Professional Orchestration Vol 2B: Orchestrating the Melody Within the Woodwinds & Brass

714 Pages·2009·75.46 MB·English

by  Peter Lawrence Alexander

P O .
ROFESSIONAL RCHESTRATION
V 2B
OLUME
The Second Key: Orchestrating the Melody
Within the Woodwinds & Brass
BY PETER LAWRENCE ALEXANDER
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Professional Orchestration. Volume 2B
The Second Key: Orchestrating the Melody Within the Woodwinds & Brass
Copyright ©2009 by Peter Lawrence Alexander
Alexander Publishing
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Petersburg, VA 23805
www.alexanderpublishing.com
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Publishing division of Alexander University, Inc.
Professional Orchestration is a service mark of Alexander University, Inc.
Digital eBook edition published 2009
ISBN-13: 978-0-939067-19-0
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Cover design and layout by Caroline J. Alexander
Alexander, Peter Lawrence, 1950-
To the late Herb Spencer,
who took a young man’s call
and put his life in a direction.
PROFESSIONAL ORCHESTRATION, VOL. 2B: ORCHESTRATING THE MELODY WITHIN THE WOODWINDS & BRASS
Table of Contents
Foreword by Stephen Melillo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
Introduction: About Orchestrating the Melody Within the Woodwinds & Brass . . . . . . . . iii
WOODWINDS
Section 1:
WOODWIND UNISONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Chapter 1 The Woodwind Families & Tone Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Rimsky-Korsakov’s Woodwind Range and Color Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Chapter 2 Woodwind Section Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Orchestras for Film/TV/Games/Multimedia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Larger Scale Works. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Expanded String Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Woodwind Section Sizes With Bach, Haydn, and Mozart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Application to Electronic Scoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Chapter 3 Flute Unisons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Chapter 4 Flute + Oboe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Chapter 5 Flute + English Horn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Chapter 6 Flute + Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Chapter 7 Oboe Unisons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Chapter 8 Oboe + Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Chapter 9 English Horn + Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Chapter 10 English Horn + Bassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Chapter 11 Clarinet + Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Chapter 12 Clarinet + Bassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Chapter 13 Bassoon + Bassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Chapter 14 Bassoon + Sarrusophone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Chapter 15 Bassoon + Contrabassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Chapter 16 Flute + Oboe + Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Chapter 17 Flute + Oboe + English Horn + Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Chapter 18 Flute + Oboe + Clarinet + E Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Chapter 19 Oboe + Clarinet + English Horn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Chapter 20 English Horn + Clarinet + Bassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
PROFESSIONAL ORCHESTRATION, VOL. 2B: ORCHESTRATING THE MELODY WITHIN THE WOODWINDS & BRASS
Section 2:
WOODWIND OCTAVES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Chapter 21 Piccolo - Flute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Chapter 22 Piccolo - Oboe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Chapter 23 Piccolo - Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Chapter 24 Flute - Flute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Chapter 25 Flute - Oboe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Chapter 26 Flute - Clarinet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Chapter 27 Flute - Bassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Chapter 28 Oboe - Oboe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Chapter 29 Oboe - Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Chapter 30 Oboe - English Horn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Chapter 31 Oboe - Bassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Chapter 32 English Horn - Bassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Chapter 33 Clarinet - Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Chapter 34 Clarinet - Bass Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Chapter 35 Clarinet - Bassoon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Chapter 36 Bassoon - Bassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Chapter 37 Bassoon - Contrabassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Section 3:
WOODWIND SECTION IN MULTIPLE PARTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Chapter 38 Combinations in Two-Parts: Low to Medium Register. . . . . . . . . . . . . . . . . . . . . . 287
Chapter 39 Combinations in Two-Parts: Medium Register. . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Chapter 40 Combinations in Two-Parts: Medium to High Register . . . . . . . . . . . . . . . . . . . . . 303
Chapter 41 Combinations in Two-Parts: High Register . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Chapter 42 Combinations in Two-Parts: Very High Register . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Chapter 43 Combinations in Three-Parts: High Register . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Chapter 44 Combinations in Three-Parts: Very High Register . . . . . . . . . . . . . . . . . . . . . . . . . 365
Chapter 45 Combinations in Four- & Five-Parts: Very High Register. . . . . . . . . . . . . . . . . . . . 395
Section 4:
LIGHT VERTICAL HARMONY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Chapter 46 Light Vertical Harmony: Flutes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Chapter 47 Light Vertical Harmony: Oboes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Chapter 48 Light Vertical Harmony: Clarinets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Chapter 49 Light Vertical Harmony: Bassoons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Chapter 50 Light Vertical Harmony: Thirds in Unison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Chapter 51 Light Vertical Harmony: Thirds & Sixths in Two-Parts . . . . . . . . . . . . . . . . . . . . . . 463
Chapter 52 Light Vertical Harmony in Three-Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
BRASS
Section 5:
BRASS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
About the Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
New Range Chart for Brass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499
Chapter 53 French Horn Unisons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501
Chapter 54 French Horns in Two-Parts: (Octaves) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
Chapter 55 French Horns in Thirds, Sixths & Open Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . 557
Chapter 56 Trumpet Unisons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577
TABLE OF CONTENTS
Chapter 57 Trumpets in Two-Parts: (Octaves) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
Chapter 58 Trumpets in Thirds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
Chapter 59 Trombone Unisons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
Chapter 60 Trombones in Two-Parts: (Octaves). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655
Chapter 61 Trombones in Thirds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Epilogue. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679
APPENDIX: Index of Score Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
PROFESSIONAL ORCHESTRATION, VOL. 2B: ORCHESTRATING THE MELODY WITHIN THE WOODWINDS & BRASS
Foreword
Leaving a major of Physics and beginning studies at the Boston Conservatory of Music,
I had multiple reasons for going to a pawn shop and buying one of each instrument,
then setting up private lessons with Boston Symphony Musicians. In addition to
preparing myself as a teacher, I needed to know what books couldn’t tell me.
Orchestration, a one-semester course was often discussed in the factual terms of
instrumental ranges, sometimes tessitura, and with minimal, often stylistically-confi ned
examples. But was that really Orchestration?
My own sensibilities told me that becoming a beginner several times, then advancing
while studying and playing each of the instruments myself, while discussing them with
professional master-Musicians would provide a better window into the possible.
Enter Hugo Norden, a professor I was very fortunate to have, and interestingly enough, a
teacher Peter and I have in common. “There are 6 ways to voice a triad,” said the 90-year-old
genius.
You have to love it. Three factorial. Simple math, but wow, how liberating that is for
someone who never studied theory. Suddenly the massiveness of Music was graspable.
A great beginning!
Now enter Peter Alexander. Let’s recreate his logic in organizing this very powerful
document. If you want to play a game, you want to understand not only the rules, but the
possibilities. Yes, there are the parameters, the confi nements… but what can you DO?
i