clef transpose

up, C Basso sounds where written, and B^ Basso a major second

lower.
The whole subject of horns, crooks, kinks of notation, etc.,

belongs in a treatise on instrumentation and not in these lessons.

For excellent and exhaustive treatment read Forsyth, Gevaert, or
Hofmann.

The Horn in F
205. Whether called valve-horn, French-horn, or (better)
simply horn in F, this is one and the same instrument. It is the

horn of the modern orchestra, chromatic throughout ; and, when

crooked in El?, is regularly used in the military band. It blends

well with wood, strings, or brass. The tone is rich, noble, dig-

nified, mysterious, even in rapid passages seeming to preserve a

certain reticence.
206. When at the maximum of their power and sonority.
 PROJECT LESSONS IN ORCHESTRATION 123

the horns often represent the brilliant element of the small orches-
tra. In piano passages their sweet penetrating tones blend
intimately with the clarinets and bassoons. So perfect is this

combination that horns and wood-winds are placed next to each

other in the score. Before the introduction of clarinets, the
horns filled the empty space between the bassoons and the thin
oboes.

!iJ07. Plarmony for the horns should be well determined. In

threes or fours they should be given the full chord as much as pos-

sible. In pairs, when playing the octave, 6th, or 3rd, their mar-
velous fulness is obvious — witness numberless passages in the
earlier scores.

208. Horns and bassoons have nearly identical range, but

their qualities are different. The bassoon's most intense tones

are at the bottom of its scale, its most lyric quality in the middle-

tenor compass. On the other hand, the horn loses something of

its power below middle C, while its best melodic octave lies in the ^

Jiicjh-tenor range. In its middle register it may be compared to a

fine baritone. It rarely has the character of a real bass.

209. A mute for echo effects is easily inserted in the bell,

with a few moments of rest. Mark con sordino.

210. A peculiar hand-stopped (over-blown or brassy) ef-

fect is also used. Mark such notes with a ( +) over each and
write brassy or cuivre,
211. To understand the horn and write well for it, one
should commit to memory certain characteristic passages, play

them at their actual pitch, and hear them played by horns until
they are thoroughly fixed in the mind. Among many that could
be quoted, the following merit such study. The student is ad-
124 PROJECT LESSONS IN ORCHESTRATION
vised to reduce all these to piano score. They must be transposed
to get the actual sounds, Ex. 96.

Ex.96
(a) Allefi^ro moderato Wagner, Siegfried, Act II
A A
Cor a
pistons 1^^
en Fa

,(b) Andante Tschaikowsky, Sym.V

Horn
in F
^E^B
S mpTtffltr 'I'MPj^^
^"
rvrrry

Corni
•

^"
fA
La
(c)

^
Vivace

jsr

(d)
TRIO
Allegro vivace
f
Beethoven, i%7w. VII

fF'fcjf f'fflii
i

Beethoven, "Eroica'/ Sym.III

Horns 1&2
in Et> m -<5 — ^ 3:
zz:

Horn
in El>
3
i
^/

^
Bf
^ ^ P
cresa
221

?^ -M-4
nr
3 ^ ^
t-r
r
cresa ^
1=T^ i
^flP
^
cresa

212. Notice that in Ex. 96(d) horn 3 plays above horn 2.

This is generally best, though not necessary in all cases. See the
same arrangement in Ex. 97. Dovetailing the horns in this way
gives the odd-numbered instruments tlie higher parts to which
 PROJECT LESSONS IN ORCHESTRATION 125

they are more accustomed. On the other hand, horns 2 and 4

should be given the lower parts.
213. The old custom of writing for horns without a signa-
ture, as if their fundamental were C, is followed at the present
day in most orchestral scores, but is wholly unnecessary. The
student is advised to use a signature. This reform has been ac-
complished in the military band. Who will say that the horn
player in the modern orchestra is less capable of using a signature
than his brother in the band.?

The horns as an independent choir

214. The sounding range of the horn in F embraces the

entire compass of the combined bass and tenor voices and exceeds
it somewhat at either extreme. The student may well say to him-

"My four horns in F are my male quartet." An arrange-

self,

ment of Who Will O'er the Dozvns, as begun in Ex. 97(a) would
be beautiful and easy to play. This setting will sound in C, a
major second higher than the original. Written in F the horns
would sound where the voices sing it —a trifle less brilliant but
practical. Notice the dovetailing. In this middle range horns
1 and 2 might very well play the two tenor parts (cf. Ex. 1,

Liszt's four horns) but dovetailing is the best general method.

A mixed chorus with a low soprano, and in close position like
the arrangement of There's Music in the Air here shown, is also
excellent for our present purpose. Instead of transposing the
original, the setting at (b) will sound where written for the
singers. This piece arranged in open position would be poor for
horns all in one key, since it would crowd horn 1 too high or horn 4
too low.
126 PROJECT LESSONS IN ORCHESTRATION
Who Will 0*er the Downs Music in the Air

Tenors
Ex.97

m ^^ ^^
who will o'er the
R.L.dePearsall

downs so free, O
J

who
ll
Sop
rJ;^.MlJJJJ
Alto"
?
There's mu-sic in the
^
Ten.
^i
Basses M' t ^ ^

P~F^
'

^l^'v'll' ryirrr r
Bass
(b)

Horns 1& 2
inF #^J J:J'JJL^^«:'I'' irfVIFFFFff
^
|

Horns
in
3& 4
F
^ f ^I'^^iJiii

Assignment 30

Arrange TF/^o Will O^er the Downs, written for male voices,

for a quartet of horns in F, as begun in Ex. 97(a). Copy the

original immediately above the horns for comparison. Do the

same with There^s Music in the Air, a mixed chorus, as begun at

(b). Observe that in (a) your horns are transposing the orig-
inal up to C ; while in (b) they sound the original.

Note: Tenors singing from the treble clef, like horns in C are really transposing
instruments. Because of this, close harmony for male voices, like Ex. 97, always
looks awkwardly open.

Other numbers suitable for this treatment are:

Mendelssohn, The Hunter*s Farewell
Koschat, Forsaken

Or any male chorus originally written for men by first rate

composers, like Weber, Wagner, etc., in their operas. Not every

mixed chorus is equally adapted to a male voice version (cf.

Kling, pp. 281-2).

 PROJECT LESSONS IN ORCHESTRATION 127

LESSON 31

Solo horn accompanied by the pianoforte or by strings

215. To arrange a song for horn solo with pianoforte ac-
companiment one must first choose the key which is best for the
solo instrument, that is, the key which places the melody in the
horn's most effective compass. This choice of key in Ex. 98 is G,
which gives the horn in F a solo in the tenor range. Examination
of the model will show that the melody is thus transposed down a
minor sixth; but the accompaniment is lifted a major third, since
to play it a minor sixth lower would be very poor.

Ex.98 Mendelssohn, S. W. W, N931

Oris.
Pfte.

Horn

Pfte.

216. In another fine Song without Words {No. 19) ^ suit-

able for this treatment, one transposes theaccompaniment up a
major third, from Ab to C. The horn (playing from the key of
G) then transposes the melody down, as before, a minor sixth.
Scliubert's Hark, Hark, the Lark, in the original for high
voice is in C. To arrange this for horn solo, simply keep the ac-
companiment where it is and write the horn solo (in G) to sound
in C an octave lower than the original.

217. Arranging a song for horn solo with string accom-

128 PROJECT LESSONS IN ORCHESTRATION
paniment involves both the choice of key for the piece which will
use the horn's best notes, and the same attention to the string sup-
port that was discussed in Lessons 15 to 20.
For example, Schubert's Das Wandern, shown below for low
voice in G, would be fine for the horn, if the accompaniment were
lifted a perfect fifth as shown, Ex. 99(a).
The adaptation of this particular accompaniment to good
string idiom is, however, not a simple problem. The differences
between piano and string treatment should be carefully studied.

Ex.99
Massig geschwind Fr. Schubert; Das Wandern, Op. 25
13 14
1 2
Yoice
i n J^' i)
Muss cin schlechtcr
j^ I
j;];> m
Mlil-kT sein,dem

Pfte.
^^^^^^ ^

Horn
inF
Solo

V.l

V.2

Va.

Db.
 :

PROJECT LESSONS IN ORCHESTRATION 129

Assignment 31

Arrange the first 18 measures of the Songs without Words,

No. 31 as begun in Ex. 98 or, if preferred, one stanza of Hark,
;

Hark, the Lark.

A finer problem than either of the foregoing is to arrange
Schubert's Das Wandern, using Ex. 99(a), (b) as models.
Other suitable numbers for horn solo, to name but a few, are
Mendelssohn, On Wings of Song
Mendelssohn, 7 would that My Love (duet for two horns) in G
Mendelssohn, If With All Your Hearts, fr. Elijah, in F

LESSON 32
Two or more horns with strings, or w^ood-wind
Ex.100 Weber, Freischiltz, Overture
,
^ Adagio
130 PROJECT LESSONS IN ORCHESTRATION

Soli

inFI

Hns.^

InC

V.l

V.2
^ ^^ ^ ^^; t ^m m_.^0
^f
Va.
•' o
t zsi
3t ZZ sn:

Vc.
Db.
s^
N
^-^

218. Before passing on to the other brasses, some further

study should be given to the horns. They are shown at their best
in Weber's Freischiltz, and in Mendelssohn's Midsummer Nighfs
Dream music. Though written for the old hand-horn, these
parts are so perfectly suited to the genius of the instrument,
whether with or without valves, that two well-known quotations
are given here; the first, horns with strings; the second, horns
with wood-wind, Exs. 100, 101.
 PROJECT LESSONS IN ORCHESTRATION 131

Ex.101
Andante tranquillo Mendelssohn, Af.JV.D., Nocturne

Cis.
in A
P^ ^ TT^
»

Bns.
i* ^^ i

Hns.
*

^p dnlce
^
^±
Sh"
^ I M^«-M
? i S
m
Vc.
Db. g^ ^ ^ ^ ^ ;& /y
77

P
Cls.
in A
x"

ITi T^
& 77
w
Bns.
i
^t/rfiffl ^m H*t ^
^^v^

Hns.
in E
1
iP g PL^JL
? ^ ^
=^ s s
i i i
pp
Vc.
Db. {m J ^
iJ i %
i iPi ^ i mp
219. In Ex. 100, the supporting strings have complete har-
mony. In such a combination of horns and strings, incomplete
string harmony would be ineffective. The harmony in the four
132 PROJECT LESSONS IN ORCHESTRATION
horns is delightfully rich and full in this example. If necessary
two bassoons could be substituted for the second pair of horns, but
with distinct loss of resonance. Three or more horns alone are
better than horns with bassoons to fill in lacking harmony.
But in Ex. 101 the case is quite different. The horn solo is

here of prime importance. In such a passage the wood-wind sup-

port is perfect, yet enough different in color to give the desired
prominence to the solo instrument. The low pp strings enrich
the harmony in an ideally unobtrusive manner. This horn solo
is very easily read at the piano by slightly modifying the prin-
ciple explained in § 196. For a horn in E think the bass clef
phis four sharps and play 8va.
220. Horns, clarinets, and bassoons make a choir so ample,
and of such beautiful resonance that Mozart, Beethoven, and
other masters have written not only whole movements for them,
but entire works embracing the conventional members of a suite
or a sonata. These winds are usually employed in pairs, making
a sextet. If an octet is used, a pair of oboes would be the first

choice for the additional instruments ; after them, the flutes. No

student of orchestration can afford to omit a detailed study of at
least one of the following number of chambermusic. All are
available in the inexpensive pocket score format. For valuable
practice in score reading the Menuetto movements in the first

three works are invitingly simple.

Beethoven, Op. 71, Sextet (2 els., 2 hns., 2 bns.) in Eb
Beethoven, Op. 103, Octet (2 obs., 2 els., 2 bns., 2 hns.) in E^
Mozart, Serenade (2 obs., 2 els., 2 bns., 2 hns.) in Eh
Mozart, Quintet (pfte., 1 ob., 1 cL, 1 bn., 1 hn.) in Eb
Mozart, Serenade for 11 wood-winds and horns, in B^
Sekles, Bernhard, Serenade for 11 solo insts. (wd., strs., hn., harp)
 — —
PROJECT LESSONS IN ORCHESTRATION 133

It is interesting to notice that the key chosen for all but one
of the above works is E^', permitting the use of Bb clarinets in the
smallest signatures. Most of them are written for horn in E''
the key of the piece. Horns in E^' are easy to read at the piano
(cf. § 219) think the bass clef, plus three flats, and play 8va.

Assignment 32

Reduce the Menuetto of Beethoven, Sextet, Op. 71 to piano

score for two hands. Show the actual sounds of the instruments,
even though the setting fail to be wholly "pianistic." This
should be an ink copy complete with expression marks, etc.

Also be prepared to play on the piano the horn parts in

Exs. 100 and 101 as they would sound —a pretty problem involv-
ing horns in three different keys. And your Menuetto adds a
fourth key. So here is a lesson in transposition.

PROJECT 5

(To follow Lessons 26 to 32)

Select and arrange a special number for concert use, scored
for one or more horns, with wood-winds, strings, or pianoforte.
 LESSON 33

The Trumpet and the Cornet

221. The natural trumpet has a history resembling that of
the horn. Valveless, powerful, brilliant beyond any other instru-
ment, difficult to play, and with a scale limited to the harmonics
of its particular fundamental, it was in its element in the military
fanfare or bugle call ; at its worst in a cantabile melody. Its tone

was too penetrating except for the tuttis to which it was largely
confined, and where it was the natural "top" of the brass har-
mony.
222.The trumpet in C sounded where written; in B, B^,
and A it transposed down by the distance from C to the key in
which it was crooked; but in D^ (rare), D, E^?, E, F, F^, G, and
A^ it transposed up. Parts for trumpets in all these keys may be
found in the older scores. From about 1850, valve instruments
gradually displaced the natural trumpet, which in modern scor-
ing may be considered obsolete.

223. The modern trumpet is a valve instrument built in B^

and readily convertible to A. Music for it is written in the G
clef. Its transposition is identical with that of the B'' and A
clarinets. The ancient custom of writing for trumpets (as well
as horns) with no signature, while still more or less in vogue, is not

to be recommended. Give your trumpet parts a signature.

134
 PROJECT LESSONS IN ORCHESTRATION 136

224. The trumpet is the most brilliant of the brasses. In

flexibility, except for the trill, it closely approaches the flute. A
trill is more or less tricky with the valve mechanism. Rapid note
repetition is possible by double-, and triple-tonguing. A fine

working rule is to keep trumpet parts in the easy range —from

middle C up a tenth. Above that, except for occasional notes,
both player and listener tire quickly, but in a tutti where volume
is paramount for a brief space, high notes may, of course, be writ-

ten. The rather poor notes below middle C may on occasion re-
enforce the horn, or help to fill the middle harmony. A beautiful

pp is possible from middle C to the G above it.

225. The mute may be used to obtain an echo effect, that

might be fancied to resemble a phantom trumpet. Mark con
sordino and indicate p, for such a passage must be blown softly.
A distinctly different effect is obtained by using the mute and
forcing or over-blowing. This may rarely fit into a dramatic
situation, but over-used is simply vulgar. Indicate / as well as
con sordino.

226. The cornet in compass, mechanism, and general char-

acter is very similar to the trumpet. Minor differences in mouth-
piece, tubing, etc., require no discussion here. All trumpet parts
in the modern orchestra are playable on the cornet.

Note: The prejudice expressed in some books against the so-called

violent
'*plebeian cornet" and the equally violent praise of the old natural trumpet for
its "noble tone" or condemnation for its frightfully difficult technic, may be dis-
regarded by the student. The modern trumpet and the cornet may be so played
by a good performer that very few, without seeing the instruments, could tell one
from the other.

227. The natural thing to write for the trumpet is the mili-
tary fanfare, for, even at the present time, the modern instrument
loves the idiom of its valveless ancestor, Ex. 102.
 ^

136 PROJECT LESSONS IN ORCHESTRATION

Ex.102 Mendel ssoh a, At. N. D., Wedding March

Allegro vi\'ace
I
(a) a3 3 3 3 3 3

2 (£3 urns.
(b)
Wagner, Tannhauser, Acf/, Scene 4
Allegro

(Transposing down one half-step)

(c)
Beethoven, Leonore Overture, N93

m ^m ^m
Allegro (svlla scena)
ITpt.
inBl. i
g"
'^'
f ^ e'er
¥=fr-
i3= n
coUa parte
V. 1,2

Vc.
Db. ^ <a—
/i"

228. Passages for horns, trumpets, and drums alone, when

suitably placed, may be made effective in a high degree, Ex. 103.

Ex.103
Rossini, Ooerticre to William Tell
Allegro vivace
Hns
inG
 PROJECT LESSONS IN ORCHESTRATION 137

Ex. 103 Cont.

229. But with the modern valve instruments it is neither

necessary nor desirable to limit ones brass to this military type.

From Wagner down, one may marked changes in the treat-
see

ment of this section of the orchestra, as we shall find in later ex-

amples. The danger of employing too much brass, of using it

till it palls on the listener, should lead the student to make a

thorough study of the "climax -value" of these, his reserve forces.

The Trombone and the Tuba

230. The trombone family, distinguished by its sliding tele-
scoped tube, comprises four members, an alto, tenor, bass, and
double-bass. The notation for these instruments has not been
well standardized. The score reader will find parts for them in

the alto, tenor, and bass clefs ; and variously divided on one, two,
or even three staves. But however notated, one may confidentl};

rely on the fact that all trombone music sounds where it is written.
231. The tenor-trombone is the most important member of
tliis old family, and the only one for which the student is advised
to write. It is built in B^ — just an octave lower than the B^*
trumpet —and has a range which coincides with that of the tenor
188 PROJECT LESSONS IN ORCHESTRATION
and bass voices combined, cf. § 198. The trombone has remark-
able djmamic versatility, ranging from a thrilling j^ to a pp that
can be made mysterious, plaintive, or even sinister. Though a
good melodic instrument, it is not very flexible in tone production.
The trill, and rapid scale passages should be avoided. Music for
the trombone is best written in the bass clef, with the tenor clef
for the higher passages. The alto clef should be avoided.
232. In the school orchestra score, one usually finds a single
trombone part. One trombone is here made to serve as bass for
the (usually) small brass section, to strengthen the bass in any
tutti, or to take an occasional solo in place of the horn. It might
be drawn upon to strengthen the bass in a string passage, but this
is precisely the thing to avoid. It must be admitted that to keep
all the players in an amateur organization interested and reason-
ably busy without violating every tradition of symphonic orches-
tration, is practically impossible ; but the highest praise should be
given to those arrangers, and publishers, who have provided the
schools with scores in which utility and beauty are successfully
blended.
233. It is in the symphony orchestra that the trombones
come into their full glory, where it is customary to use three, with
or without a tuba. Here a melody is seldom given to a trombone
alone, but rather to all three of them in unison. In broad sus-
tained chords—where trombones are at their best — the composer
has an astonishing resource— a high light in his picture, and one
requiring artistic handling.
234. The tuba is the double-bass of the brass section. It

is built in several keys, but the key is seldom indicated in an or-

chestral score. The tuba most commonly found in the symphony
orchestra, is built in F, has four valves and a chromatic compass
of three octaves from the F an octave below the bass staff. A
 PROJECT LESSONS IN ORCHESTRATION 139

common type in the school band, hence oftener available in the

amateur orchestra, is built in E^?, has three valves and the compass
shown in the table, § 198. With four valves its compass extends
to the low E^' below that.
235. The tuba, in spite of its enormous size, has surprising
flexibility, and marvelous dynamic range. It can assist the trom-
bones in the softest chords, or in ff passages become a dominating
monster. The tuba requires so much breath that it should not be
expected to play a sustained melody / without being doubled in
the unison or octave with other low instruments (cf. Ex. 104).
236. In Ex. 104 it is easy to see how^ Wagner burns this

remarkable melody into the listener's memory. Such passages

are not common. Their ver}^ effectiveness depends largely upon
their infrequency. This score should be studied to see how the
harmonic mass floats above thu melody.

Ex.104 Wagner, Lohengrin, Prelude to Act 3

Molto vivace
3Bns.
4Hns.
3Tbns.^^
1 Tuba
fc). rt

Mm
^y
3
f-tiJ^ 33:
^ ,9

Cello

^FT^^^^ ^ rif f
(?io
'?^m.

tuba)
i
-^

m
237. Harmony for the trombones, whether with or without
the tuba, should be well defined, though not necessarily complete
where other brasses are given the occasional missing note. In
Ex. 105 are ideal types of heavy brass harmony in both close and
open position. This arrangement on two staves with the tenor
and bass clefs is the best, unless all the parts run too low.
140 PROJECT LESSONS IN ORCHESTRATION

^
Ex.105
Saint- Saens, Marche Milifatre
^^^ Allegro giocoso
J2
Tbnl
2 ^ t=lF=^
S»-

^ P
TbrL3 '> i\
Tuba
a2
J J
-«5^^
^ ^
Tbns,

Tbn5
(b)

S^^^
Maestoso
fh
ZIIZ

#•
^
T^ossini, Siege of Corinth

^
p

Tuba
I "zr

^
238. Now turn from the pompous passages just quoted to
one where these four low brasses reduce the harmony to an unfor-
gettable sigh, Ex. 106.
TschalTtowsky, Sym. VI, Finale
Ex.106 With per. of Ike House of Rob Forbrrg, Leipzig
And.ip.te J-o) poco ralleiitatido qKasi adagio

Tam-tam

Trumpets and trombones as an independent choir

239. It is seldom advisable to entrust long passages to these

brasses alone, but trumpets and trombones in the hands of good
players make a beautiful brass choir for which it is often desirable
to arrange some short number. It will help the student to under-
stand these instruments, if he keeps in mind the following:
 PROJECT LESSONS IN ORCHESTRATION 141

Comparison of Brass with Wood

The trumpet is the oboe of the brass incisive, — brilliant.

The cornet is the clarinet of the brass.

The trombone is the bassoon of the brass.
The tuba is the double-bassoon of the brass.
Of course these are merely approximations, fanciful per-
haps, but suggestive.
240. Three settings of Barnby's Sweet and Low, Ex. 107,
will show how to arrange this music for various brass instruments.
At (a) three trumpets are given the music as arranged for a trio

of female voices; at (b) trumpets and trombones do the mixed-

voice arrangement, and at (c) trombones and tuba are given a
male-voice arrangement. In these keys all the instruments play
In their best compass, and the settings are sure to sound well.

Ex.107
Barnby, Sivfef and Low

$^0 M
^^^ Larghetto
1
2 JTjJiij^
Tpts.in Bl>

3
^ ^ J>'jij^ ^^
Tpts.
inBl. 2
1

^ (b)
^
§
f^
^ m^ fe s

Tbns. I
^^ 3t:t

r^ ^ Y

^ ^ ^ ms^
2J
(c)

Tbns.

Tbn. 3 k k
Tuba -0-^ ?
 :

142 PROJECT LESSONS IN ORCHESTRATION

Assignment 33
Arrange Who Will O'er the Downs, written for male voices,
for three trombones and a tuba, to sound in B^?. Use the clefs as
in Ex. 107(c).
Also arrange There's Music in the Air for two trumpets and
two trombones, to sound in F. (These were done for horns [cf.

Ex.97]).

Solo trumpet, or solo trombone, with pianoforte

accompaniment
241. The student who has prepared the foregoing lessons
will need little or no help here. It need hardly be repeated that

the chief point to consider, in giving a solo to a brass instrument,

is the choice of key (cf . § 215) . Numbers suitable for this treat-
ment are
a) For solo trumpet, or cornet in Bb:
Mendelssohn, Spring Song (To sound in Eb)
Schubert, Am Meer
Wagner, Siegmund's Love Song fr. Walkyrie
Schumann, Trdumerei
b) For solo trombone:
Schubert, Morgengruss, in C Bb (easy range)
or
Mendelssohn, On Wings of Song, in Bb
O Sole Mio (Neapolitan), in F, the chorus for two trombones
No assignment ismade in connection with the above sugges-
tions, but for variety in a program of arrangements, two or three
members of the class might choose to arrange solos.

The Kettle-Drums
(Timpani)
242. This most important of the percussion instruments
produces a definite pitch. The compass of the two most used
 PROJECT LESSONS IN ORCHESTRATION 148

drums is shown in Ex. 108(a). They are usually tuned to the

tonic and dominant of the piece to be played. This tuning must
be indicated with the part. A change of tuning during a piece,

requires several measures rest. No change should be made in

short pieces. It is for these two drums that the student is advised
to write.
Note: In the modern symphony orchestra there are usually three drums. The
latest invention is a pedal-tuned drum, whose pitch can be changed so quickly as
to permit the drummer to play a melody, or even a chromatic scale.

243. Music for the drums is always written in the bass

staff. The best way is to write with a signature, the notes sound-
ing as written, as at (d). A notation still in use and very com-
mon is shown at (e). The old notation is shown at (f) —always
written in C, like the old hand-horns. Two notations for the roll

are shown in (b), (c). Dynamic signs are indispensable in drum

parts ; every cresc, dim., p, pp, f, must be marked.
Ex.108
(a) Compass The Roll
Small

S
Dr. Large Dr. ^b) .^ »»^»»%»*»^»%»*»*** (c)

Timpa ni S R^ -o-
XT
jCE
* if =n^5i>
2?p
'^^ Recommended notation
Timpani yi i j; li m —r ::!^ Sounds as written

(e) Good, still in use With or without accidentals

Timpani M: 'A m m '
^
4 J *** Sounds as at (d)
in El>, B\>

Cf) Old notation

Timpani * j; W - ,,
.
pi j^i ^ \ m m
I I

m 1

| J
i

'*' Also sounds as at (d)

jf
Distribution of chord-tones in a tutti

244. The first eight measures of Ex. 109 show the chord of
C as arranged in a tuiti by the masters named. Each measure
144 PROJECT LESSONS IN ORCHESTRATION
sounds as a single chord, the object of writing two or more notes
in succession being to indicate how many times it is doubled,
tripled, etc. The last three measures aim to show the distribution
and wood, which, though sounding as one chord,
of string, brass,
are here separated to make their spacing, duplication, etc., more
vivid.

Ex.109 NVagner
haydi Mozart Bcfcthj\TenChcrubini Schubert Weber \ftndclsschn Rossin: Aubir Meyerbeer
«: <iSi ^ S^'

Ph^p#p —m^ \mi^P#1^k4MI

~o85r 8 hssH
"nrtortrr p=fe^ f-i. — 1
* ^*J^ 1-iUl I

(a) (h) (c) (d) (e) (f) (g) (h) (i) (j) (k)
ooo ooo
^^* ftU.9
^^ twi '
lUl tKMMl
tm
— r»
IT
twwm
-o-
tH>
IMWWl
iK>
tltMHV
m» *
iwUuut m
IT
It
-*—ri
-m-AH
1
^11 —c *-

|Str.Br.\\<i.|[S(r.Br. Wd. |
|Str.Br. Wd. |

Sounding as
a single chord

245. Certain points in the above example are worthy of

careful attention. For example: (1) notice the predominance of
the root, (2) few contain the third low, (3) there are more thirds
than fifths, (4) a prominent fifth high is exceptional, (5) Na-
ture's Chord is essentially the pattern, and, finally, (6) strings,
wood, brass, are complete, interlocked, often duplicating the same
tones.
246. The student is now ready to score a choral for full
orchestra. So short a piece with every instrument playing
straight through to the end would appear, at first glance, to pre-
sent no problem at all, to say nothing of the need of variety or
contrast. But a problem there is, namely, to score the music in
such a way as to make it useful for a large number of smaller
combinations. This is an important item in the technic of the
commercial arranger. We have chosen our old favorite, for this

study, precisely because it has figured in many previous lessons,

Ex. 110.
 PROJECT LESSONS IN ORCHESTRATION 145

Russian Hymn scored for large orchestra and chorus

247. This arrangement can be played by smaller groups as
listed below in each case the choral
; will be complete, and satisfac-
tor3^, except Nos. 9, 11, and 12.
Lx.llO
 :

146 PROJECT LESSONS IN ORCHESTRATION

1. Strings alone.
2. Two two bns.
clars.,

3. Two oboes, two bns.

4. F1.2, cl.2, two bns.
6. Ob.l, cl.2, two bns.
6. Fl.l, ob.l, cl.2, two bns.
7. All the wood-winds alone.
8. All the strings and wood.
9. Tpt.l and hns.l, 2, 4; a poor combination alone, avoid wliere
possible.
10. Tpt.l and 2, tbns.2 and 3. Excellent, corresponds with com-
bination 3.

11. All the brass alone, but tpt.l is not enough soprano; add ob.
or cl.l.
12. All the brass and strings alone. Poor.
13. All the strings plus any wind (wood or brass) that carries tlie

melody.
14. The strings plus combination 2, or 3, or 4, or 5.

The four real parts and the filler are divided as follows
Soprano
Fls., ob.l, cl.l, tpt.l, violins 1, vc. 1.

Alto
Ob. 2, cl.2, hn.l, tpt.2, v.2, va.

Tenor
Bn.l, hn.2, tpt.3, tbn.2, v.2, va.
Bass
Bn.2, hn.4, tbn.3, tuba, vc.2, db.

Filler
Hn.3, tbn.l. (Assignment of the filler could have been greater, but
should not be enough to fog the four real parts.) At (x) occur
slight changes of no moment.
Assignment 34
Arrange this entire choral as begun here. (The original

with filler is Ex. 4, in Lesson 3.)

 PROJECT LESSONS IN ORCHESTRATION 147

LESSON 35

The Side-Drum
248. This little drum is a great noise maker for the theater
orchestra and the band. Like most other percussion instruments
its principal effect is its entry. The roll is written like that for
the kettle-drum, but is best terminated by an accented stroke.

All sorts of rhythmic figures are possible. One is likely to write

too few notes for this drum. A single stroke is absurd. There
are various ways to accent a single beat, called the drag and the
flam —a veritable little cascade of small notes, from one to a half
dozen, preceding the principal note. The student must examine
drum parts to see these things. This drum can be muffled by
loosening the snares or pushing the cords under them. This is

often done in a funeral march, mark muffled.

Music for the side-drum is written on a single line or on a
staff often shared with the bass-drum.

The Bass-Drum
249. This huge noise maker needs no description. Its

heavy single strokes to mark the accent, etc., are familiar to all.

The done pp it can be made ominous.

roll is effective; It does

not need a terminating accent, as with the side-drum. If a note

is to be very short, write damp over it otherwise the vibration will
;

continue a little time. This drum can help develop the progress
of a crescendo or climax.
Music for the bass-drum is written on a single line or on the
bass staff often shared with the side-drum.

The Triangle
250. The triangle is a small steel bar bent in the shape of a
triangle. A good instrument should have a tone as clear as crys-
148 PROJECT LESSONS IN ORCHESTRATION
tal. Few effects are possible. The trill is written like a drum
roll. A single note to "top" a climax is sufficient to give sudden
brilliance to a tutti. With soft strings and light wood the tri-

angle is charming for a little while. Liszt gave the triangle a

real solo part in his pianoforte concerto in E^.
Music for the triangle is written on a single line or on the
treble staff often shared with other noise makers.

The Cymbals
251. The cymbals consist of two large brass discs, the
larger the better. These instruments have a technic all their own
with four different kinds of strokes. A single crash to point a
climax is represented by a single note. A roll is written in the
usual way.
Music for the cymbals is usually written on one line, or it

may share a staff with some neighbor.

The Chimes (Bells)

252. An octave of metal tubes hung on a frame resembling
a hat-rack ; not to be confused with the little high-pitched instru-
ment described below. These long tubes are the nearest practical
substitute for the huge low-pitched cathedral bells.

The Glockenspiel (Chime-Bells)

253. Two or three octaves of little steel plates (or strips)
resting on a frame and struck with small wooden hammers. The
tone is Doubled with the high wood-winds it
bright and crisp.
will come out with surprising brilliance. One of the most charm-
ing examples —
and one to be memorized is shown in Ex. 42 —
taken from the Waldzceben in Siegfried.
Music for the glockenspiel is written in the treble staff and
sounds two octaves higher than written. Written compass from
 .

PROJECT LESSONS IN ORCHESTRATION 149

middle Bb, or the C below it, up to high C, according to the instru-

ment.
The Xylophone
254. An instrument resembling, in construction, the glock-
enspiel, except that the strips are small bars of wood. Made with
or without resonators. The tone is dry, has been likened to rattl-
ing bones, and is conspicuous in Saint-Saens' Dance of Death.
Written compass corresponds to that of the glockenspiel but
sounds one octave higher than written.
255. Having made a bowing acquaintance with the fore-
going percussion instruments, we may set them aside to be called
upon when needed, and turn our attention to the school orchestra.

The School Orchestra

9^56. By completing Ex. 110, which is playable by at least
fourteen different (smaller) groups, you have taken a long step
toward the practical orchestration which is the concern of every
commercial arranger as well as every school orchestra director.
If not already familiar with the school orchestra scores and the
plan of the Editors in laying out their instrumentation, your next
step should be to examine this material (see the on page 177)
list

257. In order to be specific, and present a practical model

for the next assignment, we shall follow the instrumentation used
as a standard in the Philharmonic Orchestra Series, Oliver Ditson
Co. The second page of the cover states the plan, the first page
of the score shows the instruments. (Although any full score will

serve, we recommend, for present study, Nos. 13, 14, 18, 20, and
27, all from the great masters.) Ex. Ill should now be studied
minutely.

Russian Hymn scored for full School Orchestra

258. This arrangement can also be played by what is
160 PROJECT LESSONS IN ORCHESTRATION
termed the Small Orchestra, consisting of but two wood-winds
(flute and 1st clarinet), three brasses (2 trumpets and 1 trom-
bone) and the strings (pianoforte ad lib,).
hx.lll
Attention is called especially
to the small orchestra. Its two
woods take the soprano; its

three brasses sound well even

when played alone, the strings
are the same as for the full or-
orchestra score gives complete
chestra.
Next, observe that the full

wood-wind harmony, although

the one bassoon takes the tenor
for part of the time; and that
the horns enrich the brass sec-
tion which would now come out
very full and well balanced.
Double-stops in the strings are
avoided. Only the 2nd violins
are divisi. Young players will
do these undivided parts with
fine assurance.

Substitutions
(To be flayed only in the absence of Violas)
V3
259. To get the most out

Va.

Vc.
l^#
/
^^ of a "mongrel group" of instru-
ments, the leader must be on the
Db.

Pfte.
ad lib.
^
^^
M
m
^
^
alert to make

a part on occasion.
ample, in this score, a
substitutions on
short notice and even write out
For
C soprano
ex-
 PROJECT LESSONS IN ORCHESTRATION 151

saxophone can play the oboe part, a C melody also (sounding an

octave lower.) To use the alto or baritone saxophone for the
bassoon, simply follow the device explained in § 196. Other
substitutions should occur to the resourceful director. The first

rate school orchestra scores now available are full of suggestions.

See list referred to in § 256.

Assignment 35
Arrange the Russian Hymn for both full and small school
orchestra as begun in Ex. 111.

LESSON 36
Studies in Color
260. In Ex. 112 notice five different ways in which Grieg
treats the opening motive of his Morgenstimmung ; in (a), flute
with wood-wind accompaniment; in (b), oboe with string accom-
paniment; in (c), all strings; in (d), all wood-wind and horn
(launched on the closing quarter-note chord in the strings) and ;

in (e), melody in three different octaves forte in the strings with

solid sustaining winds, double-bass, and one stroke of the kettle-

drum. Such contrasting treatment of the same theme within one

piece should be weighed thoughtfully. Look for similar variety
in other fine scores. Too many measures of tutti, even though it

be well written, may become painfully flat and uninteresting.

^"'^' Morgenstimmung, Op.46
Alleg retto pasto rale
^^•J^^^

Fl.l i

f
'i'
-

rr r r r

Clars.
in

Bns.
A

^ P
n »
-A-
152 PROJECT LESSONS IN ORCHESTRATION

Ex. 112 Cont.

(b)

Ob.l v« )i >rrj
PROJECT LESSONS IN ORCHESTRATION 158
Ex.112 cont.
(d)

Ob.l
m p fi>
^ fp
Cls.
1P ^
Bn.l
^^ ^^P
fp fp
W m W

Hn.3
i ^
V.2
Va.
\'c.
^W i =^^
fp fp

Fls.
^i i
Obs.

Cls.
^ ftfrTT^T-

/. /.

Bns.
^S/
Hns.

z^-
Timp. ^ !i
r
' t

V.l

V.2

Va.

/
Vc.l ^'Wt-e^ r r r rr^r
/
Db.
im ^
/
154 PROJECT LESSONS IN ORCHESTRATION
261. It takes time to develop a theme, or rather to give
many different instruments a chance at it as Grieg has done in the
preceding examples, but the beautiful Hadyn Theme (see Ex.
76), which was done for wood-winds, has the vitality and thematic
character which make it an inviting little number for full orches-
tra. In miniature here are all the possibilities of color, contrast,
and climax that one could ask.

x\sSIGNMENT 36

Arrange the Haydn Theme, Ex. 76, for combined Full and
Small Orchestra, following exactly the instrumentation of the
scores recommended in § 257. This will require three pages of
score paper and should have an extra time allowance.

PROJECT 6

(To follow Lessons 33 to 36)

you have composed a Processional or other suitable piece,
If
now is a good time to score it for full school orchestra, but in such
a way that even a small group could play it. In the absence of
"original" numbers arrange a good short March of your own
selection.
 ;

LESSON 37

The Harp
262. The compass of the harp is shown in Ex. 113 togethei
with a diagram of the pedal mechanism.

Ex.113

62 Octaves J Diatonic scale of Cl?

3 ^^ 33:

Pedals

263. Seven pedals at the foot of the harp afford the means
of transposition and modulation. Each pedal, on being de-
pressed one notch, raises all the octaves of its letter one half-step
two notches, one whole-step. Since the scale of the harp is C^',

by the use of the pedals, all flat, natural, and sharp notes can be
played, but because the harp is a diatonic instrument, and moving
a pedal takes appreciable time, chromatic progressions and
abrupt modulations are not suited to it.

155
 :

166 PROJECT LESSONS IN ORCHESTRATION

264. In arranging music for the harp, the following points
should be kept in mind

1. Chords should "lie in the hand," preferably an octave limit,

since the player uses the thumb and first three fingers only.
2. Sostenuto is impossible.
3. Glissando has a wider application than in piano music.
4. Harmonics are effective if limited to (about) the third and
fourth octaves of the harp's compass.
5. Repeated notes, if rapid, must be on two strings, for example,
Cb and B.
6. Five-note chords and notably all those which lie low and thick
are valueless.

265. The following types of harp music are all easy and
practical, Ex. 114.

Ex.U4 Meyerbeer
Gounod Mendelssohn (c)
J, Maestoso Poco andantino

Harp<

^^^^^^rt ^^^
266. Bizet's use of the harp is in perfect keeping with the
character of the instrument, Ex. 115 —dainty at (a), rich and
full at (b).

Ex.115
Andantino quasi allegretto Bizet, Carmen, Intermezzo

Fl.

Harp^
 PROJECT LESSONS IN ORCHESTRATION 167

Ex. 115 Cont

Cb)

Solo
V.l

2Dbs.

267. The best introduction to practical arranging for the

harp with one or two other instruments, is to write a score like the

following for harp, flute, and violin. It is assumed that the stu-

dent has seen a harp and heard its various qualities demonstrated,
also that an ear-training study of the piece to be arranged has
been made from a good phonograph record, with the vocal score
in hand. Here follow five representative measures from Schu-
bert's Serenade with the suggested treatment below them. Studv
every detail, Ex. 116.
158 PROJECT LESSONS IN ORCHESTRATION

Ft. Schubert, Serenade

Voice

Violin

Harp

268. The original key (d minor) is used. At (a) the harp

takes 3-note chords an octave higher than the piano. A literal

copy from the piano would be too thin and colorless. At (b)
notice the notation of the voice part compared with the corre-
sponding violin part. At (c) first entry of the flute, coming in
again in measures 14-15. At (d) flute leads off in its finest bril-

liant range, and now maintains a leading part to the end.

Assignment 37

Arrange Schubert's Serenade for harp, flute, and violin, as

planned in the model. Work from a vocal score. Do not add
melodic fragments. There is a record in which this is done but it
can not be recommended. If desired, cut measures 29-60 inclu-
 PROJECT LESSONS IN ORCHESTRATION 159

sive. Make a pencil sketch first (for the next class hour), the
score to be completed in ink afterward. This should make a
beautiful concert number.
Other numbers suitable for harp and one or more other in-

struments are:
Boisdeffre, Au Bord d*un Ruisseau
Schubert, Ave Maria
Saint Saens, The Swan

LESSON 38

Orchestral Accompaniment to Voices

269. In scoring an orchestral accompaniment to vocal

music, it is the voice that must receive the chief consideration.
The words and the melody are of equal importance — neither
should be drowned by the accompaniment. The voice has its

"scope of greatest expression," that middle range where dynamic

variety and perfect pronunciation are most easily attained. Here
a declamatory passage will "come through" better than a smooth
cantabile melody. Persistent repetition of a familiar word may
justify its position in the higher range of the voice, and the use
of the full orchestra, as, for example, the word Hallelujah in
Handel's Messiah. But this whole question of balance between
the voices and the accompaniment, of interplay of contrasting
colors, must be studied at first hand in the concert hall and in

master works. A brief statement of some general principles fol-

lowed by representative types of accompaniment will be more use-
ful here than any amount of discussion.
270. The voice unaccompanied, in short passages of recita-
tive or phrases of a highly emotional character, is sometimes
 :

160 PROJECT LESSONS IN ORCHESTRATION

strikingly effective. A single note in the cellos and basses is fre-

quently all the support needed in long passages of recitative.

271. The timbre of the voice does not mix with that of the
instruments. For this reason a vocal solo may be entirely above,
below, or in the middle of the accompaniment without affecting
the harmonic support: in other words, the accompaniment is in

itself complete, its lowest part is the bass. Therefore a voice

singing the fifth of a triad below the accompaniment does not
transform a triad in fundamental position to a six-four chord.

272. Consecutive fifths which sometimes occur between a

solo voice and some upper part of the accompaniment are unob-
jectionable.

273. Precisely because voices possess a unique timbre, har-

mony for them must be well defined —complete in itself. Poor
harmony in the voices can not be corrected by the accompaniment.
An empty triad in the vocal mass remains empty.

274. The primitive orchestra played the voice parts only.

Thus all the voices were doubled by instruments. Even now a
contrapuntal composition for voices may be treated in this way.
For example the solidity and vigor of the Amen Chorus in the
Messiah could not be excelled by any other (more modern.'^)
usage.

275. Significant types of orchestral accompaniment to a

chorus may be mentioned briefly as follows

1. All the harmony in the orchestra, the chorus in unison (or

octave) on the melody.

2. The melody in the orchestra, the harmony in the voices.

8. A simple, or figurated, accompaniment to contrapuntal voice

parts.
 PROJECT LESSONS IN ORCHESTRATION 161

Innumerable gradations from one type to another may be

found and should be studied.
276. The strings alone, pizzicato, provide the daintiest of
accompaniments to a solo. Carmen's song and dance with casta-
nets is beautifully and adequately supported in this manner,
Ex. 117.

Ex.117
Bizet, Carmen, N917
Allegretto moderate

Cas'ts. SI ^ ^ ^ r '
usu r ' r r r ' LLTLT

•^
VPV
sempre ptzz.
^^
=F^ M^ ^ r
^^
"^^ ^^
r^^f
Va. Kl>rJ^
sempre ptzz.
- ^^ ^^
(Carmen dances and plays the castanets)
jt i J

Carmen

Vc.
Db.

277. Because the strings have the power to subordinate

themselves even to the vanishing point, they are indispensable in
a great variety of light passages. Sustained strings, con sordini,
afford a transparent accompaniment especially suited to a solo
whose inherent beauty deserves undivided attention. Siegmund's
Love Song is begun in this way, Ex. 118(a). Later, Wagner
adds a clarinet and an oboe (b), and still later draws upon his

colossal orchestra with winds in threes and fours and two harps.
This full score is available in the pocket editions at small cost and
should be studied in detail.
 —
162 PROJECT LESSONS IN ORCHESTRATION

Ex.118
(a) Moderato mosso
Wagner, Die WalkUre, Siegmunds Liebealied
con sordini

Vl

V.2

Sieg- ,h. jy Ji 71p~..

mund ^Tri^J
Win- tt:r
^F
stiir-me
FMr ^r-'^rFir
wich-enden Won-ne-raond,
-v^
mil-dem
in
^^rir ^''[?
der Lenz,
Lich-te leuch-tet

fow sordini

\c.

Ob.

CI.
in B^.

Vl

V.2

Va.

>i eg.

Vc.
Db.

tmmer jjp

278. In the next number the solo is doubled in the octave

by the first horn and in the double octave by the first violins

melody in the triple octave. This is highly effective if used spar-

 PROJECT LESSONS IN ORCHESTRATION 163

ingly. Notice especially the dynamic marks, how the orchestra

recedes to let the words of the solo come through, and plays /
between the vocal phrases, Ex. 119.
Ex.119
Mozart, Bon Juan, Scene I
Molto allegro
Hns.

/ /
279. Plain chords broken by rests, as in the next example,
throw the solo into bold relief. Elijah's words are of prime im-
portance. This restraint in the strings is ideal [Ex. 120(a)],
but see how woods, brasses, and strings burst forth ^ between the
vocal phrases later on (b).

Ex.120 Mendelssohn, Elijah

—

^^ ^^
•^^
Adagio Air It is enough

V.
Mm V h V V ^
£ S
pp
10 11 12 cresa

Va.
rrnr-r
Tl«*
»• i J > -W
JRP
i 1 Ji 'n Jn y j\ ^^ ^^ ^ cresa

Elijah
^^ It is e - nough! O
MMTf
Lord,nowtake a -way my

Vc.
Db.
^ V Kv V jvF K ^ h^ ^ K ^ h ^^ i
^

TpT _h
I

^FT Tp f cresa
164 PROJECT LESSONS IN ORCHESTRATION
Ex. 120 Cont.

13 ^ 14 F 15 16

Va. I^V ffyj-^vvj^

i'
riyjiy^ ji 5 ^^ i
P
. \\y i'^

Elijah -M/ r
life,
r- [i

for
i
rrr
I am not
ir
bet
^M
- terthanmy
p
i n ^
fa-thers!

Vc.
Db.
^^
^^^^^^m y^y i \i 'pf^w

Molto allegro vivace IbiQ

(b)

Cls.
in A ^ ^^ .^ t
Bns. ^ M^ ^ ff
Hns.
inA
OTT
j«r
Tpt.
inA 53
?
u g• g E
llfT
^^
Y.l

V.2

Va.
i

\
if
y ^^^
?

^•HM-
^

P^I
!

i?i
^
^^ ^
JCIZ

Ofs
—P«e
i»

=^s
g
g
f K^ f
S

K^

Elijah 9 5111^
^IT^'^

I have been \-e-ry jeal- ousfor the

Vc.
22:
Db.
'if .s>
 PROJECT LESSONS IN ORCHESTRATION 165

Ex. 120 Cont.

Cls.
m ^& $
^
inA
JT'
Bns.

Hns.
inA
ff

jfF rr f
— ^5 r-^ f
Tpt.
=5
inA
w r f
YA
/

y S^ ^
if
m m m
^^
;
wz-m^

V.2 r^T^^i^
tf:
5 "77
ff

^
^M i
i
Va.
."!'' fr'H ^ ^^^ fe

Elijah v^iir rr s
zz:

Lord, for the Lord Godof Hosts

u
'

Vc.
|^>-¥'t n i g i
Db.
^ jr rf

280. Striking contrasts handled with consummate skill are

shown in the next six measures. The soft flutes and clarinets

with female voices bathe the opening, "Holy, holy," in celestial

liglit, while in response the incisive oboes, with all the brass,
strings, chorus, and organ ff break forth with an unanimity and
rugged power that is indescribably thrilling, Ex. 121.
166 PROJECT LESSONS IN ORCHESTRATION
Mendelssohn, Elijah

^m
Ex. 21
Adagio non troppo Solo, quartet and Chorui

Fls.

I9>

Obs ^^
(Actual sounds) jor

Cls. ^5
^8r W^ aif

Bns. P
ff

Hns. (Actual sounds)

^
^r-^:

Tpts
i
jsr
^
(Actiial souttds) if

Tbns.^2
Orig. not in this clef.

Ophi m
-^ ir ir
Timp.
C&G m
^
n ^^
r)
ir

s =F=F ^^=F
^

Sop. 2

Alto'
pl=A J=i

Ho-ly, ho - ly,
pF
ho

i
.

^rrrff^
^^
ly is
ff

God the Lord

^

Sop. « r^

Alto
n=:^
Ho-lv, ho - iy

o i-
Ten.
^ i
Bass
/ ?
y?-
Db § i
jSfCoW Organo
•Ophicleide, cf. § 7, reference table, under Brass.
 PROJECT LESSONS IN ORCHESTRATION 167

281. The value of brasses to accompany male voices has

long been recognized ; for female voices they are less satisfactory.
For his Huntsman's Chorus, Weber used three horns in D and
one in A, dovetailed (cf. § 214) ; but for the student's convenience
they are shown here as they sound, Ex. 122.
Ex.122 Weber, Der Freischiitz, HiMUsman^n CkoiH*

Bus.

Horns
(acttuU <
sounds)

Tbr

- Ten.==r k
i
P mm
iJ^KJJ^K _^I)})l})

m
4 or 8
la la la la la la la la la la la la la la la la
Solo
Bass>r k

m TTTT
voices i

P rrw r
Chorus
unis. n'iH^n^^iu^u^ u^7 mnfH^iH^^
la la la la la la la la la la la la
\

la la la la la la la la la la la la la la la la
m
la la

282. On occasions of royal or religious ceremonial, the

trumpets, trombones, and tuba provide an ideal accompaniment
to a male voice solo, Ex. 123.

Ex.123 Wagner, Lohengrin, Act 3, Scene 3

y ^ Allegro
Tpfs.

Tenor 1

Tbns. 2

Tenor
Tbn.
Tuba

King
Henry t
Have than](8,good lie-ges of Bra-lnntl Olo - ry in arms may for- hine grunt!
 :

168 PROJECT LESSONS IN ORCHESTRATION

Assignment 38

Working from a num-

vocal score, give one of the following
bers an effective orchestral accompaniment. Assume that you
have at command all or any desired part of a good full orchestra.
Mozart, Isis and Osiris, from The Magic Flute (bass solo)
A. Goring Thomas, Winds in the Trees (sop. solo)
Mendelssohn, Rest in the Lord (alto solo)
Mendelssohn, // with All Your Hearts (tenor solo)
We have now reached a point where suggestion as to what
instrumentation would be best is purposely avoided. If the full
score of JVIozart or Mendelssohn is available, do not look at it till

you have finished this assignment.

LESSON 39

On Making A Score and Parts

283. In making a score and parts, especially where a num-

ber of students expect to have their work performed by one group
of players, uniformity of procedure is desirable. Playing from
manuscript is not easy for amateurs. It is even more difficult

when every successive piece at the rehearsal is in a "different

hand." Notes, rests, cues, etc., should resemble, as nearly as pos-
sible, what the players are used to reading. Every one prepar-
ing a work for such a rehearsal should observe the following
suggestions

The score

1. For the score, use 18- or 20-staff paper. The eye takes iu
more at a glance on staves near together.
 PROJECT LESSONS IN ORCHESTRATION 169

2. Fold togetlier bookwise enough sheets to contain the entire

score. Number the pages plainly, beginning on the first
left-hand page.

3. The first page must show the complete instrumentation. After

this first page, any instruments not used for a time may be

omitted, but every such change must be indicated. Label

all instruments in the margin of each left-hand page.

4. In simple scores it is usual to place winds in pairs on one staff,

but if the rhythm of the one differs from the other carefully
placed stems must distinguish each part.
6. Except as above, give each instrument its own staff, clef, sig-

nature, and dynamic marks. Tempo indication at the top

of the score is sufficient.

6. A pair of winds playing in unison is marked a2 (cf. § 141),

or double stems must be used. If one part rests, these
rests must be carefully placed, and the stems for the other
part turned up or down as the case may be. This is very
important.

7. Much more abbreviation is legitimate in manuscript than in

printed music. Use freely (especially in first draughts)
the repetition sign (cf. Ex. 33), and col violin, col cello
8va, etc., to save copying the same melody in another part.
8. Number every tenth measure plainly in a square or circle thus:

Begin counting with

n , preferably in red.

first full measure. Instead of numbering the measures in

dances or other short pieces, a few letters (A, B, C, etc.)
suffice.

The parts

For the parts, use 12-staff paper. These parts must be read
from stands at more than twice the usual reading distance.
A common fault is to make the parts too small.
170 PROJECT LESSONS IN ORCHESTRATION
10. If you do not play in an orchestra, examine the separate horn
and trumpet parts of some good scores, especially those
that are well cued, and take great pains to group rests,
insert cues, etc., in the best way. Write cues in red ink.
11. Every part must have all the dynamic signs, tempo marks,
title, and the name (or initials) of the arranger. Too
much modesty in this last matter causes confusion in re-
hearsal and may cause loss of parts.

On Assembling a Score
284. To assemble even one score from the parts requires
considerable time and patience, but there is nothing that will take
the place of this valuable study. Whether you do much or little

In orchestration, if you lead an orchestra, you should have as-

sembled at least two or three good scores of diverse types. Ex-
work may be found
cellent directions for this in Woods' School
Orchestras and Bands, Chapter 14.

On Reducing an Orchestral Score

285. Another important item in the leader's preparation,

is the reduction of an orchestral score to a piano score for two

hands. In the Symphony Series by Dr. Percy Goetschius
(Ditson), the editor has provided superior annotated piano ar-
rangements of representative symphonies by great masters. A
valuable study would be to reduce all or part of amovement of
one of these full scores to piano score, and then compare your
work with that of Dr. Goetschius. Success in this will require
many trials and many comparisons, but the results are worth the
effort.

On the C Clefs
(Those who do not read the C clefs may omit this paragraph.)
286. When reading the written part of a transposing in-
 PROJECT LESSONS IN ORCHESTRATION 171

strument, it is easy to think it where it xvill sound by changing

(mentally) the clef and signature. Read the notes as printed,
the clef does the rest (cf. § 196). For example, there are five

ways to read Ex. 124 (a) by using in turn the five different clefs
with their signatures. Another way of illustrating the same pro-
cess is shown in Ex. 125.

Table of a few easy (Mental) Transpositions by the use of clefs

Ex.124

1
3
i(ua *'Lfl (a)

Ex.125
4= i^ I J p r I ^ I I
Equals:
^^^^g Sounds as written,
Fl.,Ob.,Vi.

8vn
Equals
^^m w Is trans,
a maj. 6*^,
Hn.inEt
down

Equals;
^ 35S

Jpg
Is trans,

Tpt.&Clin Bt

Is trans,
down
a whole-step,

down
^•2t:; I J pr^^^^ ^""" 4^ii^lj a minor
Tpt.&CLinA
3^.*',

5 w>^'-i
^" J\
i
\
r i M i
E,.ai. i#i[ [;^p|jp
r ^ Is trans,
a half-step,
Fl. in D!»
up

Other transpositions can be made. No. 3 without the 8va

reads a major ninth lower, where the tenor saxophone would
sound; in No. 5, three sharps, instead of four flats, give what a
—
trumpet in D would sound a convenience in reading older scores.

Assignment 39

Assemble a score from the separate parts. Select for this a

short number for full orchestra from one of the best editions.
 :

172 PROJECT LESSONS IN ORCHESTRATION

Copy in ink. As you copy, notice the composer's (or arranger's)
methods — his disposition of the harmony, his duplication of
melody, his means of obtaining contrasts. This may be made a
very valuable lesson in orchestration.

PROJECT 7

(To follow Lessons 37 to 39)

This project, the most important in the entire course, has
been done annually in the Author's classes by a group of eight or
ten students especially selected for the work. It should be called
a group-project because it requires first rate "team-work" as well
as a mastery of the preceding Lessons,

The work of this group is to prepare an orchestral accom-

paniment to a Cantata —a complete score and parts ready for
performance. This will require of each student about 20 to 30
hours work. Studying the music and planning the instrumenta-
tion is the most interesting part of the task. Making the final
ink copy of score and parts takes a lot of hard work.

An outline of procedure may be stated as follows

1. Selection of the Cantata. It should have merit, be conceived

orchestrally, have charm for the singers, require 20 to 30
minutes —not more. Grieg's Spring Cycle (Ditson) meets
all requirements. Among others enjoyed by previous classes
are Fletcher, Walrus and Carpenter (Novello), Busch^
Bobolinks (Presser).*

•Permission to score copyrighted music must, of course, be obtained from the

owners of the copyright. Scored for educational purposes, sung from vocal score
and accompanied by the orchestra, a good Cantata soon makes scores of new
friends. Our leading publishers have generously aided in the plan outlined above.
 PROJECT LESSONS IN ORCHESTRATION 178

2. Determination of the precise instrumentation for which the

score is to be made, and the number of players on each part.
Since this is to be performed it must meet actual conditions.
3. Division of the Cantata into four or five portions, usually 100
to 150 measures each, and assignment of one portion to two
students working together. Thus, working in pairs, eight
or ten students are responsible for the entire work.

4. Measures numbered by 10, 20, etc., later matched in score and

parts.

5. Preparation of a preliminary score in pencil, on which the

teacher's advice may be sought if necessary.

6. Ink copy of score on 18- or 20-staff paper, parts on 12-staflf.

7. A "sewing bee" which the group come together, assemble the

in
material, sew into suitable covers, and label score and parts
ready for the first rehearsal.
 APPENDIX A
Less Used Instruments Compass
Written Sounding

Piccolo: a small flute trans-

posing up an octave, as shown.
The military piccolo in Do trans- Pic.
poses up a minor ninth; the flute "cr
in D'', up a minor second.

English-horn: an alto oboe

with practically the same tech-
A rare and precious color Eng. Hn
nic.
in
down
the orchestra.
a perfect fifth.
Transposes «W
Bass-clarinet: a large clarinet
sounding an octave below the
iBass CI.
(Frejich
notation) fe ^ i^
corresponding standard instru- TT
ment. Two notations: French,
written in treble clef: German,
tc e%- w-
written in bass clef with treble Bass CI.
3^ ^
for the highest notes. (German
notation) i
Alto-clarinet: written range
identical with that of the bass-
clarinet (French notation),
transposing down a major sixth
Alto CI
•^ ^ -o-
like the horn in E^ Treble clef.

Basse tt-horn: not a horn, but

an alto-clarinet built in F and
transposing down a perfect fifth
like the horn in F. Treble clef.

Double-bassoon: a large bas-

Basset-
horn
^ ^TT

soon transposing down an octave

like the double-bass (string),
D.Bn. ^ P xt:

Bass clef. \>--

Bass-lrombone (in G): built

on the same princii)le as the
tenor-trombone. Often shares
bass clef with the tuba.
Bass
Tbn.
^
J?
175
 APPENDIX B
Bibliography

Forsyth, Orchestration (MacMillan). Complete, up to date, beauti

fully written, indispensable to the advanced student.
Gevaert, (1) Nouveau Traite d' Instrumentation and (2) Cours
Methodique d' Orchestration (Lemoine & Cie.). The first of these is

devoted to a study of the instruments, the second to their use in orchestra-

tion. Large, complete French works.
Hofmann, Prahtische Instrumentationslehre (Dorfling & Franke).
An exhaustive treatise in six books. English translation available.
Kling, Modern Orchestration and Instrumentation (Carl Fischer).
A large variety of models for both orchestral and band purposes. Trans-
lated from the German by Gustav Saenger.
Rimsky-Korsakov, Principles of Orchestration (Berlin Ed. Russe). —
Two vols., the first, largely text; the second, excerpts from the author's
own works. An important Russian work, available in English.
Corder, The Orchestra and How to Write for It (Curwen & Sons).
Excellent models, considerable attention given to "mongrel" groups as
found in England.
Carse, History of Orchestration (E. P. Dutton). A recent and
comprehensive presentation of the subject. Of special interest to those
who wish to know how the orchestra "grew."

Woods, School Orchestras and Bands (Oliver Ditson Company). A

small book packed full of important information for those who have to

develop and lead these organizations in the American public school.

176
 :

THE MUSIC TO BE USED IN THIS COURSE

The MUSIC SUPPLEMENT to Project Lessons in Orchestration
(Price .75), which contains tlie music required in the lesson assignments,
should be in the student's hands. For optional assignments and projects,
the following standard numbers should be in a convenient Reference
Library
ORCHESTRAL SCORES (Miniature Editions)
Vienna Philharmonic Edition
Haydn, Symphony G maj., Ed. No. 26
Mozart, Symphony G min,, Ed. No. 27
Beethoven, Symphony V C min., Ed. No. 1
,

Schubert, Symphony VIII, B min., Ed. No. 2

Eulenberg's Kleine Partitur-Ausgabe
Mendelssohn, Op. 61, Five Nos. fr. Midsummer Night's
Dream, No. 804
Tschaikowsky, Op. 71a, Nut-Cracker Suite, Ed. No. 824-

Tschaikowsky, Op. 74, Symphonic, B min., Ed. No. 64

ORCHESTRAL SCORES (Regular Editions)

The Philharmonic Orchestra Series, Oliver Ditson Company, Speci-
men Nos.
Master Series for Young Orchestras, G. Schirmer, Specimen Nos.
Orchestral Training by Mortimer Wilson, J. Fischer & Bro., first
two grades.
Symphony Series, Silver, Burdett & Co., Specimen Nos.
PIANO MUSIC (Any Edition)
Schumann, Kinderscenen
Mendelssohn, Songs Without Words
Kuhlau, Sonatinen, Op. 20, 55, 59
Some good general collections like Masterpieces of Piano Music,
Mumil Pub. Co., or Piano Pieces the Whole World Plays,
Appleton.
VOCAL MUSIC
Schubert, a good collection of his songs.
Twice 55 Community Songs, Birchard & Co. (Complete)
Other collections of the school-song type.

177
 INDEX
^ACCOMPANIMENT TO VOICES,
159
Ditachi, 21
moyeriy 22
Arco, 27 petit, 22
Distribution, 16, 18, 32, 56, 143

OASS-DRUM, 147 Double-bass, 6, 30, 35, 45, 47, 66, 70

Bassoon, 82, 123 Double-reed, 77, 82

Bells, 148
Double-stops, 30, 32

Bowing, 21, 64
Down-bow, 21

Brass, 120
Drag, 147
Duplication, 13
as accompaniment to male voices,
169
Du talon, 22

compared with wood, 141

Dynamics, 9, 70, 138, 143

(See also trumpet, trombone, etc.)

Brassy, 123 piLLEIl, 10, 15, 17, 18, 19, 26, 42,
Broken chords, 44, 52 45, 63, 147
Flam, 147
/^ELLO, 6, 30, 35, 45, 52, 70 Flute, 76

Chime-bells, 148
Chimes, 148 I^LOCKENSPIEL, 148
Clarinet, 79, 123
Clef, C, 173
alto, 7, 9, 137 TJARMONIC RELATIONS, 68
tenor, 7, 138 series, 16

G, 7, 75, 77, 79, 116, 119, 122, 134, Harmonics, 28, 80

147, 148 Harp, 155
^
F, 7, 82, 119, 122, 138, 143 Horns, 120
Color, studies in, 151 as independent choir, 125
Consecutive fifths, 13, 160 as solo, 127
octaves, 10, 13 in F, 122

Contrast, 66 notation for, 121

Cornet, 135 two in combination, 129
Cymbals, 148 INSTRUMENTS, GROUPS OF, 4

T\^MPFER, MIT, 28 TET6, 23

Dance music, 35

178
 INDEX
IZETTLE-DKUMS, 142 ^AUriLLl^, 23
Saxophones, 114
School-orchestra, 149
BONO, COL, 28
I Score, 2
LourS, 26
assembling, 172
making of, 168
^A RTF L^, 22 reducing, 172
du talon, 22 Scoring for full orchestra, 144
Melodic line, 67 orchestra and chorus, 145
Muffled, 147 Side-drum, 147
Mute, 27, 123, 135 Signature, 126, 134, 143
Single-reed, 80
Slur, 23
TyOTATION, single line, 147, 148,
Song accompaniment, 51, 62
149
Sordino, 27, 28
{See also clefs, transposing in-
Staccato, 23
struments, etc.)
group, 24
Strings, 6, 161 ; see also violin, viola,
QHOE, 77 etc.
Open strings, 7, 30, 45 open, 7, 30, 45
Orchestral accompaniment to voices, Substitutions, 150
159
Orchestration, 1
'T'EMPO MARKS, 9
Test problems, scoring for strings,
72
pAIlTS, MAKING OF, 169
Timpani, 142
Pedals, harp, 155
Tonguing, 76
Piccolo, 76
Transjiosing, 42, 45, 47, 51
Pizzicato, 27, 45, 48, 53, 70, 161
instruments, 7, 79, 114, 122, 134.
Ponticello, sul, 28
170
Punta d'arco, a, 22
Tremolo, bowed, 25, 48, 51
fingered, 26, 27, 48, 50, 61, 54
I ADUUPLE-STOPS, 30 measured,
Q string, 47
25, 48

Triangle, 147
TJANGE, BRASS, 120 Triple-stops, 30
drums, 142 Trombone, 120, 137, 167
harp, 155 Trumpet, 120, 134, 167
saxophones, 115 solo with piano accompaniment,
strings, 6, 8 142
wood-winds, 74 with trombones as independent
Rhythmic elements, 69 choir, 140

179
 INDEX
Tuba, 120, 138, 167 WOOD-WIND, 61, 71, 74
Tuning, 8 as independent choir, 85
of drums, 143 general principles, 93
Tutti, distribution of tones in, 143 melody, string accompaniment.
101

U P-BOW, 21 other uses, 107

see also flute, oboe, etc.

Y/'IOLA, 6, 9, 30, 46, 63

Violin, first, 6, 35, 47, 63 X YLOPHONE, 149

second, 6, 30, 36, 46, 47

third, 7
Violoncello, see cello

180
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