Instrumentation - presentation of music for performance by a classical orchestra or instrumental ensemble. Presentation of music,musical notationorchestral material is often also calledorchestration . In the past, many authors have given different meanings to the terms "instrumentation" and "orchestration". So, for example, F. Gevart defined instrumentation as the study of the technical and expressive capabilities of individual instruments, and orchestration as the art of their joint use, and F. Busoni referred to orchestration as the presentation for an orchestra of music, which from the very beginning was conceived by the author as orchestral.
Over time, these terms became almost identical. The term instrumentation, which has a more universal meaning, better expresses the very essence creative process composing music for several performers. Therefore, it is increasingly used in the field of polyphonic choral music, especially in cases of various transcriptions.
Instrumentation is not an external “outfit” of a work, but one of the aspects of its essence, for it is impossible to imagine any music outside of its specific sound, i.e. beyond the definition of timbres and their combinations. The process of instrumentation finds its final expression in writing a score that combines the parts of all instruments and voices involved in the performance of a given work.
It took much longer for the brass bands to become an equal orchestral group. wind instruments. In the time of J. S. Bach, small chamber-type orchestras often included a natural trumpet. Composers increasingly began to resort to natural trumpets and horns to harmoniously fill the orchestral fabric, as well as to enhance accents. Due to their limited capabilities, brass instruments acted as an equal group only in cases where music was composed for them based on natural scales characteristic of military fanfares, hunting horns, postal horns and other special-purpose signaling instruments.
Finally, percussion instruments in orchestras of the 17th - 18th centuries. most often they were represented by two timpani, tuned to the tonic and dominant, which were usually used in combination with a brass group.
At the end of 18 - beginning. 19th centuries a “classical” orchestra was formed. The most important role in establishing its composition belongs to J. Haydn, but it took on its completely completed form from L. Beethoven. It included 8-10 first violins, 4-6 second, 2-4 violas, 3-4 cellos and 2-3 double basses. This composition of strings corresponded to 1-2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns (sometimes 3 and even 4, when the need for horns arose different systems), 2 trumpets and 2 timpani. Such an orchestra provided sufficient opportunities to realize the ideas of composers who had achieved great virtuosity in the use of muses. instruments, especially copper ones, the design of which was still very primitive. Thus, in the works of J. Haydn, W. A. Mozart and especially L. Beethoven, there are often examples of genius overcoming the limitations of contemporary instruments and the desire for expansion and improvement is constantly discernible symphony orchestra that time.
Due to long-standing interest in orchestral music on our forum, a long time ago I had this idea - to make a certain list of classical scores necessary to obtain general idea about what “modern orchestration” is in its historical development- after all, you have to learn from soundtracks, and from really cool scores (I want to make it clear right away that I have nothing against soundtracks, you just need to understand that each music has its own tasks, and in soundtracks orchestration is by no means the most important thing)
I will try to arrange the scores "from simple to complex"
My list, naturally, will be limited by the availability of links on the Internet and my taste. For convenience, we will start with what is in the “Tarakonov archive” - this is one of the largest collections of sheet music on the Internet. There will be links only to notes and recordings, I think there is no point in posting them - you can get them anyway.
String orchestra. (strings are the backbone of an orchestra, so there is no point in trying to read full orchestral scores without a thorough knowledge string group)
You need to start with:
In general, strictly speaking, you need to start with quartets - there are a great many of them, so it’s pointless to advise - I’ll just name the names - Mozart, Beethoven (it’s better not just the later quartets because they are quite difficult in terms of music to perceive), Haydn, Tchaikovsky, Shostakovich - by the way, from Shostakovich everything is very logical, simple and “educational”, so it may make sense to watch it - for example, No. 8 - the music is quite famous and impressive. Here is a link to Tarakanov’s archive http://notes.tarakanov.net/partquar.htm
Http://notes.tarakanov.net/partstrun.htm
1. Chaikovsky. "Serenade for Strings"
2. Mozart "Little Night Serenade"- these two works are ideal examples in their genre - you need to know them by heart (especially Tchaikovsky) - you can find almost all the typical techniques of orchestration, texture, type of movement, etc. there. characteristic of a string orchestra.
Then you can look at everything else - from what is on this archive page I recommend Vivaldi(it's there "Seasons" And "12 concerts"), Bach(although Bach and Vivaldi have a slightly different style). From later music - Britten, Elgar, Hindemith. You can take a look at "For a snack" Schnittke - "Concerto grosso #1"Also, I strongly recommend that you find and carefully study Bartok "Music for strings and celesta"(for reference - it sounds in one famous film by Polansky, I don’t remember which one: mamba:) - this is also a kind of “standard” of orchestration for strings (like Tchaikovsky’s “Serenade”), only for the 20th century.
Brass band
Here the situation is more complicated, because the most difficult thing in orchestration for wind instruments is the balanced arrangement of instruments vertically (taking into account registers, etc.) - you can’t learn this just from books - but Tarakanov has such a section - you can look at it http:/ /notes.tarakanov.net/winds.htm
And finally, full symphony orchestra
Http://notes.tarakanov.net/orc.htm
It’s difficult for me to choose what to recommend as a “standard classical score” because there are a great many “standard” ones... let's start with
1. Chaikovsky. Symphonies- Tarakanov has them all, you can study them right in this order - 1, 4, 5, 6 (I excluded 2 and 3 because they are simply not as famous as the other 4 - but you can watch them too) 6th - This is not only an absolute masterpiece in terms of music. but also in terms of orchestration - Pyotr Ilyich came up with a huge number of almost avant-garde things for his time - you also need to know this score by heart.
2. Beethoven Symphonies- this also needs to be known with the caveat that Beethoven’s orchestration is generally a very unique phenomenon and much of it stems from, in fact, Beethoven’s style and from the technical capabilities of the instruments of that time (the same applies to Mozart, Bach, Schubert, Haydn, etc. .d.), although everything sounds, of course, great - well, Beethoven is Beethoven for that
3. Everything else Chaikovsky, which is there, Mendelssohn, Dvorak, Berlioz
3. Symphonies Mozart, May be Brahms(Brahms’s orchestration is also very unique and “non-standard” - this must be taken into account)
4. Rimsky-Korsakov "Scheherazade" "Spanish Capriccio"- Tarakanov does not have these works, but it is also necessary to know them by heart, because it is with Rimsky-Korsakov a “new stage” of orchestration begins - this is Ravel, Debussy, Stravinsky, etc. - that is, these two works by Rimsky are a kind of “forerunners” of this style.
Having studied and mastered all this music well (and everything else that can be found from the scores of the 18th-19th centuries), you can move on to more complex things and to the 20th century.
What can be found in Tarakanov:
1. Wagner And Richard Strauss- very complex and instructive composers both from the point of view of music and from the point of view of orchestration (especially Strauss). Tarakanov has a lot of Wagner in the “opera scores” section - you should at least know “Tristan and Isolde”
2. Mahler(on the page there is only Symphony No. 1) - one of the most complex and inventive composers in terms of orchestration (I dearly love his music, which is why I included it here). In general, it would be good to study all of Mahler; if there is no such opportunity, then at least" "Song of the Earth"- this is an amazingly beautiful and colorfully orchestrated symphony based on ancient Chinese texts - and Symphony No. 5
3. Rachmaninov - further development Tchaikovsky's orchestral principles and " in general all the good things that happened before" - it is also advisable to know everything (3 symphonies and "Symphonic dances") - on the site there is "Symphony No. 2"
4. Prokofiev- also study as much as possible - Tarakanov has, for example, "Classical Symphony" - Prokofiev's orchestration is somehow "wrong" but very original and easily recognizable - Prokofiev's peculiar "sound": music:
5. Shostakovich(on the page there is Symphony No. 10) - in Shostakovich, of course, orchestration is not the most important detail of the music, but everything is clear, logical and precise (Symphonies No. 5, 6, 7, 8, of the more complex ones - No. 14 and 15)
6...and finally - “the greatest of the greats” - Debussy And Ravel- these two masters have left scores that are unsurpassed by anyone in terms of orchestral mastery - they must be carefully collected ALL and studied, each time discovering something new in them arty2:
At Tarakanov's Debussy There is "Sea" And "Nocturnes"(you also need to find "Images") from Ravel- "Suite from Daphnis and Chloe"....it is necessary to find at least [Ravel] "Spanish Rhapsody" And "Bolero"
...well, and, as I already said, we need to study everything that can be found from the works of these masters...
6. and "for a snack" Stravinsky "The Rite of Spring"(Tarakanov has it) and “Petrushka” (Tarakanov doesn’t have it) - these two compositions (early 1910s) opened a new era in the entire history of music in general. Their influence can be found in almost any modern composition- both from the minimalists and from the avant-garde and from the neoclassicists - that is, from everyone, especially, by the way, in Hollywood soundtracks - starting from Disney, many directors simply took these two ballets and used them in this capacity - (by the way, Stravis himself did not like this very much )
In terms of orchestration, these two scores are also unsurpassed masterpieces...
Well, in brief, minimal information on the history of orchestration. Of course, this list of scores is far from complete, and in general....the more good scores you look at and study, the better...
In the modern symphony orchestra, a certain composition of instruments has stabilized. The same cannot be said about pop orchestras. If there are some general patterns regarding the composition of brass and saxophone groups in various pop orchestras, the number of strings and woodwinds has not been firmly established. Not all large compositions also include harp, horns, timpani, marimbaphone, and accordion. When considering issues of instrumentation for large pop orchestras, the authors focus on approximately the following composition: 2 flutes (one of them can be a piccolo), oboe, 5 saxophones (2 altos, 2 tenors and a baritone, with a change to clarinets), 3 trumpets, 3 trombones, 2 performers per percussion instruments, harp, accordion, guitar, piano, 6 violins I, 4 violins II, 2 violas, 2 cellos, 2 double basses.
What are the main differences between instrumentation for large pop orchestras and instrumentation for small ones?
Here we can say, first of all, about the increase in the number of orchestral groups. Groups of woodwinds, strings, and as part of brass trombones acquire independent meaning, expanding to a large extent the timbre and performance means of the entire orchestra. Such a composition makes it possible, in addition to specific instrumentation techniques characteristic only of a pop orchestra, to widely use many methods of orchestral writing coming from symphony orchestras. Nevertheless, the basic principles of instrumentation discussed in previous chapters remain unchanged. The main thing is the chord structure in the presentation musical material, the interaction not only of unison and octave melodic lines, but mainly the movement and combination of entire chord complexes.
Woodwind group
The entire group as a whole (2 flutes and an oboe) is characterized by: timbral unity in the chord, easy mobility, transparent sound, the ability to perform complex technical passages at fast tempos. When the group plays independently, it is recommended to supplement the existing two flutes and oboe with one or two clarinets. The performance of the melody by the entire group of woodwinds takes place mainly in the high register of the orchestra (2nd - 3rd octaves). The theme can be presented in octave, chords and, less often, in unison. The unaccompanied woodwind group is rarely used, and then only in individual episodes of short duration. A unique timbre effect is obtained by combining a flute with a low clarinet in an interval of two octaves. The performance of sub-voices, counter-voices, etc. in woodwind parts sounds most vividly when the orchestral fabric is moderately saturated.
The performance of wooden ornaments, passages, trills, scale-like chromatic and diatonic sequences, and arpeggiated chords in the highest register by a group gives shine and a light color to the sound of the orchestra as a whole.
Woodwind parts can be doubled an octave higher by middle voice chords (brass, saxophones). This technique is most effective in tutti orchestra.
The woodwind parts in some cases duplicate the string parts in unison.
The pedal in the wooden group is found mainly in the upper registers of the orchestra (mainly the 2nd octave and the lower section of the 3rd). Sustained intervals in the parts of two flutes in the 1st octave sound good as a pedal. At the same time, given the weak sound of the instruments, it is necessary to exclude the playing of strong-sounding brass and saxophones at this moment. When using clarinets as a separate group in large pop orchestras, one should be guided by the same methods and techniques of instrumentation that were discussed in Chapters II and III.
The solo woodwind parts in a pop orchestra (see example 113) are fundamentally not much different from similar parts in a symphony orchestra. The use of one or another solo instrument is determined by the genre, thematic theme, and the nature of the work being performed. For example, in dance music (rumba, slow foxtrot), a solo flute or a duet of flutes is appropriate. In tango, a clarinet solo in a low register is common. The oboe solo in dance music is a rarer phenomenon, but in the song genre, in some orchestral pieces, fantasies, medleys - the oboe solos along with other instruments of the orchestra.
Saxophone group
Basic information about the methods of using saxophones in a pop orchestra is presented in the previous chapters. The role and functions of these instruments, both individually and as a group in large pop orchestras, remain the same. In this composition, the saxophones represent a five-voice choir, creating the possibility of performing large number various harmonic combinations. When presenting a theme in chords, it is recommended to use a close arrangement (see examples 114 and 115).
With so many performers, the crystal chorus sounds impressive. It is recommended to use a combination of one or two clarinets with two altos and a tenor (see examples 116-118).
The presence of a baritone expands the volume of sound of a group of saxophones. Chords in mixed arrangements spanning more than two octaves are possible:
Pedal chords in a wide and mixed arrangement sound rich and have a beautiful, thick timbre.
The features of solo performance on alto and tenor saxophones, discussed in Chapters II and III, also apply to instrumentation for a large pop orchestra.
The baritone solo occurs mainly in episodes. The part of this instrument may contain short melodic chants, echoes, etc. in the volume of the upper half of the large octave and the entire small octave (in sound):
The saxophone parts, located in the lower register of the orchestra, when combined with the brass group, form a powerful sound basis in the chords.
To get a chord of this type, you need, for example, in C major to add a sixth and a non to the chord of the first degree - that is, the notes A and D. You can add the note G to the small minor seventh chord (second degree) - we get the chord D, F, G, A, C.
To the major major seventh chord: do, mi, salt, si - (bekar) - A is added. Attaching a nona to a minor chord with a sixth is not recommended, as it creates a sharp dissonance between the third tone of the chord and the nona (1/2 tone).
Similar chords taken in a wide and mixed arrangement are called “wide” harmony and are instrumented as shown in example 123. Given the wide volume of chords, the upper voice should not be written below the D of the first octave (in sound).
Chords of modern jazz harmony in the five-voice scale of saxophones sound extremely diverse when rearranging the chord tones. Below are examples of possible options instrumentation of five-voice chords in a saxophone group.
a) A regular chord with a sixth, doubling the fundamental tone, the so-called “closed” chord. When these chords move in parallel, they are called "block-chords".
b) Here the sixth is moved an octave lower
c) We receive another request. Mixed chord placement
d) When moving the third tone and sixth an octave lower, we get a “wide” harmony chord
The following examples show the dominant seventh chord and its modifications in inversion and orchestration.
a) Main view
b) The seventh is moved down an octave
c) Fifth octave lower
d) The seventh and third are moved down an octave
a) Chord with a note and a sixth: condensed narrow harmony
b) The sexta is moved an octave lower
c) The fifth tone is moved down an octave
d) Below is the sixth and third. The result is a chord of fourth construction - “wide” harmony *.
* (Examples 122 and 123 are taken from the book: Z. Krotil. Arranged for modern dance orchestra; examples 124, 125 and 126 from the book: K. Krautgartner. About instrumentation for dance and jazz orchestras.)
Brass group
In general, the group, in terms of the method of application in large pop orchestras, occupies the same position as in small compositions. However, the presence of a six-voice choir, as well as its possible division into two subgroups (3 trumpets and 3 trombones), creates conditions for the formation of a number of new interesting orchestral combinations and effects. The group's presentation of the theme in a chordal presentation in most cases produces massive sonority, significantly increasing in strength as the register of playing increases. The performance of closely spaced chords by brass winds within the upper half of the 1st octave and the entire 2nd octave has a specific character inherent in pop orchestras and is distinguished by a bright, sharp, somewhat intense sonority. However, frequent or prolonged use of this method of instrumentation leads to monotony and creates unnecessary overload in the orchestra. It should also be remembered that nuance for brass instruments playing high notes is very difficult.
In Example 127, the brass section plays chords in close quarters. The chords follow a rhythmic theme running through the outer voices (trumpet I and trombone II). The trumpet and trombone parts are written in good-sounding instrument registers. For a typical case of a theme being carried out by a group of brass, see example 127.
In example 128, the copper group is divided into three register layers. The parts of trumpets, three trombones and a fourth trombone with trumpet, respectively located, cover a volume of 3 1/2 octaves. Three trombones double an octave below the trumpet part. Trombone IV and tuba form an organ point in fifths. Carrying out a topic in a group brass instruments can be orchestrated in other ways.
Such instrumentation by means of a brass group, although less typical of a pop orchestra, will always sound good, despite the fact that here, unlike the previous example, the theme is not in the extreme voices.
Carrying out a theme in octave and unison by a brass group in a large pop orchestra does not differ significantly from a similar method of instrumentation in small ensembles. Here you just need to take into account the relatively increased sound strength of the brass and accordingly equalize it in interaction with other orchestral groups.
The performance of backing and auxiliary material in chords, octave and unison must also be balanced accordingly. When the theme is carried out by strings, woodwinds and other instruments that do not have a strong sound, the brass group, which plays a secondary role, can only be used when correct ratio registers of the game, for example, the theme in the string parts, taking place in the 1st octave, can be easily drowned out by a group of brass playing with an open sound in the same octave.
The most even sound relationships are formed in the brass group in interaction with saxophones. Carrying out a theme in a group of saxophones throughout their entire volume in chords or monophonically can practically be accompanied by the entire group of brass instruments in any register:
The playing of brass con sordino in large compositions of pop orchestras finds the widest application both in carrying out the theme and in the performance of backing vocals, auxiliary material, etc.
Mutes significantly weaken the sound power of instruments and allow the entire group of brass to be played when combined even with instruments such as solo violin, solo accordion, piano, and clarinet.
As already mentioned, the brass section of a large orchestra is divided into two subsections, consisting of 1) trumpets and 2) trombones. Each of these subgroups is characterized by special qualities that determine the texture of the batches. The moving technique is more common for trumpets, but less available for trombones. Three trumpets, forming a three-note chord, can freely perform complex virtuoso passages without connection with the trombones.
In example 131, the theme runs through the trumpet parts (chord addition). At the same time, the trombones perform a completely different function: the pedal chord assigned to the trombones helps to highlight the moving melodic line, passing near the pipes.
In example 132, on the contrary, the function of the pedals is replaced by a counter-addition line - essentially a secondary line. The main melodic line runs through the trombone parts in chord composition. It should be noted that both of these lines (trumpets and trombones) are combined without obscuring each other, since the rhythm of their parts is well thought out.
Three trombones, when playing chords, form a very interesting combination with a beautiful timbre. The three trombone parts are usually characterized by free-flowing, wide melodic lines at moderate tempos (see example 133). However, in modern instrumentation, the trombone group also plays sharp accented chords, moving licks, at medium and fast tempos (see example 134).
If the theme is played by a group of trombones, the register of their playing is predominantly high. When combined with trumpets and saxophones in a tutti orchestra, trombones usually play in the middle register of their volume. The pedal of three trombones sounds great in their high and middle registers. The timbre of such a pedal is distinguished by softness, beauty and nobility:
If it is necessary to obtain a four-voice chord in a trombone group, it is recommended to include the 2nd or 3rd voice of this chord in the baritone saxophone part *.
* (In some cases, it is possible to use a trumpet as one of the middle voices of a trombone group.)
Carrying out the theme by all trombones in unison creates one of the brightest and most powerful sonorities in the orchestra.
Artistic practice, in the process of developing the technique of instrumentation of a pop orchestra, has accumulated a large number of a wide variety of methods for connecting instruments, their sequences, etc.
Below are a few examples to give an idea of possible ways the use of a group of trumpets, trombones, and the entire brass group in a large pop orchestra.
In example 137 the topic is in the copper group. Clarinets and violins accompany the brass in a two-octave counterposition that contrasts with the theme. The contrast is determined, firstly, by the different rhythmic structure of the parts of brass and clarinets with violins; secondly, by contrasting the chordal implementation of the theme with the octave implementation of the counter-addition. Finally, the correct choice of the ratio of the registers of playing brass and clarinets with violins gives two clearly audible lines in the orchestra (see example 137).
In example 138, holding the theme in unison alternately with a group of trombones and a group of trumpets against the backdrop of the chordal texture of the orchestra creates an interesting effect. This method of instrumentation gives a bright, rich sonority, in which the relief melodic line of the trombones and then the trumpets can be heard with utmost clarity.
The effective technique of gradually increasing the strength of sound in an orchestra creates an alternating entry of instruments into chord tones by beat beats. Each instrument can be activated in either ascending or descending order.
In Example 139, in four-beat time, the brass section alternately enters from bottom to top on each beat of the bar along the chord tones. Thus, the gradual inclusion of voices towards the end of the second measure completes the formation of the chord.
It should be taken into account that in similar cases alternating instruments with different sound strengths, for example, trombones in the high register and clarinets in the middle register, cannot create the desired effect. The difference in sound strength will disrupt the orderly construction of such a “chain”.
In example 140, the orchestrator found an interesting technique for alternating instruments differently. The voices enter through the missing chord tones. It gives the impression of swaying, ringing.
The instrumentation technique shown in Examples 139 and 140 relates to some extent to the orchestral pedal. The alternating inclusion of voices in a chord creates the effect of a kind of chime.
Example 141 shows one way to combine a brass group with saxophones in a large pop orchestra.
Here the theme runs through the brass group in a chordal presentation. The parts of the saxophone group are located in the middle and low register of the orchestra and are in opposition. The combination of two chord layers creates a wide, massive sonority. This is one of the characteristic instrumentation techniques for a pop orchestra.
Bowed string instruments
In large pop orchestras, bowed string instruments acquire a completely independent meaning. All methods of playing, effects, and string instrumentation techniques adopted in symphony orchestras are entirely used in pop orchestras. However, here a number of certain orchestration techniques crystallized, which became characteristic of the string part. The presentation of a theme by a group of strings in a large pop orchestra can take place in any register of the orchestra in unison, in an octave, in two or three octaves, in chords. The most common method of playing strings that present a theme is polyphonic chords (in most cases divisi), following in exact rhythmic accordance with the leading voice. In these cases, chords are played only in close proximity. Great importance has the correct distribution of games when playing divisi. For example: violins I are divided into three parts (i.e., two performers per part), violins II into two, violas form one part, and the cello part can in some cases be divided into two voices (see example 142).
Divisi string chords sound good if the outer voices move in parallel octaves, i.e. the lower voice duplicates the melody *.
* (The so-called "closed chords".)
This technique achieves the greatest effect when playing a group of strings within the 2nd and 3rd octaves.
It is typical for a pop orchestra to conduct the melody or backing strings in unison, especially in slow-tempo pieces. The combination of violins in the low register with violas and cellos in unison creates a deep, expressive timbre (see example 144). In the high register of the orchestra, mostly only violins play in unison (see example 145). Violas can also be included here if the tessitura of the melody lies within their accessible limits. In small compositions, to enhance the sound of the violins, their parts are doubled with clarinets or accordion. This is not recommended for large trains. It is also undesirable to duplicate violin parts with flutes and oboe.
When carrying out a theme or a melodically rich counterposition with strings, it is always better to have a clean timbre of the group, without mixing the timbres of other instruments into it.
Below are several examples of strings playing in a large pop orchestra * (see examples 146-150).
* (In some cases, composers divide groups of violins into three parts, writing each on a separate staff.)
The pedal in a string group is a widely developed technique in large ensembles. Significant differences There is no similar role for the strings of a symphony orchestra in a pop orchestra.
The playing of strings in a pop orchestra is characterized by scale-like rises to the notes of the upper register, followed by a reverse movement over long durations. The descending legato moves of sixteenth and thirty-second notes also sound unique. Techniques of this kind add pomp, elegance, and sparkling brilliance to the sound of the entire orchestra (see examples 151 and 152).
Example 152 shows an interesting technique of instrumentation, when a group of violins goes through a series of ascending tertian sequences and then a gradual decline in small durations. This technique is often found in the scores of modern pop works.
Accordion, guitar, drums and double bass in a large pop orchestra perform parts similar to those in a small ensemble.
The piano part in a large pop orchestra is somewhat different from the piano part in a small orchestra. Since there is no guitar in small orchestras, the piano is used mainly as an accompanying instrument. In large compositions, the presence of a guitar is mandatory, and this makes it possible to treat the piano as an independent orchestral instrument. The piano often plays solo here. It is possible to carry out the theme of the work in the piano part, perform supporting voices and auxiliary material. In large compositions, with average saturation of the orchestral fabric, it is most beneficial to use the upper register of the piano volume (see examples 153-155).
Playing tutti in large pop orchestras, as well as in small ones, is built taking into account the most effective use of registers and instrument technique. Significantly expanded compared to small compositions, orchestral means make it possible to obtain the most various options orchestral tutti in a variety of genres pop music. If, when considering individual groups, it was recommended to maintain their pure timbre, in the conditions of playing the entire orchestra as a whole, mixing timbres, doubling and duplicating voices to enhance the overall sonority is quite acceptable. So, for example, parts of violins can double parts of trumpets by an octave or more; parts of flutes, oboe and clarinets can, in turn, duplicate parts of violins. In large trains, separate orchestral groups, significantly increased in comparison with small trains, acquire greater independence. The number of groups themselves is also increasing. Therefore, when playing tutti, the technique of matching groups has even greater application. Below are examples of different types of tutti in large pop orchestras.
Example 156 shows the simplest way to instrument tutti. The melody is presented in octave in the parts of violins, woodwinds and saxophones. The brass group plays chords, emphasizing them on beats. This method of instrumentation is closest to symphonic. The melody is revealed quite clearly.
Example 157 shows one of the tutti instrumentation techniques, when a group of saxophones and a group of brass and strings alternately perform individual melodies of the theme. The functions of the groups alternately change: from presentation of the theme to accompaniment (pedal, auxiliary material). This is also one of the common instrumentation techniques in a pop orchestra.
Example 158 shows a way to combine several orchestral parts with different structures. The theme takes place in the brass group in a chord presentation. Strings and xylophone play short descending motifs. The entire woodwind group, along with the saxophones, performs ostinato triplet figures. This method of instrumentation can be used in fast tempo pieces.
Example 159 illustrates the tutti method of instruments, in which a very dense, rich sonority is formed due to the good filling of the middle register of the orchestra and a fairly prominent melodic line.
This example shows the tutti instrumentation method typical for a pop orchestra.
Finally, two examples are given on the instrumentation and placement of tutti chords (see examples 160 and 161).
In example 160, the large tutti of the orchestra is preceded by an episode in which the solo in the baritone saxophone part is accompanied by accompaniment in the parts of the piano (high register), harp, metallophone and flutes. This combination of timbres is distinguished by its vivid imagery. The author was faced with the task of depicting a night southern landscape, a picture of a slowly walking caravan. The music at the beginning of the piece is imbued with a lyrical, dreamy mood, which is why the orchestrator used such a unique combination of instruments. The episode ends with a cut to a large orchestra tutti. This transition combines two lines: a downward movement in the woodwind parts and a rise in the violin parts against the backdrop of a harp glissando. IN in this example tutti of the orchestra is instrumented in one of the most common ways: the theme runs in a chord presentation in the brass and saxophone parts and is duplicated in the oboe and cello parts. The line of opposition in the violin and flute parts is drawn in the high register of the orchestra. Due to the fact that the upper voice of the counter (violin I and flute) is located at a significant interval from the voice leading the theme (trumpet I), both lines are clearly audible. The orchestral tutti ends with a spectacular triplet ascending move in the parts of all instruments.
The instrument maker carefully thought out the orchestration plan for this passage, basing it on a contrasting comparison of the first episode, based on an interesting coloristic technique of instrumentation, with the second episode, sounding wide and very rich. The content of the musical material was correctly embodied in the instrumentation.
Using the examples given in this chapter, the reader can become somewhat familiar with some of the instrumentation techniques for large trains pop orchestras. It goes without saying that everything recommended in this chapter does not exhaust the rich possibilities and techniques of orchestration. Only as a result of systematic practical work You can develop good orchestral writing techniques from scores.
Lectures
Section 3. Regularities of instrumentation and arrangement.
1.1. Orchestral texture. Instrumentation or orchestration represents the presentation piece of music for a certain composition of the orchestra - symphony, wind, folk instruments, accordion orchestra or for various ensembles. This is a creative process, since the concept of the composition, its ideological and emotional content determines the choice of instruments, the alternation of their timbres, the nature of the comparison of individual groups of the orchestra, etc. Quite often one has to turn to piano or accordion pieces, the musical text of which, from the point of view of orchestral texture , has an unfinished appearance. This is explained by the specific presentation for these instruments. To create an orchestral fabric, it is necessary to thoroughly rework the piano or button accordion texture: make changes in the tessitura arrangement of voices, supplement missing voices in harmonic accompaniment, check voice guidance, add pedal sounds, contrapuntal melodies, and supporting voices. In the process of instrumentation, one should take into account such a feature of the orchestral score as duplication of individual textural elements (melody, harmonic accompaniment). Doubling individual voices in different registers. Each voice of the orchestral score, representing a part of the overall sound, performs a specific function. Components of orchestral texture in instrumentation for Russian orchestra folk instruments are usually called functions. These include: melody, bass, figuration, harmonic pedal, counterpoint. It is necessary to distinguish functions of orchestral texture and harmonic functions.
Unlike the latter, the functions of orchestral texture are determined by the characteristics of one or another type of musical material: monodic, harmonic or polyphonic.
The orchestral texture is:
a set of means of musical presentation;
the structure of the musical fabric with its technical structure and composition of musical sonority.
Types of invoice:
1) monodic - one melody, unaccompanied, in unison or in an octave;
(P. Tchaikovsky. Romeo and Juliet. Introduction-2 cl .+2 fag .
2) homophonic-harmonic - a polyphonic type of music, in which one of the voices (usually the top) has the most important significance, the rest accompany, accompany; (J. Haydn. Symphony No. 84 Allegro. page 5 - theme v - ni 1-beginning)
(J.Haydn. Symphony No. 84 Allegro. pp. 5-8-12 tutti orchestra)
4) polyphonic - simultaneous sounding of several equal voices;
J.Bach. Brandenburg concerts. Concert F No. 1st.
5) mixed - homophonic-polyphonic, chord-polyphonic, etc.
P. Tchaikovsky. Romeo and Juliet.pp.30-31 chordal, -polyphonic; pp26-27 chord, chord-polyphonic)
Functions of orchestral texture.
Orchestral functions are components of orchestral presentation (orchestral texture).
The orchestral functions include: melody, bass, orchestral pedal, harmonic figuration and counterpoint (backing voice).
The interaction of orchestral functions can be different; it is dictated by the nature of the work and the features of its texture. You need to have a clear understanding of the specifics of each of the orchestral functions and the forms of their interaction.
The melody, which, first of all, embodies the theme as a relief, memorable material, is the main function of the orchestral texture. Of all the elements of musical fabric, it is the most accessible to perception. The presentation of other components of the texture largely depends on the nature of the melody, the range in which it is located, and the dynamic pattern.
When instrumenting, it is necessary to highlight the main melodic line and strive to ensure that the presentation is not overloaded with secondary voices. Isolation of melody is achieved by a number of techniques:
a) doubling the melody in unison;
b) doubling by an octave or several octaves;
P. Tchaikovsky. Romeo and Juliet. rise
c) carrying out the melody in a contrasting timbre that is different from the other functions; d) holding the melody at a certain distance from the harmonic voices, promoting its isolation.
(J. Haydn. Symphony No. 84 Allegro. p. 5)
Often, over a significant period of time in any work, only one melody without any accompaniment. Sometimes the melody diverges into several voices, forming echoes characteristic of Russian folk songs.
The melody can also be highlighted timbre. A very common technique is to present a melody in a different, contrasting timbre compared to the presentation of other orchestral functions.
When doubling a melody, isolated in an orchestral texture into an independent function, a combination of different timbres in unison sound is often used (for example, alto domras tremolo + button accordion legato, small domras staccato + button accordion staccato, etc.)
(altos legato+ with l. legato, v-ni- staccato+fl.- staccato).
(J. Haydn. Symphony No. 84 Allegro. p. 6 v-ni+fl.)
One of the characteristic techniques is to lead the melody with double notes and chords. ( v - ni 1+2; cor - ni 1,2,3)
(J. Haydn. Symphony No. 84 Allegro. p. 6 A)
In the orchestra of Russian folk instruments, playing the melody with double notes is very common, since double notes are the main technique of playing the balalaika prime. The consistently sustained second voice is usually a harmonic appendage, a kind of “companion” of the melodic line.
Bassis the lowest pitched voice. It defines the harmonic structure of a chord. The isolation of bass into one independent function is due to the fact that its role in the orchestral texture is very significant. In tutti, the bass line can be strengthened by doubling an octave or in unison v - la + vc - lo, vc - lo + c - lo + bason ) -possibly with different strokes ( vc - lo -legato+ c - lo - pizz.)
It is also necessary to mention figured bass. The simplest example of a figured bass is a bass made up of two alternating sounds: the main one, which determines a given harmony. Located, as a rule, on the stronger beat of the bar, and auxiliary. Most often, the auxiliary bass is the neutral sound of a triad - a fifth if the main sound is a prima, or a prima if the main sound is a third.
P. Tchaikovsky. Concerto for piano and orchestra. page 118. figure 50)
Sometimes there is a more complex figured bass, moving mainly along chord sounds.
Orchestral pedal sustained harmonic sounds are called in an orchestra.
The pedal is essential. Works without a pedal sound dry, insufficiently rich, and lack the necessary density of orchestral texture.
Most often used for pedals cor-ni, fag., celo, timp . In terms of pitch position, the pedal is most often located below the melody. P. Tchaikovsky. Concerto for piano and orchestra. p. 141 double bass pedal., 65 digits)
The issue of using a pedal in practical instrumentation must always be approached creatively. In works that are transparent in texture, it is advisable to limit even a full harmonic pedal to two or three harmonic sounds in a wide arrangement. (P. Tchaikovsky. Concerto for piano and orchestra. p. 116 bassoons 1,2)
On the contrary, in works with dense harmonic development, and especially in tutti, it is advisable to place the pedal in the entire range of the orchestral sound, taking into account only the laws of the overtone structure of the chord (wide arrangement of the chord in the lower range of the orchestral sound and close in the middle and high).
A special case of the orchestral pedal is a sustained sound that is also a harmonic organ point. P. Tchaikovsky. Concerto for piano and orchestra. page 118. number 50)- timp.
Pedal sound can be sustained not only in the bass. Quite often there are cases when it is maintained in the upper voice.
Harmonic figuration as one of the functions of orchestral texture is based on the repetition, alternation or movement of harmony sounds in various rhythmic combinations.
Harmonic figuration helps to reveal greater independence of harmony. In an orchestra of Russian folk instruments, harmonic figuration is usually entrusted to balalaikas seconds and violas, sometimes with the addition of balalaikas prime or bass balalaikas. Cases of performing harmonic figuration with domras and button accordions are much less common and mainly in combination with figuration with balalaikas.
The simplest harmonic figuration is repeated chords.
A more striking form of harmonic figuration is movement along the sounds of a chord: alternation of two sounds, a short slow arpeggio, broken arpeggio, etc. Most often, movement along the sounds of a chord occurs simultaneously in three voices.
Sometimes harmonic figuration combines movement along chord sounds with the use of non-chord sounds. This figuration approaches counterpoint in function.
When presenting harmonic figuration (for example, accompanying figures), orchestrators often resort to changing the direction of movement, introducing the opposite (towards each other) direction of the accompaniment figures, and “putting” a sustained sound (pedal) under the moving voices (see page 35) or a whole group (chord) of sustained sounds. This enriches the sonority, giving it greater richness and compactness. (See examples 16, 17, 18, 24, 25, 26, 27, 31, 33).
Harmonic figuration can be performed simultaneously by different groups of instruments, be very complex and varied, and occasionally acquire leading significance.
Counterpoint.This term in an instrumentation course refers to the melody that accompanies the main melodic voice. In this case, counterpoint should stand out in timbre among other orchestral functions. An important consequence of the use of counterpoint is timbre contrast. The degree of timbre contrast of both individual instruments and entire groups of the orchestra is directly dependent on the degree of independence of counterpoint.
Counterpoint in an orchestra can be:
A) canonical imitation of the theme, J. Bach. Brandenburg concerts. Concert F No. 1, page 19, number 23 v - ni picc .+ ob 1.)
B) a secondary theme sounding simultaneously with the main one,
C) a specially composed, independent melodic sequence that differs from the theme in rhythm, direction of movement, character, etc.
Counterpoint, as an orchestral function, is similar to melody, and its development is characterized by the same qualities: isolation by leading into an octave and several octaves, doubling in unison with related timbres and by merging timbres; leading with double notes, chords. When instrumenting counterpoint, it is important to take into account the nature of the development of the theme, on the one hand, and counterpoint, on the other. If counterpoint differs significantly from the theme in rhythmic pattern and register sound, completely homogeneous timbres can be used. If counterpoint and theme have a homogeneous melodic line and are located in the same register, if possible, different timbre colors should be used for theme and counterpoint.
Interaction of functions in an orchestra. Orchestral functions are used in instrumentation in accordance with certain rules established in orchestral practice.
First of all, the introduction of a particular function in an orchestra occurs at the beginning of a musical phrase (period, sentence, part), and its switching off occurs at the end of the phrase (period, sentence, part).
In addition, the composition of the instruments involved in performing a certain function also, for the most part, does not change from the beginning to the end of the phrase. The only exceptions are those cases when the introduction or switching off of part of the instruments is associated with a crescendo, diminuendo or sforzando of the entire orchestra.
The simplest and most typical presentation in an orchestra of Russian folk instruments consists of three functions: melody, harmonic figuration and bass.
The pedal is added for greater density and compactness of texture in cases where the melody is presented in unison sound, and not in double notes or chords. In order for the orchestral functions to be clearly audible and not merge with each other, each of them must be presented clearly and clearly.
Often several functions are combined without disturbing the harmony of the entire texture. So, for example, a melody played in the bass naturally also performs the function of the bass.
Bass laid out l egato, in the absence of a special pedal in the orchestral texture, takes on the function of a pedal. The bass can be a harmonic figure at the same time.
In cases where harmonic figuration or harmonic pedal have an independent melodic meaning, they are also counterpoint.
When orchestrating, it is very important to take into account the sonority of each instrument or the entire group. It's very difficult to give comparison table power of various instruments, because each of the instruments (especially wind instruments) has a different sound strength in one register or another throughout its range.
It is clear even to an inexperienced orchestrator that, for example, a brass group in forte will sound stronger than a woodwind group. But in both forte and piano it is possible to achieve the same strength of sonority in both groups. It would seem that a separate group of strings (for example, 1st violin), due to their numerical superiority, should sound stronger than one woodwind (for example, oboe, flute). But thanks to the bright difference in timbres, an oboe or flute will be clearly audible even when one timbre is superimposed on another, not to mention a solo presentation of a wind part with the accompaniment of a string quintet.
Balancing the strength of sonority can be achieved in various ways, such as doubling:
For example:
1 oboe
2 flutes (low register)
2 horns
1 pipe
violas + clarinet
cello + bassoon
2 horns + 2 bassoons
2 trumpets + 2 oboes
etc.
and in a wide variety of ways, using the character of timbres, dynamic shades, etc.
In addition to the types of presentation listed above, there are a huge number of different orchestral techniques, both well-known and commonly used in different eras by different composers, and especially favorite ones, sometimes invented by certain authors. Each orchestral composer develops his own orchestration techniques that meet his creative and stylistic goals. Each orchestrator approaches the orchestra in his own way, but nevertheless always strictly takes into account the capabilities of the instruments and the specifics of each group.
After the teacher demonstrates various types of orchestral texture using samples from Western and Russian composers, followed by listening to them in a recording, students begin to analyze the score. Throughout an entire part of a familiar piece, students find different types of orchestral texture, analyze the relationship between groups, their combination, etc.
When analyzing the score, it is not enough to limit yourself to just stating certain techniques of orchestral presentation. The development of orchestral texture and the use of various orchestration techniques should be linked to the form, melodic-harmonic language of the work, program, etc. With a more in-depth analysis of the orchestration, one should find special, characteristic stylistic features of the instrumentation inherent in a given era, a given composer, etc. During the analysis, it is not always possible to closely link the elements listed above. Excessive fragmentation of material when analyzing orchestration usually does not lead to the desired results.
The analysis of instrumentation in relation to the analysis of the form of a work usually has to be taken on a larger scale, considering in general the instrumentation of entire parts of the form being analyzed. When analyzing, it is necessary to take into account the means that the composer had at his disposal: the composition of the orchestra, the musical and technical capabilities of the instruments, stylistic features creativity of this composer, etc.
After brief analysis the form of the piece being analyzed, the orchestration of individual parts of the work is compared (for example, the main and secondary parts, their presentation in one or another instrument, by one or another group, etc.. the orchestration of larger parts of the form is also compared, for example, exposition, development and reprise or, in three-part form - orchestration of individual parts, etc.). You should pay attention to the emphasis in the orchestral texture of the most expressive, colorful moments of the melodic-harmonic language of the work, to how and by what means some expressive moments in the play are noted; note the most interesting, typical orchestral methods of presenting texture, etc.
II
At the end of the compulsory instrumentation course, students must independently analyze 2-3 different types of works. It is recommended to take for work the most familiar symphonies of Haydn, Mozart, Beethoven; some arias from “Ivan Susanin” or “Ruslan and Lyudmila”, 4th, 5th, 6th symphonies by Tchaikovsky, the most familiar from the scores of Borodin, Rimsky-Korsakov and others.
When analyzing large symphonic works, you can take any completed passage.
Today I want to talk about the most common mistakes that beginning composers make when writing music/scores for a symphony orchestra. However, the errors that I want to draw your attention to are also quite common not only in symphonic music, but also in rock, pop, etc. music.
In general, the errors that a composer encounters can be divided into two groups:
The first is a lack of knowledge and experience. This is an easily corrected component.
The second is a disadvantage life experience, impressions and a generally unstable worldview. It's hard to explain, but this part is sometimes more important than gaining knowledge. I will talk about it below.
So, let's look at 9 mistakes that are worth paying attention to.
1. Unconscious borrowing
I already mentioned this in one of my podcasts (). Unconscious plagiarism or unconscious borrowing is a rake that almost everyone falls into. One way to combat this is to listen to as much different music as possible. Typically, if you listen to one composer or performer, he has a strong influence on you, and elements of his music permeate yours. However, if you listen to 100-200 or more different composers/groups, then you will no longer copy, but will create your own unique style. Borrowing should help you, and not turn you into another Shostakovich.
2. Lack of balance
Writing a balanced score is quite a complex process; When studying instrumentation, special attention is paid to the sonority of each group of the orchestra in comparison with others. Each multi-layered consonance requires knowledge of the dynamics of individual instruments.
It is stupid to write a chord for three trumpets and one flute, since the flute will not be heard even in the middle dynamics of three trumpets.
There are a lot of such moments.
For example, a piccolo flute can punch through an entire orchestra. Many subtleties come with experience, but knowledge plays a big role.
The choice of texture also plays an important role - adhesion, layering, overlay and framing in the presence of the same instruments, they require different dynamics. This applies not only to the orchestra.
With rich rock and pop arrangements, it is also important to take this into account rather than rely on mixing. As a rule, a good arrangement does not require intervention from the mixer (meaning the person doing the mixing).
3. Uninteresting textures
Using monotonous textures over a long period of time is very tiring for the listener. Studying the scores of the masters, you will see that changes in the orchestra can occur every measure, which constantly introduces new colors. Very rarely is a melody played by one instrument. Duplications, changes in timbres, etc. are constantly introduced. The best way to avoid monotony is to study other people's scores and analyze in detail the techniques used.
4. Extra effort
This is the use of unusual playing techniques, those that require excessive concentration from the performers. Typically, simple techniques can be used to create a more euphonious score.
The use of rare techniques must be justified and can only be adopted if the desired emotional effect cannot be obtained in any other way. Of course, Stravinsky uses the orchestra's resources to the maximum, but this cost him his nerves. In general, the simpler the better. If you decide to compose avant-garde, first find an orchestra that is ready to play it :)
5. Lack of emotion and intellectual depth
The balance I keep talking about.
You have to live an interesting life in order for there to be emotion in your music. Almost all composers traveled and led intense social lives. It is difficult to get ideas if you are closed within four walls. The intellectual component is also important - your music should reflect your worldview.
Studying philosophy, esotericism, and related arts is not a whim, but a necessary condition for your creative development. To write great music, you must first of all be a great person inside.
That is, paradoxically, to write music, it is not enough to learn only this. You also need to be able to communicate with people, nature, etc.
6. Hysteria and intellectual overload
Excess feelings or cold intellectuality lead to a musical fiasco. Music must be an emotion controlled by the mind, otherwise you risk losing the very essence of musical art.
7.Template work
The use of established cliches, cliches, etc. kills the very essence of creativity.
Why then are you better than an auto arranger?
It is important to work on the uniqueness of each of your work, be it a score or an arrangement of a pop song, your Self should be felt in it. This is developed by the constant search for new techniques, crossing styles and the desire to avoid repetition. Of course, sometimes it’s good to use templates because they sound good, but as a result you lose the most valuable thing - yourself.
8. Ignorance of tools
Very often the ranges of instruments are used incorrectly, poor knowledge of techniques leads to the fact that orchestra players cannot perform your parts.
And, what’s most interesting, a well-written part sounds good even on a VST, but parts written without taking into account the characteristics of the instrument will not sound very convincing even in live performance.
Let me give you a simple example.
Since I am a guitarist, in order to determine the playability of a part, I just need to look at the notes to understand how the part fits the guitar. That is, most of the parts are physically playable, but they are either so inconvenient that there is simply no point in learning them, or they are written in such a way that, even if played on a guitar, they will sound like another instrument. To avoid this, you need to study solo works for the instruments you write for. It is advisable to learn the basic techniques of the game.
For example, I can play all the instruments of a rock band + trumpet, flute, double bass and some drums. This doesn’t mean that I can pick up and play at least a clear melody, but if necessary, I can learn it and play it at least somehow clumsily :)
The best thing is to find a soloist and show him your work, so you will very quickly learn to write playable, convenient parts. In addition, it is important that your parts are easy to sight-play or quick to shoot (if you are writing for session musicians).
9. Artificial-sounding scores
Since most authors work with VST, it is very important that your scores sound realistic with little to no correction. As I wrote above, well-written parts sound good even in regular MIDI. This applies to both rock composition and a full symphony orchestra. It is important to make sure that the listener does not think: the orchestra sounds mechanical or the drums are synthetic. Of course, with careful listening you can always distinguish a live performance from a program one, but a non-musician and 90% of musicians will not be able to do this, provided that you have done your job perfectly.
Good luck and avoid mistakes.