Contents Preface xi Acknowledgments xiv Notes on the Use of the Book si 1 The Basics: Preparing Scores and Parts 1 ‘The Score 1 Instrumental Ordering and Verscal Spacing 1 Providing Necessary Information 4 Vertical Alignment 8 Rehewsl Leer and Numbers 9 ‘Aids co Interpretation 10 Transposition 11 Transposed Verse Concert-Picch Score 13 Dynamics, Text and Other Information 13 Score Preparation Storteuts 14 The Parts 16 : The Fist Page 16 Shared Versus Individual Parts 17 Page Turns 19 Rests 19 Cues 20 Fidelis to the Score and the Use of Tacet 2 2 Instrumentation: The Orchestral Strings 25 General String Information 26 The Parts of Orchestral Sting Instruments 26 String Bowings 27 Bowed Articulations 29 Pissicato Articulations 32 Swing Effects 33, Swing Selection 33 Harmonics 33. Mutes 36 Col Lene 37 Sul Pontiello and Sul Tasto 37 Portamenco and Glisando 38 Fingered Tremolos 39 Bariclage 39 Vibrato 40 Scordatura 40 Dampening Stings 41 Special Befeces 41 Special Bowing Biles 42. Playing Behind the Bridge 42 Tapping Bees 43,| Contests Multiple Stops 44 Bowed Mukiple tops 44 Broken Chopds 46 Pasi Stops 47 Maple ‘The Violin 49 ‘The Properties ofthe Violin 49 Typicd Violin Scorings $0 ‘The Viola 56 ‘The Properties ofthe Viola 56 Typical Viola Scorings 87 The Violoncello 60 The reper ofthe Vislncelo 61 Thiel Vilonao Seong €2 The Conteabass 67 ‘The Properties ofthe Contrabass 67 cal Contrabae Scorings 69 3 Instrumentation: The Woodwinds| 74 General Woodwind Information 74 ‘The Means of Producing Sounds 74 Terminology 74 Woodwind Avtcucons 76 Otter Tonguings 79 Special Atacks and Altersons te Sustained Tones 60 Special Woodwind Befecs and Devices 81 Harmonics 81 Vibrato $1 Glissandds 82 Flue Bfecw 82 Dovble-Reed Effects 83 Single-Reed Bifees 83 Contemporary Effects and Devices 84 The Flutes 88 ‘The Properties of the Flutes 88 Typical Fate Scorings 92 ‘The Oboes 98 ‘The Fropertes of the Oboes 98 Typical Oboe Scorings 102 ‘The Clarinets 105 ‘The Properties of the Clarinets 108 Typical Caines Seovinge 111 ‘The Bassoons 116 ‘The Properties ofthe Bassoons 116 Typisal Basroon Scorings 120 ‘The Saxophones 124 ‘The Properties of the Sexophones 124 Typiel Saxophone Seorings 129 Consens 4 Instrumentation: The Brasses 134 General Brass Information 134 ‘The Means of Producing Sound 184 Terminology 134 Brass Artcultions 135 Special Atacks and Alterations to Sustained Tones 135 Special Brass Béfects and Devices 135 Vibrato 135 Lip Tele 135 Shaker 186 Giitsandor 136 Brased Tone 138 Bells Up 138 Contemporary Brass Effecss 188. Brass Mates 143 Mudag-qype Devices 145 ‘The Horas 148, ‘The Properties ofthe Horas 148 Typical Horn Scorings 183 ‘The Trumpets 159 ‘The Properties ofthe Trumpets 169 Typical Trumpet, Comet, and Tlagelhoen Scorings 164 ‘The Trombones 169 ‘The Properties of the Trombones 169 T) Seorings 175 ‘Trombone ‘The Tubss 178 ‘The Properties of the Tubas 178 Typical Tuba Scorings 183 ‘The Bugles 187 ‘The Properties ofthe Bugles 188 5 Instrumentation: The Percussion 191 General Percussion Information 191 ‘The Basic Percusion Strokes 191 Other Stokes and Articulations 193 ‘The Nowtion of Durations 194 Notation of Pitch 195 Percussion Mallets, Beaters, and Sticks 195 Percussion Instruments 200 ‘The Percussion Instruments with Definite Pick 202 The Percussion Instruments with Indefinite Pich 213 The Drum Set 231 ‘Typleal Percussion Scoring 283x Contents | 6 Instrumentation: Other sents 242 ‘The Keyboard Saings 2620 | | ‘The Plnoforte 242 The Electronic Piano and Electronic Keyboard 245 ‘Toy Pianos 248 Piano Scorings 248 The Harpachords 261 ‘The Harps 252 | ‘The Double Action Harp 252 Hlup Sconngs 261 The Organs 266 The Pie Organ 266 The See Om v6 The Feted Strings 278 Thc Guts 278 Typical Guar Scosngs 286 The Mandolin 288 The Ukucte 289. ‘The Banjo 290" The Hleewic Bus oe es Gar 291) Pedal See Guns 262 Takats 398 ‘The Free Reeds 294 The Accordion 295. The Harmonica | Re Troubadour Harp 260 Typical 298 The Harmonium 301 ‘The Whistle Flutes 301 | ‘The Recorders 301 The Ocsrinas 302 7 Insrrumensasion: Toe Voice $05 | The Voa! Tnsrument 305 ‘Vocal Mechanisms 305 Problems of Sound Production 307 Tesinara. and Range 307 Vocal Notation 308 | Voea! Qualies 308 ‘Special Vocal Effects 309 ‘Timbre Changes 310 Pitch Changes 810 Other Vocal and Nonvocal Sounds 312 ] ‘The Voices 313 ‘The Sopranos 313, The Mezzo-Soprant 315 The Conusltos 315 ‘The Tenors 316 The Bartones 317 [The Basses 318° Othee Voices 319 | ‘Typleal Voeal Scoring 321 Contents 8 Orchestration: Scoring Musical Elements 329 Musical Lines 329 ‘dentifcation of Musical Lines $29 The Use of Instrumental Color $30 Scoring Prominent Lines 331 _Seoving Subordinate Lines 385. Scoring and Voicing Isolated Chocds 338 Special Scoring Approaches 340 Placement of Prominent Lines 342 ‘Examples of Scocing: Techniques from the Literarure S44 9 Orchestration: Scoring for Various Ensembles 356 ‘Writing for String Orchertra and String Ensembles 356 Standard String Scorings 356 Scoring for Sradent Orchestas and Eneembles 360, ‘Writing for Band and Ensembles of Winds 363 Approacher to Woodwind Seoring 262 Approulies w Bess Scoring 368 Scoring for Student Bands and Winds 366 ‘The Marching Band 369 Writing for Percussion 372 Approaches to Percussion Scoring 372 Waiting for the Set Drummer 376 Scoring for Student Pereussionists 377 Scoring forthe Drum and Bugle Comps 378 Wicking for Choruses and Vocal Ensembles 379 Setting a Text 379 Scoring for Voices 382 Scoring for Sradent CChoruses and Young Voices 383 Other Considerations 384 Instrumental Doubling 384 Relative Loudness 384 Relative High and Low 384 Instrument Substations 385 10 Orchestration: Techniques of Transcribing 388 ‘Two Approaches 10 Transerbing 388 ‘The Fist Approach 389 The Second Approach 389 Points to Note About Transcriptions 389 Selection of Key 389 Meter Signaruze 392 Ornaments 392