The Study of Orchestration 3e : W. W. Norton College Books

PART ONE INSTRUMENTATION
1. The Orchestra—Yesterday and Today
2. Bowed String Instruments
Construction
Tuning
Fingering
Double, Triple, and Quadruple Stops
Divided Strings
Vibrato
Glissando and Portamento
- Glissando
- Vibrato
- Portamento
- Glissando on More Than One String
- Fingered Glissando
The Bow
Bowing
- Nonlegato
- Legato
Special Bowings
On-the-string Bowings
- Detachè
- Lourè
- Portato
- Staccato
- Martelè
Off-the-string Bowings
- Spiccato
- Jetè
- Arpeggiando
Trills and Other Coloristic Effects Using the Bow
- Trills
- Tremolos
- Measured Effects That Are Similar to Tremolos
- Unusual Placements of the Bow
Coloristic Effects Without the Bow
- Pizzicato
- Left-Hand Pizzicato
- Snap or Fingernail Pizzicato
- Pizzicato Chords
Mutes
- With Mute
- Without Mute
Scordatura
Harmonics
- Natural Harmonics
- Notation of Natural Harmonics
- Artificial Harmonics
- Notation of Artificial Harmonics
Contemporary String Techniques
3. Individual Bowed String Instruments
Violin
- Tuning, Range, and Fingering
- Passages Performed Exclusively on a Single String
- Multiple Stops
- Harmonics
- The Solo Violin
- Other Technical Considerations
Viola
- Tuning, Range, and Fingering
- Passages Performed Exclusively on a Single String
- Multiple Stops
- The Solo Viola
- Viola d’Amore
Violoncello or Cello
- Tuning, Range, and Fingering
- Multiple Stops
- Tone Quality
- Harmonics
- The Solo Cello in Concerti and Within the Orchestra
- The Cello in Combination with Other Instruments
Double Bass
- Tuning, Range, and Fingering
- Early Uses of Double Basses
- Multiple Stops
- Harmonics
- Bowing
- The C Attachment
- Solo, Concertante, and Divisi Basses
4. Plucked String Instruments
Harp
- Tuning and Range
- Arrangement of the Pedals
- Tone Color
- Harp Notation
- Chords
- Harmonics
- Special Effects
- Trills, Tremolos, and Bisbigliando
Guitar
Mandolin
Banjo
Zither
5. Scoring for Strings
Individuality within the Ensemble
- Haydn, String Quartet, Op. 76, No. 3 ("Emperor"), second movement, theme
- Variation I
- Variation II
- Variation III
- Variation IV
- The Double Bass in the Classical Orchestra
Foreground—Middleground—Background
- Handling of Foreground Material
- Distribution of Background Material
- Successful Statements of Foreground Material by Other Composers
Contrapuntal Textures
- Beethoven, Symphony No. 7
- Vivaldi, Concerto Grosso, Op. 3, No. 11
- Bach, Brandenburg Concerto No. 3
- Weber, Euryanthe, Overture
- Bartôk, Music for Strings, Percussion and Celesta
Homophonic Writing for Strings
- Tchaikovsky, Serenade for Strings
- Grieg, Peer Gynt Suite No. 1
- Penderecki, Threnody for the Victims of Hiroshima
The String Choir as an Accompanying Group
- Mendelssohn, Elijah
- Mozart, The Marriage of Figaro
- Bizet, Carmen
- Faurè, Requiem
Transcribing from Piano to Strings
6. The Woodwind Choir (Reed Aerophones)
Construction
Classifying Woodwind Instruments
- Classification by Families
- Classification by Reeds
- Classification by the Shape of the Pipe
- Classification by Overblowing
- Classification by Transposition
The Principle of Transposition
General Observations
Playing Techniques
- Vibrato
- Articulation, Tonguing, and Phrasing
- Fluttertongue
- Muting
- Multiphonics and Other Special Effects
The Woodwind Section of a Symphony Orchestra
Organizing the Woodwinds on the Score Page
7. Individual Woodwinds
Flute
- Range and Registral Characteristics
- Articulation and Tonguing
- Trills and Tremolos
- Harmonics
- Coloristic Effects
- Multiple Flutes
Piccolo
Alto Flute
Bass Flute
Oboe
- Range and Registral Characteristics
- Articulation and Tonguing
- Trills and Tremolos
- Coloristic Effects
- Multiple Oboes
English Horn
- Range and Registral Characteristics
- Trills and Tremolos
- Coloristic Effects
Other Members of the Oboe Family
- Oboe d’amore
- Oboe da caccia
- Heckelphone
- The Baritone or Bass Oboe
Clarinet
- Range and Registral Characteristics
- Articulation and Tonguing
- Trills and Tremolos
- Coloristic Effects
- Multiple Clarinets
"Piccolo" Clarinet: Clarinet in D or Ef
Bass Clarinet
Other Members of the Clarinet Family
- Alto Clarinet in Ef
- Basset Horn
- Contrabass Clarinet
Saxophone
- Range and Registral Characteristics
- The Saxophone in the Symphony Orchestra
Bassoon
- Range and Registral Characteristics
- Articulation and Tonguing
- Trills and Tremolos
- Multiple Bassoons
Contrabassoon
- Range and Registral Characteristics
- Articulation and Tonguing
8. Scoring for Woodwinds and Woodwind-String Combinations
The Role of Winds in the Symphony Orchestra
- As Provider of Melody
- As Provider of Accompaniment
- As Provider of Accompanimental Pedal
- As Provider of Sustained Harmonies
Melodic Treatment
Variety of Orchestral Treatments
Special Effects
Transcribing from Piano to Winds and Strings
9. Brass Instruments
Composition of the Brass Section
Brass Instruments and the Written Orchestral Score
Overblowing and the Principle of the Harmonic Series
Crooks, Valves, and Slides
- The Introduction of Crooks and Valves on Trumpets and Horns
- The Use of the Slide on Trombones
- Fine Tuning
Range
Tone Production, Articulation, and Tonguing
- Breathing and Phrasing
Common Characteristics and Effects on All Brass Instruments
- Different Attacks
- Glissandi
- Trills and Tremolos
Mutes
- Straight Mute
- Cup Mute
- Harmon or Wa-Wa Mute
- Whispa Mute
- Solotone Mute
- Bucket Mute
Muting Devices Other Than Mutes
- Plunger
- Hat or Derby
- Putting the Hand over the Bell or in the Bell
- Playing into the Stand
- Inserting a Cloth or Handkerchief in the Bell
10. Individual Brass Instruments
Horn
- The Natural Horn
- The Valve Horn
- Articulation and Tonguing
- Muted and Stopped Horn
- Special Effects
Trumpet
- The Natural Trumpet
- The Valve Trumpet
- The Modern Trumpet
- Articulation and Tonguing
- Muted Trumpet
- Special Effects
- Auxiliary Trumpets
Cornet
Other Members of the Trumpet Family
- Bass Trumpet
- Flugelhorn
Trombone
- Tenor Trombone
- Bass Trombone
- Alto Trombone
- Articulation and Tonguing
- Muted Trombone
- Glissandos
Other Members of the Trombone Family
- Contrabass Trombone
- Valve Trombone
Tuba
- Range and Registral Characteristics
- Articulation and Tonguing
- Mutes
- Special Effects
Other Members of the Tuba Family
- Euphonium and Tenor Tuba
- Baritone
- Ophicleide
11. Scoring for Brass, and Brass Combined with Strings and Winds
Early Uses of the Brass Choir
Doubling of Brass Instruments with the Modern Orchestra
The Brass Choir as a Homophonic Unit
- Homophonic Settngs within the Brass Choir Itself
- Homophonic Settngs of Brass Combined with Other Choirs
The Brass Choir as Presenter of Melody
- As Soloist
- In Combination with Other Instruments
- In a Contrapuntal Texture
Climactic Uses of the Brass
- Through Holding Back
- Through Alternating Between Orchestral Choirs
- Through Repetition
The Brass Choir As Provider of Coloristic Effect
- Jazz Effects
- New Techniques
12. The Percussion Ensemble
Historical Uses of Percussion Instruments Within the Orchestra
Number and Distribution of Percussion Players
Notation of Percussion Instruments
Mallets, Beaters, and Sticks
Categories of Percussion Instruments
Instruments of Definite Pitch
- Idiophones: Mallet Instruments
  - Xylophone
  - Marimba
  - Vibraphone
  - Glockenspiel
  - Chimes
  - Crotales
  - Steel Drums
- Idiophones: Shaken or Stroked Instruments
  - Musical Saw
  - Flexatone
  - Crystal Glasses
- Membranophones
  - Timpani
  - Roto Toms
- Chordophones
  - Cimbalom
- Aerophones
  - Whistles
Instruments of Indefinite Pitch
- Idophones: Metals
  - Cymbals: Crash, Suspended, Hi-hat, Sizzle, Chinese Finger Cymbals
  - Triangle
  - Anvil
  - Cowbells
  - Tam-Tam and Other Gongs
  - Wind Chimes
  - Sleighbells
  - Bell Tree
  - Brake Drum
  - Thunder Sheet
- Idiophones: Wooden
  - Woodblocks
  - Temple Blocks
  - Claves
  - Castanets
  - Sand Block or Sandpaper Block
  - Maracas
  - Jawbone; Vibraslap
  - Guiro
  - Ratchet
  - Slapstick or Whip
  - Log Drum and Slit Drum
  - Hammer
- Membranophones
  - Snare Drum
  - Tenor Drum
  - Field Drum
  - Bass Drum
  - Tom-toms
  - Timbales
  - Bongos
  - Conga Drum
  - Tambourine
  - Quica, Lion’s Roar, String Drum
- Aerophones
  - Sirens
  - Motor Horns
  - Wind Machine
13. Keyboard Instruments
Piano
- Range
- The Three Piano Pedals
- Novel Effects on the Piano
- Orchestral Uses of the Piano
Celesta
Harpsichord
Organ
Harmonium
14. Scoring for Percussion with Keyboard Alone or in Combination
Percussion Layout in the Full Score
- Arrangement of Instruments
- Assignment of Players
- Notation
- Notated Examples of Percussion Parts
Percussion Section Setup
Uses of the Percussion Section
- Simulating March and Ethnic Music
- Emphasizing Rhythmic Accentuation
- Creating a Climax
- Creating a Dramatic Beginning
- Coloring Pitches or Passages
PART TWO ORCHESTRATION
15. Scoring for Orchestra
The Unison-Octave Tutti
- The Unison Tutti
- The Octave Tutti
- The Multi-Octave Tutti
Foreground and Background
- Homophonic Texture
- The Voicing of Chords for Full Orchestra
- Homophonic Writing
The Distribution of Foreground-Middleground-Background Elements
- Within a Polyphonic Texture
- Within a Varied Texture
Orchestrating a Melody or Primary Gesture Using Special Effects for Orchestra
- Scoring sforzandi and forte subito piano
- Dovetailing or Overlapping
- Coloring a Note
- Pointillistic Scoring and Klangfarbenmelodie
16. The Orchestra as Accompanist
The Concerto
- Using Dialogue
- Assigning Foreground and Background Material to Solo and Tutti Sections
- Exploiting Color Contrast to Distinguish the Soloist from the Orchestra
- Separating Solo and Tutti by Rhythmic Independence
- Using Sparse Accompanimental Textures Advantageously
- Using Registral Placement to Distinguish the Solo Line from the Orchestra
Accompanying the Vocal Soloist, Ensemble, or Chorus
- The Recitative
- The Opera Aria and Orchestral Song
- The Operatic Vocal Ensemble
- Chorus
17. Transcribing for Orchestra
Transcribing from Keyboard or Small Chamber Combinations to Orchestra
- Transcribing from Keyboard to Orchestra
- Transcribing from Small Chamber Ensemble to Orchestra
Transcribing from Band or Wind Ensemble to Orchestra
- Darius Milhaud’s Suite française, Band and Orchestral Versions
- Arnold Schoenberg’s Theme and Variations, Op. 43A and B
Transcribing to Various Available Instrumental Combinations
18. The Preparation of Score and Parts
The Orchestral Score Setup
The Reduced Score
The Condensed Score
Preparing Individual Parts
- Generating Scores and Parts Electronically
- Proofreading
19. Scoring for Band or Wind Ensemble
Scoring for Band
Band Vs. Wind Ensemble
The Percussion Section within the Band or Wind Ensemble
The Band and Wind Ensemble Score Setup
- Marching Band
- Standard Concert Band
- Expanded Concert Band
- Wind Ensemble
Condensed Scores
- National Emblem
- America, the Beautiful
Transcribing from Orchestra to Band or Wind Ensemble
- Simulating String Techniques on Band Instruments
- Two Representative Examples
- Marching Band
Appendix A: Quick Reference
1. Ranges of the Most Frequently Used Orchestral Instruments
2. Names of Instruments in Four Languages and their English Abbreviations
3. Some Frequently Used Orchestral Terms in Four Languages
Appendix B: Bibliography
Orchestration
Individual Instrumental Technique
- Strings
- Woodwinds
- Brass
- Percussion and Keyboard
The History of the Orchestra and Orchestral Instruments
Band and Wind Ensemble Scoring, Film Scoring, and Commercial Arranging
Computer and Electronic Music

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The Study of Orchestration

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