Musical Score

When the separate instrumental and vocal parts of a musical work are
printed together, the resulting sheet music is called a score. Conventionally,
a score consists of musical notation with each instrumental or vocal part in
vertical alignment (meaning that concurrent events in the notation for each
part are orthographically arranged). The term score has also been used to
refer to sheet music written for only one performer. The distinction between
score and part applies when there is more than one part needed for
performance.

Scores come in various formats, as follows:

• A full score is a large book showing the music of all instruments and
voices in a composition lined up in a fixed order. It is large enough for
a conductor to be able to read it while directing rehearsals and
performances.

• A miniature score is like a full score but much reduced in size. It is too
small for practical use but handy for studying a piece of music,
whether it be for a large ensemble or a solo performer. A miniature
score may contain some introductory remarks.

• A study score is sometimes the same size as, and often

indistinguishable from, a miniature score, except in name. Some study
scores are octavo size and are thus somewhere between full and
miniature score sizes. A study score, especially when part of an
anthology for academic study, may include extra comments about the
music and markings for learning purposes.

• A piano score (or piano reduction) is a more or less literal transcription

for piano of a piece intended for many performing parts, especially
orchestral works; this can include purely instrumental sections within
 large vocal works (see vocal score immediately below). Such
arrangements are made for either piano solo (two hands) or piano duet
(one or two pianos, four hands). Extra small staves are sometimes
added at certain points in piano scores for two hands in order to make
the presentation more nearly complete, though it is usually impractical
or impossible to include them while playing. As with vocal score
(immediately below), it takes considerable skill to reduce an orchestral
score to such smaller forces because the reduction needs to be not
only playable on the keyboard but also thorough enough in its
presentation of the intended harmonies, textures, figurations, etc.
Sometimes markings are included to show which instruments are
playing at given points. While piano scores are usually not meant for
performance outside of study and pleasure, ballets get the most
practical benefit most from piano scores because with one or two
pianists they allow unlimited rehearsal before the orchestra is
absolutely needed. They can be used also to train beginning
conductors. Piano scores of operas do not include separate staves for
the vocal parts, but they may add the sung text and stage directions
above the music.

• A vocal score (or, more properly, piano-vocal score) is a reduction of

the full score of a vocal work (e.g., opera, musical, oratorio, cantata,
etc.) to show the vocal parts (solo and choral) on their staves and the
orchestral parts in a piano reduction (usually for two hands)
underneath the vocal parts; the purely orchestral sections of the score
are also reduced for piano. If a portion of the work is a cappella, a
piano reduction of the vocal parts is often added to aid in rehearsal
(this often is the case with a cappella religious sheet music). While not
meant for performance, vocal scores serve as a convenient way for
vocal soloists and choristers to learn the music and rehearse
separately from the instrumental ensemble. The vocal score of a
 musical typically does not include the spoken dialogue, except for
cues.

o The related but less common choral score contains the choral
parts with no accompaniment.

o The comparable organ score exists as well, usually in association

with church music for voices and orchestra, such as
arrangements (by later hands) of Handel's Messiah. It is like the
piano-vocal score in that it includes staves for the vocal parts
and reduces the orchestral parts to be performed by one person.
Unlike the vocal score, the organ score is sometimes intended by
the arranger to substitute for the orchestra in performance if
necessary.

o A collection of songs from a given musical is usually printed

under the label vocal selections. This is different from the vocal
score from the same show in that it does not present the
complete music, and the piano accompaniment usually is
simplified and includes the melody line.

• A short score is a reduction of a work for many instruments to just a

few staves. Rather than composing directly in full score, many
composers work out some type of short score while they are
composing and later expand the complete orchestration. (An opera, for
instance, may be written first in a short score, then in full score, then
reduced to a vocal score for rehearsal.) Short scores are often not
published; they may be more common for some performance venues
(e.g., band) than in others.

• A lead sheet specifies only the melody, lyrics and harmony, using one
staff with chord symbols placed above and lyrics below. It is commonly
used in popular music to capture the essential elements of song
 without specifying how the song should be arranged or performed.

• A chord chart or "chart" contains little or no melodic information at all

but provides detailed harmonic and rhythmic information. This is the
most common kind of written music used by professional session
musicians playing jazz or other forms of popular music and is intended
primarily for the rhythm section (usually containing piano, guitar, bass
and drums).

• A tablature is a special type of musical score -- most typically for a solo

instrument -- which shows where' to play the pitches on the given
instrument rather than which pitches to produce, with rhythm
indicated as well. This type of notation, which dates from the late
Middle Ages, has been used for keyboard (e.g., organ) and for fretted
string instruments (lute, guitar).

Instrumentation(instruments)

• The typical symphony orchestra consists of four proportionate groups

of similar musical instruments called the woodwinds, brass, percussion,
and strings. The orchestra, depending on the size, contains almost all
of the standard instruments in each group. In the history of the
orchestra, its instrumentation has been expanded over time, often
agreed to have been standardized by the classical period and
Beethoven's influence on the classical model.

Beethoven's influence

• The so-called "standard complement" of double winds and brass in the

orchestra from the first half of the 19th century is generally attributed
to the forces called for by Beethoven. The exceptions to this are his
Symphony No. 4, Violin Concerto, and Piano Concerto No. 4, which
 each specify a single flute. The composer's instrumentation almost
always included paired flutes, oboes, clarinets, bassoons, horns and
trumpets. Beethoven carefully calculated the expansion of this
particular timbral "palette" in Symphonies 3, 5, 6, and 9 for an
innovative effect. The third horn in the "Eroica" Symphony arrives to
provide not only some harmonic flexibility, but also the effect of
"choral" brass in the Trio. Piccolo, contrabassoon, and trombones add
to the triumphal finale of his Symphony No. 5. A piccolo and a pair of
trombones help deliver storm and sunshine in the Sixth. The Ninth asks
for a second pair of horns, for reasons similar to the Eroica (four horns
has since become standard); Beethoven's use of piccolo,
contrabassoon, trombones, and unpitched percussion – plus chorus
and vocal soloists – in his finale, are his earliest suggestion that the
timbral boundaries of "symphony" might be expanded for good. But for
several decades after his departure, symphonic instrumentation was
faithful to Beethoven's well-established model, with few exceptions.

Expanded instrumentation

• Apart from the core orchestral complement, various other instruments

are called for occasionally. These include the classical guitar,
heckelphone, flugelhorn, cornet, harpsichord, and organ. Saxophones,
for example, appear in a limited range of 19th and 20th century
scores. While appearing only as featured solo instruments in some
works, for example Ravel's orchestration of Mussorgsky's Pictures at an
Exhibition and Rachmaninoff's Symphonic Dances, the saxophone is
included in other works, such as Ravel's Bolero and Walton's
Belshazzar's Feast, as a member of the orchestral ensemble. The
euphonium is featured in a few late Romantic and 20th century works,
usually playing parts marked "tenor tuba", including Holst's The
 Planets, and Richard Strauss's Ein Heldenleben. The Wagner Tuba, a
modified member of the horn family, appears in Richard Wagner's
cycle Der Ring Des Nibelungen and several other works by Richard
Strauss, Bela Bartok, and others; it has a prominent role in Anton
Bruckner's Symphony No. 7 in E Major.[1] Cornets appear in
Tchaikovsky's ballet Swan Lake, Debussy's La Mer, and several
orchestral works by Hector Berlioz. Unless these instruments are
played by members doubling on another instrument (for example, a
trombone player changing to euphonium for a certain passage),
orchestras will use freelance musicians to augment their regular
rosters.

• The 20th century orchestra was far more flexible than its predecessors.
In composers such as Beethoven's and Mendelssohn's time, the
orchestra was composed of a fairly standard core of instruments which
was very rarely modified. As time progressed, and as the Romantic
saw changes in accepted modification with composers such as Berlioz,
followed by Brahms and eventually Mahler, the 20th century saw that
orchestration could practically be hand-picked by the composer.

• With this history in mind, the orchestra can be seen to have a general
evolution as outlined below. The first is a classical orchestra (i.e.
Beethoven/late Haydn), the second an early/mid- romantic (i.e.
Brahms/Dvorak/Schumann), late romantic/early 20th century (i.e.
Wagner/Mahler/Richard Strauss), modern (i.e. Stravinsky to present
day, although as explained above this was far more flexible than the
list implies and often forces would surpass the romantic/transition
orchestra).

Classical Orchestra

Woodwinds

2 Flutes
 2 Oboes
2 Clarinets in B-flat, A
2 Bassoons
Brass
2 or 4 Horns (in any key)
2 Trumpets (in any key)
Percussion
Timpani
Strings
8 Violins I
8 Violins II
6 Violas
4 Violoncellos
3 Double basses

Early Romantic Orchestra

Woodwinds
(Piccolo)
2 Flutes
2 Oboes
(English horn)
2 Clarinets in B-flat, A
2 Bassoons
(Contrabassoon)
Brass
4 Horns in F
2 Trumpets in F
(2 Cornets in B-flat)
3 Trombones
(Tuba)
Percussion
 Timpani
Snare Drum
Bass Drum
Cymbals
Triangle
Tambourine
Glockenspiel
Strings
Harp
14 Violins I
12 Violins II
10 Violas
8 Violoncellos
6 Double Basses

Late Romantic Orchestra

Woodwinds
Piccolo
4 Flutes
4 Oboes
English Horn
Clarinet in E-flat
4 Clarinets in B-flat, A
Bass Clarinet
4 Bassoons
Contrabassoon
Brass
8 Horns in F
4 Trumpets in C, B-flat, F
4 Trombones (3 Tenor, Bass)
(Euphonium)
(Wagner Tuba (2 Tenor, 2 Bass))
Tuba
Percussion
Timpani
Snare Drum
Bass Drum
Cymbals
Tam-tam
Triangle
Tambourine
Glockenspiel
Xylophone
Chimes
Keyboards
Celesta
Organ
Strings
2 Harps
16 Violins I
16 Violins II
12 Violas
12 Violoncellos
10 Double Basses

Modern Orchestra

Woodwinds
 Piccolo
3 Flutes
3 Oboes
English Horn
Clarinet in E-flat
3 Clarinets in B-flat, A
Bass Clarinet
3 Bassoons
Contrabassoon
Brass
4 Horns in F
3 Trumpets in C, B-flat, F
3 Trombones (2 Tenor, Bass)
Tuba
Percussion
Timpani
Snare Drum
Tenor Drum
Bass Drum
Cymbals
Tuned Gongs
Tam-tam
Triangle
Wood Block
Tambourine
Glockenspiel
Xylophone
Vibraphone
Chimes
Castanets
Congas
 Bongos
Guiro
Whip (instrument)
Keyboards
Piano
Celeste
Strings
Harp
16 Violins I
14 Violins II
12 Violas
10 Violoncellos
8 Double Basses

Orchestra of my life

The orchestra of my life is my family. Why? My family is my orchestra

because family is a group of people destined to be with each other to take
care of each other to help each other. To tone or be friends with each other
just like an orchestra that all of them will play their instrument then tone
with each other until they become one and synchronized sounds like they
are all playing one instrument but the truth is that their playing different
instruments but they go as one. Like a family they are all with separate lives
but they tone with each other and play just like one life because a family has
one life but the truth is that each and every one of the part of the family
plays a separate life. And that is my orchestra my family is my real orchestra
and the one who is conducting us is the LORD they give us challenges that
conducts our lives for our good just like the master in a orchestra he/she
conducts the whole group of orchestra for the good of all and the success of
all the ones who play the instruments for the result to be good and
compliments from the listeners/audiences.