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handle this volume

with care.
The

University ol Connecticut
Libraries, Storrs

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MUSIC LIBRARY
UNIVERSITY OF CONNECTICU1
ORRS. CONNECTICUT

Digitized by the Internet Archive

in

2013

http://archive.org/details/workbookfororcheOOwagn

Workbook

for

ORCHESTRATION:
A

Practical

Handbook

JOSEPH WAGNER

McGRAW-HILL BOOK COMPANY,

New

York

Toronto

London

INC.

Reference Chart of Keyboard Idioms and Patterns

I.

Broken
1.

2.
3.

4.
5.

6.

II.

Broken
Broken
Broken
Broken
Broken
Broken

octaves

octaves with embellishments

octaves combined with thirds
sixths

thirds
sixths

and

thirds

combined

Broken Chords
1

Left-hand broken chords in close position

2.

Left-hand broken chords in open position

3.

5.

Broken chords spaced for two hands

Broken chords in right hand with implied melodic line
Broken chords with blocked melodic and rhythmic patterns

6.

Arpeggiated chords

4.

III.

Intervals

Melodic Lines and Figurations

1. Large melodic skips
2. Outlining a melodic line
3. Dividing a melodic line
4. Melodic lines combined with repeated note patterns; nonmetrical passages
5. Melodic settings: contrasts, comparative strengths, repeated phrases

IV. Implied Bass Parts

V. Single-note, Interval, and

VI. Two1.

2.
3.

VII.

\ III.

Chord Repetitions

and Three-part Music

Homophonic
Polyphonic
Style mixtures

Spacing Problems in the Middle Register

1. Large harmonic gaps
2. Sustained notes, intervals, and chords
Contrast Problems Conditioned by Dynamics

IX. Voice Leading

X. Obbligato or

Added Secondary

XI. Antiphonal Effects

XII.
XIII.

Tremolo Types

Dance Forms

(Afterbeats)

Parts Arranged from

Harmonic Progressions

?
^

Workbook

for

ORCHESTRATION:
A

Practical

Handbook

DR. JOSEPH

WAGNER

Lecturer'in music

Pepperdine College

Los Angeles,

Calif.

McGRAW-HILL BOOK COMPANY,

New

York

Toronto

INC.

London

1959

MUSIC

UBRAR*^

rsssssr

WORKBOOK FOR ORCHESTRATION

Copyright
1959 by the McGraw-Hill Book Company, Inc. Printed in the
United States of America. All rights reserved. This book, or parts thereof, may
not be reproduced in any form without permission of the publishers.
5 6 7 8 9

EBEB

9876543210

67656

PREFACE
The examples in this Workbook have been selected to provide
teachers and students of orchestration with music from Bach to
Bartok. They represent a diversification of styles and textures spekeyed to the categories of the Reference Chart of Keyboard
Idioms and Patterns as given and applied in the author's Orchestration:
A Practical Handbook. The majority of these examples are suitable
for string and/or wood-wind scoring as well as for orchestras with
varying instrumentation. The music in Part One is for preliminary
exercises dealing with clefs and transpositions, chorals and voice extensions, and the brass and percussion sections as a separate unit.
Part Three contains music without classification for special assignments.
This arrangement of source material permits the teacher to use the
Workbook in the same sequence as given in the text of the author's
Orchestration: A Practical Handbook. When the text and the music
cifically

are used concurrently, the student will have the invaluable experience

of scoring identical material for ensembles of varying instrumentation. In many instances several examples are given for the teacher's
convenience.

Although the examples in the Workbook have been keyed to specific

categories of the Reference Chart in Part Two, their scoring will invariably necessitate the application of techniques derived from other entries
in the Chart as indicated and described in Chaps. 10, 16, and 35 of the
This interrelated plan constitutes the basis for scoring practices
and, when used with facility and assurance, provides the means for a
text.

practical solution to the problems of orchestration.

Joseph Wagner

CONTENTS
Preface

iii

Part

\J

One

PRELIMINARY EXERCISES
CLEFS AND TRANSPOSITIONS

33

Song No.

Peasant's

Bartok (K)

CHORALS
5* Schumann

Choral. Op. 68, No.

........

Hochstes Gut* Bach (K)

Wir in Hochsten Nothen Sein* Bach (K)

Herr Jesu

Wenn

Du

(K)

Crist,

MUSIC FOR BRASS AND PERCUSSION

Watchman's Song, Op. 12, No. 3 Grieg (M)

Impromptu, Op. 142, No. 2 Schubert (M)

The Stranger, Op. 68, No. 26 Schumann (K)
Folksong No. 8* Bartok (K)
Piece Heroi'que- -Franck (M)
Part

,2

4
4
5

Two

REFERENCE CHART OF KEYBOARD IDIOMS AND PATTERNS

BROKEN INTERVALS
I.

Etude, Op.

2,

No.

4 Prokofiev (M)

Haydn (M)
The Horseman, Op. 68, No. 23 Schumann (K)
Sonata No. 7 (Finale)

Waltz. Op. 54, No.

2,

No. 11 Schumann (K)

No. 2 Dohnanyi (M)

........

II.

Arabesque

10
11

(K)

Rondo, Op. 51, No. 1 Beethoven

Arietta, Op. 12, No.
Grieg
Air Handel (M)
Impromptu, Op. 142, No. 2 Schubert (M)
Passacaille Handel (M)
Rondo Capriccioso, Op. 14 Mendelssohn (D)
Prelude in G Minor, Op. 23, No. 5 Rachmaninov (M)
1

10

BROKEN CHORDS

Debussy (M)
Piece Heroi'que Franck (M)
Fantasie Impromptu, Op. 66 Chopin
Serenata Andaluza Falla (M)
First

1 Dvorak

Saint Nicolas, Op. 68,

Intermezzo, Op.

12
13

14

14
15

.16
16

17

...

MELODIC LINES AND FIGURATIONS

Scene, Op. 19, No. 3 Grieg (M)

18

III.

Carnival

Second Arabesque

Debussy

(M)

18

19

No. 2 Mendelssohn (D)

Sonata No. 27, Op. 90 Beethoven (D)
Sonata No. 12 (Rondo) Mozart
A Joyous Party, Op. 13, No. 8 Dohnanyi (M)
Characteristic Piece, Op.

7,

V.

20
21

22
22

IMPLIED BASS PARTS

IV.

Sonatina (Finale)

....

Bartok (K)

24

SINGLE NOTE, INTERVAL,

AND CHORD REPETITIONS

Bear Dance No.

Bartok (K)
,
Novelette, Op. 21, No. 4 Schumann (D)
Rondo, Op. 51, No. 1 Beethoven
Valses Nobles (No. 6), Op. 77 Schubert (M)
Suggestion Diabolique, Op. 4, No. 4 Prokofiev (M)
Bourree Fantasque Chabrier (M)
Le Polichinelle Villa-Lobos (M)
Ballade, Op. 118, No. 3 Brahms (M)
.

25

26

26

....

27

27
28
28

TWO- AND THREE-PART MUSIC

HOMOPHONIC

1.

Rigaudon

VI.

25

Rameau(M)

29

Andante Haydn (M)

Danzas

Oriental from

30
Espafiolas, Op.

5,

No. 2

Granados (M)

30

POLYPHONIC

2.

21 Bach (M)
Op. 68, No. 27 Schumann (K)
3. STYLE MIXTURES

Fugue No.

31

32

Canon,

Allegretto in

C Minor Schubert (M)

Warum?, Op.

12,

Traumerei, Op.
VII.

9,

33

No. 3 Schumann (D)

No. 4 Strauss

34

34

SPACING PROBLEMS IN THE MIDDLE REGISTER

Sevilla Albeniz (M)

35

2 Brahms (M)
36
VIII. CONTRAST PROBLEMS CONDITIONED BY DYNAMICS
37
Impromptu, Op. 90, No. 2 Schubert (M)
Rhapsody, Op.

79,

No.

1 Kabalevsky (K)
IX. VOICE LEADING
G Minor, Op. 37, No. 1 Chopin (K)

Sonatina, Op. 13, No.

38

Nocturne

39

in

OBBLIGATO OR ADDED SECONDARY PARTS

ARRANGED FROM HARMONIC PROGRESSIONS

X.

Gibraltar from

Album

de Viajo

Turina(M)

39

XL ANTIPHONAL EFFECTS
Serious Variations (No.

7),

XII.

Sonata No.

Op.

54 Mendelssohn

(D)

Rhapsody No.

42
17),

Op.

2 Dohnanyi

(M)

XIII.

54 Mendelssohn

(D)

...

42
43

DANCE FORMS

B Flat Major, Op. 7, No. 1 Chopin (K)

Polonaise (Military), Op. 40, No. 1 Chopin (M)
in

40

TREMOLO TYPES

9 Mozart

Serious Variations (No.

Mazurka

....

45

46

Waltz, Op. 39,

Italian

Brahms (M)
Rachmaninov (M)

No. 3*

Polka

46
47

Part Three

MUSIC WITHOUT CLASSIFICATION

(Recommended

Fugue No.

5 in

for Special

Assignments)

D Major* Bach

48

Debussy (M)
No. Beethoven
C Minor. Op.
Loma Milhaud
Sobre
Passaeaglia Piston
....
Prelude and Dance (No.
Op. 29, No. Creston

Nocturne
Sonata in

in

Flat

10,

la

1),

Psalm

XXIX Wagner

51

52
54
55

56
57

Only music marked with an

asterisk

is

complete. All other selections are

incomplete excerpts.

PUBLICATION CREDITS
Music excerpts marked with the
lisher.

letter

(D) are used by permission of the pub-

Oliver Ditson Co.

Excerpts marked with (K) are used by the courtesy of the publisher, Edwin F.

Kalmus,

New

York, N. Y.

Music marked with (M)

Marks Music Corporation,

is

used by the courtesy of the publisher, Edward B.

New

York,

N.Y

PART ONE

Preliminary Exercises
CLEFS AND TRANSPOSITIONS
Score this piece in octaves for the following combinations:
1

The

treble part for violins,

and

for violas in the alto clef.

The bass

part for the cellos in the

tenor clef and basses in the bass clef sounding an octave below the cellos. Arrange bowings so
that they approximate the phrasing of the piano copy.
2.

(Bb),

Wood-winds

in four octaves for piccolo, flute, oboe, English horn, clarinet (A), bass clarinet

bassoon (tenor

clef),

and contrabassoon. The phrasing should

give the

same

effect as the

original.

Two

horns (F) in octaves, trumpet (6b), first trombone in the alto clef, second trombone in
the tenor clef, third trombone in the bass clef, and the tuba an octave below the written bass
part. Retain the same phrasing used for the wood-winds.
3.

PEASANT'S SONG No.

Ten Easy Pieces
Allegro moderate,

for Piano

Bela Bartok
<^o-e

SE^P

$2

^E

fy=*p

jj^

mm

4-

as an

f-fr-ti

A
f

H*

p Egg
^p

jg

rR"

*m

>pp
*Ji

if

^
nJ

%
1*
1 d:

[11

A^,

3Sl

IE"

CHORALS
Score these chorals for the string, w ood-\K ind, and brass sections and for full orchestra. Develop
range extensions and add doublings and tillers as indicated in Chaps. 9, 15, 19, 25, and 34.

CHORAL
Robert Schumann, Op.
M. M. J

54

4,

&

sehr gebundten (motto legato)

legato.

5k

-0.

-j

(53)

I
w

bU
i
-(S

4
1.

3
* ii

/l

1*

(53)

si

^4

V/

^>

j.

=fc

-9-

mm

by

4M
T^

XE

S
f>

a ^

oo

r-j

Johann Sebastian Bach

i
J^J

fr

V^

r\

J^Tj

Claire:

[2]

- ^oj

^^ BBS

/O

4
(34)
1,

DU HOCHSTES GUT

CRIST,

\y

^^
^
m^
i

a
P ^

^
m

t:

/TS

A J A

HERR JESU

,v

V/

'2

V27

dss
w

35

XE

^
13

XE

s>-

rr

"2

f^
5

jOl

(45)

Tr

2,

IZZ

(45)

=M 4:

ifcl

yr

% e
i

--*

^Sl

r*

zz:

No.

s
fT r

/V\

68,

jz\
1 trr

5
cr

WENN WIR

IN

HOCHSTEN NOTHEN SEIN

Johann Sebastian Bach

r>

T$
iJ

f^ ^ * ^ P
i

mm

fep

*
r^TT
o

Q^t^

r
/C\

^S;

c/r

tf

:3i

<*

s^

MUSIC FOR BRASS AND PERCUSSION

Score for four horns, two trumpets, three trombones, and timpani. Use tuba and additional
percussion instruments

when

appropriate.

In the Grieg excerpt, score the

trombones.

first full

phrase for horns, the second phrase for trumpets and

A filler and bass octave can be added

in

measures nine

to twelve.

WATCHMAN'S SONG

U
i m

Molto andante e semplice.

4

?m

11

a
I

- -

ff*A?f

1ZI

S
T

azza

fefe

[3]

-4

12,

No.

5,

m
i

i
2

^
TF

22

^P
mf

%>.

-3

2.

s is
E ^i

pgpa

4*

Edvard Grieg, Op.

4
2

4T

IMPROMPTU

Allegretto

Franz Schubert, Op.

(J s 132)

142,

No. 2

j)oco allarg.

Xth

9-9-

vFz

mm

He

W*

Wet*

S
J7\

-y

t\

-m

tr

rtPrrz

tff

pp

isk

2=k

THE STRANGER
Robert Schumann, Op.
Stark und kraftig zu spielen M. M.J= 144
Forte ed energico

"^
Sr ^

^E3

/r
?Tt ^ T
fr

f
I

fe

5 5EEEJE

h v

^
5

EiEE

fei
^

^Bm Sl^

HE

iS
3 -iT

m-,\<\

#*

5
3
l.

daii
w

^jp

qp

&

3^

[4]

No. 26
\'a

4
2

68,

s
S

Pf

ire:

3=$

#*

Ej

Seek out contrast for the melody here.

effective for

harmony

No

fillers

for.

Mutes would be

parts.

FOLKSONG
Ten Easy Pieces
Poco andante,

or doublings are called

J/e

No.

for Piano

Bela Bartok

J&feespr.

193

[5]

be necessar) to invert the melody and to double

will

1<

Start the

rhis

first

music

an octave lower

measure A-C-F, then move by nearest positions

organ can benefit from the use of the full brass section.

chord of

for

it

this

in

measure

thirteen.

to the other chords.

PIECE HEROIQUE
Cesar Franck

Allegro maestoso

'

I^

*"

J3U-.

UJ iiisji^

gp^ F^

Ji

^ui

#%*F
i>

25

ff^f

[6]

||

1|

^>

IJ
tt

t|

'

PART TWO

Reference Chart of Keyboard Idioms

and Patterns
I.

The term "broken

BROKEN INTERVALS

used here, refers to their movement in sequence as distinguished from intervals occurring in broken-chord formations. Broken intervals, in this category,
usually have a dual purpose: (1) they maintain rhythmic patterns idiomatically, and (2) they
complete harmonic progressions. Literal scoring for orchestral instruments is possible only at
intervals," as

slow tempos. The following examples are to be arranged as shown in Chaps.

1.

10, 16,

and

35.

Broken Octaves

ETUDE
Sergei Prokofiev, Op. 2, No. 4
Presto con energia

(LP'fiO
/

a ia
4/4

fnr\
fp

4 * d t J

fe

w*

/7

p u

&J

bij

* ^
EJ

00

*
f

d *

&
HSF
I

wa/7o sinistra legato

2.

Broken Octaves with Embellishments

FINALE

from

SONATA

No. 7
Joseph Haydn

Presto,

yh l
:

i""

ma non

troppo

"

[7]


Broken Octaves Combined with Thirds

3.
["his

The extremes of dynamic range

excerpt includes several entries in this classification.

mit corresponding variet) of range extensions

and

per-

sonorities.

THE HORSEMAN
Robert Schumann, Op. 68, No. 23

Kurz und bestimmt M.M.J =100

Breve

e deciso

PP
>P

hJhh

&3

tti

^^
5
m
$

frr-T-r

5*

AAA

H'ti m

3 m

7 7

f^

ff

cresc.

si

hittE.P *

7 7

to.

iA

*=

9 P

<J=Frt

S^W

,ii

sm

tf#

"Sa.

i'y

la

^f

f=>=y
4

PBI
<F

sa.

AAA
mn

<sa.

<a.

IB

if

'

^gH

JJj-^

&

*=f

ft

<a.

[8]

3 3 5 1*
a.

4.

Broken Sixths

WALTZ
Anton Dvorak, Op.

54,

No.

Piu mosso

3/4

gg

<^T

mf
i

hy

^nf
^

:!!

SEtEE?

pppp

zfrr
i

p
<Sa.

/cw

5.

Reduce

these thirds to four-part

Broken Thirds

harmony

outlining

and sustaining

the

melody and bass

parts.

Retain the sixteenth-note rhythm in the two middle parts. The complete excerpt should be
phrased legato.

SAINT NICOLAS
Robert Schumann, Op.
Polternd, ungefiige M.M. J=

126

Chiassoso, duramente
2

14

[9]

68,

No.

/v

W
Broken Sixths and Thirds Combined

(>.

INTERMEZZO
Ernst Dohnanyi, Op.

tfe %== i&r =

^frfJ[Mcrf J^

subito

i>

No. 2

ivo

..

2,

^P e

St

stacc'mtissimo

g^gfaj

ft

,.-&.

II.

1.

BROKEN CHORDS

Left-Hand Broken Chords in Close Position

FIRST ARABESQUE
Claude Debussy
Andantino con moto

a Tempo
I

#A^
m

4/4

agl

frr ff

J-

is

ipp

flfr

Jljm^j

r
l

ffrfrl

[10]

i^jgj gj
fl

f=
f

g i^o^ri
j

a
r

g^,^

j. J

fe

PIECE HEROIQUE for organ,

melody should be written in octaves with an

The pedal point in the bass part can also be extended an octave higher.
In

the

inside

filler.

PIECE HEROIQUE
Cesar Franck
Allegro maestoso

[11]


2.

Left-Hand Broken Chords in Open Position

FANTASIE IMPROMPTU
Frederic Chopin, Op. 66

Moderate) cantabile.

#P^

-&-

-6*-

>

45

sotto voce

f^S^
Nf^P
*

-.

to.

to.

to. #to. #to. #to.

to.

STj

fS^-

O-

^f
5

to

*to.

*to.

#to.

^VrTh^
4

-Jgf*

to*

#to.#to.*to.#to.& to.

#to.

# tempo
i

#to.

* to

[12]

#to.

*&*>.

3^ 5

SERENATA ANDALUZA
Manuel de
Poco meno mosso

Bfea
3/4

w=m

mf

m/

:=te

[13]

Falla

.'>.

Broken

bonk Spaced

for

Two Hand-

should first be reduced to four-part writing with the highest and lou
melod) and bas> parts. In this RONDO, these parts would be in half notcv
rhythmic figuration should be maintained in the two inside parts. (See the example in Chaps.
and 35 under this heading.) This would be a good example to experiment with, adding
(in the high treble and tenor ranges), as explained in the same chapter.
two obbi
;

this categ

RONDO
Ludwig van Beethoven. Op.

51.

No.

Edvard Grieg. Op.

12.

No.

azioso

k^kEE=M
ARIETTA

Poco andante

e sostenuto

-6-4

^m

"

tw.

-p*

'jiVtt

ft

/ K

3C
Sa.
3

4
3

7,

^
E=

r=s

I*

S
*

r
%).

[14]

4.

Broken Chords

in Right

Hand

with Implied Melodic Line

In scoring the next two examples, keep the implied melodic lines free of the inside
parts.

The bass

parts should also be detached

the orchestration

on the thematic

from the two inside rhythmic harmony

harmony

parts.

Vary

repetitions.

AIR
George Frederic Handel
Andantino

YAR.V V

Ha tempo)

sempref e

brillante

^s.
1

MP
W
m

mM
i

-4

#"*

[l^^mi

J Trtflf

m ^_

poco

[15]

riten.
4

5
-t

f\

42

IMPROMPTU
Franz Schubert, Op.
Allegretto

(J

142,

No.

132)

TRIO

=&!

f^fc

rat,

^sr

5
-

CiJ^^

fa

Si

r
5

ii#i

mps ojcu-^j

rrirT?
= j -

deer esc.

y 2=es

,','.

-~j
r-35.

r-

3^2

fe rrt

~Z_

*
3

Broken Chords with Blocked Melodic and Rhythmic Patterns

PASSACAILLE
George Frederic Handel
Allegro con brio

[16]

6.

The two following

Arpeggiated Chords

excerpts are most desirable for full orchestra.

The

arpeggios in both can be

Arrange them idiomatically for appropriate strings. (2) Arrange them as

broken chords for strings or wood-winds and give the full arpeggios to the harp. In the Mendelssohn excerpt, supply, the harmony for the first measure and continue it in accordance with the
rhythmic pattern given by the composer. The Rachmaninov excerpt requires sustained middlescored as follows:

harmony

(1)

parts as indicated in the third measure.

RONDO CAPRICCIOSO
Felix Mendelssohn, Op. 14
Presto

(J.

96)

[17]

PRELUDE

IN

G MINOR
Sergei

Alia marica

Un

poco

(J

No.

meno mosso

MELODIC LINES AND FIGURATIONS

1.

fast

23,

OS)

III.

At

Rachmaninov, Op.

tempos

it is

Large Melodic Skips

advisable to rearrange themes of this kind for two voices, yet always re-

taining both the rhythmic patterns

and

interval changes.

CARNIVAL SCENE
Edvard Grieg, Op.

19,

No.

Allegro alia burla

ff ffrTr

|H |i f| jj7 yfpp

(scherzando)

>>/

miy*yy

<xJstacaato)

#
[18]

CARNIVAL SCENE
*<m\

*f

ffffffT r

ff

ftr^-fa

P
^
p

lower,

Hi

Sk

2.

Two

***">:

5t
%fc

iT\

(Continued)

&

EZE

&

^
&

Outlining a Melodic Line

plans of outlining are suggested here: (1) above the melody, and (2) sustained an octave

combined with the lowest theme note on each

beat.

SECOND ARABESQUE
Claude Debussy
Allegretto scherzando

[19]

:>.

Dh

Dividing a Melodic Line

enure treble part for two or more voices as required. Parts in the bass range

ide the

will

also need considerable revision to provide consistent voice textures.

CHARACTERISTIC PIECE

No. 2
Felix Mendelssohn, Op.

Allegro vivace (J.=7a)

&L

Wi

<

i^

&k

&

7,

[20]

No. 2

Melodic Lines Combined with Repeated Notes

4.

In scoring this excerpt, retain the tessitura of the repeated notes but rearrange the chord
positions starting in measure twenty-one.

SONATA No.

27

Ludwig van Beethoven, Op. 90

Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
(J

152)

i i

* *

MrzM

7
0-0-0-

-f

r*^

Jr-$hv

it)

^E
g

5
2

^3

cresc.

12 12

%I

^Ml

&be

1J

3J

=1

/
[>:

ii

J>J^ H
W^
2

U-

\y*-.

if

tttttE
#

nttr?

s^

Jfc

#*

jv^i

|?

&

\% i

EBa
a&

4
/5J

EE
i f^_|HE
2

1-

3E
=js P*^ fe
F
h:

./r

*f

#.
v:ff

Jf f
fa.

ts

BEE
1*1 fffff?3
333
&.
#
m

[21]

fc

\0\MKTK1CAL PASSAGES

SONATA

No.

12

RONDO
Wolfgang Amadeus Mozart
Ukiiro

u =

5.

80)

Melodic Settings: Contrasts, Comparative Strengths, Repeated Phrases

These four-measure excerpts, taken from eight-measure phrases, illustrate one composer's
approach to seeking contrast with the same thematic material at different dynamic levels. The
orchestration of these phrases should explore the full potentialities of each section, reserving the
orchestra for the two fortissimo passages. Note: Observe the obbligato in the second brace.
could be varied and repositioned for the other variations.

full
It

A JOYOUS PARTY
Ernst Dohnanyi, Op.

Vivace giocoso.

[22]

13,

No. 8

A JOYOUS PARTY (Continued)

rf+1

rr

*-

-F^

ff

\n\p=f

J
WMi

1
z^*

Tempo

rw
m

i
-

i
9

r^

I.

te*A

* #t#

:=#

[23]

1^

I>.

IMPLIED BASS PARTS

number of the previous examples required the extracting of implied bass parts from chord
formations. The following excerpt presents music which calls for sustained tenor and bass parts
combined * ith a pedal point. By starting the implied bass part on the second beat of the third
measure and treating it as a suspension, the effect intended by the composer can be realized.
\

This plan changes

in

measure eleven.

FINALE

from

SONATINA
Bela Bartok

Allegro vivace

(J

154-146)

poco

rit.

a tempo

[24]

V.

The examples

SINGLE-NOTE, INTERVAL,

AND CHORD REPETITIONS

have been selected so that they can be represented in their

most familiar forms. Each excerpt should be rearranged idiomatically for orchestral instruments,
as illustrated in Chaps. 10, 16, and 35.
for this category

1.

Repeated Notes without Rests

BEAR DANCE
Ten Easy Pieces

No.

for Piano

Bela Bartok

Allegro vivace,

J/104-120

motto narcato

8*

Jf

i=i

UUU1I

unun

AW.uu

UlfUlS

uuws ^m.

tcrrtrrr
2.

<F

mz cuirmrr

msms

4 8 2

simile

Repeated Notes with Rests

NOVELETTE
Robert Schumann, Op.
Poco piu animato

(J.

(45)

IT"

No. 4

4.

* fe*

feft

3/4

21,

72)

i
8 - PPfe
HrUr*
7
rf
P'f f* ^PF ? f'Pt
i^5^*
c
1?

/?

^5

^^

tea

ts

is

rf^F !fTf
q

j'fif'f

'

Y' f

'

ts

*T'F

riturd

rt

\3

125]

RONDO
Ludwig van Beethoven, Op.

51,

No.

Moderate) e erazioso

3.

Repeated Intervals as Afterbeats

VALSES NOBLES

(No. 6)

Franz Schubert, Op. 77

Tempo

di Valse

[26]

4.

Repeated Chords

SUGGESTION DIABOLIQUE
Sergei Prokofiev, Op.

4,

No. 4

Prestissimo fantastico

to.
5

to.

4,32,

4
2

i
i

^ipB

5
I

is

!-&- --?

inffiii
ii

5
3
*

4.

P
ii

---

tl

1?J@

*
5.

5
3
2

1 v^
%&

tot*

*!>.

Repeated Notes, Intervals, and Chords Spaced for Alternating Hands

BOURREE FANTASQUE
Emmanuel

Tres anime avec beaucoup

i
fr^f

/jar

g e

J=

152)

marcatissimo

fJT

d'entrain

Chabrier

YW

mJ

BSBfltS

L-T

^jj^
_
i

[27]

I_r
-*

L.

LE POLICHINBLLE
Heitor Villa-Lobos
Presto

4
2

4(5)

NH^ u^J
EH

^-fnL

%'k

r t

3&*

Sfc.

^
m
^S
\

&

F=*

gg

Wee*

f t

*
5(4)

3-

_L

1 fegfe

iff

j-rin^

Sfc.

4(5)

*e

1
1

r*=*

gr=?

&>.

^y=r:
*

&.

BALLADE
Johannes Brahms, Op.

18,

No. 3

Allegro energico.

.,

a
n fw fWP rr*

dr^

5>l

fei

fei

a^

jSa J

gs^a

3
5

[28]


VI.

TWO- AND THREE-PART MUSIC

Most of the music included up

to this point has

been homophonic. The voice textures have

often been inconsistent, thereby requiring considerable revision, as will be the case with similar
music to follow. The next excerpts illustrate three varieties of homophonic styles and textures.
1.

Homophonic

RIGAUDON
Jean Philippe

Rameau

Allegretto
5

*
m^

S
PP
*

%^
p

HW

crescendo

t-i-i

m ^^m

a
pMi

**

4
2

3^

:>

--

t=t=t

BE

EE

^P

SE

*-F

gg
2

[29]

ANDANTE
Joseph Haydn

Andante grazioso

from

ORIENTAL
DANZAS ESPANOLAS
Enrique Granados, Op.

kS

mm=m

No. 2

ffHtf yn

Andante

5,

doicc

^m

[30]

2.

Polyphonic

Polyphonic music in its most strict forms (canon and fugue, without doublings, fillers, or
harmonization), is comparatively rare in orchestral music. In fugal scoring, some doubling in
octaves

is

permissible, notably in bass parts

Occasional outlining and sustaining

canon by Schumann needs

mony

parts

whenever

may

Review

for principal thematic material emphasis.

also be necessary

clarity for the

possible.

and

this

two thematic

and even

lines in contrast to

category in Chaps.

The harmonized
and with the har-

desirable.

10, 16,

and

35.

FUGUE

No. 21
from the Well-tempered Clavichord

Johann Sebastian Bach

Allegretto.
%

ii'

l du, m

gg^g
8

L-awc-

[31]

A CANON
Robert Schumann, Op.
Nicht schnell und mit innigem Ausdruck
Moderate t con intima espressione s

No. 27

68,

MM. J =72
\23^

mm

&

ritard.

gCi

I^JJ

^m

to

^:
2

[32]

&

Style Mixtures

3.

homophonic and polyphonic passages) provide a great

continuity, and contrast for symphonic music. Scoring in this style

Style mixtures (juxtapositions of

source of organic strength,

should be along the lines discussed under

this

heading in Chaps.

ALLEGRETTO

IN C

10, 16,

and

35.

MINOR
Franz Schubert

Allegretto

(poco riten.)

Hi

mm
m
r-

f^\

(a tempo)

?m $

&
f

*pi

P
I

zz.

cresc.

^Mcfr ^-tir^j

\y

[33]

WARUM?
Robert Schumann, Op.
Lento

teneramente

(.

12,

No.

58)

5l

*9k
trAumerei
Richard Strauss, Op.

9,

No. 4

Andantino

(P^S
1^1

>*3
"^
?

TO

i^-i

u--l

,?

*
rf/w.

-#-

i
x?*^

5:112:

vffi %yfe i
T

,?

Frz,

MS
jyjt>

-9-

-f

[34]

tempo

SPACING PROBLEMS IN THE MIDDLE REGISTER

VII.

Both

entries

under

have been presented as secondary considerations in many

of the previous categories. They should now be reexamined as isolated, major problems concerned
this classification

with orchestral balance and sonority.

1.

Fillers in the

Large Harmonic Gaps

middle register are needed here for the

first

two and one-half measures of each

four-measure phrase.

SEVILLA
Isaac Albeniz
Allegretto

ML^

<hnr^
tk

Zr

Si fci

WW
Wf?
T
r
r
9

7 erif f ^

p gjj

'

tf

f grprf

u^-p-^p^pt^p gfL / p

[35]

2.

Sustained Notes, Intervals, and Chords

Sustained parts, indispensable for

full

orchestra starting in the third measure, ean be extracted

from the upper notes of the broken chords and the implied bass notes.

RHAPSODY
Johannes Brahms, Op.
Molto passionate,

ma non troppo

J^*

allegro

$&.

* <m>.

#$&.

gZ^&Jgn&k&li

<tb.

[36]

<&*

79,

No. 2

VIII.

Consult Chaps.

CONTRAST PROBLEMS CONDITIONED BY DYNAMICS

10, 16,

and 35

for suggested

ways of scoring

similar

and/or identical phrases

with different dynamics.

IMPROMPTU
Franz Schubert, Op.
Allegro

E=1

J*

(J.

90,

No. 2

69)

f=

a
a

r
.

PPT
S

W
r

3*

It

P~

^*

IF

f=03

#w marcato.

ftfefe

rw ^Wr

j(r

m p?

[37]

r?
.^

""

MFEU
41

Si

^FIF?

5?
^~
5

tL

'

SONATINA

No.

Dimitri Kabalevsky, Op.

Allegro assai

./

&

"f

fe*

fa
a tempo

gfefe

+-+
,_

i>

i\

*
i

'i

No.

if

X-U4

MM

fe*

2_

is
Tempo

*
*

S P

^^ g^ iM=h
Iff

crescendo

lusingando

fc*

^r*

13,

4s
i

'

[38]

1*.

2XTZ!

IX.

VOICE LEADING

The place and problem of good voice leading

In scoring

is

strikingly apparent in this

rearrange the voice structure of the

Chopin

excerpt.

harmony and

bass so that they can be

maintained consistently. Grace notes that are melodic embellishments should be retained whenit,

ever practicable. Those that are distinctly chordal, as in measures 7 and 8, can generally
be eliminated altogether or incorporated as part of the harmonic texture. Review this category
in Chaps. 10, 16,

and

35.

NOCTURNE

IN

G MINOR
Frederic Chopin, Op. 37, No.

Andante sostenuto
a tempo

to.

to.

mmm

to.

4 54

m
fr T
1

jRur?Tjit j

R^
^=d:

to.

X.

Add an

to.

r
to.

i
#

OBBLIGATO OR ADDED SECONDARY PARTS ARRANGED FROM

HARMONIC PROGRESSIONS

and a second, more rapid counterpoint above the

melody. Plan both parts so that their greatest momentum and intensity starts in the twelfth
measure. Consult this category in Chap. 10 for directions and illustrations. The final "8 va." can
be omitted; the others are optional. Work for maximum sonority and brilliance starting at the
obbligato part in the tenor register

2/4 measure. This excerpt

is

intended for

from

full

orchestra only.

GIBRALTAR
ALBUM DE VIAJO
Joaquin Turina

Allegro vivo

[39]

GIBRALTAR

(Continued)

^Ub

^fsa

5=ee1

b
p-

=f

XL ANTIPHONAL EFFECTS
Alternate the string and wood- wind sections as given in Chap. 35 under this heading. The
sextolet

may be

scored either in octaves and/or as broken chords. Seek

maximum

brilliance

within the instrumentation of the Classic orchestra.

SERIOUS VARIATIONS
Felix Mendelssohn, Op. 54

VAR.

r.h.

cJ = so)

SERIOUS VARIATIONS

[41]

(Continued)

TREMOLO TYPES

XII.
I

orm octaves

score this passage as a measured tremolo.

to be scored as

of

for the highest treble notes

this

Mozart excerpt

The arpeggiated chords

measure rive and

RHAPSODY No. 2 are

starting in
in

unmeasured, fingered tremolos.

SONATA

No. 9

Wolfgang Amadeus Mozart

Allegro con spirito

(J

132)

JL

SERIOUS VARIATIONS

JL

(No. 17)
Felix Mendelssohn, Op. 54

Allegro vivace

(J

76)

ritenu

[42]

RHAPSODY

No. 2
Ernst Dohnanyi

Adagio

te-

fiTr

n a

f^

fe*

fe

[43]

5=

'istesso

Ibid.

tempo)

[44]

XIII.

DANCE FORMS

These dance excerpts have been selected primarily

afterbeats. In scoring

them

to provide

music having characteristic

give consideration to other pertinent entries in the Reference Chart.

MAZURKA

IN B FLAT

MAJOR
Frederic Chopin, Op.

Vivace.

&fc

(J. = 50.)

&d. simile

[45]

7,

No.

POLONAISE (MILITARY)
Frederic Chopin, Op. 40, No.

Allegro con brio

m^

3
2

;^^5

#HfHii

is

^^i
UJ l^

LJ

m.

'Sa.

i
3

*zab-

1^

ESI*

J,

'

SiE

fe
*-*-

ii 'iiii^ t

^gg -g

g-g-g

._

EHZEZi

5 J

V ezezkizb

mM

&

*l-^

kjjtg

^=^
SQ3

WALTZ

No.

fctf

Johannes Brahms, Op.

Grazioso

A_^
#

iii

^m
i&

aaa

<

4,

at

3=M*f

si
[46]

No.

ZZL

i==f

2:

39,

3^

J9 dolce

i^j

|Ee1=

W~\'.

"J

15

,.J

II J

PE^E

WALTZ No.
^3.

3 {Continued)

-0-

m&mf
f

*+

g>

11

ii3^
ij

^^

a j)

gjjp

r-

3 mmi f

i 53

i.

Hi
*=^ f

:=**

ITALIAN POLKA
Sergei

Allegretto

(W /as/J

^-^P^P
i

^J

[47]

Rachmaninov

PART THREE

Music Without Classification

(Recommended

FUGUE

for Special Assignments)

No.

IN

D MAJOR

from the Well-tempered Clavichord

Johann Sebastian Bach

Allegro moderate

J =76.

[48]

$
^

/
1

7
fp

m ^^
5

^ffl
l

*C

H
2

rosF^ri

cresc.

1"^

23

45

3_rirL.

=fe

gi

i
a

B
2

W^#
M3t

"J'

Ij3

"

P.

g=3

*/

13

12

[50]

NOCTURNE

IN

D FLAT
Claude Debussy

Allegretto

= J)

J)

^m
?

te

l>:

u*

1
M

subito

SP

it*-

ispfi;
[51]

*
I

^^P

^ T

SONATA
First

IN

C MINOR

Movement Exposition
Ludwig van Beethoven, Op.

f^
m^m

ft

Allegro

mo

IIS. PS.

to c

ffl E=w

////&;

ibfcl

m S
Jf

7,

'

3*

S ^3

fee

S3

mj

^ ^^ e

=rr

lEE*

(b)

JG

#
S^^T?

**

of

fen.

> ^

tJ

No.

con brio.w.M. *.=.

5

r 3=r

10,

rr*-^

^z:

i=

*T 4

ffi

^7^
2

1E

Ite rr~i

je

4*

Ei

1'
T
T

^5
*

P-n

S a

^-r-3

r^ffl -Sri

.0'

./J

ft

i.
)

Z\vS.7>.

s
.0'

r)
P

4!
T

kif

IS I

1i
J$

^^7IT"??

m
f S

T*j?

^
*F

b^

Si ffl fe

I?

i5>

[52]

;I7rftj~
|

kz

**

[53]

'

SOBRE LA LOMA
Darius Milhaud

Mouvt de Rumba

ite

-o-

v*

i.

"/

^ r

TT1
#-

'

M"

F^P

"

^F

31
J

f-4

rn

^
! M

'*v

J~'F^

:fc:*

ff

mr
4

>

13
F

Copyright

~t~

Brra

^^^3

X
F

MCMXLII

r?^

by Mercury Music Corporation,

New

[54]

York.

fe

^ ^

HP\
T>i>

fs:

^s

g.

f:

if

Used by permission of the copyright owner.

PASSACAGLIA

Q=

Andantino

Walter Piston

12)

]fe

fO

mf

5/8

b.

hi

L^
^

fr

^^

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4

tfs

3^

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ir

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fl

Ni%j

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cresc.

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Is:

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If?

E=Eig

^ ^^

ift

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71

Iff

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1#

J^A
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it:

ft

ft*
tt'

ffgg^TO
ijj
Copyright

MCMXLIII

by Mercury Music Corporation,

New

[55]

frj

York. Used by permission of the copyright ownei

II

PRELUDE AND DANCE

(No.

1)

Paul Creston, Op. 29, No.

Majestically J = i08

fe

ikJ

3p#

^S * ^5
k

if

fc

Jfla

b
:z_

k*

-^

kJ

te

*
it

k,

m$

IP

is

fprs
sfe

(,:

kfe

fc

|
;

ki

if

iE

j
S

'ii

ii
&

k#-

Efe

& S" pV

i*

k-

kJ

i ^F

k^

Ti 1

fcffi J
dim.

U--1

Copyright

MCMXLII

by Mercury Music Corporation,

New

[56]

York. Used by permission of the copyright owner.

PSALM XXIX
Male Chorus and Two Pianos
Joseph Wagner
4/4

(Allegro con fuoco)

4/4

mf

m
&

r5:
4/4

p^p
P
^=S^=^

is

of the Lord..

im
&z.

sfi

J^f^-J ii

p^

J>

m
J
voice

voice

i
g

^m

at

The

4r

ii

The

The
i>.
of

gJ

of

the

Lord

^=f

iTf

the

Lord

di

ZC

The

Lord

>&

&

di

Lord

di

^#

II

$i=

[57]

di

22

The

sm

of

^^

;:

voice

Lord

52=

The

):

voice

The

the Lord,

22

JT1

a:

J>

PSALM XXIX
cresc.

ti

flames

4-7

vi

of

re.

fi

JL

C rcsc.

of.

rrpsc.

,-

?
-

rj

Ti

deth the flames

S
vi

Jf

|r-r~E

deth the

{Continued)

*
re.

fi

j
Z5H2M

deth the flames

of

re.

fi

cresc.

POCO menO

(quasi recitativo\

The

70

voice_

The

ff

of the

of the

Lord shak-eth the

The

voice,
1

The

Poco meno

PIw
p
m

"77

'

r,

voice,

Ji
5

J^v

der-ness;

The

wil- der-ness;

The

wil

der ness;

The

nTTTE
3

"p
of the

wil

pP^

Lord shak-eth the

wil

a
-

der-ness;

The

rilfjjl
V

g^

--

psubito

<

i
p i
the Lord shak-eth the

of

P' P

J'pl^-J

f
>

Lord shak-eth the

j_J'J>J^I
voice_

^-#
*

^~vi

hi;5

II

S^S
b.

opyright

MCMXXXVIII

-Or

by M. Witmark and Sons,

New

[58]

York. Used by permission of the copyright owner.

Reference Chart of Keyboard Idioms and Patterns

I.

Broken
1.

2.
3.

4.
5.

6.

II.

Broken octaves
Broken octaves with embellishments
Broken octaves combined with thirds
Broken sixths
Broken thirds
Broken sixths and thirds combined

Broken Chords
1

2.
3.

Left-hand broken chords in close position

Left-hand broken chords in open position
Broken chords spaced for two hands

5.

Broken chords in right hand with implied melodic line

Broken chords with blocked melodic and rhythmic patterns

6.

Arpeggiated chords

4.

III.

Intervals

Melodic Lines and Figurations

1. Large melodic skips
2. Outlining a melodic line
3. Dividing a melodic line
4. Melodic lines combined with repeated note patterns; nonmetrical passages
5. Melodic settings: contrasts, comparative strengths, repeated phrases

IV. Implied Bass Parts

V. Single-note, Interval, and Chord Repetitions

and Three-part Music

Homophonic

VI. Two1.

2.
3.

VII.

Polyphonic
Style mixtures

Spacing Problems in the Middle Register

1. Large harmonic gaps
2. Sustained notes, intervals, and chords

VIII. Contrast

Problems Conditioned by Dynamics

IX. Voice Leading

X. Obbligato or

Added Secondary

XI. Antiphonal Effects

XII.
XIII.

Tremolo Types

Dance Forms

(Afterbeats)

Parts Arranged from

Harmonic Progressions

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