Table Of Content
THE STUDY OF
ORCHESTRATION
TIMRD RDITION
Samuel Adler
vay
he
W. W. Norton & Company, ine
NewYork Yaadion
Gopyighe 7007, 198, 189° hy W, 9 Momo & Company, Tne
Allvighte reseed H
Primed inte Uncta States of Anmenin
“The tent of this book is composed in Palatine deScnala wath Une dieplay st in
Fratuper & Copperpinte
Editor ranme La Wet
anscre Tair Bashine Calle Care
roar Eathre Jateschapel
Troximeers Lisa Robinson, Clive Mabe,
Hers Fox Jule Scunepal, eat
Revert ond Eaitrial Assalatlt Jan Hoeper, Chace MeCabe
Igoe Moectring: Ray Tee
ook Design ran Greed
‘Camporitine 16 J CS bformarion Serie, ke
Music Campevatn: Kent Yara, orth Weraey Sacsahige
Layour Aria: olris Fear
Mametarturingy Ouebe orf Word
inthis at —
1 rary of Congres Caley -
Ate, Sorel, 928
“The srely cnt Saree. Sn
perm jemave
taatude bibtopuophical references and index,
ISAK 0396-97509 % ‘audi
LLlnwerumentation soe orchestration. 1 Te
mrrnes200
LIT eZ son
|W. W.Nocton & Company, tne, 200 ith Avec, New York, N.Y, 100
WW Noctre Company. Ft, Calle Hae, 75/76 Wells.
endow 11 2
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CONTENTS
Prelace ic
PART ONE. INSTRUMENTATION
1 4
THe ORCHESTRAS PLUCKED STRING INSTRUMENTS. &
YESTERDAY AND TODAY = ie
Gitar an
2 Mandolin 1
BOWED STRING INETRUMENTS. 7 amp We
Constmaion @ Biter ns
a ,
‘Ounble, Triple, and Quadruple Stops 1 SconING FoR STRINGS 1
Divided Stig 2 Tndviduaty within the Ensemble
Vito 36 Foreground -Middlegwonnd Background
Gnsando od Pertmenin 6 e
TheBiwe e Conzapuntal Writing fo Sings 1
Bowing 7 Hmophone Wstingforstengs 10
"ong? nog the Sng Choir to Accompany &
gue 18 ebb 158
Sper n-th ting Yowings 21 ‘ranscibing fo Nano Stings 157
Special Otte Srng wings 25
“Tals and Other Colo fest Osng 5,
the Dow ‘Tae WoooWIND CHO
Colunaae Rea without the Dow 38 (REED AEROPHONES) to
utes 38 amtroron 60
Scordahura so Gaesiying Woodwind Instruments 165
tammoaice 2 “The Pindple of Transposition 17
Contemporary String Techniques $9 Playing Tecigquee 170
‘The Woodwind Secon of Symphoay
3 ‘Orehswa (77
INoWOUAL BOWED STRING Scoring for Woodwind instruments 7
INSTRUMENTS
7
INDIMIDUAL WoooWiNDS He
‘Wioloncala or Calo 75 Aue
Doule Bast © Plesla v
Ales Fite 19
Bass Pate 193
toe 1
English Hom 19
‘Other Member of Use Oboe Fanly 2H
Gharinet 2
"Peco" Clarinet Clarinet in are ML
sage Chainer 202
Other Memon of the Clarinet Family 25
Sunaplne 317
Basen 21
CConimabascany 225
2
‘SCORING FOR WOODWINDS
AND WOODWIND-STRING.
COMBINATIONS 7
‘Tha Relsof Winds n the Syinphony Orshesbe
‘The Vasey of Orchesal Toeatments 25
omaphonie Wing for Winds 252
Conrapantal Writing oe Wend 26.
Using the Wind Chor bo Provide
ContostingCalor 27
Using te Wind Choir to Boule Other
isruments ofthe Orcbestn Dk
Noor Type of Ariclations for Wouovidn
Speci iets 8
‘resign iano to Wis and Strings
‘Gamportion of he rss Seton 2%
‘brags etnament and the Writhm Chased
Score 27
‘Oveslosing and the Principe ofthe
“Hammon Sere 36
Crooks, aves aed des 231
Range He
Tone Produclinr, Aricetation, anu Tomguing
‘Cenrmon Charoerities and Elects on All
Brass nsrumens 204
Mates 7
‘Muting Deviews Otber Than Mitce 18
to
INDIVIDUAL BRASS INSTRUMENTS 512
Hom 32
Trumpet 5
Counet 297
(Other Meanbere of Use Trunipet Family
Trombone 3
(otter Members the Trantbone Fomily 348
Tubs 391
Other Maorbes afte Tubs Family a4
Tn
SCORING FOR BRASS, AND
BRASS COMBINED WITH
STRINGS AND WINGS 7
arly Dao he Prone Cnie ar
Daal of Bars Tatrurnent within ty
‘Men Orchentns Ssh
ornaphunic Wrting forthe Hass Choir 36
Using the Bess Chiro Present te Mody 975
Contmpunial Writing forthe Brass Choir 32
CGiiwctic Uses ofthe Emmss Choit 133
Using the Pr Chie ms Provide» Caorstic
Fibs! ae
12
“The PERCUSSION ENSEMBLE &%
TTieicnl Uses Percussion emaments
Tein he Orchestre
Number and Uistehution of Parvacion
Myers
Notation of Petsson Tturmeals 3
Malls, Keaton, anc ticks ast
Categerienal Pecans busruments 5
neuen of Dain Pith <
Tmvordonas! Mavien Teta users
Zyoptone 187
Buin 8
Viraphone 68
Cihetewpid 40
Groaes 402
Sted Dreme 40.
E
Aptorwones: Sunes on SrroKED
tretruneess
Muse Sap 48
Fleaione th
Crt Claes eet
Meneeanorsowrs
Tipe 6
SE Tame
Caomnornones
Wits SL
Instrumente of Indefile Pich 52
Troritows: Mecat
yas: Crs, Suopnded, HH, Site,
‘Grn Pnger
‘Teepe St
a
Combes a55
Tom-Tom and Oter Gongs 3
Wid Chines 58
Skagh Boe 157
Batre
Brae Dra 67
Thunder Set 457
Iororuomas: Wonks
‘Wont Bice 57
Temple Blads 158
Chao 8
tna
Sen Blak © Saye Blo 59
Saptior Wp ad
ag Drama Set nom 160
Maneexanorwoxes
13
KEYEOARD INSTRUMENTS 468
Plone a8
Celene
Flarpiicnd om
Organ 4
Harmonia as
14
‘SCORING FOR PERCUSSION
WITH KEYBOARE ALONE:
ORIN COMBINATION 6
‘Perausion Layourin the Pall Soxce 186
Pecawsion Section Setup 44
Urer of te Penton Secon 47
PART TWO. ORCHESTRATION
15
SCORING FOR ORCHESTRA sir
“The Unison Octave Tutt sia
‘The Digmbution of Foreground —
‘Middleground—Beckgsound Remwots
swithinthe Orchestra et
Orthesteating a Medi or Primary
Cate
Using the Orchestra to Create Speci
Bieta ot
16
THE ORCHESTRA AS ACCOMPANIST. 60
The Concerto at
Accsmpanying the Vocal Solis Prscrble
Chane
vil ConTanTs
‘Chamber Contin to Orchestra 6b
“Teanverlbng from Band of Wind Enecmble
toOrbens 715
“Transebing Vorlons Avallsble
Toten] Combinations 28
18
THE PREPARATION
OF SCORE ANO PARTS 757
The Ores Soe Setup 5
“The Rectuced Soure 70
“TheCandansed See 74
Preparing Iaviduol Pare 746
19
Scoring FoR BAND
OR WIND ENSEMBLE 72
‘Sconing for fond 72
Band Vereus Wind Bveaisle 72
“The Perewsion Section within th and or
"Wind Brera 778
“The Band and Wied Erwembe Scone Setup 74
Condensed Scones 78
“Tranecibng from Onchear to Band or Wind
‘Eneenible 72
APPENDICES
A___ QUICK RerERENcE Guines 78
[Ranger ofthe Most Proqventy Use
‘Grehstral inetnamerns 746
[Names of atromonts in Foor Languages
Sn Ther Engin Abbrevitas P
srequenty Used Orel! Term
‘a Four Tanguagen 5
5B __SELecT BIRLIOGRAPHY 7
Grtestrtion 77
Individual Ietumental Technique 722
‘Coupater and Electronic Male AM
1 thls book: the octave designations of pts ate eerenenind by supercipt numbers such that
middle C eguals Ror exami:
C thuse octaves belowy middle C to the B above: C1 BI; mide C to the 3 abowe: C4 - BY
these cetvan sve middle ta theB above. C=
PREFACE
Wile Lan working om the et edit of The Study of Ocsttio, Tas
kod to give lotus m= conventional composers an the subject. Used my
Iecture "Whee Ta, Now?" au heahly previewed what mule ofthe 19806 ant
Wi ww be ks My peophery, fbich I ught belie at te ng, ed
he mak completely ny progmntiratons have case back toatl ve omer
hes pst twenty years,
TEL 157%, totaled thet music ofthe last arte ofthe went entry ould
be enon more carpe and ever mone experimental than in de derades siane
World War New methods of nolaton would be devised, new instruments
would be vented, and powsibly even new enna paces would be eet 19
ccommdte te execlpcic chunges that predicted would occu
his indeed so underateent fo aay dat my eootheaying was dad Wrong,
[a fact, the musi compooed during the lat two donner ie distinguished by &
est simplicty—a new fove str with » romantic, quite wereld, al
sorncies even popular ile not ienplying hat all composers every sehare
fa the word ae Sahere to this Romulo; centinly many dlatingulhed com
pater are tll perpetvating the mi comple tad of 267 cenbary, Dut
generally the mostperiamed yoorger compos se 2 much Ins sitingont
ssi vorabulary ro enpness thet es,
‘similar sation ot in te reat of ochestabon. AMhough now note
tion ane enfended trauma feciqucs were afl the rage from the il
InienBth entry thrgh the middle 197,» mee action approneh Ee
theses eens to have regained foothold, despite al of the previous forus on.
experiment. A grad case in point is the work of the Polish composer
Kevysst Penderecki, who as une of the kes of the poster avant Bade
{orged » powerluly new ordsral sound. PerdereckTs erchasral wars since
‘he early 19705 can be charorterzed by their Romantic slmect Seine ex
chesual wong, This eta catia statement bot rafier ane of fat, Younger
composers, expedaly those in Aros, Kawe pred gently from experimen
‘ation wth unazusl playing leshniques aad thele owen experience with cow
‘monic mic, bu thei lve ef the tbdiional ochasea aod i ealy went
‘ary mastrs (Mader, Schoenberg Sirvinly, Bari, and ote) has peshaps
Fnfluenced thir orcheazal exprecaon even mace. Whew wil thee compose
cltiately be heeding? Where wll the geversion aftr them end up? I any
bods pce
“srg has the opportunity te exunine dazen uf orehetal wore by #3¢-
‘nfl young composers several ies yoo, [Sind dt Ur ae of earch
tuaisboth imaginative and effective. Kalo demonstrates their thorough kat
ge of the eadiional echestal iterture. Tse comapoees have indirectly
served aa Ue inplratina behind hr Shay of Orchestration since it at eon;
te Becks goal Ie heen to lp ar many students a pore achlew the su
cumsee tht thane yetng composers have achieved, The hind ation hrs sewers
ow Features designed to make this happen. AlGiough sat competion s
dents may have 3 constanlly eqpanding knovladge of the che reprtry
(ic average musi studeat attending a schoo of higher Jesnang may ne Thave
learned ny own teaching as wall as om the Ramat of colleen, Dat +
‘camedous gap caste batveen what the average aie student ehoald Koo?
shout even the most tadiona orchastalrepetaire and what Uy atoally 45,
‘Aaa part remesty [have added many mave works tothe liste of adional
lets for study tthe cnds of chapters (a most capes whole movements or en
fire wor would le to advieeinatructore to give Bteningarcgnments ver
ard above the toglar erchstaton projects that are found in the workbook.
‘Only by listening and geting to know the epertay will a student sharpen his
crher ent for ochavual sous, and believe that his istering camponcat wi
help students expand ther entie musical horizon,
"This new eiton retains maitystandied excesple frm he orchestal lee
suc, ap ella copious examples bon: twenuietvcontiry orchestea Mersin
‘The ne allen tes many note rete thon the pate dd by newer
eatal wodks, frm Which the experienze orchestrator wil be abe by gle
‘alable information,
‘Ag aheays, | have profiad greally from dhe ayggestions and citzisns of
‘nanpcolleaguas and other individuals The chapters on the woorione, the harp,
‘tnd the orchenval percussion action have been expandad, anv the diecuodon
‘of several string techniques, such as harmonics, which have presented problems
ac many students, have been etifed. fm the workooke quite 2 fet new ca"
erp have bean added and « grist nary selndtons have bean made in
‘sole tobe omhastates,
‘Gar the cet slgaieant dung athe accompanying CD package, which
at only contain recording of all the aitsc excerpts found in the book But leo
{CD-ROM program that enables students to ances profesional quality videos
ft exch netrument and iastnvenlaltacaque used in te sandard ofcheera
TheCD-ROM alo alleen students to test emalven an 9 uber of tics aa
‘lps them wks mane informed “orchotratinal” chess hy sarking Gough
several difeunt reorcbestations of wallow oreheclal works by Vewdt,
Tikva, Debsty, and Mahler. the rorcetrtion snes challenge ste
ents to apply their growing no wiedge ana individu ok fo larger auc of
orchnsratien hope tat this kind of exercise will pretuce Keely els esc
omy andl envonrap instructs ne sodent to devel silat pen of exe
‘pe. Tae CD-ROM also conta comipeser biographies that focus on thle par
{uae anahods af onchestation and tak draw examples fener importa
‘ncaa works,
‘Since musics the at of sound, every topic commected with fs study fs to
io with uaining the ear To me, the techrique of erchetration entails Gye abil
ties ts hear inatnamertal cous individually and collecivcly and i anafer
‘here sounds into atten notation ae ascrately and lastly a Poni, The 0
sins pan ofthis book gow fang vay Coward acramplishing fs goa,
art One Instrumentation, may be thought of se the madmen f ofchests-
ion, The parpoce ofeach chapler in Part One so enable Uneaten to aay he
Sound quality of exch inetraen| and the changes in thal quality Druphout Re
range to lar the practical angi of each instrament and to et fo Jos the
‘moa effective usa of ench atnanent within orchestal aetnga ofeach buses
fora. To that end ¥ have wud nomny ook Istrumental exempi ib expose et
dents to the sound of esc Indckval instrument, Some of these ala pasags
re loer shows in ther orchestral eondint (have provided croserHerentes
‘within the text to these orchestral pesages) hers ae simply wie fo demon
strate the range or Limibrer ofthe diva instrament, would like t auggest
‘owever that whenever posible the inetructor play a recording af We oo pas
sarin ts orehestral context.
rt One is organized around the four sections ofthe orchestra, ith chap
tar thal focus on the Individual ast within a particule secon prec
ing discusalant of orches ating Cor the entre action won ike fo encoarag?
insckoes use te chapters om scoring fr Weerovinds, bass, an percasion
lo introduce stds wy writing fc wind enecmble, which a tence SI
swing for winds, brs, and percussion witout strings ince the base tech
lguet of the eetroments used by both ort and fae age seo the
‘Asin the provious two extions, Part Two deak with the orders as 9
‘hole. Trivial chapters secre within chapters focusom etches
ttranezlbing pine, homer, bare, rd ther tar orchestra; Hae che
‘ua as nocompaniat; and the prepartin of acre and pat. Sle anny come
ocers today prepare thei cores on the computer, Lite added a short dcus-
Som about using computer progrmns such ae Ftal, Sere, ad Sibelius ane
sono the hasard they prownt
Tmsecogntion ofthe ikihood that many masicons using this book wil be
teaching in public schoo have giv special emphasis o eanscabing orches-
‘ta works forthe odd combinations that may be found in schoo o career
ations, In addition, quite a few intrucers will be bappy t End a new
‘Chapter 19, which offers some basics on seeing foe band. However have re-
‘sted the impulse to address the many differnt problems fced by the “band.
‘afr Atte end of Chapter 191 have supplied a riggsee istrng tof
beentyive works for wind ensemsc which amy belp te student len how fo
score fortht eneembi,
"The appendices offer a quick reference chart ofthe ranges and traneposi
ions of each insrmnent diseased inthe beck, as well as an uptodate are
tate bibliography of books en orchestration, notation, individual netrormets,
and elactromic music. Concern ranges, fave diferetoted fete the fll
(Grotessional anges and thee met eter sd by onprafetimels, sues,
frematcus, Appendir A also inl the nae of otchetal stacnen
four fanunges, tor Unglih sbimetinins, and some Lrequenly ed erches
tral ran tbl forma
Town though | have ¢mited an extended discuasion of clecrani istrs-
sens He ody of the book rather tan give auperScal rerlizations 1 bee
eve these instruments are of azendous importance in foday’s sone fr
scape. Therefore io Appendix BT have provide a ist of import books at
‘Periods in which thw instruments ae discussed. Lrecomspend these books
‘Spevaly ts th mader inbred bn popular and rook msc
"The revived workbook the ret of ss enh ncod CDs, and a teacher's mama,
‘withanswar tthe workbook questi, complet the “rchestrlion Package”
“There eer tole prtiallyguaned Kvent “Maton be ange
in oy rpc, tat by Jeep Wag end Ea ing & Cmpsoneee Mane!
(ett TL 5
