Contents
Preface xi
Acknowledgments xiv
Notes on the Use of the Book si
1 The Basics: Preparing Scores and Parts 1
‘The Score 1
Instrumental Ordering and Verscal Spacing 1 Providing Necessary
Information 4 Vertical Alignment 8 Rehewsl Leer and Numbers 9
‘Aids co Interpretation 10 Transposition 11 Transposed Verse
Concert-Picch Score 13 Dynamics, Text and Other Information 13
Score Preparation Storteuts 14
The Parts 16 :
The Fist Page 16 Shared Versus Individual Parts 17 Page Turns 19
Rests 19 Cues 20 Fidelis to the Score and the Use of Tacet 2
2 Instrumentation: The Orchestral Strings 25
General String Information 26
The Parts of Orchestral Sting Instruments 26 String Bowings 27
Bowed Articulations 29 Pissicato Articulations 32
Swing Effects 33,
Swing Selection 33 Harmonics 33. Mutes 36 Col Lene 37
Sul Pontiello and Sul Tasto 37 Portamenco and Glisando 38
Fingered Tremolos 39 Bariclage 39 Vibrato 40 Scordatura 40
Dampening Stings 41
Special Befeces 41
Special Bowing Biles 42. Playing Behind the Bridge 42 Tapping
Bees 43,|
Contests
Multiple Stops 44
Bowed Mukiple tops 44 Broken Chopds 46 Pasi
Stops 47
Maple
‘The Violin 49
‘The Properties ofthe Violin 49 Typicd Violin Scorings $0
‘The Viola 56
‘The Properties ofthe Viola 56 Typical Viola Scorings 87
The Violoncello 60
The reper ofthe Vislncelo 61 Thiel Vilonao Seong €2
The Conteabass 67
‘The Properties ofthe Contrabass 67
cal Contrabae Scorings 69
3 Instrumentation: The Woodwinds| 74
General Woodwind Information 74
‘The Means of Producing Sounds 74 Terminology 74 Woodwind
Avtcucons 76 Otter Tonguings 79 Special Atacks and Altersons
te Sustained Tones 60
Special Woodwind Befecs and Devices 81
Harmonics 81 Vibrato $1 Glissandds 82 Flue Bfecw 82
Dovble-Reed Effects 83 Single-Reed Bifees 83 Contemporary
Effects and Devices 84
The Flutes 88
‘The Properties of the Flutes 88 Typical Fate Scorings 92
‘The Oboes 98
‘The Fropertes of the Oboes 98 Typical Oboe Scorings 102
‘The Clarinets 105
‘The Properties of the Clarinets 108 Typical Caines Seovinge 111
‘The Bassoons 116
‘The Properties ofthe Bassoons 116 Typisal Basroon Scorings 120
‘The Saxophones 124
‘The Properties of the Sexophones 124 Typiel Saxophone Seorings 129
Consens
4 Instrumentation: The Brasses 134
General Brass Information 134
‘The Means of Producing Sound 184 Terminology 134 Brass
Artcultions 135 Special Atacks and Alterations to
Sustained Tones 135
Special Brass Béfects and Devices 135
Vibrato 135 Lip Tele 135 Shaker 186 Giitsandor 136 Brased
Tone 138 Bells Up 138 Contemporary Brass Effecss 188. Brass
Mates 143 Mudag-qype Devices 145
‘The Horas 148,
‘The Properties ofthe Horas 148 Typical Horn Scorings 183
‘The Trumpets 159
‘The Properties ofthe Trumpets 169 Typical Trumpet, Comet, and
Tlagelhoen Scorings 164
‘The Trombones 169
‘The Properties of the Trombones 169 T)
Seorings 175
‘Trombone
‘The Tubss 178
‘The Properties of the Tubas 178 Typical Tuba Scorings 183
‘The Bugles 187
‘The Properties ofthe Bugles 188
5 Instrumentation: The Percussion 191
General Percussion Information 191
‘The Basic Percusion Strokes 191 Other Stokes and Articulations 193
‘The Nowtion of Durations 194 Notation of Pitch 195 Percussion
Mallets, Beaters, and Sticks 195
Percussion Instruments 200
‘The Percussion Instruments with Definite Pick 202 The Percussion
Instruments with Indefinite Pich 213 The Drum Set 231
‘Typleal Percussion Scoring 283x Contents
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6 Instrumentation: Other sents 242
‘The Keyboard Saings 2620 |
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‘The Plnoforte 242 The Electronic Piano and Electronic Keyboard 245
‘Toy Pianos 248 Piano Scorings 248 The Harpachords 261
‘The Harps 252 |
‘The Double Action Harp 252
Hlup Sconngs 261
The Organs 266
The Pie Organ 266 The See Om v6
The Feted Strings 278
Thc Guts 278 Typical Guar Scosngs 286 The Mandolin 288
The Ukucte 289. ‘The Banjo 290" The Hleewic Bus oe es
Gar 291) Pedal See Guns 262 Takats 398
‘The Free Reeds 294
The Accordion 295. The Harmonica
|
Re Troubadour Harp 260 Typical
298 The Harmonium 301
‘The Whistle Flutes 301 |
‘The Recorders 301 The Ocsrinas 302
7 Insrrumensasion: Toe Voice $05 |
The Voa! Tnsrument 305
‘Vocal Mechanisms 305 Problems of Sound Production 307 Tesinara.
and Range 307 Vocal Notation 308 | Voea! Qualies 308
‘Special Vocal Effects 309
‘Timbre Changes 310 Pitch Changes 810 Other Vocal and Nonvocal
Sounds 312 ]
‘The Voices 313
‘The Sopranos 313, The Mezzo-Soprant 315 The Conusltos 315
‘The Tenors 316 The Bartones 317 [The Basses 318° Othee
Voices 319 |
‘Typleal Voeal Scoring 321
Contents
8 Orchestration: Scoring Musical Elements 329
Musical Lines 329
‘dentifcation of Musical Lines $29 The Use of Instrumental Color $30
Scoring Prominent Lines 331 _Seoving Subordinate Lines 385. Scoring
and Voicing Isolated Chocds 338 Special Scoring Approaches 340
Placement of Prominent Lines 342
‘Examples of Scocing: Techniques from the Literarure S44
9 Orchestration: Scoring for Various Ensembles 356
‘Writing for String Orchertra and String Ensembles 356
Standard String Scorings 356 Scoring for Sradent Orchestas and
Eneembles 360,
‘Writing for Band and Ensembles of Winds 363
Approacher to Woodwind Seoring 262 Approulies w Bess
Scoring 368 Scoring for Student Bands and Winds 366
‘The Marching Band 369
Writing for Percussion 372
Approaches to Percussion Scoring 372 Waiting for the Set
Drummer 376 Scoring for Student Pereussionists 377
Scoring forthe Drum and Bugle Comps 378
Wicking for Choruses and Vocal Ensembles 379
Setting a Text 379 Scoring for Voices 382 Scoring for Sradent
CChoruses and Young Voices 383
Other Considerations 384
Instrumental Doubling 384 Relative Loudness 384 Relative High
and Low 384 Instrument Substations 385
10 Orchestration: Techniques of Transcribing 388
‘Two Approaches 10 Transerbing 388
‘The Fist Approach 389 The Second Approach 389
Points to Note About Transcriptions 389
Selection of Key 389 Meter Signaruze 392 Ornaments 392