Orchestration - Knowledge

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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.

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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

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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

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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."

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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."

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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

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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

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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."

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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":

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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."

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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."

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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

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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:

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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

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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

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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.

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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:

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Beethoven's innovative mastery of orchestration and his awareness of the effect of highlighting, contrasting and blending distinct instrumental

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A particularly imaginative example of Bach's use of changing instrumental colour between orchestral groups can be found in his Cantata BWV 67,

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Taruskin, R. (2010, p. 573) The Oxford History of Western Music: Music in the Seventeenth and Eighteenth Centuries. Oxford University Press.

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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.

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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."

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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

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Berlioz was also capable of conveying great delicacy in his instrumental writing. A particularly spectacular instance is the "

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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:

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examples of Berlioz's orchestral wizardry and his penchant for conjuring extraordinary sonorities can be found in his

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Gardiner, J.E. (2013, p. 313) Music in the Castle of Heaven; a Portrait of Johann Sebastian Bach. London, Allen Lane.

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music of the Far East.... The first harp varies the flute parts in almost the same way that the smallest bells of a

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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

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A graceful continuation to this features clarinets and bassoons with the lower strings supplying the bass notes.

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was the most prominent orchestrator of MGM musicals from the 1940s to 1962, orchestrating such famous films as

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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

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3 flautists, the 3rd doubling on piccolo ("doubling" means that the performer can play flute and piccolo)

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harmonic progression." As he matured as a composer, particularly through his experience of composing

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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

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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

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on the harp. Austin (1966, p. 16) continues "Only a composer thoroughly familiar with the

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exemplifies the variety that Wagner could extract through combining instruments from different

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was a pioneer of symphonic form, but he was also a pioneer of orchestration. In the minuet of

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bar on the third quaver…all of which must fall into place with absolutely perfect precision."

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The theme first appears in the minor mode during the orchestral introduction, performed using

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expanded the orchestra, going ahead to a historic climax in the direction already marked by

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As an example, Mahler Symphony 2 is scored: 4 4 5 4- 10 8 4 1- 2tmp+4-2 hp- org- str.

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Second subject theme from the first movement of Beethoven's Piano Concerto No. 5 (Emperor)

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Second subject theme from the first movement of Beethoven's Piano Concerto No. 5 (Emperor)

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in the horns. Wind instruments respond in bars 104–5, accompanied by a spidery ascending

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Orchestral instrumentation is denoted by an abbreviated formulaic convention, as follows:

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Minor key version of the theme, with piano right hand elaborating the melody in triplets.

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In contrast, Bach’s deployment of his instrumental forces in the opening movement of his

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Robbins Landon, H. (1989, p. 137), Mozart, the Golden Years. London, Thames and Hudson.

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Robbins Landon, H. and Mitchell, D. (1956, p. 191) The Mozart Companion. London, Faber.

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Robbins Landon, H. (1989, p. 137), Mozart, the Golden Years. London, Thames and Hudson.

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are varied subtly, with sounds that were new to the 19th century orchestra, such as the

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In musical theatre, the composer typically writes a piano/vocal score and then hires an

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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.

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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.

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Essai de l'instruction à l'usage de ceux, qui composent pour la clarinet et le cor

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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:. 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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:. 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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:.

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