1177:
38:
798:
1965:
2405:
orchestrator decides on the assignment of cues to other orchestrators on the team. Most films can be orchestrated in one to two weeks with a team of five orchestrators. New orchestrators trying to obtain work will often approach a film composer asking to be hired. They are generally referred to the lead orchestrator for consideration. At the scoring stage the orchestrator will often assist the composer in the recording booth giving suggestions on how to improve the performance, the music, or the recording. If the composer is conducting, sometimes the orchestrator will remain in the recording booth to assist as a producer. Sometimes the roles are reversed with the orchestrator
642:
852:
845:
886:
879:
1073:
1058:
992:
956:
945:
971:
687:
1752:
1599:
1537:
765:
1923:
2401:. Sometimes a composer will write a three-part chord for three flutes, although only two flutes have been hired. The orchestrator decides where to put the third note. For example, the orchestrator could have the clarinet (a woodwind that blends well with flute) play the third note. After the orchestrated cue is complete it is delivered to the copying house (generally by placing it on a computer server) so that each instrument of the orchestra can be electronically extracted, printed, and delivered to the scoring stage.
1415:
1676:
1121:
1243:
1717:
1635:
1360:
1857:
1811:
1270:
716:
1494:
1306:
2382:
octave (or omit them entirely), double certain passages with other instruments in the orchestra, add percussion instruments to provide colour, and add
Italian performance marks (e.g. Allegro con brio, Adagio, ritardando, dolce, staccato, etc.). If a composer writes a large action cue, and no woodwinds are used, the orchestrator will often add woodwinds by doubling the brass music up an octave. The orchestra size is determined from the music budget of the film.
723:“The relentless tremulant pulsation generated by the reiterated bass line, the persistent sighing figure in the violas and the violins the swirling motion in the violins so suggestive of turmoil… all contribute to its unique pathos. Over this ferment, pairs of oboes and flutes locked in lyrical dialogue but with anguished dissonances enact a very different kind of physicality, one that creates a harrowing portrayal of nails being driven into bare flesh.”
1466:
1031:
221:(M.Mus.) or an artist's diploma. Orchestrators who teach at universities, colleges and conservatories may be required to hold a master's degree or a Doctorate (the latter may be a Ph.D. or a D.M.A). Orchestrators who work for film companies, musical theatre companies and other organizations may be hired solely based on their orchestration experience, even if they do not hold academic credentials. In the 2010s, as the percentage of faculty holding
1994:
1204:
598:
1080:"Here we have the unusual sound on the violins providing the bass for the solo clarinets. The simplicity of the sequence concentrates all our interest on tone-colour, and what follows – a series of woodwind solos – keeps it there. The orchestration throughout, in fact, has a greater variety than Mozart had wished or needed before, and fits the brilliance, charm, and grace of the first movement and the finale."
1884:(1975, p20) "Debussy’s orchestration… when compared with even such brilliant contemporaries as Strauss and Mahler… shows an infinitely fresher imagination." Boulez said that Debussy's orchestration was "conceived from quite a different point of view; the number of instruments, their balance, the order in which they are used, their use itself, produces a different climate." Apart from the early impact of
1527:
recruits for the orchestral family and in his treatment of its established members. The well-known division of that family into strings, woodwind, and brass, with percussion as required, he inherited from the great classical symphonists such changes as he made were in the direction of splitting up these groups still further." Latham gives as an example, the sonority of the opening of the opera
1166:
1333:
1003:, the "call and response" exchange of musical motifs or "ideas" between different groups in the orchestra. In an antiphonal section, the composer may have one group of instruments introduce a melodic idea (e.g., the first violins), and then have the woodwinds "answer" by restating this melodic idea, often with some type of variation. In the trio section of the minuet from his
1165:
398:
first violins. When the first violins play a melody, the composer can have the second violins double the melody an octave below, or have the second violins play a harmony part (often in thirds and sixths). Sometimes, for a forceful effect, a composer will indicate in the score that all of the strings (violins, violas, cellos, and double basses) will play the melody in
1259:
1759:"It’s impressive to see how Wagner… produces balance in his works. He is true genius in this respect, undeniably so, even down to the working out of the exact number of instruments." Boulez is "fascinated by the precision with which Wagner gauges orchestral balance, … contains a multiplicity of details that he achieved with astonishing precision." According to
1349:
1167:
1348:
1258:
2374:
musical notes (e.g. eighth notes, quarter notes, etc.) with no phrasing, articulations, or dynamics. The orchestrator studies this synthesized "mockup" recording listening to dynamics and phrasing (just as the composer has played them in). They then accurately try to represent these elements in the orchestra. However some voicings on a synthesizer (
1791:… The purpose of this famous expansion was not a sheer increase in volume, but a greater variety of sound with more nearly continuous gradations… Mahler only occasionally required all his vast orchestra to play together, and his music was as often soft as loud. Its colours were continually shifting, blending or contrasting with each other."
1260:
1350:
676:
104:, composers have historically orchestrated their own music. Only gradually over the course of music history did orchestration come to be regarded as a separate compositional art and profession in itself. In modern classical music, composers almost invariably orchestrate their own work. Two notable exceptions to this are
675:
787:
1232:
786:
863:(the "Surprise Symphony.") Here, the oboes and bassoons take over the theme, while sustained chords in the strings accompany it with "soft, but very dissonant harmony. " Flute, Horns and timpani add to the mix, all contributing to the "air of uncanny poignancy" that characterises this atmospheric conclusion.
2342:
from five seconds to more than ten minutes as needed per scene in the film. After the composer is finished composing the cue, this sketch score is delivered to the orchestrator either as hand written or computer generated. Most composers in
Hollywood today compose their music using sequencing software (e.g.
631:
1231:
834:
1818:
Only in the first bar of the above is there a full ensemble. The remaining bars feature highly differentiated small groups of instruments. Mahler's experienced conductor's ear led him to write detailed performance markings in his scores, including carefully calibrated dynamics. For example, in bar
2373:
Every composer works differently and the orchestrator's job is to understand what is required from one composer to the next. If the music is created with sequencing software then the orchestrator is given a MIDI sketch score and a synthesized recording of the cue. The sketch score only contains the
1477:
Macdonald highlights the passage towards the end of the scherzo where "The sounds become more ethereal and fairylike, low clarinet, high harps and the bell-like antique cymbals…The pace and fascination of the movement are irresistible; it is some of the most ethereally brilliant music ever penned."
1473:
Boulez points out that the very fast tempo must have made unprecedented demands on conductors and orchestras of the time (1830), "Because of the rapid and precise rhythms, the staccatos which must be even and regular in all registers, because of the isolated notes that occur right at the end of the
2381:
The sound samples are often doubled up very prominently and thickly with other sounds in order to get the music to "speak" louder. The orchestrator sometimes changes these synth voicings to traditional orchestral voicings in order to make the music flow better. He may move intervals up or down the
1526:
speaks of the "sheer richness of Wagner’s orchestration and his irrepressible instinct for innovation." Peter Latham says that Wagner had a "unique appreciation of the possibilities for colour inherent in the instruments at his disposal, and it was this that guided him both in his selection of new
869:
677:
2341:
Most films require 30 to 120 minutes of musical score. Each individual piece of music in a film is called a "cue". There are roughly 20-80 cues per film. A dramatic film may require slow and sparse music while an action film may require 80 cues of highly active music. Each cue can range in length
1555:
and held for a long time, lets us take in all its detail. It is undoubtedly an A major chord, but it is also high strings, harmonics, long notes – which gives it all its expressivity, but an expressivity in which the acoustic features play a central role, as we have still heard neither melody nor
1104:
asks us to note "the sudden contrasts both in amount and quality of sound… we have first the full orchestra, then a single violin, then two horns, then two violins, then the full orchestra again, all within the space of half-a-dozen bars." "The scoring, a bar of this followed by a bar of that, is
397:
is also orchestrated. The composer or orchestrator may think of a melody in their head, or while playing the piano or organ. Once they have thought of a melody, they have to decide which instrument (or instruments) will play the melody. One widely used approach for a melody is to assign it to the
1646:
makes entirely new uses of orchestral colour… Without the help of the score, even a very sensitive ear cannot distinguish the instruments playing the unison beginning of the
Prelude. The violins are halved, then doubled by the cellos, a clarinet, and a bassoon, as well as, for the peak of the
1389:
of individual instruments, and it was on this raw material that his imagination worked to produce countless new sonorities, very striking when considered as a totality, crucially instructive for later composers, and nearly all exactly tailored to their dramatic or expressive purpose." Numerous
440:
While assigning a melody to a particular section, such as the string section or the woodwinds will work well, as the stringed instruments and all the woodwinds blend together well, some orchestrators give the melody to one section and then have the melody doubled by a different section or an
1841:(1969, p. 140) describes as "an instance of inspired orchestration… To be noted are the sudden change of mode in the harmonic progression, the unusual spacing of the chord in measure 5, and the placing of the perfect fourth in the two flutes. The effect is quite unexpected and magical."
2404:
The major film composers in
Hollywood each have a lead orchestrator. Generally the lead orchestrator attempts to orchestrate as much of the music as possible if time allows. If the schedule is too demanding, a team of orchestrators (ranging from two to eight) will work on a film. The lead
1047:
788:
630:
1741:
1233:
1837:. Austin (1966) says that "Mahler cared about the finest nuances of loudness and tempo and worked tirelessly to fix these details in his scores." Mahler's imagination for sonority is exemplified in the closing bars of the slow movement of the Fourth Symphony, where there occurs what
934:
867:
833:
2052:
In commercial music, especially musical theatre and film music, independent orchestrators are often used because it is difficult to meet tight deadlines when the same person is required both to compose and to orchestrate. Frequently, when a stage musical is adapted to film, such as
1455:
1322:
1046:
1740:
632:
1706:
1321:
835:
1401:
1705:
868:
933:
488:. The addition of these new instruments gave orchestrators new options for creating tonal colours in their orchestration. For example, in the late 20th century and onwards, an orchestrator could have a melody played by the first violins doubled by a futuristic-sounding
1665:
1585:
1400:
1454:
705:
750:
1664:
1584:
1048:
1742:
1483:
704:
935:
1136:
is a deceptively simple tune that, according to Fiske (1970, p. 41) "is limited to notes playable on the horns for which it must have been specially designed." This theme appears in five different orchestrations throughout the movement, with changes of
749:
1456:
1323:
571:
era, composers showed increasing awareness of the expressive potential of orchestration. While some early
Baroque pieces have no indication of which instruments should play the piece, the choice of instruments being left to the musical group's leader or
402:, at the same time. Typically, even though the instruments are playing the same note names, the violins will play very high-register notes, the violas and cellos will play lower-register notes, and the double basses will play the deepest, lowest pitches.
1707:
988:. The violas add crucial harmonic colouring here with their D flat in bar 115. In 1792, an early listener marvelled at the dazzling orchestration of this movement "ineffably grand and rich in ideas, with striking variety in almost all obbligato parts."
1846:
1292:
1020:
1482:
1647:
phrase, an alto oboe . The full novelty of this colour change with the oboe, both as intensity and as timbre, can be appreciated only after the theme is repeated in harmony and in one of the most gorgeous orchestrations of even Wagner’s
Technicolor
1624:
1402:
1110:
1193:
1845:
1291:
1019:
1666:
1623:
1586:
1109:
829:… is given a finicky elegance by the grace notes in the horns as well as by the doubling of the melody an octave higher with the solo violin. These details are not intended to blend, but to be set in relief; they are individually exquisite."
1800:
1192:
706:
417:
can perform a melody in a powerful, high register. Alternatively, if the trombones play a melody, the pitch will likely be lower than the trumpet, and the tone will be heavier, which may change the musical effect that is created. While the
751:
1799:
1484:
1396:. The opening of the fourth movement, entitled "March to the Scaffold" features what for the time (1830) must have seemed a bizarre mix of sounds. The timpani and the double basses play thick chords against the snarling muted brass:
426:
role in orchestration, there are notable cases where the cellos have been assigned the melody. In even more rare cases, the double bass section (or principal bass) may be given a melody, like, the high-register double bass solo in
314:
and may play more than one note at a time. As such, if the orchestrator wishes to have the strings play the C major chord, they could assign the low C to the cellos and basses, the G to the violas, and then a high E to the second
2122:
Due to the enormous time constraints of film scoring schedules, most film composers employ orchestrators rather than doing the work themselves, although these orchestrators work under the close supervision of the composer. Some
1795:(1971) similarly describes Mahler's symphonic writing as characterised by "massive tutti effects" contrasted with "chamber-music procedures". The following passage from the first movement of his Symphony No. 4 illustrates this:
1847:
1293:
1042:, a work that introduced clarinets into the mix. "This concerto places the greatest musical reliance on tone colour, which is, indeed, almost always ravishing. One lovely example of its sonorities comes near the beginning."
1021:
135:
and other commercial media, it is customary to use orchestrators and arrangers to one degree or another, since time constraints and/or the level of training of composers may preclude them orchestrating the music themselves.
1625:
1111:
1194:
1168:
1801:
97:, etc.) of a musical work. For example, a work for solo piano could be adapted and orchestrated so that an orchestra could perform the piece, or a concert band piece could be orchestrated for a symphony orchestra.
822:
declared Haydn to be the greatest of all masters of orchestration. The oom-pah-pah of a German dance band is rendered with the utmost refinement, amazingly by kettledrums and trumpets pianissimo, and the rustic
1261:
1351:
2008:
is its orchestration. While working on the piano score, Debussy wrote: ‘I am thinking of that orchestral colour which seems to be illuminated from behind, and for which there are such marvellous displays in
319:
and an E an octave higher to the first violins. If the orchestrator wishes the chord to be played only by the first and second violins, they could give the second violins a low C and give the first violins a
285:
and can only play one note of the chord at a time. However, in a full orchestra there are more than one of these instruments, so the composer may choose to outline the chord in its basic form with a group of
1618:
to be a work where "Wagner’s powers are at their pinnacle… The orchestral blends and separations are without precedent." Craft cites the intricate orchestration of the single line of melody that opens the
663:(2013, p. 328) describes as "one of the crowning glories of Bach’s first Christmas season" further demonstrates the composer's mastery of his craft. Within a space of eight bars, we hear recorders,
1509:
became something that could be used in free combinations, as an artist might use his palette, without bowing to the demands of line, and this leads to the rich orchestral resource of
Debussy and Ravel."
726:
Igor
Stravinsky (1959, p45) marvelled at Bach's skill as an orchestrator: "What incomparable instrumental writing is Bach's. You can smell the resin in his violin parts, taste the reeds in the oboes."
165:, which contains the melody and the chords, and then one or more orchestrators or arrangers may "flesh out" these basic musical ideas by creating parts for the saxophones, trumpets, trombones, and the
2490:
1425:"Although he derives from Beethoven, Berlioz uses features that run counter to the rules of composition in general, such as the chords in close position in the low register of the double basses."
739:
was famous for "the eloquence of orchestral writing which was something entirely new... - with a feeling for colour that is altogether 'modern'." In 'The
Entrance of Polymnie' from his opera
89:) or of adapting music composed for another medium for an orchestra. Also called "instrumentation", orchestration is the assignment of different instruments to play the different parts (e.g.,
859:
Another example of Haydn's imagination and ingenuity that shows how well he understood how orchestration can support harmony may be found in the concluding bars of the second movement of his
1128:
Another demonstration of
Beethoven's consummate skill at obtaining the maximum variety out of seemingly unprepossessing and fairly simple material can be found in the first movement of the
678:
370:
Note that although the above example discussed orchestrating a chord, a melody or even a single note may be orchestrated in this fashion. Also note that in this specific sense of the word,
2277:(James Newton Howard, Christopher Young, Theodore Shapiro, Teddy Castellucci, Danny Elfman, John Powell, Marco Beltrami, John Debney, Marc Shaiman, Michael Giacchino, Ludwig Göransson),
213:. Some orchestrators teach at colleges, conservatories or universities. The training done by orchestrators varies. Most have completed formal postsecondary education in music, such as a
2333:(George Gershwin, Rodgers and Hammerstein) was one of America's most prolific orchestrators (particularly of Broadway shows) of the 20th century, sometimes scoring over 80 pages a day.
2293:(John Powell, John Debney, Alan Silvestri, James Newton Howard, Henry Jackman, Lyle Workman, Theodore Shapiro, John Ottman, John Paesano, Alex Heffes, Christophe Beck, Carter Burwell),
789:
1234:
901:"was acutely sensitive to matters of instrumentation and instrumental effect where orchestral writing was concerned", including a "meticulous attitude towards the spacing of chords."
2250:
633:
836:
2281:(John Williams, Alexandre Desplat, Jerry Goldsmith, James Newton Howard, Alan Silvestri, James Horner, Mark Isham, John Powell, Michael Convertino, Danny Elfman, Howard Shore),
531:. More details can be contained in brackets. A dot separates one player from another, a slash indicates doubling. Timpani and percussion are denoted 2Tmp+ number of percussion.
870:
225:
and/or Doctoral degrees is part of how an institution is rated, this is causing an increasing number of postsecondary institutions to require terminal and/or Doctoral degrees.
782:, Rameau evokes the sound of lovelorn nightingales by means of two flutes blending with a solo violin, while the rest of the violins play sustained notes in the background.
1049:
1743:
1660:, Wagner offsets the bold brass with gentler strings, showing that the same musical material feels very different when passed between contrasting families of instruments:
3389:
by Andrew Hugill with The Philharmonia Orchestra. In depth information on orchestration including examples and video interviews with instrumentalists of each instrument.
936:
331:), doubled (both in the same and different octaves), and altered with various levels of dynamics. The choice of instruments, registers, and dynamics affect the overall
2694:
1457:
1324:
2258:
999:"The main feature in orchestration is Mozart’s density, which is of course part of his density of thought." Another important technique of Mozart's orchestration was
1708:
1367:
Fiske (1970) says that Beethoven shows "a superb flood of invention" through these varied treatments. "The variety of moods this theme can convey is without limit."
1227:
lower strings add further colour to this variegated palette of sounds. "Considering that the notes are virtually the same the difference in effect is extraordinary":
1403:
2385:
The orchestrator is told in advance the number of instruments he has to work with and has to abide by what is available. A big-budget film may be able to afford a
1667:
1587:
909:(K543) contains "a charming dialogue between strings and woodwind" that demonstrates the composer's exquisite aural imagination for the blending and contrast of
1864:
According to Donald Mitchell, the "rational basis" of Mahler's orchestration was "to enable us to comprehend his music by hearing precisely what was going on."
707:
1767:
parts in his cantatas have the instruments of the orchestra been so meticulously and lovingly adapted to their expressive role by Wagner in his later operas."
752:
2241:
Although there have been hundreds of orchestrators in film over the years, the most prominent film orchestrators for the latter half of the 20th century were
2027:
also refers to the re-adaptation of existing music into another medium, particularly a full or reduced orchestra. There are two general kinds of adaptation:
1888:, Debussy was also fascinated by music from Asia that according to Austin "he heard repeatedly and admired intensely at the Paris World exhibition of 1889".
1485:
2290:
2094:
up, since the singers need to start rehearsing a piece long before the whole work is fully completed. That was, for instance, the method of composition of
1848:
1533:, where "the ethereal quality of the music" is due to the violins being "divided up into four, five, or even eight parts instead of the customary two."
1294:
1022:
1626:
1112:
1195:
2238:
themes and songs that Churchill had written. Plumb continued to provide numerous film orchestrations at the Disney studios until his death in 1958.
1566:, bringing to a fine point the art of transition from one field of sonority to another." For example, in the evocative "Fire Music" that concludes
2045:
applies to instruments used in the texture of the piece. In the study of orchestration – in contradistinction to the practice – the term
1802:
139:
The precise role of the orchestrator in film music is highly variable, and depends greatly on the needs and skill set of the particular composer.
671:
in the first bar to a "restatement of the octave unison theme, this time by all the voices and instruments spread over five octaves" in bars 7-8:
1893:
1088:
Beethoven's innovative mastery of orchestration and his awareness of the effect of highlighting, contrasting and blending distinct instrumental
2294:
2274:
2270:
608:
A particularly imaginative example of Bach's use of changing instrumental colour between orchestral groups can be found in his Cantata BWV 67,
3420:
3316:
2812:
Taruskin, R. (2010, p. 573) The Oxford History of Western Music: Music in the Seventeenth and Eighteenth Centuries. Oxford University Press.
2803:
Taruskin, R. (2010, p. 573) The Oxford History of Western Music: Music in the Seventeenth and Eighteenth Centuries. Oxford University Press.
2282:
1876:, the major innovator in orchestration during the closing years of the nineteenth and the first decades of the twentieth century was Claude
745:(1763), the predominant string texture is shot through with descending scale figures on the bassoon, creating an exquisite blend of timbres:
667:, horns and strings creating a "glittery sheen" of contrasted timbres, sonorities and textures ranging from just two horns against a string
2049:
may also refer to consideration of the defining characteristics of individual instruments rather than to the art of combining instruments.
1340:
This is followed, finally, by a restatement of the major key version, featuring horns playing legato, accompanied by pizzicato strings and
1176:
37:
2180:
3377:
614:. In the dramatic fourth movement, Jesus is depicted as quelling his disciples’ anxiety (illustrated by agitated strings) by uttering
445:, which would add a sparkling, chime-like colour to the melody. Alternatively, a melody played by the piccolos could be doubled by the
461:
1105:
virtually unique, and one can visualize chaos reigning at the first rehearsal when many a player must have been caught unprepared."
1211:
This is followed by a more straightforward version in the major key, with horns accompanied by strings. The theme is now played
654:
1982:. The opening bars feature divided strings, spread over a wide range, a harp doubling horns with the addition of the bell-like
917:
over a range of four octaves. The first and second violins weave curly parallel melodic lines, a tenth apart, underpinned by a
1428:
Berlioz was also capable of conveying great delicacy in his instrumental writing. A particularly spectacular instance is the "
1161:
passages to the most subtle and differentiated episodes, where instrumental sounds are combined often in quite unexpected ways:
576:, there are Baroque works which specify certain instruments. The orchestral accompaniment to the aria 'et misericordia' from
1505:
says that for Berlioz, orchestration "was intrinsic to composition, not something applied to finished music...in his hands
177:, drums). But, commonly enough, big band composers have done their own arranging, just like their classical counterparts.
3251:
1069:
in the first two bars is answered by just horns and bassoon in bars 2–6. This passage repeats with fresh orchestration:
1390:
examples of Berlioz's orchestral wizardry and his penchant for conjuring extraordinary sonorities can be found in his
610:
3413:
2733:
Gardiner, J.E. (2013, p. 313) Music in the Castle of Heaven; a Portrait of Johann Sebastian Bach. London, Allen Lane.
2601:
1954:
music of the Far East.... The first harp varies the flute parts in almost the same way that the smallest bells of a
1580:
in the strings create an oscillation of tone-colours almost literally matching the visual flickering of the flames."
1385:.) "He was drawn to the orchestra as his chosen medium by instinct … and by finding out the exact capabilities and
294:(with separate instruments each being given one of the three notes of the chord). Other instruments, including the
905:
marvels at the "gorgeous wash of colour displayed in Mozart’s scores." For example, the opening movement of the
2854:
390:. Each different ensemble would enable the orchestrator/composer to create different tone "colours" and timbres.
1442:(1969, p51) describes as "Berlioz’s supreme exercise in light orchestral texture, a brilliant, gossamer fabric,
1038:
Charles Rosen (1971, p. 240) admires Mozart's skill in orchestrating his piano concertos, particularly the
952:
A graceful continuation to this features clarinets and bassoons with the lower strings supplying the bass notes.
2307:
was the most prominent orchestrator of MGM musicals from the 1940s to 1962, orchestrating such famous films as
1129:
1039:
797:
441:
instrument from a different section. For example, a melody played by the first violins could be doubled by the
3801:
2309:
2065:, the orchestrations for the film version are notably different from the stage ones. In other cases, such as
2015:’ The idea, then, was to produce timbre without glare, subdued... but to do so with clarity and precision."
1439:
1964:
3786:
3406:
453:
327:
Additionally in orchestration, notes may be placed into another register (such as transposed down for the
2454:
2315:
1381:
538:
3 flautists, the 3rd doubling on piccolo ("doubling" means that the performer can play flute and piccolo)
457:
3320:
2461:
1736:. These, together with the ominous rumbling of the timpani effectively convey the brooding atmosphere:
2061:
1097:
1072:
3796:
3791:
1556:
harmonic progression." As he matured as a composer, particularly through his experience of composing
1057:
1000:
641:
347:
in their upper registers, it would sound very bright; but if the same chord was orchestrated for the
113:
20:
2855:"A personal response to the Mozart memorial concert in Hamburg and the Symphony in E-flat (K. 543)"
2254:
2175:
1007:(1788), the flute, bassoons and horn exchange phrases with the strings, with the first violin line
1004:
906:
885:
878:
851:
844:
622:"). The strings dovetail with sustained chords on woodwind to accompany the solo singer, an effect
237:
in its specific sense refers to the way instruments are used to portray any musical aspect such as
2508:. This remains a classic work although the ranges and keys of some brass instruments are obsolete
1250:
When the solo piano enters, its right hand plays a variant of the minor version of the theme in a
269:, the composer or orchestrator will have to decide what instrument(s) play this chord and in what
3726:
3490:
2649:
2554:
2485:
2289:(Hans Zimmer, Klaus Badelt, Harry Gregson-Williams, Steve Jablonsky, Mark Mancina, John Powell),
2041:
1902:
1557:
1219:
in the bassoons. The violins simultaneously play an elaborated version of the theme. (See also
860:
815:
3335:
2639:
2330:
1909:
on the harp. Austin (1966, p. 16) continues "Only a composer thoroughly familiar with the
1689:
exemplifies the variety that Wagner could extract through combining instruments from different
814:
was a pioneer of symphonic form, but he was also a pioneer of orchestration. In the minuet of
686:
201:, or who adapts music composed for another medium for an orchestra. Orchestrators may work for
1474:
bar on the third quaver…all of which must fall into place with absolutely perfect precision."
1184:
The theme first appears in the minor mode during the orchestral introduction, performed using
2669:
2297:(Elliot Goldenthal, Michael Kamen, Ed Shearmur, Brian Tyler, Klaus Badelt, Ilan Eshkeri) and
2242:
2186:
2028:
1392:
433:
24:
1779:
expanded the orchestra, going ahead to a historic climax in the direction already marked by
991:
970:
955:
944:
3753:
3719:
2192:
2035:, which tends to change significant aspects of the original piece. In terms of adaptation,
1943:
1698:
1502:
902:
554:
As an example, Mahler Symphony 2 is scored: 4 4 5 4- 10 8 4 1- 2tmp+4-2 hp- org- str.
55:
2071:, they are not, and are simply expanded versions from those used in the stage production.
1180:
Second subject theme from the first movement of Beethoven's Piano Concerto No. 5 (Emperor)
1172:
Second subject theme from the first movement of Beethoven's Piano Concerto No. 5 (Emperor)
1008:
925:
in the horns. Wind instruments respond in bars 104–5, accompanied by a spidery ascending
587:
499:
Orchestral instrumentation is denoted by an abbreviated formulaic convention, as follows:
8:
3500:
3429:
3392:
3275:
2471:
2367:
2235:
1577:
1273:
Minor key version of the theme, with piano right hand elaborating the melody in triplets.
778:
694:
In contrast, Bach’s deployment of his instrumental forces in the opening movement of his
660:
623:
2878:
Robbins Landon, H. (1989, p. 137), Mozart, the Golden Years. London, Thames and Hudson.
2843:
Robbins Landon, H. and Mitchell, D. (1956, p. 191) The Mozart Companion. London, Faber.
2834:
Robbins Landon, H. (1989, p. 137), Mozart, the Golden Years. London, Thames and Hudson.
1728:
are varied subtly, with sounds that were new to the 19th century orchestra, such as the
1598:
142:
In musical theatre, the composer typically writes a piano/vocal score and then hires an
3687:
3580:
3568:
3452:
2634:
2418:
2386:
2246:
2198:
2170:
Some staff composers at the Walt Disney studios during the 1930s and 1940s (except for
2098:. In other instances, simple cooperation between various creators is utilized, as when
1751:
1685:
1536:
650:
3300:
1363:
Final statement of the theme in a major key by the horns after the end of the cadenza.
764:
413:
can effectively carry a melody, depending on the effect the orchestrator desires. The
3469:
3370:
2597:
2394:
2363:
2343:
2265:. Some of the most in-demand orchestrators today (and of the past 30 years) include
2262:
2220:
2164:
2111:
2067:
1529:
1434:
1355:
Final statement of the theme in a major key by the horns after the end of the cadenza
1283:
statement of the theme, "with the whole orchestra thumping it out in aggressive semi-
582:
516:
295:
214:
2329:
frequently spent time with Salinger informally learning the craft of orchestration.
1265:
Minor version of the theme, with piano right hand elaborating the melody in triplets
50:
3558:
3517:
2624:
2521:
2423:
2390:
2321:
2128:
2103:
1987:
1922:
1832:
1826:
1820:
1694:
1522:
was the major pioneer in the development of orchestration during the 19th century.
1447:
1150:
1142:
469:
410:
379:
270:
262:
258:
254:
210:
194:
82:
2436:
Essai de l'instruction à l'usage de ceux, qui composent pour la clarinet et le cor
3602:
3595:
3590:
2629:
2593:
2568:
2511:
2445:
2304:
2225:
2171:
2136:
2132:
2099:
1873:
1414:
914:
819:
696:
465:
222:
218:
206:
202:
128:
101:
58:, written in the 1820s. The score contains all the parts for the singers and the
3045:
Latham, P. (1926) "Wagner: Aesthetics and Orchestration." Gramophone, June 1926.
741:
19:
This article is about writing music. For management of computing resources, see
3741:
3398:
2441:
2375:
2298:
2215:
2160:
2156:
2110:(a simplified music notation for a song which includes just the melody and the
2095:
2075:
2055:
1519:
1375:
The most significant orchestral innovator of the early 19th century was Hector
979:
664:
477:
383:
166:
121:
117:
1998:
1914:
1901:, the sensitively differentiated orchestration and, above all in the striking
1675:
1648:
1568:
1541:
1120:
602:
601:
Orchestral introduction to 'et misericordia' from Bach's Magnificat, BWV 243.
3780:
3731:
3697:
3692:
3663:
3614:
3585:
3563:
2578:
2541:
2531:
2501:
2326:
2266:
2203:
2152:
2140:
2087:
2079:
1910:
1838:
1760:
1733:
1523:
1242:
1146:
573:
547:
3 bassoonists, the 2nd doubling on contrabassoon, the 3rd playing only contra
473:
423:
364:
174:
147:
59:
2114:). In the latter case, arranging as well as orchestration will be involved.
2039:
applies, strictly speaking, only to writing for orchestra, whereas the term
3702:
3658:
3651:
3512:
3089:
Craft, R. (1977, p. 82) Current Convictions. London, Secker & Warburg.
2544:(1962): Sounds and Scores: A Practical Guide to Professional Orchestration.
2398:
2286:
2148:
2144:
1951:
1716:
1671:
Contrasting orchestral groups from the Prelude to the first Act of Parsifal
1634:
1609:
1359:
1138:
1101:
442:
387:
86:
2378:) will not work in the same way when orchestrated for the live orchestra.
1856:
1810:
1269:
1188:
articulation and orchestrated in the most delicate and enchanting colours:
967:
cellos and basses with bowed violins and violas, playing mostly in thirds:
715:
544:
3 clarinetists, the 3rd doubling also on E-flat clarinet and bass clarinet
3748:
3670:
3624:
3607:
3543:
2644:
2564:
2359:
2278:
2091:
2032:
1729:
1493:
1443:
1305:
1254:
rhythm, with the backing of pizzicato (plucked) strings on the off-beats:
1220:
1216:
1133:
983:
918:
668:
489:
485:
352:
328:
321:
266:
250:
170:
124:'s String Quartet in A minor, producing the latter's Sonata for Strings.
42:
31:
3374:– full, searchable text with music images, mp3 files, and MusicXML files
1701:. In the opening phrase, the cellos are supported by wind instruments:
3763:
3736:
3646:
3629:
3527:
3474:
3464:
2406:
2124:
2107:
1679:
Contrasting orchestral groups from the Prelude to first Act of Parsifal
1465:
619:
577:
344:
311:
307:
162:
158:
132:
109:
1030:
3758:
3714:
3680:
3675:
3641:
3636:
3365:
2347:
1935:
1906:
1780:
1764:
1690:
1552:
1429:
1224:
964:
926:
825:
428:
406:
356:
287:
282:
274:
190:
78:
63:
1993:
3707:
3619:
3575:
3548:
3495:
3459:
3447:
3386:
3014:
Macdonald, H. (1969, p. 51) Berlioz orchestral Music. London, BBC.
2757:
Music in the Castle of Heaven: a Portrait of Johann Sebastian Bach.
2011:
1656:
1614:
1573:
1562:
Wagner made "increasing use of the contrast between pure and mixed
1341:
1284:
1185:
524:
508:
493:
481:
340:
291:
198:
154:
143:
94:
1203:
649:
The orchestral introduction to the opening chorus of J. S. Bach's
597:
3395:
An overview of books on the theory and practice of orchestration.
1983:
1958:
1947:
1898:
1897:(1894). Wagner's influence can be heard in the strategic use of
1877:
1784:
1386:
1376:
1314:
1093:
910:
591:
568:
520:
512:
446:
414:
360:
336:
242:
2004:
Jensen (2014, p. 228) says "Perhaps the greatest marvel of
1968:
Debussy, Prelude a l'apres midi d'un faune, Figure 7, bars 11-13
189:
is a trained musical professional who assigns instruments to an
3553:
3507:
2794:
Rosen, C. (1971, pp. 342–3) The Classical Style. London, Faber.
2351:
2143:(born 1932) (his very detailed sketches are 99% orchestrated),
1939:
1885:
1881:
1792:
1788:
1776:
1725:
1563:
1506:
1251:
1212:
1154:
1089:
1012:
922:
898:
736:
399:
394:
332:
316:
246:
238:
90:
3111:
Boulez, P. (2003, p. 52) Boulez on Conducting. London, Faber.
2389:-orchestra with over 100 musicians. In contrast, a low-budget
1891:
Both influences inform Debussy's first major orchestral work,
978:
The woodwind repeat these four bars with the violins adding a
690:
Opening orchestral introduction to J.S. Bach's Cantata, BWV65.
682:
Opening orchestral introduction to J.S. Bach's Cantata, BWV65.
374:
is not necessarily limited to an orchestra, as a composer may
3005:
Boulez, P. (203, p. 37) Boulez on Conducting. London, Faber.
2996:
Boulez, P. (203, p. 44) Boulez on Conducting. London, Faber.
2670:"Pictures at an Exhibition | work by Mussorgsky | Britannica"
2230:
2127:
have made the time to orchestrate their own music, including
2083:
1279:
1158:
1066:
811:
500:
419:
348:
299:
278:
105:
74:
46:
3023:
MacDonald, H., (2001) "Berlioz", article in Sadie, S. (ed.)
2896:
Rosen, C. (1971, p. 240) The Classical Style. London Faber.
2887:
Rosen, C. (1971, p. 240) The Classical Style. London Faber.
2859:
Mozart: New Documents, edited by Dexter Edge and David Black
2078:, that is, a score written on limited number of independent
1934:, Debussy builds a complex texture, where, as Austin says, "
3433:
2355:
1974:
1955:
1724:
When this idea returns towards the end of the prelude, the
528:
504:
303:
3080:, trans. Dunsby, Goldman and Whittal, 2018. London, Faber.
3058:, trans. Dunsby, Goldman and Whittal, 2018. London, Faber.
2450:
Grand traité d’instrumentation et d’orchestration modernes
1938:
and orchestration overlap...He adds to all the devices of
1905:
chord spread between oboes and clarinets, reinforced by a
1332:
1246:
Major version of the theme, with horns playing the melody.
2082:. Some orchestrators, particularly those writing for the
1238:
Major version of the theme, with horns playing the melody
1034:
Trio section of the Minuet from Mozart's Symphony No. 41.
1026:
Trio section of the Minuet from Mozart's Symphony No. 41.
146:
or orchestrator to create the instrumental score for the
2354:). A sketch score can be generated through the use of a
2074:
Most orchestrators often work from a draft (sketch), or
1926:
Debussy, Prelude a l'apres midi d'un faune, opening bars
3067:
Boulez, P. (1986, p. 273) Orientations. London, Faber.
3036:
Boulez, P. (1986, p. 273) Orientations. London, Faber.
590:
by flutes, a subtle combination of mellow instrumental
1972:
Debussy's final orchestral work, the enigmatic ballet
1950:
and Wagner the possibilities that he learned from the
801:
Rameau 'Rossignols amoureux' from Hippolyte et Aricie
793:
Rameau 'Rossignols amoureux' from Hippolyte et Aricie
265:. If the notes are held out the entire duration of a
1654:
Later, during the opening scene of the first act of
1076:
Mozart Piano Concerto K482 first movement bars 7–12.
1313:The minor version of the theme also appears in the
1053:
Mozart Piano Concerto K482 first movement bars 1-12
16:
Study or practice of writing music for an orchestra
2612:Instrumentation and Orchestration (Second edition)
1497:Berlioz, orchestral texture from Queen Mab scherzo
1489:Berlioz, orchestral texture from Queen Mab scherzo
1061:Mozart Piano Concerto K482 first movement bars 1-6
645:Bach, from Cantata BWV 67, 4th movement, bars 8-13
637:Bach, from Cantata BWV 67, 4th movement, bars 8-13
541:2 oboists, the 2nd playing English horn throughout
3150:. Trans. Jephcott. University of Chicago Press.
2695:"Sonata for Strings (transcription ... | Details"
2031:, which closely follows the original piece, and
1814:Mahler, Symphony No. 4, first movement, Figure 5.
1469:Berlioz, Queen Mab scherzo from Romeo et Juliette
1461:Berlioz, Queen Mab scherzo from Romeo et Juliette
776:In the aria ‘Rossignols amoureux’ from his opera
335:. If the C major chord was orchestrated for the
3778:
3428:
1860:Mahler Symphony No 4, third movement, Figure 13.
1852:Mahler Symphony No 4, third movement, Figure 13.
889:Haydn, Symphony 94, second movement bars 143-156
874:Haydn, Symphony 94, second movement bars 143-156
855:Haydn, Symphony 97, third movement, bars 109-118
840:Haydn, Symphony 97, third movement, bars 109-118
3302:Orchestration by Cecil Forsyth - Ebook | Scribd
3025:The New Grove Dictionary of Music and Musicians
2106:'s songs, or when orchestration is done from a
557:
1978:(1913) was composed nearly 20 years after the
1132:in E flat (‘The Emperor’) Opus 73 (1810). The
534:For example, 3 2 3 3 tmp+2 is interpreted as:
449:, which would add a bright tone to the sound.
3414:
3366:Rimsky-Korsakov's Principles of Orchestration
3336:"Book Review: The Technique of Orchestration"
3252:"John Williams Orchestration - Gearspace.com"
1986:in the 5th bar and the sultry voicing of the
1806:Mahler, Symphony No. 4, first movement, Fig 5
1336:Solo piano statement of theme in the cadenza.
3124:Ring of the Nibelung. Penguin Random House.
2174:) had orchestrated their own music, such as
1683:On the other hand, the prelude to the opera
1551:Prelude begins, in the high register, using
1328:Solo piano statement of theme in the cadenza
464:instruments into the orchestra, such as the
2409:and the composer producing from the booth.
2370:. Thus begins the job of the orchestrator.
3421:
3407:
2393:may only be able to afford a 20 performer
1913:could have conceived the beginning of the
1379:. (The composer was also the author of a
23:. For orchestrating a pervasive game, see
3122:The Ring of Truth: The Wisdom of Wagner's
2592:. Music reference collection, Number 52.
1215:by the horns, accompanied by a sustained
995:Symphony 39, first movement, bars 115-119
974:Symphony 39, first movement, bars 110-114
959:Symphony 39, first movement, bars 106-109
948:Symphony 39, first movement, bars 102-105
940:Symphony 39, first movement, bars 102-119
1992:
1963:
1921:
1855:
1843:
1809:
1797:
1750:
1738:
1715:
1703:
1674:
1662:
1633:
1621:
1597:
1582:
1535:
1492:
1480:
1464:
1452:
1418:Berlioz, March to the Scaffold from the
1413:
1398:
1358:
1346:
1331:
1319:
1304:
1289:
1268:
1256:
1241:
1229:
1202:
1190:
1175:
1163:
1119:
1107:
1071:
1056:
1044:
1029:
1017:
990:
969:
963:Next, a phrase for strings alone blends
954:
943:
931:
884:
877:
865:
850:
843:
831:
796:
784:
763:
747:
714:
702:
685:
673:
640:
628:
596:
586:, BWV 243 (1723) features muted strings
36:
2718:
2516:La Tecnica dell'Orchestra Contemporanea
1763:, "Seldom since Bach's inspired use of
324:of the notes G (an open string) and E.
3779:
3317:"Adler, Samuel in Oxford Music Online"
2587:
1755:Wagner, Tristan Prelude, closing bars.
1344:arpeggio figuration in the solo piano:
1116:Beethoven, Symphony 2 scherzo bars 1-8
982:against the cellos and basses playing
913:. Bars 102-3 feature a widely spaced
3402:
3383:(full text with "interactive scores")
3027:, second edition. London, MacMillan.
2575:. A 6th edition (2002) is available.
2117:
1819:2 above, the low harp note is marked
1747:Wagner, Tristan Prelude, closing bars
921:in the double basses and a sustained
2590:Orchestration Theory: A Bibliography
2253:(who worked almost exclusively with
1317:, played staccato by the solo piano:
378:this same C major chord for, say, a
73:is the study or practice of writing
3187:Gustav Mahler, the Wunderhorn Years
2480:Manual of Practical Instrumentation
2358:file which is then imported into a
197:from a piece of music written by a
13:
3333:
2770:Conversations with Igor Stravinsky
1547:"The A major chord with which the
14:
3813:
3357:
2972:Beethoven Concertos and Overtures
2959:Beethoven Concertos and Overtures
2946:Beethoven Concertos and Overtures
2933:Beethoven Concertos and Overtures
2907:Beethoven and his Nine Symphonies
2852:
2823:The Cambridge Companion to Mozart
1894:Prelude a l’après-midi d’un faune
1720:Wagner, Tristan prelude, opening.
1153:) and a blending of instrumental
1134:second subject of the sonata form
626:likens to "a cinematic dissolve."
367:, it might sound heavy and dark.
3393:Books about Music: Orchestration
2920:The Nine Symphonies of Beethoven
2476:Technique de l’orchestre moderne
2466:Traité general d’instrumentation
2018:
1712:Wagner, Tristan Prelude, opening
180:
3688:Political or revolutionary song
3327:
3309:
3293:
3268:
3244:
3231:
3218:
3205:
3192:
3179:
3166:
3153:
3140:
3127:
3114:
3105:
3102:. London, Secker & Warburg.
3092:
3083:
3070:
3061:
3048:
3039:
3030:
3017:
3008:
2999:
2990:
2977:
2964:
2951:
2938:
2925:
2912:
2899:
2890:
2881:
2872:
2846:
2837:
2828:
2815:
2806:
2797:
2783:An Illustrated History of Music
2547:Stephen Douglas Burton (1982):
2301:(James Horner, Thomas Newman).
2285:(John Williams, James Horner),
2181:Snow White and the Seven Dwarfs
1407:March to the Scaffold from the
1157:that ranges from boldly stated
656:Sie werden aus Saba alle kommen
611:Halt im Gedächtnis Jesum Christ
3387:The Orchestra: A User's Manual
2788:
2775:
2762:
2755:Gardiner, J.E. (2013, p. 343)
2749:
2742:Gardiner, J.E. (2013, p. 328)
2736:
2727:
2712:
2687:
2662:
2573:The Technique of Orchestration
2325:. In the 1950s, film composer
2090:, prefer to work from a piano
1961:vary the slower basic melody."
1040:Concerto in E flat major, K482
452:In the 20th and 21st century,
273:. Some instruments, including
228:
1:
3148:Mahler, a musical physiognomy
2825:. Cambridge University Press.
2781:Pincherle, M. (1967, p. 122)
2744:Music in the Castle of Heaven
2655:
2610:Alfred Blatter (1997) :
2151:(1953–2015) (on Braveheart),
1693:with his precise markings of
1540:Wagner, Prelude to Lohengrin
1309:Tutti statement of the theme.
700:evokes a much darker drama:
496:to create an unusual effect.
2768:Stravinsky I. and Craft, R.
1775:William Austin (1966) says "
1298:Tutti statement of the theme
1092:are well exemplified in the
1083:
768:'L'Entrée de Polymnie' from
756:'L'Entrée de Polymnie' from
558:Examples from the repertoire
7:
3380:Principles of Orchestration
3241:. Oxford University Press.
3185:Mitchell, D. (1975, p.213)
3176:. London, Victor Gollancz.
3146:Adorno, T.W. (1971, p. 53)
3120:Scruton, R. (2016, p. 147)
2983:Macdonald, H. (1969, p. 5)
2918:Hopkins, A. (1981, p. 51)
2721:Orchestral Music a Handbook
2618:
2496:Principles of Orchestration
2455:Treatise on Instrumentation
2444:(1844), revised in 1905 by
1612:found Wagner's final opera
1576:of the wind chords and the
1382:Treatise on Instrumentation
1277:This is followed by a bold
1207:Minor version of the theme.
1124:Symphony 2 scherzo bars 1-8
562:
81:(or, more loosely, for any
62:parts and melodies for the
10:
3818:
3159:Austin, W. (1966, p. 123)
3133:Austin, W. (1966, p. 123)
3076:Boulez, P. (2018, p. 524)
3054:Boulez, P. (2005, p. 361)
2821:Keefe, S.P. (2003, p. 92)
2559:The Study of Orchestration
2557:(1982, 1989, 2002, 2016):
2336:
1867:
1370:
1199:Minor version of the theme
29:
18:
3536:
3483:
3440:
3276:"Orchestration: Overview"
3226:Music in the 20th century
3224:Austin, W. (1966, p. 20)
3213:Music in the 20th century
3211:Austin, W. (1966, p. 16)
3200:Music in the 20th century
3198:Austin, W. (1966, p. 20)
3161:Music in the 20th Century
3135:Music in the 20th Century
3098:Craft, R. (1977, p. 91)
2970:Fiske, R. (1970, p. 42),
2957:Fiske, R. (1970, p. 42),
2944:Fiske, R. (1970, p. 41),
2588:Perone, James E. (1996).
2583:Arranged by Nelson Riddle
2526:Traité de l'Orchestration
2023:In a more general sense,
1770:
1513:
893:
730:
114:Pictures at an Exhibition
21:Orchestration (computing)
2985:Berlioz Orchestral Music
2905:Grove, G. (1896, p. 34)
2462:François-Auguste Gevaert
2434:Valentin Roeser (1764):
2412:
2234:). These composers also
1638:Parsifal Prelude Opening
1630:Parsifal Prelude Opening
805:
711:St John Passion, opening
253:is made up of the notes
30:Not to be confused with
2719:Daniels, David (2005).
2486:Nikolay Rimsky-Korsakov
2261:, Greig McRitchie, and
1990:chords in the woodwind:
1903:half-diminished seventh
1880:. According to Pierre
1602:Wagner Fire Music from
1591:Wagner Fire Music from
719:St John Passion opening
2746:. London, Allen Lane.
2723:. Scarecrow Press Inc.
2640:Orchestral enhancement
2360:music notation program
2331:Robert Russell Bennett
2001:
1969:
1927:
1872:Apart from Mahler and
1861:
1853:
1815:
1807:
1756:
1748:
1721:
1713:
1680:
1672:
1639:
1631:
1606:
1595:
1544:
1498:
1490:
1470:
1462:
1450:almost without pause:
1422:
1411:
1364:
1356:
1337:
1329:
1310:
1299:
1274:
1266:
1247:
1239:
1208:
1200:
1181:
1173:
1125:
1117:
1077:
1062:
1054:
1035:
1027:
996:
975:
960:
949:
941:
890:
882:
875:
856:
848:
841:
802:
794:
773:
761:
720:
712:
691:
683:
646:
638:
605:
550:Timpani+ 2 percussion.
454:contemporary composers
67:
2785:. London, MacMillan.
1996:
1967:
1925:
1859:
1851:
1813:
1805:
1754:
1746:
1719:
1711:
1678:
1670:
1637:
1629:
1601:
1590:
1539:
1496:
1488:
1468:
1460:
1420:Symphonie fantastique
1417:
1409:Symphonie fantastique
1406:
1393:Symphonie fantastique
1362:
1354:
1335:
1327:
1308:
1297:
1272:
1264:
1245:
1237:
1206:
1198:
1179:
1171:
1123:
1115:
1075:
1060:
1052:
1033:
1025:
994:
973:
958:
947:
939:
888:
881:
873:
854:
847:
839:
800:
792:
767:
755:
718:
710:
689:
681:
644:
636:
600:
456:began to incorporate
434:Lieutenant Kije Suite
40:
25:Orchestration (games)
3802:Occupations in music
3323:on 6 September 2012.
3237:Jensen, E.F. (2014)
2922:. London, Heinemann.
2759:London, Allen Lane.
2316:An American in Paris
2193:The Three Caballeros
1503:New Grove Dictionary
1223:.) The timpani and
1130:Piano Concerto No. 5
903:H. C. Robbins Landon
120:'s orchestration of
108:'s orchestration of
56:Carl Maria von Weber
3787:Musical terminology
3501:Electronic libretto
3430:Musical composition
3100:Current Convictions
2909:. London, Novello.
2472:Charles-Marie Widor
2310:Singin' in the Rain
2062:Fiddler on the Roof
1726:instrumental colors
1691:orchestral families
1432:" scherzo from the
929:line in the cellos.
779:Hippolyte et Aricie
661:John Eliot Gardiner
624:John Eliot Gardiner
616:Friede sei mit euch
422:are often given an
249:. For example, a C
112:'s solo piano work
3569:Sentimental ballad
3378:Rimsky-Korsakov's
3172:Piston, W. (1969)
2931:Fiske, R. (1970),
2674:www.britannica.com
2635:Klangfarbenmelodie
2491:Основы оркестровки
2419:Michael Praetorius
2387:Romantic music era
2291:John Ashton Thomas
2247:Herbert W. Spencer
2199:Fun and Fancy Free
2118:Film orchestration
2002:
1970:
1928:
1862:
1854:
1816:
1808:
1757:
1749:
1722:
1714:
1686:Tristan and Isolde
1681:
1673:
1640:
1632:
1607:
1596:
1545:
1499:
1491:
1471:
1463:
1423:
1412:
1365:
1357:
1338:
1330:
1311:
1300:
1275:
1267:
1248:
1240:
1209:
1201:
1182:
1174:
1141:(major to minor),
1126:
1118:
1078:
1063:
1055:
1036:
1028:
1015:by the first oboe:
997:
976:
961:
950:
942:
891:
883:
876:
857:
849:
842:
818:, "we can see why
803:
795:
774:
762:
721:
713:
692:
684:
647:
639:
606:
157:, the composer or
68:
3774:
3773:
3470:Singer-songwriter
3371:Project Gutenberg
2772:. London, Faber.
2571:: (1st ed. 1983)
2395:chamber orchestra
2344:Digital Performer
2263:Alexander Courage
2165:Abel Korzeniowski
2112:chord progression
1999:Jeux opening bars
1849:
1825:, the clarinets,
1803:
1744:
1709:
1668:
1627:
1588:
1486:
1458:
1435:Romeo et Juliette
1404:
1352:
1325:
1295:
1262:
1235:
1196:
1169:
1113:
1050:
1023:
937:
871:
837:
790:
753:
708:
679:
634:
620:Peace be unto you
476:played through a
468:played through a
411:brass instruments
359:, doubled by the
215:Bachelor of Music
211:recording studios
45:for Act 2 of the
3809:
3797:Orchestral music
3792:Musical notation
3559:Execution ballad
3518:Musical notation
3423:
3416:
3409:
3400:
3399:
3373:
3351:
3350:
3348:
3346:
3331:
3325:
3324:
3319:. Archived from
3313:
3307:
3306:
3297:
3291:
3290:
3288:
3286:
3272:
3266:
3265:
3263:
3262:
3248:
3242:
3235:
3229:
3228:. London, Dent.
3222:
3216:
3215:. London, Dent.
3209:
3203:
3196:
3190:
3189:. London, Faber.
3183:
3177:
3170:
3164:
3163:. London, Dent.
3157:
3151:
3144:
3138:
3137:. London, Dent.
3131:
3125:
3118:
3112:
3109:
3103:
3096:
3090:
3087:
3081:
3074:
3068:
3065:
3059:
3052:
3046:
3043:
3037:
3034:
3028:
3021:
3015:
3012:
3006:
3003:
2997:
2994:
2988:
2981:
2975:
2968:
2962:
2955:
2949:
2942:
2936:
2929:
2923:
2916:
2910:
2903:
2897:
2894:
2888:
2885:
2879:
2876:
2870:
2869:
2867:
2865:
2850:
2844:
2841:
2835:
2832:
2826:
2819:
2813:
2810:
2804:
2801:
2795:
2792:
2786:
2779:
2773:
2766:
2760:
2753:
2747:
2740:
2734:
2731:
2725:
2724:
2716:
2710:
2709:
2707:
2705:
2691:
2685:
2684:
2682:
2680:
2666:
2625:Musical notation
2607:
2522:Charles Koechlin
2429:De Organographia
2424:Syntagma Musicum
2391:independent film
2163:(born 1968) and
2129:Bernard Herrmann
2104:Stephen Sondheim
1850:
1804:
1745:
1710:
1669:
1628:
1589:
1572:, "the multiple
1487:
1459:
1438:symphony, which
1405:
1353:
1326:
1296:
1263:
1236:
1197:
1170:
1114:
1051:
1024:
938:
872:
838:
791:
754:
709:
680:
635:
470:guitar amplifier
380:woodwind quintet
223:terminal degrees
195:musical ensemble
83:musical ensemble
3817:
3816:
3812:
3811:
3810:
3808:
3807:
3806:
3777:
3776:
3775:
3770:
3603:Christmas carol
3596:Repetitive song
3591:Cumulative song
3581:Children's song
3532:
3491:Instrumentation
3479:
3436:
3427:
3363:
3360:
3355:
3354:
3344:
3342:
3332:
3328:
3315:
3314:
3310:
3299:
3298:
3294:
3284:
3282:
3274:
3273:
3269:
3260:
3258:
3250:
3249:
3245:
3236:
3232:
3223:
3219:
3210:
3206:
3202:. London, Dent.
3197:
3193:
3184:
3180:
3171:
3167:
3158:
3154:
3145:
3141:
3132:
3128:
3119:
3115:
3110:
3106:
3097:
3093:
3088:
3084:
3075:
3071:
3066:
3062:
3053:
3049:
3044:
3040:
3035:
3031:
3022:
3018:
3013:
3009:
3004:
3000:
2995:
2991:
2987:. London, BBC.
2982:
2978:
2974:. London, BBC.
2969:
2965:
2961:. London, BBC.
2956:
2952:
2948:. London, BBC.
2943:
2939:
2935:. London, BBC.
2930:
2926:
2917:
2913:
2904:
2900:
2895:
2891:
2886:
2882:
2877:
2873:
2863:
2861:
2851:
2847:
2842:
2838:
2833:
2829:
2820:
2816:
2811:
2807:
2802:
2798:
2793:
2789:
2780:
2776:
2767:
2763:
2754:
2750:
2741:
2737:
2732:
2728:
2717:
2713:
2703:
2701:
2693:
2692:
2688:
2678:
2676:
2668:
2667:
2663:
2658:
2650:Instrumentation
2630:Elastic scoring
2621:
2604:
2594:Greenwood Press
2569:Donald Grantham
2512:Alfredo Casella
2446:Richard Strauss
2415:
2339:
2305:Conrad Salinger
2226:Edward H. Plumb
2172:Frank Churchill
2137:Ennio Morricone
2133:Georges Delerue
2120:
2100:Jonathan Tunick
2047:instrumentation
2042:instrumentation
2021:
1874:Richard Strauss
1870:
1844:
1798:
1773:
1739:
1704:
1663:
1622:
1583:
1578:contrary motion
1518:After Berlioz,
1516:
1481:
1453:
1399:
1373:
1347:
1320:
1290:
1257:
1230:
1191:
1164:
1108:
1086:
1065:The orchestral
1045:
1018:
1005:Symphony No. 41
932:
907:Symphony No. 39
896:
866:
861:Symphony No. 94
832:
820:Rimsky-Korsakov
816:Symphony No. 97
808:
785:
748:
733:
703:
697:St John Passion
674:
665:oboes da caccia
629:
565:
560:
466:electric guitar
231:
219:Master of Music
207:film production
203:musical theatre
183:
129:musical theatre
102:classical music
41:A hand-written
35:
28:
17:
12:
11:
5:
3815:
3805:
3804:
3799:
3794:
3789:
3772:
3771:
3769:
3768:
3767:
3766:
3756:
3751:
3746:
3745:
3744:
3742:Football chant
3739:
3729:
3727:Signature song
3724:
3723:
3722:
3712:
3711:
3710:
3705:
3700:
3695:
3685:
3684:
3683:
3673:
3668:
3667:
3666:
3656:
3655:
3654:
3649:
3639:
3634:
3633:
3632:
3627:
3617:
3612:
3611:
3610:
3600:
3599:
3598:
3593:
3588:
3578:
3573:
3572:
3571:
3566:
3561:
3551:
3546:
3540:
3538:
3534:
3533:
3531:
3530:
3525:
3520:
3515:
3510:
3505:
3504:
3503:
3493:
3487:
3485:
3481:
3480:
3478:
3477:
3472:
3467:
3462:
3457:
3456:
3455:
3444:
3442:
3438:
3437:
3426:
3425:
3418:
3411:
3403:
3397:
3396:
3390:
3384:
3375:
3359:
3358:External links
3356:
3353:
3352:
3334:Sealey, Mark.
3326:
3308:
3292:
3267:
3243:
3230:
3217:
3204:
3191:
3178:
3165:
3152:
3139:
3126:
3113:
3104:
3091:
3082:
3069:
3060:
3047:
3038:
3029:
3016:
3007:
2998:
2989:
2976:
2963:
2950:
2937:
2924:
2911:
2898:
2889:
2880:
2871:
2853:Black, David.
2845:
2836:
2827:
2814:
2805:
2796:
2787:
2774:
2761:
2748:
2735:
2726:
2711:
2686:
2660:
2659:
2657:
2654:
2653:
2652:
2647:
2642:
2637:
2632:
2627:
2620:
2617:
2616:
2615:
2608:
2602:
2585:
2576:
2562:
2552:
2545:
2539:
2529:
2519:
2509:
2504:(1914; 1935):
2499:
2483:
2474:(1904) :
2469:
2459:
2442:Hector Berlioz
2439:
2432:
2414:
2411:
2376:synthestration
2338:
2335:
2299:J.A.C. Redford
2216:Oliver Wallace
2161:Philippe Rombi
2157:Rachel Portman
2125:film composers
2119:
2116:
2096:Jules Massenet
2088:music theatres
2080:musical staves
2020:
2017:
1869:
1866:
1831:and the horns
1772:
1769:
1520:Richard Wagner
1515:
1512:
1440:Hugh Macdonald
1372:
1369:
1098:Symphony No. 2
1085:
1082:
980:counter-melody
895:
892:
807:
804:
735:Jean Philippe
732:
729:
659:BWV 65, which
564:
561:
559:
556:
552:
551:
548:
545:
542:
539:
478:bass amplifier
384:string quartet
306:, and pitched
230:
227:
182:
179:
167:rhythm section
122:William Walton
118:Malcolm Arnold
51:Der Freischütz
15:
9:
6:
4:
3:
2:
3814:
3803:
3800:
3798:
3795:
3793:
3790:
3788:
3785:
3784:
3782:
3765:
3762:
3761:
3760:
3757:
3755:
3752:
3750:
3747:
3743:
3740:
3738:
3735:
3734:
3733:
3732:Sporting song
3730:
3728:
3725:
3721:
3720:"I Want" song
3718:
3717:
3716:
3713:
3709:
3706:
3704:
3701:
3699:
3696:
3694:
3693:Campaign song
3691:
3690:
3689:
3686:
3682:
3679:
3678:
3677:
3674:
3672:
3669:
3665:
3664:Nonsense song
3662:
3661:
3660:
3657:
3653:
3650:
3648:
3645:
3644:
3643:
3640:
3638:
3635:
3631:
3628:
3626:
3623:
3622:
3621:
3618:
3616:
3615:Drinking song
3613:
3609:
3606:
3605:
3604:
3601:
3597:
3594:
3592:
3589:
3587:
3586:Campfire song
3584:
3583:
3582:
3579:
3577:
3574:
3570:
3567:
3565:
3564:Murder ballad
3562:
3560:
3557:
3556:
3555:
3552:
3550:
3547:
3545:
3542:
3541:
3539:
3535:
3529:
3526:
3524:
3523:Orchestration
3521:
3519:
3516:
3514:
3511:
3509:
3506:
3502:
3499:
3498:
3497:
3494:
3492:
3489:
3488:
3486:
3482:
3476:
3473:
3471:
3468:
3466:
3463:
3461:
3458:
3454:
3451:
3450:
3449:
3446:
3445:
3443:
3439:
3435:
3431:
3424:
3419:
3417:
3412:
3410:
3405:
3404:
3401:
3394:
3391:
3388:
3385:
3382:
3381:
3376:
3372:
3368:
3367:
3362:
3361:
3341:
3340:Classical Net
3337:
3330:
3322:
3318:
3312:
3304:
3303:
3296:
3281:
3280:Classical Net
3277:
3271:
3257:
3256:gearspace.com
3253:
3247:
3240:
3234:
3227:
3221:
3214:
3208:
3201:
3195:
3188:
3182:
3175:
3174:Orchestration
3169:
3162:
3156:
3149:
3143:
3136:
3130:
3123:
3117:
3108:
3101:
3095:
3086:
3079:
3078:Music Lessons
3073:
3064:
3057:
3056:Music Lessons
3051:
3042:
3033:
3026:
3020:
3011:
3002:
2993:
2986:
2980:
2973:
2967:
2960:
2954:
2947:
2941:
2934:
2928:
2921:
2915:
2908:
2902:
2893:
2884:
2875:
2860:
2856:
2849:
2840:
2831:
2824:
2818:
2809:
2800:
2791:
2784:
2778:
2771:
2765:
2758:
2752:
2745:
2739:
2730:
2722:
2715:
2700:
2696:
2690:
2675:
2671:
2665:
2661:
2651:
2648:
2646:
2643:
2641:
2638:
2636:
2633:
2631:
2628:
2626:
2623:
2622:
2613:
2609:
2605:
2603:0-313-29596-4
2599:
2595:
2591:
2586:
2584:
2580:
2579:Nelson Riddle
2577:
2574:
2570:
2566:
2563:
2560:
2556:
2553:
2550:
2549:Orchestration
2546:
2543:
2542:Henry Mancini
2540:
2537:
2536:Orchestration
2533:
2532:Walter Piston
2530:
2527:
2523:
2520:
2517:
2513:
2510:
2507:
2506:Orchestration
2503:
2502:Cecil Forsyth
2500:
2497:
2493:
2492:
2487:
2484:
2481:
2477:
2473:
2470:
2467:
2463:
2460:
2457:
2456:
2451:
2447:
2443:
2440:
2437:
2433:
2430:
2426:
2425:
2420:
2417:
2416:
2410:
2408:
2402:
2400:
2396:
2392:
2388:
2383:
2379:
2377:
2371:
2369:
2365:
2361:
2357:
2353:
2349:
2345:
2334:
2332:
2328:
2327:John Williams
2324:
2323:
2318:
2317:
2312:
2311:
2306:
2302:
2300:
2296:
2292:
2288:
2284:
2280:
2276:
2272:
2268:
2267:Jeff Atmajian
2264:
2260:
2259:Arthur Morton
2256:
2255:Alfred Newman
2252:
2251:Edward Powell
2248:
2244:
2239:
2237:
2233:
2232:
2227:
2223:
2222:
2217:
2213:
2209:
2205:
2204:Leigh Harline
2201:
2200:
2195:
2194:
2189:
2188:
2183:
2182:
2177:
2176:Paul J. Smith
2173:
2168:
2167:(born 1972).
2166:
2162:
2159:(born 1960),
2158:
2155:(born 1954),
2154:
2153:Bruno Coulais
2150:
2147:(born 1946),
2146:
2142:
2141:John Williams
2139:(1928–2020),
2138:
2135:(1925–1992),
2134:
2131:(1911–1975),
2130:
2126:
2115:
2113:
2109:
2105:
2102:orchestrates
2101:
2097:
2093:
2089:
2085:
2081:
2077:
2072:
2070:
2069:
2064:
2063:
2058:
2057:
2050:
2048:
2044:
2043:
2038:
2037:orchestration
2034:
2030:
2029:transcription
2026:
2025:orchestration
2019:As adaptation
2016:
2014:
2013:
2007:
2000:
1995:
1991:
1989:
1985:
1981:
1977:
1976:
1966:
1962:
1960:
1957:
1953:
1949:
1945:
1941:
1937:
1933:
1930:Later in the
1924:
1920:
1918:
1917:
1912:
1911:Tristan chord
1908:
1904:
1900:
1896:
1895:
1889:
1887:
1883:
1879:
1875:
1865:
1858:
1842:
1840:
1839:Walter Piston
1836:
1835:
1830:
1829:
1824:
1823:
1812:
1796:
1794:
1790:
1786:
1782:
1778:
1768:
1766:
1762:
1761:Roger Scruton
1753:
1737:
1735:
1734:bass clarinet
1731:
1727:
1718:
1702:
1700:
1696:
1692:
1688:
1687:
1677:
1661:
1659:
1658:
1652:
1650:
1645:
1636:
1620:
1617:
1616:
1611:
1605:
1600:
1594:
1581:
1579:
1575:
1574:arpeggiations
1571:
1570:
1565:
1561:
1560:
1554:
1550:
1543:
1538:
1534:
1532:
1531:
1525:
1524:Pierre Boulez
1521:
1511:
1508:
1504:
1495:
1479:
1475:
1467:
1451:
1449:
1445:
1441:
1437:
1436:
1431:
1426:
1421:
1416:
1410:
1397:
1395:
1394:
1388:
1384:
1383:
1378:
1368:
1361:
1345:
1343:
1334:
1318:
1316:
1307:
1303:
1288:
1286:
1282:
1281:
1271:
1255:
1253:
1244:
1228:
1226:
1222:
1218:
1214:
1205:
1189:
1187:
1178:
1162:
1160:
1156:
1152:
1148:
1144:
1140:
1135:
1131:
1122:
1106:
1103:
1099:
1095:
1091:
1081:
1074:
1070:
1068:
1059:
1043:
1041:
1032:
1016:
1014:
1010:
1006:
1002:
993:
989:
987:
986:
981:
972:
968:
966:
957:
953:
946:
930:
928:
924:
920:
916:
912:
908:
904:
900:
887:
880:
864:
862:
853:
846:
830:
828:
827:
821:
817:
813:
799:
783:
781:
780:
771:
766:
759:
746:
744:
743:
738:
728:
724:
717:
701:
699:
698:
688:
672:
670:
666:
662:
658:
657:
652:
643:
627:
625:
621:
617:
613:
612:
604:
599:
595:
593:
589:
585:
584:
579:
575:
574:concertmaster
570:
555:
549:
546:
543:
540:
537:
536:
535:
532:
530:
526:
522:
518:
514:
510:
506:
502:
497:
495:
491:
487:
483:
479:
475:
474:electric bass
471:
467:
463:
459:
455:
450:
448:
444:
438:
437:
435:
430:
425:
424:accompaniment
421:
416:
412:
408:
405:As well, the
403:
401:
396:
391:
389:
385:
381:
377:
373:
372:orchestration
368:
366:
365:bass clarinet
362:
358:
354:
353:double basses
350:
346:
342:
338:
334:
330:
325:
323:
318:
313:
309:
305:
301:
297:
293:
289:
284:
280:
276:
272:
268:
264:
260:
256:
252:
248:
244:
240:
236:
235:orchestration
226:
224:
220:
216:
212:
209:companies or
208:
205:productions,
204:
200:
196:
192:
188:
181:As profession
178:
176:
175:Hammond organ
172:
169:(bass, piano/
168:
164:
160:
156:
151:
149:
148:pit orchestra
145:
140:
137:
134:
130:
125:
123:
119:
115:
111:
107:
103:
98:
96:
92:
88:
84:
80:
76:
72:
71:Orchestration
65:
61:
60:accompaniment
57:
53:
52:
48:
44:
43:musical score
39:
33:
26:
22:
3754:Tragedy song
3703:Protest song
3698:Freedom song
3659:Novelty song
3652:Breakup song
3522:
3513:Musical form
3379:
3364:
3343:. Retrieved
3339:
3329:
3321:the original
3311:
3301:
3295:
3283:. Retrieved
3279:
3270:
3259:. Retrieved
3255:
3246:
3238:
3233:
3225:
3220:
3212:
3207:
3199:
3194:
3186:
3181:
3173:
3168:
3160:
3155:
3147:
3142:
3134:
3129:
3121:
3116:
3107:
3099:
3094:
3085:
3077:
3072:
3063:
3055:
3050:
3041:
3032:
3024:
3019:
3010:
3001:
2992:
2984:
2979:
2971:
2966:
2958:
2953:
2945:
2940:
2932:
2927:
2919:
2914:
2906:
2901:
2892:
2883:
2874:
2862:. Retrieved
2858:
2848:
2839:
2830:
2822:
2817:
2808:
2799:
2790:
2782:
2777:
2769:
2764:
2756:
2751:
2743:
2738:
2729:
2720:
2714:
2702:. Retrieved
2698:
2689:
2677:. Retrieved
2673:
2664:
2611:
2589:
2582:
2572:
2558:
2555:Samuel Adler
2548:
2535:
2525:
2515:
2505:
2495:
2489:
2479:
2475:
2465:
2453:
2449:
2435:
2428:
2427:volume two,
2422:
2403:
2399:jazz quartet
2384:
2380:
2372:
2340:
2320:
2314:
2308:
2303:
2295:Robert Elhai
2287:Bruce Fowler
2275:Brad Dechter
2271:Pete Anthony
2240:
2229:
2219:
2211:
2207:
2197:
2191:
2185:
2179:
2169:
2149:James Horner
2145:Howard Shore
2121:
2073:
2066:
2060:
2054:
2051:
2046:
2040:
2036:
2024:
2022:
2010:
2005:
2003:
1979:
1973:
1971:
1952:heterophonic
1931:
1929:
1915:
1892:
1890:
1871:
1863:
1833:
1827:
1821:
1817:
1774:
1758:
1723:
1699:articulation
1684:
1682:
1655:
1653:
1643:
1641:
1613:
1610:Robert Craft
1608:
1603:
1592:
1567:
1558:
1548:
1546:
1528:
1517:
1500:
1476:
1472:
1433:
1427:
1424:
1419:
1408:
1391:
1380:
1374:
1366:
1339:
1312:
1301:
1278:
1276:
1249:
1210:
1183:
1127:
1102:George Grove
1087:
1079:
1064:
1037:
998:
984:
977:
962:
951:
897:
858:
824:
809:
777:
775:
770:Les Boréades
769:
758:Les Boréades
757:
742:Les Boréades
740:
734:
725:
722:
695:
693:
655:
648:
615:
609:
607:
581:
566:
553:
533:
498:
451:
443:glockenspiel
439:
432:
404:
392:
388:concert band
375:
371:
369:
326:
234:
232:
187:orchestrator
186:
184:
161:may write a
152:
141:
138:
127:However, in
126:
99:
87:concert band
85:, such as a
70:
69:
49:
3671:Patter song
3625:Sleeper hit
3608:Advent song
3544:Answer song
3345:25 February
3285:25 February
2679:14 February
2645:Arrangement
2565:Kent Kennan
2283:Eddie Karam
2279:Conrad Pope
2092:vocal score
2076:short score
2033:arrangement
1828:mezzo-forte
1730:cor anglais
1649:imagination
1604:Die Walküre
1593:Die Walküre
1569:Die Walküre
1444:prestissimo
1221:heterophony
1217:pedal point
919:pedal point
669:pedal point
567:During the
490:synthesizer
486:synthesizer
376:orchestrate
322:double stop
251:major chord
229:In practice
171:jazz guitar
32:orchestrion
3781:Categories
3764:Sea shanty
3749:Theme song
3737:Fight song
3647:Torch song
3630:Summer hit
3537:Song types
3528:Song cycle
3484:Components
3475:Hymnwriter
3465:Songwriter
3261:2022-07-31
2704:9 February
2656:References
2524:(1954–9):
2407:conducting
2243:Jack Hayes
2208:Snow White
2108:lead sheet
1988:whole tone
1448:pianissimo
1151:pianissimo
772:by Rameau.
760:by Rameau.
583:Magnificat
578:J. S. Bach
462:electronic
345:fortissimo
333:tone color
312:polyphonic
308:percussion
283:monophonic
217:(B.Mus.),
163:lead sheet
159:songwriter
133:film music
110:Mussorgsky
3759:Work song
3715:Show tune
3681:Hymn tune
3676:Plainsong
3642:Love song
3637:List song
2581:(1985):
2528:(4 vols).
2514:: (1950)
2348:Logic Pro
2236:developed
2212:Pinocchio
2187:Pinocchio
1997:Debussy,
1936:Polyphony
1907:glissando
1781:Beethoven
1765:obbligato
1553:harmonics
1549:Lohengrin
1530:Lohengrin
1430:Queen Mab
1225:pizzicato
1084:Beethoven
1001:antiphony
965:pizzicato
927:chromatic
826:glissando
429:Prokofiev
407:woodwinds
357:sul tasto
341:trombones
288:clarinets
275:woodwinds
233:The term
193:or other
191:orchestra
155:big bands
150:to play.
79:orchestra
64:orchestra
3708:War song
3620:Hit song
3576:Car song
3549:Art song
3496:Libretto
3460:Lyricist
3448:Composer
2699:AllMusic
2619:See also
2534:(1955):
2488:(1912):
2464:(1863):
2421:(1619):
2368:Sibelius
2362:such as
2012:Parsifal
1956:Javanese
1732:and the
1695:dynamics
1657:Parsifal
1644:Parsifal
1615:Parsifal
1559:The Ring
1342:filigree
1285:staccato
1186:staccato
1143:dynamics
653:Cantata
651:epiphany
563:J.S Bach
525:trombone
509:clarinet
494:theremin
484:and the
482:Theremin
458:electric
415:trumpets
361:bassoons
355:playing
343:playing
337:trumpets
292:trumpets
271:register
199:composer
153:In jazz
144:arranger
95:bassline
3239:Debussy
2864:May 10,
2337:Process
2056:Camelot
1984:celesta
1959:gamelan
1948:Berlioz
1899:silence
1878:Debussy
1868:Debussy
1785:Berlioz
1564:colours
1387:timbres
1377:Berlioz
1371:Berlioz
1315:cadenza
1252:triplet
1096:of his
1094:Scherzo
1090:colours
1011:at the
1009:doubled
915:voicing
911:timbres
810:Joseph
592:timbres
588:doubled
569:Baroque
521:trumpet
513:bassoon
447:celesta
317:violins
296:strings
267:measure
243:harmony
77:for an
3554:Ballad
3508:Lyrics
2600:
2567:&
2364:Finale
2352:Cubase
2319:, and
2224:) and
2196:, and
1940:Mozart
1886:Wagner
1882:Boulez
1793:Adorno
1789:Wagner
1777:Mahler
1771:Mahler
1619:opera:
1542:Listen
1514:Wagner
1507:timbre
1213:legato
1155:colour
1013:octave
923:octave
899:Mozart
894:Mozart
737:Rameau
731:Rameau
603:Listen
480:, the
472:, the
420:cellos
400:unison
395:melody
349:cellos
329:basses
261:, and
247:rhythm
239:melody
91:melody
3441:Roles
2413:Texts
2397:or a
2350:, or
2231:Bambi
2221:Dumbo
2084:opera
2068:Evita
1980:Faune
1944:Weber
1932:Faune
1916:Faune
1834:piano
1822:forte
1280:tutti
1159:tutti
1147:forte
1067:tutti
812:Haydn
806:Haydn
501:flute
492:or a
386:or a
300:piano
279:brass
106:Ravel
75:music
47:opera
3453:List
3434:song
3432:and
3347:2017
3287:2017
2866:2017
2706:2023
2681:2023
2598:ISBN
2356:MIDI
2322:Gigi
2228:(on
2218:(on
2210:and
2206:(on
2178:(on
2006:Jeux
1975:Jeux
1787:and
1697:and
1501:The
1446:and
1139:mode
985:arco
529:tuba
517:horn
505:oboe
460:and
409:and
382:, a
363:and
351:and
339:and
310:are
304:harp
281:are
277:and
116:and
3369:at
2366:or
2257:),
2214:),
2086:or
2059:or
1651:."
1149:to
580:'s
431:'s
290:or
245:or
185:An
100:In
54:by
3783::
3338:.
3278:.
3254:.
2857:.
2697:.
2672:.
2596:.
2498:).
2482:).
2458:).
2448::
2346:,
2313:,
2273:,
2269:,
2249:,
2245:,
2202:.
2190:,
2184:,
1946:,
1942:,
1919:."
1783:,
1287:.
1100:.
618:("
527:,
523:,
519:,
515:,
511:,
507:,
503:,
393:A
302:,
298:,
257:,
241:,
131:,
93:,
3422:e
3415:t
3408:v
3349:.
3305:.
3289:.
3264:.
2868:.
2708:.
2683:.
2614:.
2606:.
2561:.
2551:.
2538:.
2518:.
2494:(
2478:(
2468:.
2452:(
2438:.
2431:.
1642:"
1302::
1145:(
594:.
436:.
263:G
259:E
255:C
173:/
66:.
34:.
27:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.