Orchestration - Knowledge (XXG)

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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

809: 1976: 653: 863: 856: 897: 890: 1084: 1069: 1003: 982: 967: 956: 698: 2412:. 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. 1763: 1610: 1548: 776: 1934: 1426: 2393:

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.

734:“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.” 1687: 1132: 232:(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 1254: 1728: 1646: 1371: 1868: 1822: 1281: 727: 1505: 1317: 1091:"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." 1477: 1895:(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 1042: 1538:

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

2005: 1215: 609: 1014:, 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 409:

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

1770:"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 2385:

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 (

1802:… 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." 1344: 1177: 115:, 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 1270: 874:(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. 1360: 2353:

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

1852:(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." 2415:

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

1271: 1848:. 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 1361: 2063:

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

687: 499:. 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 798: 1243: 1147:

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

413:, 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. 999:. 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." 642: 1658:

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

845: 880: 688: 840:… 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." 428:

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

1407:. 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: 1058: 799: 1752: 1244: 437:

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

1466: 1333: 1806:(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: 643: 1053:, 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." 1717: 146:

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.

846: 1412: 879: 108:, 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. 1676: 1596: 716: 833:

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

1753: 1494: 946: 674:(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, 1520:

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."

1467: 1334: 176:, 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 1718: 2501: 1857: 1436:"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." 1303: 1031: 1176: 1635: 1413: 1121: 750:

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

1204: 100:) 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., 870:

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,

1677: 1597: 1359: 1269: 2288:(James Newton Howard, Christopher Young, Theodore Shapiro, Teddy Castellucci, Danny Elfman, John Powell, Marco Beltrami, John Debney, Marc Shaiman, Michael Giacchino, Ludwig Göransson), 1811: 717: 224:. 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 2344:(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. 2304:(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), 762: 912:"was acutely sensitive to matters of instrumentation and instrumental effect where orchestral writing was concerned", including a "meticulous attitude towards the spacing of chords." 1495: 1272: 1362: 2292:(John Williams, Alexandre Desplat, Jerry Goldsmith, James Newton Howard, Alan Silvestri, James Horner, Mark Isham, John Powell, Michael Convertino, Danny Elfman, Howard Shore), 542:. 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. 236:

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.

1187: 48: 793:, 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. 1858: 1671:, Wagner offsets the bold brass with gentler strings, showing that the same musical material feels very different when passed between contrasting families of instruments: 1304: 1032: 3400:

by Andrew Hugill with The Philharmonia Orchestra. In depth information on orchestration including examples and video interviews with instrumentalists of each instrument.

342:), 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 2705: 1636: 1122: 1010:"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 1378:

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

797: 920:(K543) contains "a charming dialogue between strings and woodwind" that demonstrates the composer's exquisite aural imagination for the blending and contrast of 3431: 1875:

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:

1899:, 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". 2191: 2105:

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.

1577:, 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 2056:

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.

1887:, the major innovator in orchestration during the closing years of the nineteenth and the first decades of the twentieth century was Claude 1675: 1595: 1060: 756:(1763), the predominant string texture is shot through with descending scale figures on the bassoon, creating an exquisite blend of timbres: 678:, horns and strings creating a "glittery sheen" of contrasted timbres, sonorities and textures ranging from just two horns against a string 2060:

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

715: 947: 808: 760: 1468: 1335: 3388: 1719: 625:. In the dramatic fourth movement, Jesus is depicted as quelling his disciples’ anxiety (illustrated by agitated strings) by uttering 456:, which would add a sparkling, chime-like colour to the melody. Alternatively, a melody played by the piccolos could be doubled by the 1975: 1493: 621: 1414: 3424: 2612: 1116:

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

1203: 718: 1993:. The opening bars feature divided strings, spread over a wide range, a harp doubling horns with the addition of the bell-like 928:

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:

1810: 1496: 1083: 1140: 1050: 587:, there are Baroque works which specify certain instruments. The orchestral accompaniment to the aria 'et misericordia' from 1068: 652: 1516:

says that for Berlioz, orchestration "was intrinsic to composition, not something applied to finished music...in his hands

3812: 2320: 1450: 896: 889: 862: 855: 188:, drums). But, commonly enough, big band composers have done their own arranging, just like their classical counterparts. 3262: 1859: 1305: 1080:

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."

697: 2072: 1396:.) "He was drawn to the orchestra as his chosen medium by instinct … and by finding out the exact capabilities and 1108: 305:(with separate instruments each being given one of the three notes of the chord). Other instruments, including the 916:

marvels at the "gorgeous wash of colour displayed in Mozart’s scores." For example, the opening movement of the

3807: 3802: 2865: 1011: 401:. Each different ensemble would enable the orchestrator/composer to create different tone "colours" and timbres. 124: 31: 1453:(1969, p51) describes as "Berlioz’s supreme exercise in light orchestral texture, a brilliant, gossamer fabric, 1049:

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

2269: 2076:, the orchestrations for the film version are notably different from the stage ones. In other cases, such as 2026:’ The idea, then, was to produce timbre without glare, subdued... but to do so with clarity and precision." 3737: 3501: 2660: 2565: 2496: 2052: 1913: 1568: 871: 826: 1609: 2650: 2341: 1762: 1547: 338:

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

66: 3730: 1933: 3511: 3440: 2866:"A personal response to the Mozart memorial concert in Hamburg and the Symphony in E-flat (K. 543)" 2482: 2378: 2246: 1588: 1018:(1788), the flute, bassoons and horn exchange phrases with the strings, with the first violin line 789: 671: 634: 633:"). The strings dovetail with sustained chords on woodwind to accompany the solo singer, an effect 248:

in its specific sense refers to the way instruments are used to portray any musical aspect such as

2519:. This remains a classic work although the ranges and keys of some brass instruments are obsolete 2305: 2285: 2281: 1425: 1261:

When the solo piano enters, its right hand plays a variant of the minor version of the theme in a

280:, the composer or orchestrator will have to decide what instrument(s) play this chord and in what 3698: 3579: 3463: 2645: 2429: 2397: 2300:(Hans Zimmer, Klaus Badelt, Harry Gregson-Williams, Steve Jablonsky, Mark Mancina, John Powell), 2293: 2257: 2209: 1696: 1230:

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.

3613: 3606: 3601: 2640: 2604: 2579: 2522: 2456: 2315: 2236: 2182: 2147: 2143: 2110: 2082:, they are not, and are simply expanded versions from those used in the stage production. 1884: 1727: 1645: 1370: 1191:

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.

752: 705:

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

2889:

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

2854:

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

2845:

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

1867: 1821: 1739:

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

1280: 726: 153:

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

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Final statement of the theme in a major key by the horns after the end of the cadenza.

424:

can effectively carry a melody, depending on the effect the orchestrator desires. The

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Final statement of the theme in a major key by the horns after the end of the cadenza

1294:

statement of the theme, "with the whole orchestra thumping it out in aggressive semi-

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frequently spent time with Salinger informally learning the craft of orchestration.

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

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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

69:, written in the 1820s. The score contains all the parts for the singers and the 3759: 3681: 3635: 3618: 3554: 3056:

Latham, P. (1926) "Wagner: Aesthetics and Orchestration." Gramophone, June 1926.

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This article is about writing music. For management of computing resources, see

3409: 2121:(a simplified music notation for a song which includes just the melody and the 1386:

The most significant orchestral innovator of the early 19th century was Hector

3774: 3747: 3657: 3640: 3538: 3485: 3475: 2417: 2135: 2118: 2009: 1925: 1912:, the sensitively differentiated orchestration and, above all in the striking 1659: 1552: 1214: 630: 613: 612:

Orchestral introduction to 'et misericordia' from Bach's Magnificat, BWV 243.

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3 bassoonists, the 2nd doubling on contrabassoon, the 3rd playing only contra

3769: 3725: 3691: 3686: 3652: 3647: 2358: 2125:). In the latter case, arranging as well as orchestration will be involved. 2050:

applies, strictly speaking, only to writing for orchestra, whereas the term

1946: 1917: 1791: 1775: 1701: 1563: 1440: 1235: 975: 937: 836: 439: 417: 367: 298: 293: 285: 201: 89: 74: 17: 3100:

Craft, R. (1977, p. 82) Current Convictions. London, Secker & Warburg.

2555:(1962): Sounds and Scores: A Practical Guide to Professional Orchestration. 1682:

Contrasting orchestral groups from the Prelude to the first Act of Parsifal

2389:) will not work in the same way when orchestrated for the live orchestra. 1199:

articulation and orchestrated in the most delicate and enchanting colours:

978:

cellos and basses with bowed violins and violas, playing mostly in thirds:

555:

3 clarinetists, the 3rd doubling also on E-flat clarinet and bass clarinet

3718: 3630: 3586: 3559: 3506: 3470: 3458: 2022: 1667: 1625: 1584: 1352: 1295: 1265:

rhythm, with the backing of pizzicato (plucked) strings on the off-beats:

1196: 535: 519: 504: 492: 351: 302: 209: 165: 154: 135:'s String Quartet in A minor, producing the latter's Sonata for Strings. 105: 3385:– full, searchable text with music images, mp3 files, and MusicXML files 1712:. In the opening phrase, the cellos are supported by wind instruments: 1994: 1969: 1958: 1909: 1888: 1795: 1690:

Contrasting orchestral groups from the Prelude to first Act of Parsifal

1397: 1387: 1325: 1104: 921: 602: 579: 531: 523: 457: 425: 371: 347: 253: 3564: 3518: 3376: 2362: 1950: 1896: 1892: 1803: 1799: 1787: 1736: 1574: 1517: 1262: 1223: 1165: 1100: 1023: 933: 909: 747: 410: 405: 343: 327: 257: 249: 101: 3397: 3025:

Macdonald, H. (1969, p. 51) Berlioz orchestral Music. London, BBC.

2768:

Music in the Castle of Heaven: a Portrait of Johann Sebastian Bach.

1573:

Wagner made "increasing use of the contrast between pure and mixed

1343: 2241: 2094: 2003: 1974: 1932: 1866: 1854: 1820: 1808: 1761: 1749: 1726: 1714: 1685: 1673: 1644: 1632: 1608: 1593: 1546: 1503: 1491: 1475: 1463: 1424: 1409: 1369: 1357: 1342: 1330: 1315: 1300: 1290: 1279: 1267: 1252: 1240: 1213: 1201: 1186: 1174: 1169: 1130: 1118: 1082: 1077: 1067: 1055: 1040: 1028: 1001: 980: 965: 954: 942: 895: 888: 876: 861: 854: 842: 822: 807: 795: 774: 758: 725: 713: 696: 684: 660:

The orchestral introduction to the opening chorus of J. S. Bach's

651: 639: 607: 511: 430: 359: 310: 289: 116: 85: 57: 47: 3406:

An overview of books on the theory and practice of orchestration.

1908:(1894). Wagner's influence can be heard in the strategic use of 3444: 2366: 2015:

Jensen (2014, p. 228) says "Perhaps the greatest marvel of

1985: 1979:

Debussy, Prelude a l'apres midi d'un faune, Figure 7, bars 11-13

1966: 539: 515: 314: 200:

is a trained musical professional who assigns instruments to an

3413: 2805:

Rosen, C. (1971, pp. 342–3) The Classical Style. London, Faber.

2154:(born 1932) (his very detailed sketches are 99% orchestrated), 3122:

Boulez, P. (2003, p. 52) Boulez on Conducting. London, Faber.

2400:-orchestra with over 100 musicians. In contrast, a low-budget 1902:

Both influences inform Debussy's first major orchestral work,

989:

The woodwind repeat these four bars with the violins adding a

701:

Opening orchestral introduction to J.S. Bach's Cantata, BWV65.

693:

Opening orchestral introduction to J.S. Bach's Cantata, BWV65.

385:

is not necessarily limited to an orchestra, as a composer may

3016:

Boulez, P. (203, p. 37) Boulez on Conducting. London, Faber.

3007:

Boulez, P. (203, p. 44) Boulez on Conducting. London, Faber.

2681:"Pictures at an Exhibition | work by Mussorgsky | Britannica" 2138:

have made the time to orchestrate their own music, including

3034:

MacDonald, H., (2001) "Berlioz", article in Sadie, S. (ed.)

2907:

Rosen, C. (1971, p. 240) The Classical Style. London Faber.

2898:

Rosen, C. (1971, p. 240) The Classical Style. London Faber.

2870:

Mozart: New Documents, edited by Dexter Edge and David Black

2089:, that is, a score written on limited number of independent 1945:, Debussy builds a complex texture, where, as Austin says, " 1735:

When this idea returns towards the end of the prelude, the

3091:, trans. Dunsby, Goldman and Whittal, 2018. London, Faber. 3069:, trans. Dunsby, Goldman and Whittal, 2018. London, Faber. 2461:

Grand traité d’instrumentation et d’orchestration modernes

1949:

and orchestration overlap...He adds to all the devices of

1916:

chord spread between oboes and clarinets, reinforced by a

1257:

Major version of the theme, with horns playing the melody.

2093:. Some orchestrators, particularly those writing for the 1249:

Major version of the theme, with horns playing the melody

1045:

Trio section of the Minuet from Mozart's Symphony No. 41.

1037:

Trio section of the Minuet from Mozart's Symphony No. 41.

157:

or orchestrator to create the instrumental score for the

2365:). A sketch score can be generated through the use of a 2085:

Most orchestrators often work from a draft (sketch), or

1937:

Debussy, Prelude a l'apres midi d'un faune, opening bars

3078:

Boulez, P. (1986, p. 273) Orientations. London, Faber.

3047:

Boulez, P. (1986, p. 273) Orientations. London, Faber.

601:

by flutes, a subtle combination of mellow instrumental

1983:

Debussy's final orchestral work, the enigmatic ballet

1961:

and Wagner the possibilities that he learned from the

812:

Rameau 'Rossignols amoureux' from Hippolyte et Aricie

804:

Rameau 'Rossignols amoureux' from Hippolyte et Aricie

276:. If the notes are held out the entire duration of a 1665:

Later, during the opening scene of the first act of

1087:

Mozart Piano Concerto K482 first movement bars 7–12.

3547: 3494: 3451: 1324:The minor version of the theme also appears in the 1064:

Mozart Piano Concerto K482 first movement bars 1-12

27:

Study or practice of writing music for an orchestra

2623:Instrumentation and Orchestration (Second edition) 1508:Berlioz, orchestral texture from Queen Mab scherzo 1500:Berlioz, orchestral texture from Queen Mab scherzo 1072:Mozart Piano Concerto K482 first movement bars 1-6 656:Bach, from Cantata BWV 67, 4th movement, bars 8-13 648:Bach, from Cantata BWV 67, 4th movement, bars 8-13 552:2 oboists, the 2nd playing English horn throughout 3161:. Trans. Jephcott. University of Chicago Press. 2706:"Sonata for Strings (transcription ... | Details" 2042:, which closely follows the original piece, and 1825:Mahler, Symphony No. 4, first movement, Figure 5. 1480:Berlioz, Queen Mab scherzo from Romeo et Juliette 1472:Berlioz, Queen Mab scherzo from Romeo et Juliette 787:In the aria ‘Rossignols amoureux’ from his opera 346:. If the C major chord was orchestrated for the 1871:Mahler Symphony No 4, third movement, Figure 13. 1863:Mahler Symphony No 4, third movement, Figure 13. 900:Haydn, Symphony 94, second movement bars 143-156 885:Haydn, Symphony 94, second movement bars 143-156 866:Haydn, Symphony 97, third movement, bars 109-118 851:Haydn, Symphony 97, third movement, bars 109-118 3313:Orchestration by Cecil Forsyth - Ebook | Scribd 3036:The New Grove Dictionary of Music and Musicians 2117:'s songs, or when orchestration is done from a 1989:(1913) was composed nearly 20 years after the 1143:in E flat (‘The Emperor’) Opus 73 (1810). The 545:For example, 3 2 3 3 tmp+2 is interpreted as: 460:, which would add a bright tone to the sound. 3425: 3377:Rimsky-Korsakov's Principles of Orchestration 3347:"Book Review: The Technique of Orchestration" 3263:"John Williams Orchestration - Gearspace.com" 1997:in the 5th bar and the sultry voicing of the 1817:Mahler, Symphony No. 4, first movement, Fig 5 1347:Solo piano statement of theme in the cadenza. 8: 3135:Ring of the Nibelung. Penguin Random House. 2185:) had orchestrated their own music, such as 1694:On the other hand, the prelude to the opera 1562:Prelude begins, in the high register, using 1339:Solo piano statement of theme in the cadenza 475:instruments into the orchestra, such as the 2420:and the composer producing from the booth. 2381:. Thus begins the job of the orchestrator. 3432: 3418: 3410: 2404:may only be able to afford a 20 performer 1924:could have conceived the beginning of the 1390:. (The composer was also the author of a 34:. For orchestrating a pervasive game, see 3133:The Ring of Truth: The Wisdom of Wagner's 2603:. Music reference collection, Number 52. 1226:by the horns, accompanied by a sustained 1006:Symphony 39, first movement, bars 115-119 985:Symphony 39, first movement, bars 110-114 970:Symphony 39, first movement, bars 106-109 959:Symphony 39, first movement, bars 102-105 951:Symphony 39, first movement, bars 102-119 1429:Berlioz, March to the Scaffold from the 974:Next, a phrase for strings alone blends 597:, BWV 243 (1723) features muted strings 2672: 2527:La Tecnica dell'Orchestra Contemporanea 1774:, "Seldom since Bach's inspired use of 335:of the notes G (an open string) and E. 3328:"Adler, Samuel in Oxford Music Online" 1766:Wagner, Tristan Prelude, closing bars. 1355:arpeggio figuration in the solo piano: 1127:Beethoven, Symphony 2 scherzo bars 1-8 993:against the cellos and basses playing 924:. Bars 102-3 feature a widely spaced 3394:(full text with "interactive scores") 3038:, second edition. London, MacMillan. 2586:. A 6th edition (2002) is available. 1830:2 above, the low harp note is marked 1758:Wagner, Tristan Prelude, closing bars 932:in the double basses and a sustained 7: 2601:Orchestration Theory: A Bibliography 2264:(who worked almost exclusively with 1328:, played staccato by the solo piano: 389:this same C major chord for, say, a 84:is the study or practice of writing 3198:Gustav Mahler, the Wunderhorn Years 2491:Manual of Practical Instrumentation 2369:file which is then imported into a 208:from a piece of music written by a 2781:Conversations with Igor Stravinsky 1558:"The A major chord with which the 25: 2983:Beethoven Concertos and Overtures 2970:Beethoven Concertos and Overtures 2957:Beethoven Concertos and Overtures 2944:Beethoven Concertos and Overtures 2918:Beethoven and his Nine Symphonies 2834:The Cambridge Companion to Mozart 1905:Prelude a l’après-midi d’un faune 1731:Wagner, Tristan prelude, opening. 1164:) and a blending of instrumental 1145:second subject of the sonata form 637:likens to "a cinematic dissolve." 378:, it might sound heavy and dark. 3404:Books about Music: Orchestration 2931:The Nine Symphonies of Beethoven 2487:Technique de l’orchestre moderne 2477:Traité general d’instrumentation 1723:Wagner, Tristan Prelude, opening 3699:Political or revolutionary song 3113:. London, Secker & Warburg. 2794:An Illustrated History of Music 2558:Stephen Douglas Burton (1982): 2312:(James Horner, Thomas Newman). 2296:(John Williams, James Horner), 2192:Snow White and the Seven Dwarfs 1418:March to the Scaffold from the 1168:that ranges from boldly stated 667:Sie werden aus Saba alle kommen 622:Halt im Gedächtnis Jesum Christ 3398:The Orchestra: A User's Manual 2766:Gardiner, J.E. (2013, p. 343) 2753:Gardiner, J.E. (2013, p. 328) 2584:The Technique of Orchestration 2336:. In the 1950s, film composer 2101:, prefer to work from a piano 1972:vary the slower basic melody." 1051:Concerto in E flat major, K482 463:In the 20th and 21st century, 284:. Some instruments, including 1: 3159:Mahler, a musical physiognomy 2836:. Cambridge University Press. 2792:Pincherle, M. (1967, p. 122) 2755:Music in the Castle of Heaven 2621:Alfred Blatter (1997) : 2162:(1953–2015) (on Braveheart), 1704:with his precise markings of 1551:Wagner, Prelude to Lohengrin 1320:Tutti statement of the theme. 711:evokes a much darker drama: 507:to create an unusual effect. 2779:Stravinsky I. and Craft, R. 1786:William Austin (1966) says " 1309:Tutti statement of the theme 1103:are well exemplified in the 779:'L'Entrée de Polymnie' from 767:'L'Entrée de Polymnie' from 569:Examples from the repertoire 3391:Principles of Orchestration 3252:. Oxford University Press. 3196:Mitchell, D. (1975, p.213) 3187:. London, Victor Gollancz. 3157:Adorno, T.W. (1971, p. 53) 3131:Scruton, R. (2016, p. 147) 2994:Macdonald, H. (1969, p. 5) 2929:Hopkins, A. (1981, p. 51) 2732:Orchestral Music a Handbook 2507:Principles of Orchestration 2466:Treatise on Instrumentation 2455:(1844), revised in 1905 by 1623:found Wagner's final opera 1587:of the wind chords and the 1393:Treatise on Instrumentation 1288:This is followed by a bold 1218:Minor version of the theme. 1135:Symphony 2 scherzo bars 1-8 92:(or, more loosely, for any 73:parts and melodies for the 3829: 3170:Austin, W. (1966, p. 123) 3144:Austin, W. (1966, p. 123) 3087:Boulez, P. (2018, p. 524) 3065:Boulez, P. (2005, p. 361) 2832:Keefe, S.P. (2003, p. 92) 2570:The Study of Orchestration 2568:(1982, 1989, 2002, 2016): 1210:Minor version of the theme 40: 29: 3287:"Orchestration: Overview" 3237:Music in the 20th century 3235:Austin, W. (1966, p. 20) 3224:Music in the 20th century 3222:Austin, W. (1966, p. 16) 3211:Music in the 20th century 3209:Austin, W. (1966, p. 20) 3172:Music in the 20th Century 3146:Music in the 20th Century 3109:Craft, R. (1977, p. 91) 2981:Fiske, R. (1970, p. 42), 2968:Fiske, R. (1970, p. 42), 2955:Fiske, R. (1970, p. 41), 2599:Perone, James E. (1996). 2594:Arranged by Nelson Riddle 2537:Traité de l'Orchestration 2034:In a more general sense, 125:Pictures at an Exhibition 32:Orchestration (computing) 2996:Berlioz Orchestral Music 2916:Grove, G. (1896, p. 34) 2473:François-Auguste Gevaert 2445:Valentin Roeser (1764): 2245:). These composers also 1649:Parsifal Prelude Opening 1641:Parsifal Prelude Opening 722:St John Passion, opening 264:is made up of the notes 41:Not to be confused with 2730:Daniels, David (2005). 2497:Nikolay Rimsky-Korsakov 2272:, Greig McRitchie, and 2001:chords in the woodwind: 1914:half-diminished seventh 1891:. According to Pierre 1613:Wagner Fire Music from 1602:Wagner Fire Music from 730:St John Passion opening 2757:. London, Allen Lane. 2734:. Scarecrow Press Inc. 2651:Orchestral enhancement 2371:music notation program 2342:Robert Russell Bennett 2012: 1980: 1938: 1883:Apart from Mahler and 1872: 1864: 1826: 1818: 1767: 1759: 1732: 1724: 1691: 1683: 1650: 1642: 1617: 1606: 1555: 1509: 1501: 1481: 1473: 1461:almost without pause: 1433: 1422: 1375: 1367: 1348: 1340: 1321: 1310: 1285: 1277: 1258: 1250: 1219: 1211: 1192: 1184: 1136: 1128: 1088: 1073: 1065: 1046: 1038: 1007: 986: 971: 960: 952: 901: 893: 886: 867: 859: 852: 813: 805: 784: 772: 731: 723: 702: 694: 657: 649: 616: 561:Timpani+ 2 percussion. 465:contemporary composers 78: 2796:. London, MacMillan. 2007: 1978: 1936: 1870: 1862: 1824: 1816: 1765: 1757: 1730: 1722: 1689: 1681: 1648: 1640: 1612: 1601: 1550: 1507: 1499: 1479: 1471: 1431:Symphonie fantastique 1428: 1420:Symphonie fantastique 1417: 1404:Symphonie fantastique 1373: 1365: 1346: 1338: 1319: 1308: 1283: 1275: 1256: 1248: 1217: 1209: 1190: 1182: 1134: 1126: 1086: 1071: 1063: 1044: 1036: 1005: 984: 969: 958: 950: 899: 892: 884: 865: 858: 850: 811: 803: 778: 766: 729: 721: 700: 692: 655: 647: 611: 467:began to incorporate 445:Lieutenant Kije Suite 51: 36:Orchestration (games) 3813:Occupations in music 3334:on 6 September 2012. 3248:Jensen, E.F. (2014) 2933:. London, Heinemann. 2770:London, Allen Lane. 2327:An American in Paris 2204:The Three Caballeros 1514:New Grove Dictionary 1234:.) The timpani and 1141:Piano Concerto No. 5 914:H. C. Robbins Landon 131:'s orchestration of 119:'s orchestration of 67:Carl Maria von Weber 3798:Musical terminology 3512:Electronic libretto 3441:Musical composition 3111:Current Convictions 2920:. London, Novello. 2483:Charles-Marie Widor 2321:Singin' in the Rain 2073:Fiddler on the Roof 1737:instrumental colors 1702:orchestral families 1443:" scherzo from the 940:line in the cellos. 790:Hippolyte et Aricie 672:John Eliot Gardiner 635:John Eliot Gardiner 627:Friede sei mit euch 433:are often given an 260:. For example, a C 123:'s solo piano work 3580:Sentimental ballad 3389:Rimsky-Korsakov's 3183:Piston, W. (1969) 2942:Fiske, R. (1970), 2685:www.britannica.com 2646:Klangfarbenmelodie 2502:Основы оркестровки 2430:Michael Praetorius 2398:Romantic music era 2302:John Ashton Thomas 2258:Herbert W. Spencer 2210:Fun and Fancy Free 2129:Film orchestration 2013: 1981: 1939: 1873: 1865: 1827: 1819: 1768: 1760: 1733: 1725: 1697:Tristan and Isolde 1692: 1684: 1651: 1643: 1618: 1607: 1556: 1510: 1502: 1482: 1474: 1434: 1423: 1376: 1368: 1349: 1341: 1322: 1311: 1286: 1278: 1259: 1251: 1220: 1212: 1193: 1185: 1152:(major to minor), 1137: 1129: 1089: 1074: 1066: 1047: 1039: 1026:by the first oboe: 1008: 987: 972: 961: 953: 902: 894: 887: 868: 860: 853: 829:, "we can see why 814: 806: 785: 773: 732: 724: 703: 695: 658: 650: 617: 168:, the composer or 79: 3785: 3784: 3481:Singer-songwriter 3382:Project Gutenberg 2783:. London, Faber. 2582:: (1st ed. 1983) 2406:chamber orchestra 2355:Digital Performer 2274:Alexander Courage 2176:Abel Korzeniowski 2123:chord progression 2010:Jeux opening bars 1860: 1836:, the clarinets, 1814: 1755: 1720: 1679: 1638: 1599: 1497: 1469: 1446:Romeo et Juliette 1415: 1363: 1336: 1306: 1273: 1246: 1207: 1180: 1124: 1061: 1034: 948: 882: 848: 801: 764: 719: 690: 645: 631:Peace be unto you 487:played through a 479:played through a 422:brass instruments 370:, doubled by the 226:Bachelor of Music 222:recording studios 56:for Act 2 of the 16:(Redirected from 3820: 3808:Orchestral music 3803:Musical notation 3570:Execution ballad 3529:Musical notation 3434: 3427: 3420: 3411: 3384: 3362: 3361: 3359: 3357: 3342: 3336: 3335: 3330:. Archived from 3324: 3318: 3317: 3308: 3302: 3301: 3299: 3297: 3283: 3277: 3276: 3274: 3273: 3259: 3253: 3246: 3240: 3239:. London, Dent. 3233: 3227: 3226:. London, Dent. 3220: 3214: 3207: 3201: 3200:. London, Faber. 3194: 3188: 3181: 3175: 3174:. London, Dent. 3168: 3162: 3155: 3149: 3148:. London, Dent. 3142: 3136: 3129: 3123: 3120: 3114: 3107: 3101: 3098: 3092: 3085: 3079: 3076: 3070: 3063: 3057: 3054: 3048: 3045: 3039: 3032: 3026: 3023: 3017: 3014: 3008: 3005: 2999: 2992: 2986: 2979: 2973: 2966: 2960: 2953: 2947: 2940: 2934: 2927: 2921: 2914: 2908: 2905: 2899: 2896: 2890: 2887: 2881: 2880: 2878: 2876: 2861: 2855: 2852: 2846: 2843: 2837: 2830: 2824: 2821: 2815: 2812: 2806: 2803: 2797: 2790: 2784: 2777: 2771: 2764: 2758: 2751: 2745: 2742: 2736: 2735: 2727: 2721: 2720: 2718: 2716: 2702: 2696: 2695: 2693: 2691: 2677: 2636:Musical notation 2618: 2533:Charles Koechlin 2440:De Organographia 2435:Syntagma Musicum 2402:independent film 2174:(born 1968) and 2140:Bernard Herrmann 2115:Stephen Sondheim 1861: 1815: 1756: 1721: 1680: 1639: 1600: 1583:, "the multiple 1498: 1470: 1449:symphony, which 1416: 1364: 1337: 1307: 1274: 1247: 1208: 1181: 1125: 1062: 1035: 949: 883: 849: 802: 765: 720: 691: 646: 481:guitar amplifier 391:woodwind quintet 234:terminal degrees 206:musical ensemble 94:musical ensemble 21: 3828: 3827: 3823: 3822: 3821: 3819: 3818: 3817: 3788: 3787: 3786: 3781: 3614:Christmas carol 3607:Repetitive song 3602:Cumulative song 3592:Children's song 3543: 3502:Instrumentation 3490: 3447: 3438: 3374: 3371: 3366: 3365: 3355: 3353: 3344: 3343: 3339: 3326: 3325: 3321: 3310: 3309: 3305: 3295: 3293: 3285: 3284: 3280: 3271: 3269: 3261: 3260: 3256: 3247: 3243: 3234: 3230: 3221: 3217: 3213:. 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Plumb 2183:Frank Churchill 2148:Ennio Morricone 2144:Georges Delerue 2131: 2111:Jonathan Tunick 2058:instrumentation 2053:instrumentation 2032: 1885:Richard Strauss 1881: 1855: 1809: 1784: 1750: 1715: 1674: 1633: 1594: 1589:contrary motion 1529:After Berlioz, 1527: 1492: 1464: 1410: 1384: 1358: 1331: 1301: 1268: 1241: 1202: 1175: 1119: 1097: 1076:The orchestral 1056: 1029: 1016:Symphony No. 41 943: 918:Symphony No. 39 907: 877: 872:Symphony No. 94 843: 831:Rimsky-Korsakov 827:Symphony No. 97 819: 796: 759: 744: 714: 708:St John Passion 685: 676:oboes da caccia 640: 576: 571: 477:electric guitar 242: 230:Master of Music 218:film production 214:musical theatre 194: 140:musical theatre 113:classical music 52:A hand-written 46: 39: 28: 23: 22: 15: 12: 11: 5: 3826: 3824: 3816: 3815: 3810: 3805: 3800: 3790: 3789: 3783: 3782: 3780: 3779: 3778: 3777: 3767: 3762: 3757: 3756: 3755: 3753:Football chant 3750: 3740: 3738:Signature song 3735: 3734: 3733: 3723: 3722: 3721: 3716: 3711: 3706: 3696: 3695: 3694: 3684: 3679: 3678: 3677: 3667: 3666: 3665: 3660: 3650: 3645: 3644: 3643: 3638: 3628: 3623: 3622: 3621: 3611: 3610: 3609: 3604: 3599: 3589: 3584: 3583: 3582: 3577: 3572: 3562: 3557: 3551: 3549: 3545: 3544: 3542: 3541: 3536: 3531: 3526: 3521: 3516: 3515: 3514: 3504: 3498: 3496: 3492: 3491: 3489: 3488: 3483: 3478: 3473: 3468: 3467: 3466: 3455: 3453: 3449: 3448: 3439: 3437: 3436: 3429: 3422: 3414: 3408: 3407: 3401: 3395: 3386: 3370: 3369:External links 3367: 3364: 3363: 3345:Sealey, Mark. 3337: 3319: 3303: 3278: 3254: 3241: 3228: 3215: 3202: 3189: 3176: 3163: 3150: 3137: 3124: 3115: 3102: 3093: 3080: 3071: 3058: 3049: 3040: 3027: 3018: 3009: 3000: 2987: 2974: 2961: 2948: 2935: 2922: 2909: 2900: 2891: 2882: 2864:Black, David. 2856: 2847: 2838: 2825: 2816: 2807: 2798: 2785: 2772: 2759: 2746: 2737: 2722: 2697: 2671: 2670: 2668: 2665: 2664: 2663: 2658: 2653: 2648: 2643: 2638: 2631: 2628: 2627: 2626: 2619: 2613: 2596: 2587: 2573: 2563: 2556: 2550: 2540: 2530: 2520: 2515:(1914; 1935): 2510: 2494: 2485:(1904) : 2480: 2470: 2453:Hector Berlioz 2450: 2443: 2425: 2422: 2387:synthestration 2349: 2346: 2310:J.A.C. Redford 2227:Oliver Wallace 2172:Philippe Rombi 2168:Rachel Portman 2136:film composers 2130: 2127: 2107:Jules Massenet 2099:music theatres 2091:musical staves 2031: 2028: 1880: 1877: 1842:and the horns 1783: 1780: 1531:Richard Wagner 1526: 1523: 1451:Hugh Macdonald 1383: 1380: 1109:Symphony No. 2 1096: 1093: 991:counter-melody 906: 903: 818: 815: 746:Jean Philippe 743: 740: 670:BWV 65, which 575: 572: 570: 567: 563: 562: 559: 556: 553: 550: 489:bass amplifier 395:string quartet 317:, and pitched 241: 238: 193: 190: 178:rhythm section 133:William Walton 129:Malcolm Arnold 62:Der Freischütz 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 3825: 3814: 3811: 3809: 3806: 3804: 3801: 3799: 3796: 3795: 3793: 3776: 3773: 3772: 3771: 3768: 3766: 3763: 3761: 3758: 3754: 3751: 3749: 3746: 3745: 3744: 3743:Sporting song 3741: 3739: 3736: 3732: 3731:"I Want" song 3729: 3728: 3727: 3724: 3720: 3717: 3715: 3712: 3710: 3707: 3705: 3704:Campaign song 3702: 3701: 3700: 3697: 3693: 3690: 3689: 3688: 3685: 3683: 3680: 3676: 3675:Nonsense song 3673: 3672: 3671: 3668: 3664: 3661: 3659: 3656: 3655: 3654: 3651: 3649: 3646: 3642: 3639: 3637: 3634: 3633: 3632: 3629: 3627: 3626:Drinking song 3624: 3620: 3617: 3616: 3615: 3612: 3608: 3605: 3603: 3600: 3598: 3597:Campfire song 3595: 3594: 3593: 3590: 3588: 3585: 3581: 3578: 3576: 3575:Murder ballad 3573: 3571: 3568: 3567: 3566: 3563: 3561: 3558: 3556: 3553: 3552: 3550: 3546: 3540: 3537: 3535: 3534:Orchestration 3532: 3530: 3527: 3525: 3522: 3520: 3517: 3513: 3510: 3509: 3508: 3505: 3503: 3500: 3499: 3497: 3493: 3487: 3484: 3482: 3479: 3477: 3474: 3472: 3469: 3465: 3462: 3461: 3460: 3457: 3456: 3454: 3450: 3446: 3442: 3435: 3430: 3428: 3423: 3421: 3416: 3415: 3412: 3405: 3402: 3399: 3396: 3393: 3392: 3387: 3383: 3379: 3378: 3373: 3372: 3368: 3352: 3351:Classical Net 3348: 3341: 3338: 3333: 3329: 3323: 3320: 3315: 3314: 3307: 3304: 3292: 3291:Classical Net 3288: 3282: 3279: 3268: 3267:gearspace.com 3264: 3258: 3255: 3251: 3245: 3242: 3238: 3232: 3229: 3225: 3219: 3216: 3212: 3206: 3203: 3199: 3193: 3190: 3186: 3185:Orchestration 3180: 3177: 3173: 3167: 3164: 3160: 3154: 3151: 3147: 3141: 3138: 3134: 3128: 3125: 3119: 3116: 3112: 3106: 3103: 3097: 3094: 3090: 3089:Music Lessons 3084: 3081: 3075: 3072: 3068: 3067:Music Lessons 3062: 3059: 3053: 3050: 3044: 3041: 3037: 3031: 3028: 3022: 3019: 3013: 3010: 3004: 3001: 2997: 2991: 2988: 2984: 2978: 2975: 2971: 2965: 2962: 2958: 2952: 2949: 2945: 2939: 2936: 2932: 2926: 2923: 2919: 2913: 2910: 2904: 2901: 2895: 2892: 2886: 2883: 2871: 2867: 2860: 2857: 2851: 2848: 2842: 2839: 2835: 2829: 2826: 2820: 2817: 2811: 2808: 2802: 2799: 2795: 2789: 2786: 2782: 2776: 2773: 2769: 2763: 2760: 2756: 2750: 2747: 2741: 2738: 2733: 2726: 2723: 2711: 2707: 2701: 2698: 2686: 2682: 2676: 2673: 2666: 2662: 2659: 2657: 2654: 2652: 2649: 2647: 2644: 2642: 2639: 2637: 2634: 2633: 2629: 2624: 2620: 2616: 2614:0-313-29596-4 2610: 2606: 2602: 2597: 2595: 2591: 2590:Nelson Riddle 2588: 2585: 2581: 2577: 2574: 2571: 2567: 2564: 2561: 2560:Orchestration 2557: 2554: 2553:Henry Mancini 2551: 2548: 2547:Orchestration 2544: 2543:Walter Piston 2541: 2538: 2534: 2531: 2528: 2524: 2521: 2518: 2517:Orchestration 2514: 2513:Cecil Forsyth 2511: 2508: 2504: 2503: 2498: 2495: 2492: 2488: 2484: 2481: 2478: 2474: 2471: 2468: 2467: 2462: 2458: 2454: 2451: 2448: 2444: 2441: 2437: 2436: 2431: 2428: 2427: 2423: 2421: 2419: 2413: 2411: 2407: 2403: 2399: 2394: 2390: 2388: 2382: 2380: 2376: 2372: 2368: 2364: 2360: 2356: 2347: 2345: 2343: 2339: 2338:John Williams 2335: 2334: 2329: 2328: 2323: 2322: 2317: 2313: 2311: 2307: 2303: 2299: 2295: 2291: 2287: 2283: 2279: 2278:Jeff Atmajian 2275: 2271: 2270:Arthur Morton 2267: 2266:Alfred Newman 2263: 2262:Edward Powell 2259: 2255: 2250: 2248: 2244: 2243: 2238: 2234: 2233: 2228: 2224: 2220: 2216: 2215:Leigh Harline 2212: 2211: 2206: 2205: 2200: 2199: 2194: 2193: 2188: 2187:Paul J. 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Retrieved 2684: 2675: 2622: 2600: 2593: 2583: 2569: 2566:Samuel Adler 2559: 2546: 2536: 2526: 2516: 2506: 2500: 2490: 2486: 2476: 2464: 2460: 2446: 2439: 2438:volume two, 2433: 2414: 2410:jazz quartet 2395: 2391: 2383: 2351: 2331: 2325: 2319: 2314: 2306:Robert Elhai 2298:Bruce Fowler 2286:Brad Dechter 2282:Pete Anthony 2251: 2240: 2230: 2222: 2218: 2208: 2202: 2196: 2190: 2180: 2160:James Horner 2156:Howard Shore 2132: 2084: 2077: 2071: 2065: 2062: 2057: 2051: 2047: 2035: 2033: 2021: 2016: 2014: 1990: 1984: 1982: 1963:heterophonic 1942: 1940: 1926: 1903: 1901: 1882: 1874: 1844: 1838: 1832: 1828: 1785: 1769: 1734: 1710:articulation 1695: 1693: 1666: 1664: 1654: 1652: 1624: 1621:Robert Craft 1619: 1614: 1603: 1578: 1569: 1559: 1557: 1539: 1528: 1511: 1487: 1483: 1444: 1438: 1435: 1430: 1419: 1402: 1391: 1385: 1377: 1350: 1323: 1312: 1289: 1287: 1260: 1221: 1194: 1138: 1113:George Grove 1098: 1090: 1075: 1048: 1009: 995: 988: 973: 962: 908: 869: 835: 820: 788: 786: 781:Les Boréades 780: 769:Les Boréades 768: 753:Les Boréades 751: 745: 736: 733: 706: 704: 666: 659: 626: 620: 618: 592: 577: 564: 544: 509: 462: 454:glockenspiel 450: 443: 415: 403: 399:concert band 386: 382: 380: 337: 245: 243: 198:orchestrator 197: 195: 172:may write a 163: 152: 149: 138:However, in 137: 110: 98:concert band 96:, such as a 81: 80: 60: 18:Orchestrated 3682:Patter song 3636:Sleeper hit 3619:Advent song 3555:Answer song 3356:25 February 3296:25 February 2690:14 February 2656:Arrangement 2576:Kent Kennan 2294:Eddie Karam 2290:Conrad Pope 2103:vocal score 2087:short score 2044:arrangement 1839:mezzo-forte 1741:cor anglais 1660:imagination 1615:Die Walküre 1604:Die Walküre 1580:Die Walküre 1455:prestissimo 1232:heterophony 1228:pedal point 930:pedal point 680:pedal point 578:During the 501:synthesizer 497:synthesizer 387:orchestrate 333:double stop 262:major chord 240:In practice 182:jazz guitar 43:orchestrion 3792:Categories 3775:Sea shanty 3760:Theme song 3748:Fight song 3658:Torch song 3641:Summer hit 3548:Song types 3539:Song cycle 3495:Components 3486:Hymnwriter 3476:Songwriter 3272:2022-07-31 2715:9 February 2667:References 2535:(1954–9): 2418:conducting 2254:Jack Hayes 2219:Snow White 2119:lead sheet 1999:whole tone 1459:pianissimo 1162:pianissimo 783:by Rameau. 771:by Rameau. 594:Magnificat 589:J. S. Bach 473:electronic 356:fortissimo 344:tone color 323:polyphonic 319:percussion 294:monophonic 228:(B.Mus.), 174:lead sheet 170:songwriter 144:film music 121:Mussorgsky 3770:Work song 3726:Show tune 3692:Hymn tune 3687:Plainsong 3653:Love song 3648:List song 2592:(1985): 2539:(4 vols). 2525:: (1950) 2359:Logic Pro 2247:developed 2223:Pinocchio 2198:Pinocchio 2008:Debussy, 1947:Polyphony 1918:glissando 1792:Beethoven 1776:obbligato 1564:harmonics 1560:Lohengrin 1541:Lohengrin 1441:Queen Mab 1236:pizzicato 1095:Beethoven 1012:antiphony 976:pizzicato 938:chromatic 837:glissando 440:Prokofiev 418:woodwinds 368:sul tasto 352:trombones 299:clarinets 286:woodwinds 244:The term 204:or other 202:orchestra 166:big bands 161:to play. 90:orchestra 75:orchestra 3719:War song 3631:Hit song 3587:Car song 3560:Art song 3507:Libretto 3471:Lyricist 3459:Composer 2710:AllMusic 2630:See also 2545:(1955): 2499:(1912): 2475:(1863): 2432:(1619): 2379:Sibelius 2373:such as 2023:Parsifal 1967:Javanese 1743:and the 1706:dynamics 1668:Parsifal 1655:Parsifal 1626:Parsifal 1570:The Ring 1353:filigree 1296:staccato 1197:staccato 1154:dynamics 664:Cantata 662:epiphany 574:J.S Bach 536:trombone 520:clarinet 505:theremin 495:and the 493:Theremin 469:electric 426:trumpets 372:bassoons 366:playing 354:playing 348:trumpets 303:trumpets 282:register 210:composer 164:In jazz 155:arranger 106:bassline 3250:Debussy 2875:May 10, 2348:Process 2067:Camelot 1995:celesta 1970:gamelan 1959:Berlioz 1910:silence 1889:Debussy 1879:Debussy 1796:Berlioz 1575:colours 1398:timbres 1388:Berlioz 1382:Berlioz 1326:cadenza 1263:triplet 1107:of his 1105:Scherzo 1101:colours 1022:at the 1020:doubled 926:voicing 922:timbres 821:Joseph 603:timbres 599:doubled 580:Baroque 532:trumpet 524:bassoon 458:celesta 328:violins 307:strings 278:measure 254:harmony 88:for an 3565:Ballad 3519:Lyrics 2611: 2578:& 2375:Finale 2363:Cubase 2330:, and 2235:) and 2207:, and 1951:Mozart 1897:Wagner 1893:Boulez 1804:Adorno 1800:Wagner 1788:Mahler 1782:Mahler 1630:opera: 1553:Listen 1525:Wagner 1518:timbre 1224:legato 1166:colour 1024:octave 934:octave 910:Mozart 905:Mozart 748:Rameau 742:Rameau 614:Listen 491:, the 483:, the 431:cellos 411:unison 406:melody 360:cellos 340:basses 272:, and 258:rhythm 250:melody 102:melody 3452:Roles 2424:Texts 2408:or a 2361:, or 2242:Bambi 2232:Dumbo 2095:opera 2079:Evita 1991:Faune 1955:Weber 1943:Faune 1927:Faune 1845:piano 1833:forte 1291:tutti 1170:tutti 1158:forte 1078:tutti 823:Haydn 817:Haydn 512:flute 503:or a 397:or a 311:piano 290:brass 117:Ravel 86:music 58:opera 3464:List 3445:song 3443:and 3358:2017 3298:2017 2877:2017 2717:2023 2692:2023 2609:ISBN 2367:MIDI 2333:Gigi 2239:(on 2229:(on 2221:and 2217:(on 2189:(on 2017:Jeux 1986:Jeux 1798:and 1708:and 1512:The 1457:and 1150:mode 996:arco 540:tuba 528:horn 516:oboe 471:and 420:and 393:, a 374:and 362:and 350:and 321:are 315:harp 292:are 288:and 127:and 3380:at 2377:or 2268:), 2225:), 2097:or 2070:or 1662:." 1160:to 591:'s 442:'s 301:or 256:or 196:An 111:In 65:by 3794:: 3349:. 3289:. 3265:. 2868:. 2708:. 2683:. 2607:. 2509:). 2493:). 2469:). 2459:: 2357:, 2324:, 2284:, 2280:, 2260:, 2256:, 2213:. 2201:, 2195:, 1957:, 1953:, 1930:." 1794:, 1298:. 1111:. 629:(" 538:, 534:, 530:, 526:, 522:, 518:, 514:, 404:A 313:, 309:, 268:, 252:, 142:, 104:, 3433:e 3426:t 3419:v 3360:. 3316:. 3300:. 3275:. 2879:. 2719:. 2694:. 2625:. 2617:. 2572:. 2562:. 2549:. 2529:. 2505:( 2489:( 2479:. 2463:( 2449:. 2442:. 1653:" 1313:: 1156:( 605:. 447:. 274:G 270:E 266:C 184:/ 77:. 45:. 38:. 20:)

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