How Ravel orchestrated: Mother Goose Suite PDF
Preview How Ravel orchestrated: Mother Goose Suite
HOW RAVEL : ORCHESTRATED MOTHER GOOSE SUITE by Peter Lawrence Alexander Score Edited by Massimo Tofone ALEXANDER PUBLISHING CONTENTS Introduction: The Composer In The Art Store 1 A First in Many Ways 2 The Stories Behind the Music 2 Analysis For the Working Composer 3 Jazz, Baby 3 From the Piano to the Orchestra 3 French to Italian 3 Score Layout 4 How Ravel Worked 4 The Influence of Edgar Allan Poe 4 Finale 4 How Ravel Worked 5 Composing 5 Orchestration 6 Listening to New Works of Other Composers 7 From One Who Contracted Ravel to Compose 7 The Eight Keys To Learning Professional Orchestration 9 Seeing How the Melody Is Handled With Solo Instruments 10 Seeing How the Melody Is Treated Within Each Orchestral Section 10 Seeing How the Melody Is Treated by 10 Combining Orchestral Sections Seeing How the Melody Is Harmonized 11 With Three or More Parts in Each Orchestral Section Seeing How the Melody Is Harmonized 11 With Three or More Parts by Combining Orchestral Sections Solving Practical Scoring Issues 11 Writing For Voice and Orchestra 12 Voices 12 More Than a Framework, Your Personal Mentor 12 The 8 Keys and Ravel 12 Order of Study 12 What About MIDI Mock-ups? 13 Story: The Sleeping Beauty In The Woods 15 Score: Pavane For The Sleeping Princess In The Woods 23 Practical Analysis: Pavane For The Sleeping Princess In The Woods 27 Orchestral Setup 27 Melody and the 8 Keys of Professional Orchestration 28 Dynamic Range 28 Counterpoint Applied 28 Bars 1 - 4: The First A and Orchestral Weighting 28 Bars 5 - 8: The First A1 and Orchestral Weighting 29 Bars 9 - 12: B and Orchestral Weighting 29 Bars 13 - 16: A Repeats Re-Orchestrated 30 Bars 17 - 20: A1 Repeats Re-Orchestrated 30 Stage Seating Position 31 Electronic Scoring Observation 31 Story: Little Tom Thumb 33 Score: Little Tom Thumb 41 Practical Analysis: Little Tom Thumb 55 Orchestral Setup 55 Form 55 Melody and the 8 Keys of Professional Orchestration 56 Dynamic Range 57 Bars 1 - 4 57 Bars 5 - 11: Apprehension 57 Bars 12 - 22: Consoling 57 Bars 23 - 39: Apprehension Restated and Builds 57 Bars 40 - 50: Consoling 58 Bars 51 - 54: The Woods At Night 58 Bars 55 - 59: The Woods At Night 58 Bars 60 - 66: Apprehension 58 Bars 67 - 74: Out of the Woods 58 Bars 75 - 79: Apprehension 59 Electronic Scoring Considerations 59 Story: The Green Serpent 61 Score: Little Ugly, Empress Of The Pagodas 85 Practical Analysis: Little Ugly, Empress Of The Pagodas 113 Orchestral Setup 113 Form 114 Melody and the 8 Keys of Professional Orchestration 114 Analysis Comments 116 Bars 1 - 8: What’s This? 116 Bars 9 - 23: Entrance of the Pagodas 117 Bars 24 - 31: Hail to the Princess 117 Bars 32 - 37: Greetings 117 Bars 38 - 55 117 Bars 56 - 68: Ensemble 117 Bars 69 - 80: Fanfare 117 Bars 81 - 108: Green Serpent Theme 118 Bars 109 - 136: Endearment 118 Bars 137 - 156: Green Serpent Theme 118 Bars 157 - 164: Hail to the Princess 118 Bars 165 - 188: Pagoda’s Theme 118 Bars 189 - 201: Ensemble 118 Bars 202 - 204: Finale 118 Electronic Scoring Considerations 119 Story: Beauty & The Beast 121 Score: Dialogue Between Beauty & The Beast 133 Practical Analysis: Dialogue Between Beauty & The Beast 153 Orchestral Setup 153 Overall Form 153 Melody and the 8 Keys of Professional Orchestration 154 Beauty 154 Beast 155 Chart of String Devices 155 Orchestrating a Waltz 156 Bars 1 - 48: Beauty’s Theme 156 Role of The Harp 156 Bars 49 - 69: Beast’s Theme 158 Electronic Scoring Considerations 158 Story: The Fairy Garden 159 Score: The Fairy Garden 161 Practical Analysis: The Fairy Garden 171 Orchestral Setup 171 Form by Orchestration 172 Melody and the 8 Keys of Professional Orchestration 172 Dynamic Range 173 Analysis Comments 173 Bars 1 - 22 174 Bars 23 - 39 176 Bars 40 - 49 176 Bars 50 - 56: And They Lived Happily Ever After 177 Electronic Scoring Considerations 178 Putting To Work What You’ve Learned 179 Learn to Work the Melody 179 Ask Questions & For Musicians to Perform Parts of Your Composition 179 Learn to Apply Counterpoint 180 A Note to “Jazzers“ 180 To those Who Would Write for Film, TV, the Stage or the Internet 180 It’s a Wrap 180 Edgar Allan Poe: The Philosophy of Composition 181 Edgar Allan Poe: The Poetic Principle 191 Bibliography 211 I NTRODUCTION The Composer In The Art Store Iw rote this book to alleviate the jealousy I was feeling every time I walked into an art store with my wife, or the graphics magazine section in Barnes and Noble. In either location, Caroline could find books or magazines on drawing mouths, smiles, eyes, hands, the anatomy, the brush strokes of Cezanne, the sketchbooks of Da Vinci, coloration and Degas, the Pre-Raphaelites, and on and on for literally hundreds of square feet. In the magazine section, there’s row upon row of graphics magazines for all the programs which included tutorial upon tutorial upon tutorial! Back over in the music book department I had the latest 28 rock biographies, the third edition of the Harvard Dictionary of Music, 263 different guitar books (with pictures), the occasional Dover score and…that’s about it. So, off to the magazine racks. There are tons of music magazines mostly dedicated to rock, one or two on jazz, a couple on drums, recording, and of course the few publications that deal with music production software. But no brush strokes. No smiles. No coloration. No neat and cool tutorials for writing music like Caroline was finding for creating art in Photoshop and 3D software. So back to the table we sit, each with our own Café Mocha.1 For upwards of two hours I hear my wife say things like, “Coool. Oh. Wow. Ahhh, so that’s how he did that!” And so on. By comparison, my music magazines read like a tech manual for GE’s newest jet engine. No brush strokes there. I leave the table to wander around hoping I’ll find something to feed my art and craft. After half an hour of wandering, the only thing I find that mildly interests my creativity is Stupid Yo-Yo Tricks.2 Having had enough of that, I look for the newest Spenser For Hire book by Robert B. Parker and meander back to the table. I finish my Café Mocha. Read. Stare at the cheesecake selections. Read some more. Look at the 10 or 12 different varieties of Starbucks coffee cups. Finally, it’s time to go. As we check out, Caroline has a stack of useful magazines on her craft, and I’ve got a paperback about shooting someone in Las Vegas.3 1 Venti’s in case you’re curious, or for historical reasons - should this book still be around in a hundred years. 2 Not a book by the cellist Yo-Yo Ma on the quirky things you can do with a cello bow. 3 What happens there, stays there.
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