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دانلود کتاب The Cambridge Guide to Orchestration
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مشخصات کتاب
The Cambridge Guide to Orchestration
ویرایش:
نویسندگان: Ertuğrul Sevsay
سری:
ISBN (شابک) : 1107025168, 9781107025165
ناشر: Cambridge University Press
سال نشر: 2013
تعداد صفحات: 680
زبان: English
فرمت فایل : PDF (درصورت درخواست کاربر به PDF، EPUB یا AZW3 تبدیل می شود)
حجم فایل: 42 مگابایت
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Overview Contents Introduction The difference between instrumentation and orchestration A quick glance at the history of orchestration The significance of Viennese classicism in the technique of orchestration Teaching methods About this book About the classification of musical instruments Acknowledgements Part I Theory Chapter 1 String instruments General information Characteristics Instruments and their parts, bows and strings Violin Viola Cello Double bass Ranges Clefs Methods of sound production Fingering (stopping) techniques and positions Leaps Bowing General information Non-legato (separate bows) Legato (slurred bowing) Aesthetic factors Technical factors Types of bowing Slurred on-the-string bowings Legato Louré (Eng.: brush strokes, bow vibrato; It.: portato, separato; Fr: piqué) Slurred staccato Separate on-the-string bowings Détaché (Eng.: separate; It.: sciolto) Martelé (martellato) Staccato Off-the-string bowings Spiccato (saltellato) Sautillé (balzato) Staccato volante (flying staccato) Jeté (Eng.: ricochet; It.: gettato; Ger.: Wurfbogen) Arpeggiando (bouncing arpeggios, bariolage) Multiple stops General information Writing multiple stops Double stops Triple stops Quadruple stops Fingering of multiple stops Further possibilities for multiple stops, only for the cello Arpeggio Division of the strings Special effects Vibrato Variants of vibrato in music of the twentieth century Trill Tremolo Bowed tremolo Unmeasured bowed tremolo Measured bowed tremolo Non-rhythmic bowed tremolo Fingered tremolo Unmeasured fingered tremolo Measured fingered tremolo Non-rhythmic fingered tremolo Undulating tremolo On/over the fingerboard (It.: sul tasto or sulla tastiera; Ger.: am Griffbrett; Fr.: sur la touche) Flautando Near the fingerboard With little pressure On/at/near the bridge (It.: sul ponticello; Ger.: am Steg; Fr.: au chevalet) Near the bridge On the bridge (on the string) Behind the bridge Glissando Variants of glissando in music of the twentieth century Glissando and pizzicato Glissando and multiple stops Glissando and harmonics Undulating glissando Microtonal glissando Glissando on the string (glissando with the right hand) Glissando and col legno Glissando sul ponticello Glissando with constant change of bow Tuning peg glissando Portamento Col legno (Eng.: with the wood; Ger.: mit dem Holz; Fr.: avec le bois) Col legno battuto (struck with the wood) Col legno tratto (stroked with the wood) Variants of col legno in music of the twentieth century Col legno at various places on the instrument Col legno in combination with other effects Pizzicato Further types of pizzicato Left-hand pizzicato Pizzicato of multiple stops Bartók pizzicato Fingernail pizzicato Buzz pizzicato Pinch pizzicato Pizzicato glissando Pizzicato tremolando Banjo pizzicato Pizzicato tremolo Pizzicato bisbigliando Pizzicato “al mandolino” Pizzicato with plectrum Pizzicato with other objects Pizzicato and stopping “Hammer on” pizzicato Pizzicato effleuré Muted pizzicato Silent pizzicato Pulled pizzicato Other pizzicato techniques Pizzicato techniques in combination with other effects (examples) Muting (It.: con sordino; Ger.: mit Dämpfer; Fr.: avec sourdine) Special muting techniques in music of the twentieth century Muting with the left hand Dampening (Fr.: étouffer) Other techniques Harmonics Natural harmonics First partial Second partial Third partial Fourth partial Fifth partial Sixth partial Notation possibilities of natural harmonics Artificial harmonics Glissando with harmonic tones Variants of harmonic technique in music of the twentieth century Pizzicato harmonic tones Half-harmonics Alternation between a harmonic and the fundamental tone Timbre modulation A harmonic built on another harmonic tone A harmonic tone glissando col legno Highest possible harmonics Pulledbent harmonics Scordatura (abnormal tuning) Fingering effects without bowing Stopping tones without bowing Trills and tremolo without bowing Rolls on two neighboring strings Other special bowing effects Effects with bow pressure Bowing on unusual points on the instrument Effects with the hair of the bow Changes of bow as a special effect Arbitrary changing of bow during sustained or slurred notes Circular bow stroke Elliptical bow stroke Rotating bow Other effects with the bow Techniques with microintervals Vibrato with microintervals Glissando with microintervals Trills and tremolo with microintervals Scordatura with microintervals Cluster chords Percussive effects Notation with x-shaped noteheads Tablature notation Prepared instruments Amplification Historical string instruments Viol family Viola da braccio Descant viol Alto and tenor viols (Tenor-) Bass viol Special forms Viola da gamba Descant gamba Alto and tenor gambas (Tenor-) Bass gamba Special forms Lira family Lira da braccio Lira da gamba (lirone) Chapter 2 Wind instruments General information Range Transposition Woodwind instruments Classification Classification by instrument families Classification by mouthpiece Classification by form of the vibrating column of air Woodwinds in the Classical and Romantic periods Flutes Flute Piccolo Alto flute Bass flute Flute in E Oboes Oboe English horn Oboe d’amore Heckelphone Baritone or bass oboe Soprano oboe in E Clarinets Clarinet Clarinet in E (piccolo clarinet) Bass clarinet Clarinets in D, F and A Bassett horn Alto clarinet in E Contralto clarinet Contrabass clarinet Bassoons Bassoon Contrabassoon Sarrusophone Saxophones Brass instruments Classification Classification by instrument families Classification by mouthpiece Classification according to transposition Classification according to the availability of fundamental tones Factors influencing the timbre of the brass instruments Mouthpiece Mensuration (Ger.: Mensur) Tubing Bell Brass instruments in the Classical and Romantic periods Richard Wagner: The Ring of the Nibelungen Richard Strauss: Also sprach Zarathustra Gustav Mahler: Symphony No. 6 in A minor Igor Stravinsky: The Rite of Spring Historical development of the valve instruments Natural instruments “Inventionshorn” Introduction of valved instruments into the orchestra Valved instruments Old and new notation Horns Modern (valve) horn Stopped notes (It.: chiuso; Ger.: gestopft; Fr.: bouché) Echo tones Brassy (It.: suonoi metallicoi; Ger.: schmetternd; Fr.: cuivré) Flugelhorns (Soprano) flugelhorn Alto horn Tenor horn Baritone horn Bass horn Cornets Cornet Piccolo cornets in E and D Trumpets Modern (valve) trumpet Trumpets in F and E Piccolo trumpets in D and E Piccolo trumpet in B Bass trumpet Trombones Descant or soprano trombone Alto trombone Tenor trombone Bass trombone Tenor-bass trombone Contrabass trombone Valve trombone Methods of sound production on the trombone Glissando Tubas Baritone Tenor tuba in B (euphonium, bombardone) Bass tubas in F and E Contrabass tubas in C and B Double (contrabass) tuba Wagner tubas Keyed horn (keyed bugle) Ophicleide Sarrusophone Saxhorns (bugles à pistons) and bass tuba in C Saxotrombas Mellophone and mellophonium Helicone Sousaphone Cimbasso Notation of the wind instruments Some additional observations Methods of sound production and special effects Air consumption and breathing The importance of rests Circular breathing Alternation of identical instruments Breathing at the ends of phrases Register Dynamics Tonguing and articulation Flutter-tongue Variants of flutter-tongue in music of the twentieth century Vibrato Variants of vibrato in music of the twentieth century Trills Tremolo Glissando Variants of glissando Slide glissando Bent tone Overtone glissando Key glissando Irregular (broken) glissando Half-valve glissando Various jazz glissandi Mutes Horn Trumpet Trombone Tuba Mutes which alter the airstream Straight mute Cup mute Mutes which redirect the airstream Harmon mute Solotone mute Whispa mute Mutes which block the airstream Bucket mute Plunger Hat or derby Playing in the stand Variants of muting techniques in music of the twentieth century Harmonics Whistle (or whisper) tones Microintervals Altered fingerings Altering the embouchure Hand stopping Slide changes Tuning the instrument higher or lower Beats Multiphonics New fingering techniques Enharmonic trill Broken (unison) tremolo Double trill (colortimbral trill) Half-valving Vocal effects Breath and air sounds Possible types of breath and air sounds Breath sounds Other air effects Noisy attack Combinations with other effects and techniques Rotating the instrument Effects with the mouthpiece and resonating tube Mouthpiece Resonating tube Wa-wa effect Ghost tones Dismantling the instrument Vocal effects Percussive effects Effects produced by the tongue and the breathing apparatus Striking the instrument Clicking or clattering with the keys or valves Other effects Sympathetic vibrations Bells up (It.: campana alta; Ger.: Schalltrichter auf in die Höhe; Fr.: pavillons en l’air) Rotating the bell laterally (Doppler effect) Structural modifications on the instruments Amplification Wind instruments which are seldom used in the orchestra or are obsolete Instruments with freely vibrating reeds (free reed aerophones) Accordion Diatonic button accordion (melodeon) Concertina Bandoneon Other free reed instruments Recorders (It.: flauto dolce; Ger.: Blockflöte, Schnabelflöte; Fr.: flûte douce, flûte à bec) Historic wind instruments Shawm (It.: cennamella; Ger.: Schalmei; Fr.: chalumeau, chalemie) Pommer (bomhart, bombard, bombarde) Crumhorns Cornetts (It.: cornetti; Ger.: Zinken; Fr.: cornets-à-bouquin) Serpent Chapter 3 Percussion instruments General information Beaters Idiophones Idiophones struck directly Plates struck with a beater Suspended cymbal Sizzle cymbal Chinese cymbal Tam-tam Watergong Gongs Steel drums Bell plates Lithophone Anvil Auto-brake drums Beat-board Bars or rods struck with a beater: wooden mallet instruments Xylophone Trough xylophone Soprano trough xylophone (range: c-g) Tenor trough xylophone (range: a-d) Bass xylophone Marimba Bass marimba Xylomarimba (xylorimba) Keyboard xylophone (Klaviaturxylophon) Bars or rods struck with a beater: metal mallet instruments Orchestra bells (glockenspiel) Keyboard glockenspiel (Klaviaturglockenspiel) Celesta Vibraphone Metalophone Triangle Tubes struck with a beater Tubaphone Tubular bells (chimes) Vessels struck with a beater Slit drum Log drum Wood blocks Temple blocks Cylindrical or tubular wood block Wood-headed drum and wood barrel Bell Cup bells and hand bells Shepherd bells Almglocken (AlpineSwiss cowbells) Cencerros and agogo Cowbells Musical glasses (glass glockenspiel) Idiophones struck together: wood plates Bones Whip (slapstick) Castanets Hand castanets Paddle-mounted castanets Machine (concert) castanets Idiophones struck together: metal plates Crash cymbals Hi-hat Antique cymbals (cymbales antiques, crotales) Finger cymbals Cymbal tongs Idiophones struck together: concussion sticks Claves Idiophones struck indirectly Shaken idiophones with a frame Sistrum Flexatone Cabaza Shaken idiophones with a vessel Maraca(s) Shakers: chocallo and kamesu Sleigh bells, bell tree and paddle-mounted sleigh bells Shaken idiophones with a set of individual pieces Chain Bamboo or wood chimes Shell chimes Glass chimes Metal chimes Shaken idiophones which are struck Quijada (jawbone) Vibra-slap Shaken idiophones with a sheet Metal foil and thunder sheet Idiophones that are scraped Ratchet Sandpaper blocks Guiro Reco-reco Bamboo scraper Idiophones that are plucked Idiophones that are bowed or rubbed Musical (singing) saw Glass harp Glass harmonica Membranophones Kettle drums Timpani Timpani and their ranges Stick drums Tabor, or drum of Provence (It.: tamburo provenzale; Ger.: Tambourin; Fr.: tambourin) Long field drum (Fr.: caisse roulante avec cordes) Parade or short field drum Military drum (It.: tamburo militare; Ger.: Militärtrommel; Fr.: tambour militaire) Tenor drum (Fr.: caisse roulante) Snare drum (Fr.: caisse claire) Bass drum Frame drums Tambourine (It.: tamburo basco; Ger.; Schellentrommel; Fr.: tambour de Basque) Tambourine without jingles Hand drums Bongos Conga (tumba) Timbales Tablas Darabukka Tom-toms Modern (jazz) tom-toms Tom-tom set, classical and modern roto- (Remo-) tom-toms Tom-tom set Classical roto-toms Modern roto-toms Chinese tom-toms Japanese tom-toms O-daiko Taiko Native American tom-toms Drum set Friction drums Friction drum Lions roar or string drum Cuica Chordophones Cimbalon Aerophones Wind machine Lotus flute Whistles and sirens Automobile horns Cuckoo call and bird whistle Toy trumpets and horns Notation of percussion instruments Clefs Notation on five-line staves Notation in tablature Noteheads Rests Slurs Supplementing notation Rolls Unmeasured roll on a single tone Unmeasured roll on two tones Measured roll Grace notes and ornaments Special effects and methods of sound production Muting Dampening Different points of impact Circular rubbing or scratching Dead stickdead stroke Playing with two beaters Tuning of instruments of indefinite pitch Grouping the percussion instruments Score layout Notation Division amongst players Instrument symbols Beaters Music parts for the players Chapter 4 Plucked instruments Harp General information Registers and their characteristic timbres Let vibrate laissez vibrer Sons étouffés Hands on the strings Feet on the pedals Enharmonic notation Notation Indication of pedal changes Functions of the harp in the orchestra Short history of the harp Chords and arpeggios Trills, tremolo and bisbigliando Near the soundboard (It.: sulla tavola; Ger.: am Resonanzkasten; Fr.: près de la table) Near the tuning pins (Fr.: près des chevilles) Glissando Aeolian flux (Sz: flux éolien) Oboic flux (Sz: flux hautboïstique) Falling-hail effect (Sz: flux en grêle) Xyloflux (Sz) Aeolian rustling (Sz: bruissements éoliens) Gushing chords (Sz: accords en jet) Effect of snare drum without snares (Sz: effet de tambour militaire sans timbre) Aeolian tremolo (Sz: trémolo éolien) Thumb tremolo Ascending aeolian chords (Sz: accords éoliens ascendants) Descending aeolian chords (Sz: accords éoliens descendants) Thunder effect (Sz: effet de tonnerre) Whistling sounds (Sz: sons sifflés) Sliding the hand: rapid whistling sounds Sliding the hand: slow whistling sounds Scratching with the fingernail: rapid whistling sounds Scratching with the fingernail: slow whistling sounds Pedal glissandi Tuning pin glissando Muffling (dampening) and muting Muffling (dampening) Muffling tones as part of normal playing technique Isolated sounds (Sz: sons isolés) Muffled sounds (Sz: sons étouffés) Muting Xylophonic sounds (Sz: sons xylophoniques) Xylophonic sounds “a la chitarra” Vibrant sounds (Sz: sons vibrés) Muting with other objects Harmonics Xyloharmonic sounds (Sz: Sons xyloharmoniques) Plucking with fingernails and other objects Effects with the pedals Metallic sounds (Sz: sons métalliques) Pedal tremolo Irregular pedal changes Esoteric sounds (Sz: sons ésotériques) Scordatura Microintervals Effects with the tuning key Fluidic sounds (Sz: sons fluidiques) Rocket-like sounds (Sz: sons en fusées) Buzz effect Other effects Effects with the tuning pins Percussive effects On the strings Tam-tam sounds (Sz: sons de tamtam) Between the strings On the body of the instrument Timpanic sounds (Sz: sons timbaliques) Anvil effect (Sz: effet d’enclume) Other effects Guitar Methods of sound production Glissando Harmonics Muting Microintervals Scordatura Percussive (and similar) effects Other effects Other plucked instruments Mandolin Sound production Mandola Mandolone Balalaika Banjo Hawaiian guitar Zither Historical plucked instruments Lute Theorbo Chitarrone Cittern (gittern) Theorbocittern (ceterone) Chapter 5 Keyboard instruments Piano General information The registers and their characteristic timbres Strings Pedals The function of the piano in the orchestra Chords, arpeggios, trills and tremoli Clusters Clusters of specified pitches Clusters of approximate pitches Cluster glissando Tremolo inside the piano Glissando Glissando on the keys Glissando on the strings inside the piano Horizontal glissando Vertical glissando Rapid sliding with the hand Slow sliding with the hand Rapid scratching with the fingernail Slow scratching with the fingernail Muffling (dampening) and muting Muffling (dampening) Muting Harmonics Pizzicato Effects with the pedals Half pedal Gradual pedal change Pedal noises Percussive effects Percussive effects on the strings inside the piano Percussive effects on the body of the piano Scordatura and microintervals Echo effects Sympathetic vibrations Celesta Harpsichord and other quill instruments Harpsichord Spinet Virginal Clavichord Organ General information Technical mechanism Bellows Wind chests Action mechanism Console Supporting framework, case and façade Supporting framework Case Façade System assembly Acoustic system: pipes Flue, or labial, pipes Reed, or lingual, pipes Ranks and their colors The organ in orchestral music Special effects Cluster chords Mechanically held notes Motor onoff Other aerophones Harmonium Portative Positive Regal Claviorganum (Piano-)accordion Part II Practice Chapter 6 Exercises Introduction Important guidelines for the exercises Further information about the condensed scores The design of the score page and notation About the symbols and different notation techniques used in the condensed scores Orchestration and form Terminology “Right and wrong” Reference table for the selection of specific exercises Exercise 1 Joseph Haydn: Symphony No. 104 in D major, 2nd movement Exercise 2 Wolfgang Amadeus Mozart: Symphony No. 40 in G minor, 2nd movement Exercise 3 Wolfgang Amadeus Mozart: Symphony No. 41 in C major (Jupiter), 1st movement Exercise 4 Robert Schumann: Symphony No. 1 in B major, 2nd movement Exercise 5 Robert Schumann: Symphony No. 2 in C major, 3rd movement Exercise 6 Peter Ilyich Tchaikovsky: Serenade for Strings, 1st movement, “Pezzo in forma di sonatina” Exercise 7 Peter Ilyich Tchaikovsky: Serenade for Strings, 1st movement, “Pezzo in forma di sonatina” Exercise 8 Peter Ilyich Tchaikovsky: Serenade for Strings, 2nd movement, “Waltz” Exercise 9 Gustav Mahler: Symphony No. 9 in D major, 4th movement Exercise 10 Joseph Haydn: Symphony No. 100 in C major, 2nd movement Exercise 11 Joseph Haydn: Symphony No. 104 in D major, 2nd movement Exercise 12 Wolfgang Amadeus Mozart: Symphony No. 40 in G minor, 2nd movement Exercise 13 Wolfgang Amadeus Mozart: Symphony No. 40 in G minor, 3rd movement, “Menuetto” Exercise 14 Ludwig van Beethoven: Symphony No. 5 in C minor, 1st movement Exercise 15 Ludwig van Beethoven: Symphony No. 5 in C minor, 2nd movement Exercise 16 Franz Schubert: Symphony No. 8 in B minor (Unfinished), 1st movement Exercise 17 Johannes Brahms: Symphony No. 2 in D major, 3rd movement Exercise 18 Johannes Brahms: Symphony No. 3 in F major, 3rd movement Exercise 19 Peter Ilyich Tchaikovsky: The Nutcracker Overture Exercise 20 Antonín Dvoák: Symphony No. 9 in E minor (From the New World), 2nd movement Exercise 21 Richard Wagner: Tristan und Isolde, “Vorspiel” Exercise 22 Gustav Mahler: Symphony No. 4 in G major, 1st movement Exercise 23 Richard Strauss: Also sprach Zarathustra Exercise 24 Claude Debussy: La Mer, 1st movement, “De l’aube à midi sur la mer” Exercise 25 Alexander Scriabin: Poem of Ecstasy Exercise 26 Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Tuileries” Exercise 27 Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Promenade” Exercise 28 Wolfgang Amadeus Mozart: Symphony No. 41 in C major (Jupiter), 1st movement Exercise 29 Ludwig van Beethoven: Symphony No. 1 in C major, 1st movement Exercise 30 Franz Schubert: Symphony No. 9 in C major, 1st movement Exercise 31 Johannes Brahms: Symphony No. 3 in F major, 3rd movement Exercise 32 Peter Ilyich Tchaikovsky: Symphony No. 4 in F minor, 1st movement Exercise 33 Peter Ilyich Tchaikovsky: Symphony No. 4 in F minor, 3rd movement Exercise 34 Peter Ilyich Tchaikovsky: Symphony No. 4 in F minor, 4th movement Exercise 35 Peter Ilyich Tchaikovsky: Symphony No. 5 in E minor, 1st movement Exercise 36 Peter Ilyich Tchaikovsky: Symphony No. 5 in E minor, 2nd movement Exercise 37 Antonín Dvoák: Symphony No. 9 in E minor (From the New World), 2nd movement Exercise 38 Nikolay Rimsky-Korsakov: Scheherazade, 2nd movement Exercise 39 Richard Wagner: Das Rheingold, Scene II Exercise 40 Gustav Mahler: Symphony No. 1 in D major (Titan), 1st movement Exercise 41 Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Promenade” Exercise 42 Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Ballet des poussins dans leurs coques” Exercise 43 Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “La Grande Porte de Kiev” Exercise 44 Claude Debussy: La Mer, 1st movement, “De l’aube à midi sur la mer” Exercise 45 Claude Debussy: La Mer, 2nd movement, “Jeux de vagues” Exercise 46 Igor Stravinsky: Petrushka, Scene 1, “The Shrovetide Fair” Exercise 47 Igor Stravinsky: The Firebird, “The princesses play with the golden apples” Exercise 48 Arnold Schoenberg: Five Pieces for Orchestra, Op. 16, No. 1, “Vorgefühle” Exercise 49 Anton von Webern: Six Pieces for Orchestra, Op. 6, No. 1 Exercise 50 Ottorino Respighi: The Pines of Rome, 4th movement, “The Pines of the Appian Way” Chapter 7 Scores and analyses Score and analysis 1 Joseph Haydn: Symphony No. 104 in D major, 2nd movement Score and analysis 2 Wolfgang Amadeus Mozart: Symphony No. 40 in G minor, 2nd movement Score and analysis 3 Wolfgang Amadeus Mozart: Symphony No. 41 in C major (Jupiter), 1st movement Score and analysis 4 Robert Schumann: Symphony No. 1 in B major, 2nd movement Score and analysis 5 Robert Schumann: Symphony No. 2 in C major, 3rd movement Score and analysis 6 Peter Ilyich Tchaikovsky: Serenade for Strings, 1st movement, “Pezzo in forma di sonatina” Score and analysis 7 Peter Ilyich Tchaikovsky: Serenade for Strings, 1st movement, “Pezzo in forma di sonatina” Score and analysis 8 Peter Ilyich Tchaikovsky: Serenade for Strings, 2nd movement, “Waltz” Score and analysis 9 Gustav Mahler: Symphony No. 9 in D major, 4th movement Score and analysis 10 Joseph Haydn: Symphony No. 100 in C major, 2nd movement Score and analysis 11 Joseph Haydn: Symphony No. 104 in D major, 2nd movement Score and analysis 12 Wolfgang Amadeus Mozart: Symphony No. 40 in G minor, 2nd movement Score and analysis 13 Wolfgang Amadeus Mozart: Symphony No. 40 in G minor, 3rd movement, “Menuetto” Score and analysis 14 Ludwig van Beethoven: Symphony No. 5 in C minor, 1st movement Score and analysis 15 Ludwig van Beethoven: Symphony No. 5 in C minor, 2nd movement Score and analysis 16 Franz Schubert: Symphony No. 8 in B minor (Unfinished), 1st movement Score and analysis 17 Johannes Brahms: Symphony No. 2 in D major, 3rd movement Score and analysis 18 Johannes Brahms: Symphony No. 3 in F major, 3rd movement Score and analysis 19 Peter Ilyich Tchaikovsky: The Nutcracker Overture Score and analysis 20 Antonín Dvoák : Symphony No. 9 in E minor (From the New World), 2nd movement Summary: chorale instrumentation of the woodwinds Score and analysis 21 Richard Wagner: Tristan und Isolde, “Vorspiel” Techniques of highlighting a melodic line in an orchestral piece Techniques of polyphonic (contrapuntal) orchestration Score and analysis 22 Gustav Mahler: Symphony No. 4 in G major, 1st movement Score and analysis 23 Richard Strauss: Also sprach Zarathustra Score and analysis 24 Claude Debussy: La Mer, 1st movement, “De l’aube à midi sur la mer” Score and analysis 25 Alexander Scriabin: Poem of Ecstasy Score and analysis 26 Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Tuileries” Score and analysis 27 Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Promenade” Score and analysis 28 Wolfgang Amadeus Mozart: Symphony No. 41 in C major (Jupiter), 1st movement Score and analysis 29 Ludwig van Beethoven: Symphony No. 1 in C major, 1st movement Score and analysis 30 Franz Schubert: Symphony No. 9 in C major, 1st movement Score and analysis 31 Johannes Brahms: Symphony No. 3 in F major, 3rd movement Part A (starting with the upbeat to m. 1): beginning of the main movement Part B (starting with the upbeat to m. 13) Part C (starting with the upbeat to m. 41) Part D (starting with the upbeat to m. 99) Part E (starting with the upbeat to m. 111) Part F (starting with the upbeat to m. 139) Score and analysis 32 Peter Ilyich Tchaikovsky: Symphony No. 4 in F minor, 1st movement Summary Score and analysis 33 Peter Ilyich Tchaikovsky: Symphony No. 4 in F minor, 3rd movement Score and analysis 34 Peter Ilyich Tchaikovsky: Symphony No. 4 in F minor, 4th movement Score and analysis 35 Peter Ilyich Tchaikovsky: Symphony No. 5 in E minor, 1st movement Score and analysis 36 Peter Ilyich Tchaikovsky: Symphony No. 5 in E minor, 2nd movement Score and analysis 37 Antonín Dvoák: Symphony No. 9 in E minor (From the New World), 2nd movement Score and analysis 38 Nikolay Rimsky-Korsakov: Scheherazade, 2nd movement Score and analysis 39 Richard Wagner: Das Rheingold, Scene II mm. 1-2 mm. 3-4 mm. 5-8 mm. 9-10 mm. 11-12 mm. 13-16 mm. 17-20 Score and analysis 40 Gustav Mahler: Symphony No. 1 in D major (Titan), 1st movement Score and analysis 41 Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Promenade” Homogeneous (blended) tutti Heterogeneous (unblended) tutti Score and analysis 42 Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “Ballet des poussins dans leurs coques” First section (mm. 1-8) mm. 1-4 mm. 5-8 Second section (mm. 9-16) mm. 9-12 mm. 13-16 Third section (mm. 17-22) mm. 17-22 Trio mm. 23-26 mm. 31-34 mm. 39-42 mm. 47-50 Score and analysis 43 Modest Mussorgsky Maurice Ravel: Pictures at an Exhibition, “La Grande Porte de Kiev” mm. 1-12 The basic scoring principles of chorale-homophonic tuttis in Romantic music Summary and classification of tuttis and semi-tuttis According to compositional structure According to tone color Score and analysis 44 Claude Debussy: La Mer, 1st movement, “De l’aube à midi sur la mer” Score and analysis 45 Claude Debussy: La Mer, 2nd movement, “Jeux de vagues” Score and analysis 46 Igor Stravinsky: Petrushka, Scene 1, “The Shrovetide Fair” Score and analysis 47 Igor Stravinsky: The Firebird, “The princesses play with the golden apples” Score and analysis 48 Arnold Schoenberg: Five Pieces for Orchestra, Op. 16, No. 1, “Vorgefühle” Section A (mm. 1-6) Section B (mm. 7-14) Section C (mm. 15-23) Section A (mm. 1-6) Section B (mm. 7-14) Section C (mm. 15-23) Score and analysis 49 Anton von Webern: Six Pieces for Orchestra, Op. 6, No.1 Score and analysis 50 Ottorino Respighi: The Pines of Rome, 4th movement, “The Pines of the Appian Way” Chapter 8 Summary and a further look at the scores of the twentieth century Summary Instruments Instrumental registers Orchestral registers Dynamics Articulation Methods of sound production Alban Berg: Three Pieces for Orchestra, Op. 6, No. 1, “Praeludium” (1914) Henri Dutilleux: Symphony No. 1, 2nd movement, “Scherzo” (1951) Luciano Berio: Laborintus II (1963-5) György Ligeti: Atmosphères for large orchestra without percussion (1961) Pierre Boulez: Notations (1978) Witold Lutosawski: Chain 3 for orchestra, 1st movement (1986) Krzysztof Penderecki: De natura sonoris (1966) Beginning to rehearsal number 1 Rehearsal number 1 (first five measures) Rehearsal number 1-2 (last five measures) Rehearsal number 2-3 (mm. 1-6) Rehearsal number 2-3 (mm. 7-10) Summary APPENDICES Electrophones (electronic instruments) Classification Brief history Use Limitations Tabulation of the ranges of the frequently used orchestral instruments String instruments Woodwind instruments Brass instruments Percussion instruments Plucked instruments Keyboard instruments Names of frequently used orchestral instruments in English, Italian, German and French Frequently used orchestral terms in English, Italian, German and French Works consulted Index
