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The Study of
Orchestration
Fourth Edition
The Study of
Orchestration
Fourth Edition
Samuel Adler
Professor Emeritus, Eastman School of Music of the University of Rochester
Composition Faculty, Juilliard School of Music
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Contents
Preface vii
Test Yourself I: Strings
1
Worksheet 1: Clefs
2
Worksheet 2: Bowings
6
Worksheet 3: String Harmonics
7
Listen and Score 19
8
Worksheet 5: Harp
13
Test Yourself II: Woodwinds
14
Worksheet 7: Woodwind Transposition
15
Listen and Score 1018
18
Test Yourself III: Brass
24
Worksheet 11: Brass Transposition
25
Listen and Score 1926
27
Test Yourself IV: Percussion and Keyboard
34
Worksheet 22: Reducing a Full Orchestral Score to a Piano Score
36
Listen and Score 2734
39
Preface
In this answer key, youll find solutions to the exercises that appear in the workbook that accompanies
The Study of Orchestration. The workbook features a range of exercises, including:
Test Yourself activities, which gauge students comprehension of key concepts from the text.
Worksheets, which provide opportunities to practice orchestrating. With this new edition, Ive
added many new examples to be orchestrated. Quite a few of these examples are lengthy and can be
divided into several assignments if necessary. I have selected excerpts that lend themselves to discussion about the advantages and disadvantages of particular orchestrations.
Listen and Score activities, which ask students to identify instrumentation aurally and notate it. Ive
also expanded the number of listen and score exercises. I urge instructors to assign as many of these
exercises as possible, since they are very useful for training students ears.
In addition to the answers to workbook exercises, this volume also includes two sample semester
plans, one for a single-term course and one for a yearlong course. I hope that instructors will find these
materials useful in designing their orchestration classes.
Samuel Adler
March 2016
vii
Weeks 1213
Listen to as much orchestral music as possible and analyze and perhaps reduce some scores. If possible,
during the final week there should be a reading of a full orchestral score by each of the students.
Discuss the preparation of scores (Chapter 18).
Other suggestions:
1. A
lways assign the parts of the chapter to be discussed in class ahead of the session so that the student
will be somewhat acquainted with the subject. At the same time, encourage the student to listen to as
many examples in that chapter as possible.
2. C
hapter 19 is of great importance, especially since band and wind ensembles are such an integral part
of our musical scene and the repertory is so very important. Therefore, I suggest that examples from
Chapter 19 be assigned as soon as the wind and brass chapters have been covered.
3. P
lay as much music in class as possible. Live demonstrations are ideal, but the recordings are also
very helpful.
Weeks 2124
These weeks should be devoted to orchestration rather than instrumentation, and as much time as
possible should be spent on score study and listening. The orchestra as accompanist can be discussed
here as well as choral ranges (Chapters 1517).
Weeks 2526
Explore writing for band. Listen to as many examples in the book as possible and write transcriptions
for band as assignments. Some of the exercises provided in the workbook to be transcribed for
orchestra should be used to transcribe for band (Chapter 19).
Weeks 2728
Discuss preparation of score and parts and then review any remaining questions. Arrange for a band or
orchestra to perform student projects (Chapter 18).
xii
The Study of
Orchestration
Fourth Edition