This instrumentation course is intended for practical study of this discipline at a music university; it is intended primarily for students of theoretical and composition departments (mainly composers and only partly theorists).
Instrumentation is a purely practical discipline, which was decisive for the content and structure of this textbook. Detailed description The student will find the characteristics of their ranges, properties and features of their registers in textbooks on instrument science. Here only a brief summary is given - to the extent necessary for practical work, - consideration of the orchestral groups included in the symphony orchestra - bowed, woodwind and brass, as well as orchestras - stringed, small symphonic and large symphonic. This course represents the initial stage of studying instrumentation; For pedagogical reasons, it introduced a number of restrictions on the use of individual instruments and groups of the orchestra, both in relation to extreme registers and technical capabilities. In the further practical activity of the young orchestrator, as he masters the art of orchestration, these restrictions will naturally disappear.
The textbook includes special exercises: on the arrangement of chords bowed instruments, for woodwinds, brass, exercises on connecting woodwind and brass groups, as well as on the arrangement of 1st and 1st chords in a large symphony orchestra. The main place in the textbook is occupied by tasks arranged in a strictly defined and systematic order for all groups of the orchestra separately - strings, wood, brass - and for small and large symphony orchestras.
When taking an instrumentation course, teachers leading this course usually use piano pieces as material for students’ practical work. However, pieces suitable for this purpose and meeting all the requirements that they must meet (works where the timbres and functions of individual instruments and orchestral groups would be clearly and clearly identified, but at the same time small in duration and size) are extremely few . Of course, almost every piano work can be orchestrated, but very rare of them will, after orchestration, give the impression of being composed specifically for an orchestra. Therefore, I had to compose special problems, purely orchestral in texture, which formed the basis of the Practical Course in Instrumentation.
The musical material of the proposed tasks is mostly simple in melodic, harmonic and textural terms. A number of tasks are small prelude pieces complete in form for the orchestra, in which the connection between the content of music, musical form, melody, harmony, development of motivation and orchestration already comes into force.
This course sets as its main goal to develop the student's sense of the orchestra and teach him to think orchestrally, both in timbre and textural terms. Failure to comply with these conditions will lead to abstract composition of music, and its arrangement with an orchestra will be inorganic.
To master the technique of orchestration, a student must first study the capabilities of each instrument that is part of the orchestra: its range, registers, the strength of sound in them, technical capabilities and other individual properties and features. And also the relationship between the instruments and groups of the orchestra. He must be able to position the chord tutti, achieve evenness of sound, ensure that all the different elements of the texture are clearly audible, and much more. An important role in mastering orchestration is played by the ability to think logically, which is very helpful in finding the right timbres, their combinations and the sequence of their alternations. All this is easier to comprehend and learn in the simple language of the proposed tasks. As in all areas of creativity and science (and orchestration is creativity and science), in order to pass the learning stage, you need to move from simple to complex. Student composers, no matter what style and direction they write music, in their future work will still have to face the need to be able to correctly position the chord in tutti (even if it is not a simple triad, but consists of all twelve sounds), master the combination and alternation of different timbres and all other elements that are included in the concept of orchestration technique. And again, it’s easier to learn this with simple material. Having mastered the initial stage of mastering an orchestra, the composer will later find his own style of orchestration that he needs for his music. (By the way, A. Schoenberg taught his students using simple material according to the classical system.)
As is already clear from what has been said, before proceeding to the practical solution of the problems included in this textbook for bowed, woodwind, and brass instruments, the student must firmly grasp the basics of instrumentation (at the discretion of the teacher, from any of the available textbooks). I also strongly recommend that you thoroughly study N. Rimsky-Korsakov’s book “Fundamentals of Orchestration”, including the tables on the bow group, woodwind group, brass group, as well as the chapters that discuss harmony in woodwind and brass instruments. In these chapters Special attention One should pay attention to examples concerning the location of harmony in woodwinds, brass and their connections.
The exercises in this course must also be completed before solving the corresponding problems.
And only after this can you begin to actually solve problems.
In all the problems proposed here, the musical material is presented in such a way that correct solution it in the score, with the exception of small details, does not allow for variations. The student must hear and select the most characteristic timbres for a particular function of the existing texture, in some cases fill in the missing middle in the chords, sometimes add an octave bass, and find good voice leading.
Solving easy problems can be done orally under the guidance of a teacher. More complex tasks or individual measures of them are in the score.
It must be taken into account that the recommendations offered in the textbook regarding the use of individual instruments, orchestral groups and their combinations and alternations apply only to the tasks and exercises found in this course. Therefore, not all the possibilities of instruments and their interaction with each other in the orchestra are presented here. These restrictions are deliberately introduced, and they are necessary at the initial stage of a student mastering orchestration. After graduating from the conservatory and starting an independent creative life, the young composer himself will find a solution to a number of orchestral problems that will confront him. It is, of course, impossible to compose problems for all possible orchestration cases. This is hardly necessary. Orchestration is not painting abstractly composed music in different colors and timbres, but one of the components musical form, such as melody, harmony, development and repetition of motifs, etc. Therefore, when composing an orchestral work, the composer must accurately imagine the sound of the orchestra, the orchestral texture and hear each musical phrase, melody, harmony, chord in the orchestral timbre.
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 percussion players, 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 significance, expanding in to a large extent 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 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.
Woodwind solo parts in a pop orchestra (see example 113) are fundamentally not much different from similar parts 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 performing solos 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 instrumentation options for 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 theme in a group of brass instruments can be orchestrated by other techniques.
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 with the correct ratio of the playing registers, for example, the theme in the string parts, taking place in the 1st octave, can be easily drown 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 running near the pipes from the overall sound of the orchestra.
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 the 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 bar 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 section 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. The correct distribution of parties when playing divisi is of great importance. 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 third 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).
The playing of tutti in large pop orchestras, as well as in small ones, is built taking into account the most effective use registers and instrument technology. Significantly expanded compared to small compositions, orchestral means make it possible to obtain a wide variety of orchestral tutti in a wide 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 kinds 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 clearly defined 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 southern night 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 on scores can one develop good technique orchestral writing.
Leonard Bernstein
I don’t know if you’ve heard the word “instrumentation”, “orchestration”? Meanwhile, this is perhaps the most interesting thing in music.
As you might guess, the word “instrumentation” has something to do with instruments – well, of course, with musical instruments.
When a composer creates music for an orchestra, he must write it in such a way that the orchestra can actually play it, no matter how many instruments it has: seven, seventeen, seventy, or perhaps one hundred and seven (in a modern large orchestra that is exactly how many instruments - one hundred and seven!). And every musician in the orchestra must know what to play and at what time. To do this, the composer orchestrates his music. Orchestration is a very important part of composing music.
Great master The orchestration was by Russian composer Rimsky-Korsakov. He wrote a world-famous book, “Fundamentals of Orchestration,” and many composers studied from this book and imitated Rimsky-Korsakov. In almost every work of his, the orchestra sparkles with all colors and combinations of sounds. And the composer does this for the sake of clarity of music, and not just to show off his skill. It's not as simple as it might seem.
If we look, for example, at the notes of Rimsky-Korsakov's Capriccio Espagnol, we will see that only four bars fit on a whole page. Each instrument - from the piccolo flute to the double bass - plays these four measures in its own way, and, therefore, you need to write your own line for each.
One can imagine that when Rimsky-Korsakov composed this music, when he heard it in himself, he simultaneously felt four musical lines: the main melody, and also a special Spanish rhythm as an accompaniment, and another melody parallel to the first, and, finally, one more, different Spanish rhythm - accompaniment.
And so he was faced with a problem: how to write this music for a symphony orchestra of a hundred people so that they could play together? Not just together! So that all four of these lines connect and sound clear, strong, exciting! How to do it? Rimsky-Korsakov distributed these four lines between the instruments as follows:
Home dance tune(musicians say “theme”) he gave to the trombones.
The second, parallel melody - to the violins.
He divided the first Spanish rhythm between woodwinds and horns.
The second Spanish rhythm was given to trumpets and timpani along with other bass and drums.
Then he added work to other percussion instruments: triangle, castanets, tambourine, to emphasize the Spanish nature of the rhythm.
All these sounds put together sound great. What did Rimsky-Korsakov do? He took the bare notes that were playing in his head and dressed them up. But good orchestration is not just the clothing of the music. It must be the correct orchestration for each piece of music. After all, clothes should be suitable: for rainy weather - one, for the evening - another, for the sports field - a third. Poorly orchestrating music is like putting on a sweater to go swimming in the pool.
So, let's remember: good instrumentation means orchestration that is exactly suitable for the given music, making it clear, sonorous, and effective.
Of course, this is not easy to achieve. Imagine what a composer must know to orchestrate the music he has composed.
First, the composer must understand how to handle each instrument individually. What this instrument can play and what it cannot; what are his highest and lowest sounds; its beautiful and not so beautiful notes. And in general, you need to imagine all the sounds that can be extracted from this instrument!
Secondly, the composer must know how to connect different instruments together, how to balance their sound. He needs to take care that large and loud instruments like the trombone do not drown out those that sound quieter, softer, like the flute. Or to prevent the drums from drowning out the sound of the violins. And if he writes music for the theater or for an opera orchestra, he needs to be careful that the instruments do not drown out the singers. And a lot of other troubles!
But the most important problem is the problem of choice. Just imagine that you are sitting in front of an orchestra of one hundred and seven instruments of all kinds, and one hundred and seven musicians are waiting for your decision - what to play and when!
You probably understand how difficult it is for a composer to make a decision and choose the right one from all these instruments, not to mention the fact that there are thousands and millions of different combinations of instruments!
To better understand the composer's work, let's try to practice instrumentation ourselves. It's quite affordable.
Come up with some short melody - the simplest, most stupid one you want. Then try to orchestrate it - you have to decide how to do it yourself! Try the "o-o-o" sound first - soft and booming, like an organ or clarinet in a low register. Will he learn well? Maybe yes, maybe no. Or maybe you need string sounds? Try humming or humming, just quietly. What if you need loud string sounds? Then: zu-um, zu-um, za-zu-um... Or perhaps high-pitched sounds of wooden instruments, short and sharp: tick-tick-tick, are more suitable for your melody. Try them out! Or ta-ta-ta-ta-ta pipes? Or tirli-tirli-tirli-tirli of flutes? Or...
Well, there are so many of them, different sounds! In addition, you may find that the correct answer is not a single sound, but a combination of two or three sounds.
But another experience is especially good to do in the evening, when you lie down in bed, before falling asleep. Try to hear some music, a musical sound with your inner ear. And then think about what color this music is. What do you think? Many people think that musical sounds have color! For example, when you sing "oh-oh", it looks bluish to me. And if you do "um-um, um-um", then the color seems to me like red. Or is it just me? When you sing "ta-ta-ta", I see bright, orange. I can actually see color in my mind. And can you? Many people see different colors when they hear music, and this coloring of sounds is part of the orchestration.
But how does a composer cope with such a difficult task - the choice of instruments?
There are two ways. The first is to write music for instruments that are part of the same family. For example, for an orchestra consisting only of strings, for string orchestra. The second way is to mix instruments from different families, for example cellos and oboes. If the composer took the first path, then it’s the same as if he invited relatives to the evening.
And if according to the second, he gathered friends.
But what does the word “family” mean in relation to musical instruments? This word is always used when telling children about the orchestra. For example, they talk about a family of woodwind instruments, and it begins: “mother is clarinet,” “grandfather is bassoon,” “sisters are piccolo,” “elder sister is flute,” “uncle is English horn,” and so on. Terrible lisp! And yet there is truth here. These wooden tools really make up something like a family. They are related because they are all played in the same way: by blowing air into them, and they are all - or almost all - made of wood. That's why they are called woodwinds. The musicians playing these instruments sit nearby on the stage.
These instruments have cousins - clarinets of various types, then - saxophones, alto flute, oboe d'amour, counter-bassoon - a long list. But there is also a group second cousins, French horns, which are made of copper and must belong to the brass family of instruments. But they go so well with both wood and copper!
Now that we have met this big family, let's see how it can be used in instrumentation.
IN symphonic fairy tale Sergei Prokofiev's "Peter and the Wolf" has a place where a cat is described - a wonderful little melody for clarinet. This is a brilliant choice. No other woodwind instrument could convey the movement of a cat as well as the clarinet. He has such a velvety, languid, cat-like sound! And to represent the duck, Prokofiev chose the oboe. What could be better than the quacking sound of an oboe!
But enough about woodwind instruments. Let's look at another family - the string family.
We use four types of stringed instruments: violins (you will, of course, easily recognize them). Then the violas. They look like violins, only they are a little larger and their sound is lower than that of violins. Then cellos (they are even larger, and their sound is even lower). And finally, double basses are the largest and lowest.
And here's what might surprise you: even if there is only one violin playing, the composer still has to orchestrate the music for it. This may just seem silly - orchestration for one instrument? But this is orchestration in miniature. Even one instrument forces the composer to make a choice.
First, he must choose the violin from among all the instruments, if it is suitable for the music that the composer hears in his mind.
Then he has to make many more choices: which of the four strings of the violin to play; in which direction the bow should move, up or down; Should the bow bounce (musicians call this spiccato) or slide smoothly (legato), or maybe you should not play with a bow at all, but pluck the strings with your finger (pizzicato)?.. Again, a lot of possibilities!
Every choice is very important. For example, if a violinist plays on the D string, the sound comes out more delicate, but if he plays exactly the same notes, neither higher nor lower, but on the G string, the sound comes out completely different, thicker and richer.
Now imagine that not one string instrument is playing, but four - a quartet. The number of possible choices is staggering! An ordinary string quartet consists of two violins, a viola and a cello, and great masters like Beethoven can orchestrate music for these four strings to produce an amazing variety of sounds and colors.
Great composers are always looking for new, special sounds. They write music for different combinations of string instruments. For example, Frans Schubert added another cello to the quartet - it turned out to be a quintet (five instruments), and a new wealth of sounds was born. Why did he add a cello and not a viola or another violin? And not a double bass? Because he knew: the cello would give him exactly the coloring he needed for this music.
Now that we've looked at the woodwind, wind and string families, let's take a quick look at two other families in the orchestral community - brass and percussion.
There are not as many brass instruments in the orchestra as there are strings, but this family knows how to make themselves listen! Here are its members: trumpet, trombone, tuba and, of course, the horn, which we met when we talked about wooden ones.
Brass tools can produce sounds of different colors. And these sounds will not always be loud and brassy. For example, the old Italian composer Gabrieli's music for brass sounds like an echo, brass can sound like an organ, like Brahms in his First Symphony.
But, of course, most often the brass sounds familiar, like a brass band at a parade.
The family of drums that follows brass is terribly large. It would probably take a whole week to list all the percussion instruments, because almost anything can be percussion instrument: frying pan, bell, baseball bat - anything that makes noise. The head of this family is the timpani; they are surrounded by drums of all kinds, bells, triangles, cymbals... But together they are a family, and there is music written specifically for drums. For example, Mexican composer Carlos Chavez composed a piece in the classical toccata form exclusively for percussion instruments.
But the family attachments of instruments are inferior to friendly, “social” attachments: members of different musical families unite to make the music sound beautiful and bright. It all starts with the simplest combination: two people carefully take a closer look at each other - will they be able to be friends if they work together? It turns out! And here is a sonata for flute and piano, for two instruments from very distant families. But they play great together! Sonata for violin and piano, cello and piano. Each combination of instruments gives rise to a new sound, a new coloring. But then a third, a fourth is added to two instruments - and we have a whole orchestra, because it has at least one representative from each family. Then there are more instruments, instead of seven musicians we have seventeen, seventy and, finally, one hundred and seven... Imagine what magnificent combinations of sounds a large orchestra can produce if it plays the music of a composer who is a master in the art of instrumentation.
Retold by S. Soloveichik.
For those wishing to orchestrate their own or other people's works, the amount of information contained in this manual is extremely insufficient. Students of theoretical composition departments should refer to more complete and detailed manuals on instrumentation and instrumentation (some of these manuals are listed in the preface). But even the most thorough study of the theory of orchestration from books and experiments in orchestrating piano pieces will not give a novice orchestrator anything without practical study of the orchestra, orchestral color, studying the specifics of each instrument for quite a long time and at the cost of a lot of work.
The only way to this knowledge is to study scores and listen to orchestral works with the score in hand. It is extremely useful to first familiarize yourself with orchestral works on the clavierauszug (arrangement for two or four hands) and then review the score before and after the orchestra performs it. It is very useful to attend orchestral rehearsals, to be in the orchestra several times, to look closely at the instruments, listening to their timbre, and so on. etc. But you should engage in orchestration only after you have completely mastered harmony, knowing polyphony and form.
Instrumentation is an extremely complex and subtle art. Undoubtedly, N.A. Rimsky-Korsakov is absolutely right when he says that “instrumentation is creativity, but creativity cannot be taught” (Rimsky-Korsakov, Fundamentals of Orchestration). Not all composers, who cannot be blamed for lack of knowledge, master orchestration and sense the orchestral flavor. In the end, any competent musician can learn to competently transcribe his own or someone else’s work into an orchestra; but not everyone can write for an orchestra in such a way that, according to Rimsky-Korsakov, the instrumentation is one of the aspects of the soul of the composition itself. There is no doubt that not all composers have a sense of orchestral color - a completely special feeling, just like a sense of form - even if they write for orchestra.
In most cases, when composing a piece for orchestra, the author relies on the orchestral apparatus and, although he does not immediately write a full score, his sketches are, as it were, an abbreviated orchestral score, and further orchestration is only the development of details in the presentation of this piece for the orchestra. However, it is worth mentioning a special area of the art of orchestration, which is becoming more and more widespread every year: this is the instrumentation of other people's works.
In a number of cases, composers, due to various circumstances, were unable to instrument their work intended for orchestra, and others did this work for him. This was the case with “The Stone Guest” by Dargomyzhsky, with the operas of Mussorgsky, etc. But often there are quite “viable” orchestral pieces that were the result of the orchestration of piano works (such as, for example, “Mozartiana” by Tchaikovsky, “Pictures at an Exhibition” by Mussorgsky, instrumented twice : M. Tushmalov and M. Ravel; three orchestral suites by D. Rogal-Levitsky - “Listiana”, “Chopiniana” and “Scriabiniana”, and a number of other similar works).
When orchestrating piano works, the author of the orchestration sometimes manages to reveal the work so organically “orchestral” that the work acquires a completely new, special quality, and this piece has every right to life as an orchestral work. Only under such conditions can we consider that the orchestration of the piano work has achieved its goal.
A beginner studying a full orchestral score needs to become familiar with those basic types of orchestral texture that are organically specific, inherent only to the orchestra.
A mechanical, literal translation of a piano text into an orchestra, with rare exceptions, leads to a gray, colorless sonority. Only such exceptionally clear works as the works of the Viennese classics or, for example, the plays of Grieg, arranged by the author himself, sound excellent both on the piano and in the orchestra, almost completely preserving the types of presentation in both editions. But even here, when transcribed for orchestra, some changes are required, caused by technical requirements individual instruments and entire groups, then the desire to somehow highlight the theme, strengthen the bass, change the accompaniment more advantageously, etc.
The main types of arrangement of instruments in (mostly) 4-voice harmony are as follows:
1. The storey arrangement (called layering by Rimsky-Korsakov) is the arrangement of instruments along the nominal height.
For example:
Soprano - fl. fl. 1 gob. 1 gob. 1
Alto - gob. fl. 2 gob. 2 cla. 1
Tenor - Clar. gob. 1 cl. 1 cl. 2
Bass is a fag. or gob. 2 or cl. 2 or phage. 1, etc.
2. Surroundings, that is, such an arrangement of instruments in which some timbres (or timbre) are surrounded by others that are identical to each other.
For example:
Oboe 1 - flute 1 clarinet 1
Flute 1 - oboe 1 oboe
Flute 2 - oboe 2 clarinet 2
Oboe 2 - or flute 2
3. Crossing. When crossing, the instruments are positioned
in the following way:
Oboe 1 clarinet 1
Flute 1 bassoon 1
Oboe 2 clarinet 2
Flute 2 bassoon 2
group as a whole, to isolate the timbre of a particular instrument from the entire group, etc. The simplest arrangement, storey, was especially loved by the Viennese classics, who did not attach of great importance subtleties of timbre colors of wind instruments of both groups. Only in later times do they begin to pay attention to the combination of wind instruments with each other, and here a huge number of very diverse combinations arise, creating rich colors in groups of woodwinds and brass. Only a practical study of orchestration will enable the student to understand the benefits and features of a particular arrangement or combination of instruments.
The different arrangements have the least impact on the sonority of the string group; but even here, experienced orchestrators often use cases of placing solo parts - violas or, for example, cellos - above the violin part, which can give, under special conditions, a very colorful sonority.
The complex technique of “superposing” one timbre on another plays a huge role.
For example:
1. oboe 1 + flute 1 in unison;
2. oboe 1 + clarinet 1 in unison
oboe 2 + clarinet 2 in unison
3. clarinet 1 + bassoon 1 in unison
bassoon 2 + horn in unison
This technique is not always caused by the desire to enhance the sonority of a given voice, but often its purpose is to mix colors to obtain a new complex timbre.
In this respect, as in a number of others, the orchestra provides enormous opportunities; it's just a matter of the skill, taste and ingenuity of the composer.
The main methods of coloring the orchestral texture include: Isolating the melody, which is done by amplification, that is, doubling, tripling by superimposing the leading voice or doubling the melody in one, two, etc. octaves, or isolating the melody by timbre comparison: that is, the melody is carried out in a different timbre than the accompaniment. The most common types of orchestral texture include various cases of comparison of material: starting from simple alternation of chords in different groups to comparison in different instruments, different groups - entire phrases, passages, etc. The type of comparison can also be classified as so-called. roll call or imitation. IN in this case the phrase is usually imitated in different registers and mostly in different timbres.
The transfer of melody from one instrument to another is caused by various considerations, the main ones being:
1. The length of the phrase complicates the technical capabilities of the performer (for example, breathing in wind instruments). In such cases, they usually resort to transferring the phrase to a homogeneous instrument.
2. Passage size across the range. In this case, they resort to transferring the phrase to a higher (in tessitura) instrument (with an ascending passage) or a lower one (with a descending passage).
3. Transmission is also used not only for purely technical reasons, but also for reasons related to timbre colors (change of timbre, clarification or thickening of sonority, etc.).
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, “putting” a sustained sound (pedal) or a whole group (chord) of sustained sounds under the moving voices. sounds. This enriches the sonority, giving it greater richness and compactness.
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:
2 flutes (low register)
2 horns
violas + clarinet
cello + bassoon
2 horns + 2 bassoons
2 trumpets + 2 oboes
etc. And the most in a variety of ways, using the character of timbres, dynamic shades and so on.
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.
Techniques of orchestral presentation are in close connection with form, with creative style of a given composer and together constitute what is commonly called the orchestration style of a given composer.
A ratchet is like a bunch of wooden plates that, when shaken, hit each other and make cracking sounds. This fun and effective tool can be made with your own hands. Approximately 20 smooth, even plates measuring 200 x 60 mm are cut and planed from dry wood (preferably oak).
General form ratchets and the sizes of its plates.
The same number of intermediate wooden spacers between them, 5 mm thick, are made. These spacers are necessary to separate the plates. Without them, the plates would hang together too tightly and the impacts against each other would be weak. The size and location of the gaskets are indicated in the dotted line in the figure. In the upper part of each plate, at a short distance from the edges (about 10 mm) and simultaneously in the attached spacer, two holes with a diameter of about 7 mm are drilled. A dense, strong cord or insulated wire is threaded through all these holes, and all the plates, alternating with spacers, hang on it. To ensure that the plates are always tightly moved, 4 knots are tied on the cord when leaving them. The free ends are tied into a ring. It should not be wide, capable of allowing the player’s hands to fit into the resulting half-rings.
When performed, the ratchet stretches like an accordion, but fan-shaped, because at the top the plates are tightly fastened with knots. With a short push of the free part of both hands, the ratchet seems to instantly compress. The plates hit each other, making a cracking sound. By manipulating your hands, striking them either simultaneously or separately, you can produce a wide variety of rhythms on this instrument.
The ratchet is usually held at the level of the head or chest, and sometimes higher; after all, this instrument attracts attention not only with its sound, but also appearance. It is often decorated with colored ribbons, flowers, etc.
... “Oh, three! Bird-three, who invented you? You know, you could only have been born among a lively people, in that land that doesn’t like to joke, but has spread out smoothly across half the world, and go ahead and count the miles until it hits you in the face.”
Who doesn’t remember these Gogol lines! Who doesn’t know the amazing ability of the Russian people to decorate everything that surrounds them, to bring elements of beauty and creativity into the most ordinary things! So how could it be possible to ride a daring troika without music, without bells and bells? Fortunately, no special work was required: the bells and bells were hung under the arc and shook when driving fast, emitting a whole range of silvery sounds.
Bell and bell.
What is the difference between bells and bells and why are we more interested in the latter? The bell is a metal cup open at the bottom with a striker (tongue) fixed inside. It only sounds when suspended in a vertical position. A bell is a hollow ball in which a metal ball (sometimes several) rolls freely, and when shaken, hits the walls and produces a sound. The bell is clearer and brighter in timbre, the bell is duller; its sound is shorter. But it sounds in any position. So many songs and instrumental compositions are dedicated to the Russian troika and the coachmen that it became necessary to introduce a special one into the folk instrument orchestra musical instrument, imitating the sound of coachman's bells and bells. This instrument was called bells.
A strap is sewn onto a small piece of leather the size of a palm to help hold the instrument in the palm. On the other hand, as many bells themselves as possible are sewn on. By shaking the bells or hitting them on the knee, the player produces silvery sounds, reminiscent of the ringing of the bells of the Russian troika. A special effect is obtained in combination with playing the tambourine (shaking) and glyok (Western European type of bells). You can hang the bells not on the skin, but on some object, for example wooden stick or a spoon.
Rubel
The ruble, like spoons, is an everyday item for the Russian people. In the old days, when there was no iron yet, clothes were ironed by rolling it while wet onto a rolling pin and then rolling it for a long time, compacting it with a ruble. It is possible that someone once accidentally passed another elastic object along its teeth and the result was a sparkling cascade of sounds, similar to the one we extract from fence boards with a stick. As you can see, musical instruments, especially percussion instruments, are created by life itself, and often by our everyday life. You just need to be observant, resourceful and inventive. The difference between a musical ruble and a household ruble is that the first is hollow, the second is solid. The hollow one naturally sounds louder and echoing.
The rubel is well emphasized in the performance of all kinds of short arpeggios or grace notes. It should not be overused, as its sound can quickly become boring.
Box
 |
| Box |
The wooden box is a very modest but important instrument of the Russian folk orchestra. This is a small, oblong, carefully planed and even polished wooden block on all sides, usually maple, with a small cavity under the upper part of the body, which serves as a resonator. The sound is produced with drum or xylophone sticks.
The box emphasizes individual rhythmic points and imitates the clicking of heels in dancing. The box is absolutely indispensable in transmitting the clatter of hooves, especially in combination with spoons or castanets.
Firewood
A rare musical instrument is not made of wood: woodwinds, all strings, button accordions and harmonicas, numerous percussion instruments are somehow connected by their design with wood, which in almost all of these cases plays the role of a resonator. But a tree not only helps other bodies sound, but can itself sing, make musical sounds, that is, sounds of a certain pitch. To do this, you need to cut blocks of dry, seasoned wood of different sizes and then adjust them according to the steps of the sound scale. The well-known xylophone, a bright and colorful instrument, is constructed using this principle.
But among the people, inventors and jokers invented their own xylophone, which was simpler and more curious. Imagine: an ordinary passerby comes onto the stage with a bundle of firewood behind his back. Then he lays out his “firewood” in front of him and begins to play cheerful dance melodies on them with small wooden mallets. And if other musicians with similar instruments join him, the effect will be great and unexpected. All this is in the traditions of Russian buffoonery.
Not all wood will sound good, so we will give some tips on making the instrument. The desired type of wood is maple, birch or spruce. The “logs” are cut into pieces of different lengths, but of approximately the same thickness. On one side (let's call it conventionally the top, front) the log needs to be planed with a plane or knife. In this case, the surface should be somewhat rounded. The side walls can remain untreated, for greater authenticity of the “firewood”. But the lower part of the log should become the “soul” of the instrument; you should work on it more carefully. If we made the upper surface convex, then the lower one, on the contrary, should be concave. This is necessary, firstly, in order to create a resonating cavity inside the bar, and secondly, for its upcoming adjustment. As with any other instrument, the tuning, clarity and definition of each sound should be as close to ideal as possible. And if it is relatively easy to tune a sounding column of air in a wind instrument, a string in a string instrument, and a brass reed in a pneumatic instrument, then a block of wood with its less defined pitch sound is much more difficult. And yet we will try.
First, let's check which note is extracted from the longest log.
The largest “log” should be 700-800 mm long, about 100 mm wide and about 30 mm thick. The dimensions are very approximate, because it is difficult to foresee everything: the density of the wood, the individual irregularities of the block, etc. Upper part Immediately make it slightly oval and sand it. In the lower part we will hollow out a recess along the entire block, small at first. Then we will lay out a thick, rope-like rope on the table, which can later be used to tie the entire bundle together. It is while lying on the rope (loosely, not secured) that individual logs will sound when struck. Otherwise, the sound will immediately go out. The rope should not pass under the very ends of the log, but approximately under every third of its length. It is best to find the position of the rope experimentally, that is, by testing in which cases the sound is stronger, fuller and clearer.
Due to the long-standing interest in orchestral music on our forum, I have long 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 knowing the string section thoroughly)
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 immediately 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 Polansky, I don’t really 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 begins" new stage“The orchestrations are 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 Nos. 5, 6, 7, 8, of the more complex ones - Nos. 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 works (early 1910s) opened 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...