Orchestration

This article is about writing music. For management of computing resources, seeOrchestration (computing).For orchestrating a pervasive game, seeOrchestration (games).

Not to be confused withorchestrion.

A hand-writtenmusical scorefor Act 2 of theoperaDer FreischützbyCarl Maria von Weber,written in the 1820s. The score contains all the parts for the singers and theaccompanimentparts and melodies for theorchestra.

Orchestrationis the study or practice of writingmusicfor anorchestra(or, more loosely, for anymusical ensemble,such as aconcert band) or of adapting music composed for another medium for an orchestra. Also called "instrumentation", orchestration is the assignment of different instruments to play the different parts (e.g.,melody,bassline,etc.) of a musical work. For example, a work for solo piano could be adapted and orchestrated so that an orchestra could perform the piece, or a concert band piece could be orchestrated for a symphony orchestra.

Inclassical music,composers have historically orchestrated their own music. Only gradually over the course of music history did orchestration come to be regarded as a separate compositional art and profession in itself. In modern classical music, composers almost invariably orchestrate their own work. Two notable exceptions to this areRavel's orchestration ofMussorgsky's solo piano workPictures at an ExhibitionandMalcolm Arnold's orchestration ofWilliam Walton's String Quartet in A minor, producing the latter's Sonata for Strings.

However, inmusical theatre,film musicand other commercial media, it is customary to use orchestrators and arrangers to one degree or another, since time constraints and/or the level of training of composers may preclude them orchestrating the music themselves.

The precise role of the orchestrator in film music is highly variable, and depends greatly on the needs and skill set of the particular composer.

In musical theatre, the composer typically writes a piano/vocal score and then hires anarrangeror orchestrator to create the instrumental score for thepit orchestrato play.

In jazzbig bands,the composer orsongwritermay write alead sheet,which contains the melody and the chords, and then one or more orchestrators or arrangers may "flesh out" these basic musical ideas by creating parts for the saxophones, trumpets, trombones, and therhythm section(bass, piano/jazz guitar/Hammond organ,drums). But, commonly enough, big band composers have done their own arranging, just like their classical counterparts.

As profession

Anorchestratoris a trained musical professional who assigns instruments to anorchestraor othermusical ensemblefrom a piece of music written by acomposer,or who adapts music composed for another medium for an orchestra. Orchestrators may work formusical theatreproductions,film productioncompanies orrecording studios.Some orchestrators teach at colleges, conservatories or universities. The training done by orchestrators varies. Most have completed formal postsecondary education in music, such as aBachelor of Music(B.Mus.),Master of Music(M.Mus.) or an artist's diploma. Orchestrators who teach at universities, colleges and conservatories may be required to hold a master's degree or a Doctorate (the latter may be a Ph.D. or a D.M.A). Orchestrators who work for film companies, musical theatre companies and other organizations may be hired solely based on their orchestration experience, even if they do not hold academic credentials. In the 2010s, as the percentage of faculty holdingterminal degreesand/or Doctoral degrees is part of how an institution is rated, this is causing an increasing number of postsecondary institutions to require terminal and/or Doctoral degrees.

In practice

The termorchestrationin its specific sense refers to the way instruments are used to portray any musical aspect such asmelody,harmonyorrhythm.For example, a Cmajor chordis made up of the notesC,E,andG.If the notes are held out the entire duration of ameasure,the composer or orchestrator will have to decide what instrument(s) play this chord and in whatregister.Some instruments, includingwoodwindsandbrassaremonophonicand can only play one note of the chord at a time. However, in a full orchestra there are more than one of these instruments, so the composer may choose to outline the chord in its basic form with a group ofclarinetsortrumpets(with separate instruments each being given one of the three notes of the chord). Other instruments, including thestrings,piano,harp,and pitchedpercussionarepolyphonicand may play more than one note at a time. As such, if the orchestrator wishes to have the strings play the C major chord, they could assign the low C to the cellos and basses, the G to the violas, and then a high E to the secondviolinsand an E an octave higher to the first violins. If the orchestrator wishes the chord to be played only by the first and second violins, they could give the second violins a low C and give the first violins adouble stopof the notes G (an open string) and E.

Additionally in orchestration, notes may be placed into another register (such as transposed down for thebasses), doubled (both in the same and different octaves), and altered with various levels of dynamics. The choice of instruments, registers, and dynamics affect the overalltone color.If the C major chord was orchestrated for thetrumpetsandtrombonesplayingfortissimoin their upper registers, it would sound very bright; but if the same chord was orchestrated for thecellosanddouble bassesplayingsul tasto,doubled by thebassoonsandbass clarinet,it might sound heavy and dark.

Note that although the above example discussed orchestrating a chord, a melody or even a single note may be orchestrated in this fashion. Also note that in this specific sense of the word,orchestrationis not necessarily limited to an orchestra, as a composer mayorchestratethis same C major chord for, say, awoodwind quintet,astring quartetor aconcert band.Each different ensemble would enable the orchestrator/composer to create different tone "colours" and timbres.

Amelodyis also orchestrated. The composer or orchestrator may think of a melody in their head, or while playing the piano or organ. Once they have thought of a melody, they have to decide which instrument (or instruments) will play the melody. One widely used approach for a melody is to assign it to the first violins. When the first violins play a melody, the composer can have the second violins double the melody an octave below, or have the second violins play a harmony part (often in thirds and sixths). Sometimes, for a forceful effect, a composer will indicate in the score that all of the strings (violins, violas, cellos, and double basses) will play the melody inunison,at the same time. Typically, even though the instruments are playing the same note names, the violins will play very high-register notes, the violas and cellos will play lower-register notes, and the double basses will play the deepest, lowest pitches.

As well, thewoodwindsandbrass instrumentscan effectively carry a melody, depending on the effect the orchestrator desires. Thetrumpetscan perform a melody in a powerful, high register. Alternatively, if the trombones play a melody, the pitch will likely be lower than the trumpet, and the tone will be heavier, which may change the musical effect that is created. While thecellosare often given anaccompanimentrole in orchestration, there are notable cases where the cellos have been assigned the melody. In even more rare cases, the double bass section (or principal bass) may be given a melody, like, the high-register double bass solo inProkofiev'sLieutenant Kije Suite.

While assigning a melody to a particular section, such as the string section or the woodwinds will work well, as the stringed instruments and all the woodwinds blend together well, some orchestrators give the melody to one section and then have the melody doubled by a different section or an instrument from a different section. For example, a melody played by the first violins could be doubled by theglockenspiel,which would add a sparkling, chime-like colour to the melody. Alternatively, a melody played by the piccolos could be doubled by thecelesta,which would add a bright tone to the sound.

In the 20th and 21st century,contemporary composersbegan to incorporateelectricandelectronicinstruments into the orchestra, such as theelectric guitarplayed through aguitar amplifier,theelectric bassplayed through abass amplifier,theThereminand thesynthesizer.The addition of these new instruments gave orchestrators new options for creating tonal colours in their orchestration. For example, in the late 20th century and onwards, an orchestrator could have a melody played by the first violins doubled by a futuristic-soundingsynthesizeror athereminto create an unusual effect.

Orchestral instrumentation is denoted by an abbreviated formulaic convention,as follows:flute,oboe,clarinet,bassoon,horn,trumpet,trombone,tuba.More details can be contained in brackets. A dot separates one player from another, a slash indicates doubling. Timpani and percussion are denoted 2Tmp+ number of percussion.

For example, 3[1.2.3/pic] 2[1.Eh] 3[1.2.3/Ebcl/bcl] 3[1.2/cbn.cbn] tmp+2 is interpreted as:

• 3 flautists, the 3rd doubling on piccolo ( "doubling" means that the performer can play flute and piccolo)
• 2 oboists, the 2nd playing English horn throughout
• 3 clarinetists, the 3rd doubling also on E-flat clarinet and bass clarinet
• 3 bassoonists, the 2nd doubling on contrabassoon, the 3rd playing only contra
• Timpani+ 2 percussion.

As an example, Mahler Symphony 2 is scored: 4[1/pic.2/pic.3/pic.4/pic] 4[1.2.3/Eh.4/Eh] 5[1.2.3/bcl.4/Ebcl2.Ebcl] 4[1.2.3.4/cbn]- 10 8 4 1- 2tmp+4-2 hp- org- str.

Examples from the repertoire

J.S Bach

During theBaroqueera, composers showed increasing awareness of the expressive potential of orchestration. While some early Baroque pieces have no indication of which instruments should play the piece, the choice of instruments being left to the musical group's leader orconcertmaster,there are Baroque works which specify certain instruments. The orchestral accompaniment to the aria 'et misericordia' fromJ. S. Bach'sMagnificat,BWV 243 (1723) features muted stringsdoubledby flutes, a subtle combination of mellow instrumentaltimbres.

Orchestral introduction to 'et misericordia' from Bach's Magnificat, BWV 243.Listen

A particularly imaginative example of Bach's use of changing instrumental colour between orchestral groups can be found in his Cantata BWV 67,Halt im Gedächtnis Jesum Christ.In the dramatic fourth movement, Jesus is depicted as quelling his disciples’ anxiety (illustrated by agitated strings) by utteringFriede sei mit euch( "Peace be unto you"). The strings dovetail with sustained chords on woodwind to accompany the solo singer, an effectJohn Eliot Gardinerlikens to "a cinematic dissolve."

Bach, from Cantata BWV 67, 4th movement, bars 8-13

Bach, from Cantata BWV 67, 4th movement, bars 8-13

The orchestral introduction to the opening chorus of J. S. Bach'sepiphanyCantataSie werden aus Saba alle kommenBWV 65, whichJohn Eliot Gardiner(2013, p. 328) describes as "one of the crowning glories of Bach’s first Christmas season" further demonstrates the composer's mastery of his craft. Within a space of eight bars, we hear recorders,oboes da caccia,horns and strings creating a "glittery sheen" of contrasted timbres, sonorities and textures ranging from just two horns against a stringpedal pointin the first bar to a "restatement of the octave unison theme, this time by all the voices and instruments spread over five octaves" in bars 7-8:

Opening orchestral introduction to J.S. Bach's Cantata, BWV65.

Opening orchestral introduction to J.S. Bach's Cantata, BWV65.

In contrast, Bach’s deployment of his instrumental forces in the opening movement of hisSt John Passionevokes a much darker drama:

St John Passion, opening

St John Passion opening

“The relentless tremulant pulsation generated by the reiterated bass line, the persistent sighing figure in the violas and the violins the swirling motion in the violins so suggestive of turmoil… all contribute to its unique pathos. Over this ferment, pairs of oboes and flutes locked in lyrical dialogue but with anguished dissonances enact a very different kind of physicality, one that creates a harrowing portrayal of nails being driven into bare flesh.”

Igor Stravinsky (1959, p45) marvelled at Bach's skill as an orchestrator: "What incomparable instrumental writing is Bach's. You can smell the resin [(rosin)] in his violin parts, [and] taste the reeds in the oboes."

Rameau

Jean PhilippeRameauwas famous for "the eloquence of [his] orchestral writing which was something entirely new... - with a feeling for colour [(i.e., tone colour ortimbre)] that is altogether 'modern'. "In 'The Entrance of Polymnie' from his operaLes Boréades(1763), the predominant string texture is shot through with descending scale figures on the bassoon, creating an exquisite blend of timbres:

'L'Entrée de Polymnie' fromLes Boréadesby Rameau.

'L'Entrée de Polymnie' fromLes Boréadesby Rameau.

In the aria ‘Rossignols amoureux’ from his operaHippolyte et Aricie,Rameau evokes the sound of lovelorn nightingales by means of two flutes blending with a solo violin, while the rest of the violins play sustained notes in the background.

Rameau 'Rossignols amoureux' from Hippolyte et Aricie

Rameau 'Rossignols amoureux' from Hippolyte et Aricie

Haydn

JosephHaydnwas a pioneer of symphonic form, but he was also a pioneer of orchestration. In the minuet ofSymphony No. 97,"we can see whyRimsky-Korsakovdeclared Haydn to be the greatest of all masters of orchestration. The oom-pah-pah of a German dance band is rendered with the utmost refinement, amazingly by kettledrums and trumpets pianissimo, and the rusticglissando…is given a finicky elegance by the grace notes in the horns as well as by the doubling of the melody an octave higher with the solo violin. These details are not intended to blend, but to be set in relief; they are individually exquisite. "

Haydn, Symphony 97, third movement, bars 109-118

Haydn, Symphony 97, third movement, bars 109-118

Another example of Haydn's imagination and ingenuity that shows how well he understood how orchestration can support harmony may be found in the concluding bars of the second movement of hisSymphony No. 94(the "Surprise Symphony." ) Here, the oboes and bassoons take over the theme, while sustained chords in the strings accompany it with "soft, but very dissonant harmony."Flute, Horns and timpani add to the mix, all contributing to the "air of uncanny poignancy" that characterises this atmospheric conclusion.

Haydn, Symphony 94, second movement bars 143-156

Haydn, Symphony 94, second movement bars 143-156

Mozart

Mozart"was acutely sensitive to matters of instrumentation and instrumental effect where orchestral writing was concerned", including a "meticulous attitude towards the spacing of chords."H. C. Robbins Landonmarvels at the "gorgeous wash of colour displayed in Mozart’s scores."For example, the opening movement of theSymphony No. 39(K543) contains "a charming dialogue between strings and woodwind"that demonstrates the composer's exquisite aural imagination for the blending and contrast oftimbres.Bars 102-3 feature a widely spacedvoicingover a range of four octaves. The first and second violins weave curly parallel melodic lines, a tenth apart, underpinned by apedal pointin the double basses and a sustainedoctavein the horns. Wind instruments respond in bars 104–5, accompanied by a spidery ascendingchromaticline in the cellos.

Symphony 39, first movement, bars 102-119

Symphony 39, first movement, bars 102-105

A graceful continuation to this features clarinets and bassoons with the lower strings supplying the bass notes.

Symphony 39, first movement, bars 106-109

Next, a phrase for strings alone blendspizzicatocellos and basses with bowed violins and violas, playing mostly in thirds:

Symphony 39, first movement, bars 110-114

The woodwind repeat these four bars with the violins adding acounter-melodyagainst the cellos and basses playingarco.The violas add crucial harmonic colouring here with their D flat in bar 115. In 1792, an early listener marvelled at the dazzling orchestration of this movement "ineffably grand and rich in ideas, with striking variety in almost all obbligato parts."

Symphony 39, first movement, bars 115-119

"The main feature in [his] orchestration is Mozart’s density, which is of course part of his density of thought." Another important technique of Mozart's orchestration wasantiphony,the "call and response" exchange of musical motifs or "ideas" between different groups in the orchestra. In an antiphonal section, the composer may have one group of instruments introduce a melodic idea (e.g., the first violins), and then have the woodwinds "answer" by restating this melodic idea, often with some type of variation. In the trio section of the minuet from hisSymphony No. 41(1788), the flute, bassoons and horn exchange phrases with the strings, with the first violin linedoubledat theoctaveby the first oboe:

Trio section of the Minuet from Mozart's Symphony No. 41.

Trio section of the Minuet from Mozart's Symphony No. 41.

Charles Rosen (1971, p. 240) admires Mozart's skill in orchestrating his piano concertos, particularly theConcerto in E flat major, K482,a work that introduced clarinets into the mix. "This concerto places the greatest musical reliance on tone colour, which is, indeed, almost always ravishing. One lovely example of its sonorities comes near the beginning."

Mozart Piano Concerto K482 first movement bars 1-12

Mozart Piano Concerto K482 first movement bars 1-6

The orchestraltuttiin the first two bars is answered by just horns and bassoon in bars 2–6. This passage repeats with fresh orchestration:

Mozart Piano Concerto K482 first movement bars 7–12.

"Here we have the unusual sound on the violins providing the bass for the solo clarinets. The simplicity of the sequence concentrates all our interest on tone-colour, and what follows – a series of woodwind solos – keeps it there. The orchestration throughout, in fact, has a greater variety than Mozart had wished or needed before, and fits the brilliance, charm, and grace of the first movement and the finale."

Beethoven

Beethoven's innovative mastery of orchestration and his awareness of the effect of highlighting, contrasting and blending distinct instrumentalcoloursare well exemplified in theScherzoof hisSymphony No. 2.George Groveasks us to note "the sudden contrasts both in amount and quality of sound… we have first the full orchestra, then a single violin, then two horns, then two violins, then the full orchestra again, all within the space of half-a-dozen bars.""The scoring, a bar of this followed by a bar of that, is virtually unique, and one can visualize chaos reigning at the first rehearsal when many a player must have been caught unprepared."

Beethoven, Symphony 2 scherzo bars 1-8

Symphony 2 scherzo bars 1-8

Another demonstration of Beethoven's consummate skill at obtaining the maximum variety out of seemingly unprepossessing and fairly simple material can be found in the first movement of thePiano Concerto No. 5in E flat (‘The Emperor’) Opus 73 (1810). Thesecond subject of the sonata formis a deceptively simple tune that, according to Fiske (1970, p. 41) "is limited to notes playable on the horns for which it must have been specially designed."This theme appears in five different orchestrations throughout the movement, with changes ofmode(major to minor),dynamics(fortetopianissimo) and a blending of instrumentalcolourthat ranges from boldly statedtuttipassages to the most subtle and differentiated episodes, where instrumental sounds are combined often in quite unexpected ways:

Second subject theme from the first movement of Beethoven's Piano Concerto No. 5 (Emperor)

Second subject theme from the first movement of Beethoven's Piano Concerto No. 5 (Emperor)

The theme first appears in the minor mode during the orchestral introduction, performed usingstaccatoarticulation and orchestrated in the most delicate and enchanting colours:

Minor version of the theme

Minor version of the theme.

This is followed by a more straightforward version in the major key, with horns accompanied by strings. The theme is now playedlegatoby the horns, accompanied by a sustainedpedal pointin the bassoons. The violins simultaneously play an elaborated version of the theme. (See alsoheterophony.) The timpani andpizzicatolower strings add further colour to this variegated palette of sounds. "Considering that the notes are virtually the same the difference in effect is extraordinary":

Major version of the theme, with horns playing the melody

Major version of the theme, with horns playing the melody.

When the solo piano enters, its right hand plays a variant of the minor version of the theme in atripletrhythm, with the backing of pizzicato (plucked) strings on the off-beats:

Minor version of the theme, with piano right hand elaborating the melody in triplets

Minor key version of the theme, with piano right hand elaborating the melody in triplets.

This is followed by a boldtuttistatement of the theme, "with the whole orchestra thumping it out in aggressive semi-staccato.

Tutti statement of the theme

:

Tutti statement of the theme.

The minor version of the theme also appears in thecadenza,played staccato by the solo piano:

Solo piano statement of theme in the cadenza

Solo piano statement of theme in the cadenza.

This is followed, finally, by a restatement of the major key version, featuring horns playing legato, accompanied by pizzicato strings andfiligreearpeggio figuration in the solo piano:

Final statement of the theme in a major key by the horns after the end of the cadenza

Final statement of the theme in a major key by the horns after the end of the cadenza.

Fiske (1970) says that Beethoven shows "a superb flood of invention" through these varied treatments. "The variety of moods this theme can convey is without limit."

Berlioz

The most significant orchestral innovator of the early 19th century was HectorBerlioz.(The composer was also the author of aTreatise on Instrumentation.) "He was drawn to the orchestra as his chosen medium by instinct… and by finding out the exact capabilities andtimbresof individual instruments, and it was on this raw material that his imagination worked to produce countless new sonorities, very striking when considered as a totality, crucially instructive for later composers, and nearly all exactly tailored to their dramatic or expressive purpose. "Numerous examples of Berlioz's orchestral wizardry and his penchant for conjuring extraordinary sonorities can be found in hisSymphonie fantastique.The opening of the fourth movement, entitled "March to the Scaffold" features what for the time (1830) must have seemed a bizarre mix of sounds. The timpani and the double basses play thick chords against the snarling muted brass:

March to the Scaffold from theSymphonie fantastique

Berlioz, March to the Scaffold from theSymphonie fantastique

"Although he derives from Beethoven, Berlioz uses features that run counter to the rules of composition in general, such as the chords in close position in the low register of the double basses."

Berlioz was also capable of conveying great delicacy in his instrumental writing. A particularly spectacular instance is the "Queen Mab"scherzo from theRomeo et Juliettesymphony, whichHugh Macdonald(1969, p51) describes as "Berlioz’s supreme exercise in light orchestral texture, a brilliant, gossamer fabric,prestissimoandpianissimoalmost without pause:

Berlioz, Queen Mab scherzo from Romeo et Juliette

Berlioz, Queen Mab scherzo from Romeo et Juliette

Boulez points out that the very fast tempo must have made unprecedented demands on conductors and orchestras of the time (1830), "Because of the rapid and precise rhythms, the staccatos which must be even and regular in all registers, because of the isolated notes that occur right at the end of the bar on the third quaver…all of which must fall into place with absolutely perfect precision."

Macdonald highlights the passage towards the end of the scherzo where "The sounds become more ethereal and fairylike, low clarinet, high harps and the bell-like antique cymbals…The pace and fascination of the movement are irresistible; it is some of the most ethereally brilliant music ever penned."

Berlioz, orchestral texture from Queen Mab scherzo

Berlioz, orchestral texture from Queen Mab scherzo

TheNew Grove Dictionarysays that for Berlioz, orchestration "was intrinsic to composition, not something applied to finished music...in his handstimbrebecame something that could be used in free combinations, as an artist might use his palette, without bowing to the demands of line, and this leads to the rich orchestral resource of Debussy and Ravel. "

Wagner

After Berlioz,Richard Wagnerwas the major pioneer in the development of orchestration during the 19th century.Pierre Boulezspeaks of the "sheer richness of Wagner’s orchestration and his irrepressible instinct for innovation."Peter Latham says that Wagner had a "unique appreciation of the possibilities for colour inherent in the instruments at his disposal, and it was this that guided him both in his selection of new recruits for the orchestral family and in his treatment of its established members. The well-known division of that family into strings, woodwind, and brass, with percussion as required, he inherited from the great classical symphonists such changes as he made were in the direction of splitting up these groups still further." Latham gives as an example, the sonority of the opening of the operaLohengrin,where "the ethereal quality of the music" is due to the violins being "divided up into four, five, or even eight parts instead of the customary two."

Wagner, Prelude to LohengrinListen

"The A major chord with which theLohengrinPrelude begins, in the high register, usingharmonicsand held for a long time, lets us take in all its detail. It is undoubtedly an A major chord, but it is also high strings, harmonics, long notes – which gives it all its expressivity, but an expressivity in which the acoustic features play a central role, as we have still heard neither melody nor harmonic progression. " As he matured as a composer, particularly through his experience of composingThe RingWagner made "increasing use of the contrast between pure and mixedcolours,bringing to a fine point the art of transition from one field of sonority to another. "For example, in the evocative "Fire Music" that concludesDie Walküre,"the multiplearpeggiationsof the wind chords and thecontrary motionin the strings create an oscillation of tone-colours almost literally matching the visual flickering of the flames. "

Wagner Fire Music fromDie Walküre

Wagner Fire Music fromDie Walküre

Robert Craftfound Wagner's final operaParsifalto be a work where "Wagner’s powers are at their pinnacle… The orchestral blends and separations are without precedent."Craft cites the intricate orchestration of the single line of melody that opens the opera:

Parsifal Prelude Opening

Parsifal Prelude Opening

"Parsifalmakes entirely new uses of orchestral colour… Without the help of the score, even a very sensitive ear cannot distinguish the instruments playing the unison beginning of the Prelude. The violins are halved, then doubled by the cellos, a clarinet, and a bassoon, as well as, for the peak of the phrase, an alto oboe [cor anglais]. The full novelty of this colour change with the oboe, both as intensity and as timbre, can be appreciated only after the theme is repeated in harmony and in one of the most gorgeous orchestrations of even Wagner’s Technicolorimagination."

Later, during the opening scene of the first act ofParsifal,Wagner offsets the bold brass with gentler strings, showing that the same musical material feels very different when passed between contrasting families of instruments:

Contrasting orchestral groups from the Prelude to the first Act of Parsifal

Contrasting orchestral groups from the Prelude to first Act of Parsifal

On the other hand, the prelude to the operaTristan and Isoldeexemplifies the variety that Wagner could extract through combining instruments from differentorchestral familieswith his precise markings ofdynamicsandarticulation.In the opening phrase, the cellos are supported by wind instruments:

Wagner, Tristan Prelude, opening

Wagner, Tristan prelude, opening.

When this idea returns towards the end of the prelude, theinstrumental colorsare varied subtly, with sounds that were new to the 19th century orchestra, such as thecor anglaisand thebass clarinet.These, together with the ominous rumbling of the timpani effectively convey the brooding atmosphere:

Wagner, Tristan Prelude, closing bars

Wagner, Tristan Prelude, closing bars.

"It’s impressive to see how Wagner… produces balance in his works. He is true genius in this respect, undeniably so, even down to the working out of the exact number of instruments." Boulez is "fascinated by the precision with which Wagner gauges orchestral balance, [which]… contains a multiplicity of details that he achieved with astonishing precision."According toRoger Scruton,"Seldom since Bach's inspired use ofobbligatoparts in his cantatas have the instruments of the orchestra been so meticulously and lovingly adapted to their expressive role by Wagner in his later operas. "

Mahler

William Austin (1966) says "Mahlerexpanded the orchestra, going ahead to a historic climax in the direction already marked byBeethoven,BerliozandWagner…The purpose of this famous expansion was not a sheer increase in volume, but a greater variety of sound with more nearly continuous gradations… Mahler only occasionally required all his vast orchestra to play together, and his music was as often soft as loud. Its colours were continually shifting, blending or contrasting with each other. "Adorno(1971) similarly describes Mahler's symphonic writing as characterised by "massive tutti effects" contrasted with "chamber-music procedures".The following passage from the first movement of his Symphony No. 4 illustrates this:

Mahler, Symphony No. 4, first movement, Fig 5

Mahler, Symphony No. 4, first movement, Figure 5.

Only in the first bar of the above is there a full ensemble. The remaining bars feature highly differentiated small groups of instruments. Mahler's experienced conductor's ear led him to write detailed performance markings in his scores, including carefully calibrated dynamics. For example, in bar 2 above, the low harp note is markedforte,the clarinets,mezzo-forteand the hornspiano.Austin (1966) says that "Mahler cared about the finest nuances of loudness and tempo and worked tirelessly to fix these details in his scores." Mahler's imagination for sonority is exemplified in the closing bars of the slow movement of the Fourth Symphony, where there occurs whatWalter Piston(1969, p. 140) describes as "an instance of inspired orchestration… To be noted are the sudden change of mode in the harmonic progression, the unusual spacing of the chord in measure 5, and the placing of the perfect fourth in the two flutes. The effect is quite unexpected and magical."

Mahler Symphony No 4, third movement, Figure 13.

Mahler Symphony No 4, third movement, Figure 13.

According to Donald Mitchell, the "rational basis" of Mahler's orchestration was "to enable us to comprehend his music by hearing precisely what was going on."

Debussy

Apart from Mahler andRichard Strauss,the major innovator in orchestration during the closing years of the nineteenth and the first decades of the twentieth century was ClaudeDebussy.According to PierreBoulez(1975, p20) "Debussy’s orchestration… when compared with even such brilliant contemporaries as Strauss and Mahler… shows an infinitely fresher imagination." Boulez said that Debussy's orchestration was "conceived from quite a different point of view; the number of instruments, their balance, the order in which they are used, their use itself, produces a different climate." Apart from the early impact ofWagner,Debussy was also fascinated by music from Asia that according to Austin "he heard repeatedly and admired intensely at the Paris World exhibition of 1889".

Both influences inform Debussy's first major orchestral work,Prelude a l’après-midi d’un faune(1894). Wagner's influence can be heard in the strategic use ofsilence,the sensitively differentiated orchestration and, above all in the strikinghalf-diminished seventhchord spread between oboes and clarinets, reinforced by aglissandoon the harp. Austin (1966, p. 16) continues "Only a composer thoroughly familiar with theTristan chordcould have conceived the beginning of theFaune."

Debussy, Prelude a l'apres midi d'un faune, opening bars

Later in theFaune,Debussy builds a complex texture, where, as Austin says, "Polyphonyand orchestration overlap...He adds to all the devices ofMozart,Weber,Berliozand Wagner the possibilities that he learned from theheterophonicmusic of the Far East.... The first harp varies the flute parts in almost the same way that the smallest bells of aJavanesegamelanvary the slower basic melody. "

Debussy, Prelude a l'apres midi d'un faune, Figure 7, bars 11-13

Debussy's final orchestral work, the enigmatic balletJeux(1913) was composed nearly 20 years after theFaune.The opening bars feature divided strings, spread over a wide range, a harp doubling horns with the addition of the bell-likecelestain the 5th bar and the sultry voicing of thewhole tonechords in the woodwind:

Debussy,Jeux opening bars

Jensen (2014, p. 228) says "Perhaps the greatest marvel ofJeuxis its orchestration. While working on the piano score, Debussy wrote: ‘I am thinking of that orchestral colour which seems to be illuminated from behind, and for which there are such marvellous displays inParsifal’ The idea, then, was to produce timbre without glare, subdued... but to do so with clarity and precision. "

As adaptation

In a more general sense,orchestrationalso refers to the re-adaptation of existing music into another medium, particularly a full or reduced orchestra. There are two general kinds of adaptation:transcription,which closely follows the original piece, andarrangement,which tends to change significant aspects of the original piece. In terms of adaptation,orchestrationapplies, strictly speaking, only to writing for orchestra, whereas the terminstrumentationapplies to instruments used in the texture of the piece. In the study of orchestration – in contradistinction to the practice – the terminstrumentationmay also refer to consideration of the defining characteristics of individual instruments rather than to the art of combining instruments.

In commercial music, especially musical theatre and film music, independent orchestrators are often used because it is difficult to meet tight deadlines when the same person is required both to compose and to orchestrate. Frequently, when a stage musical is adapted to film, such asCamelotorFiddler on the Roof,the orchestrations for the film version are notably different from the stage ones. In other cases, such asEvita,they are not, and are simply expanded versions from those used in the stage production.

Most orchestrators often work from a draft (sketch), orshort score,that is, a score written on limited number of independentmusical staves.Some orchestrators, particularly those writing for theoperaormusic theatres,prefer to work from a pianovocal scoreup, since the singers need to start rehearsing a piece long before the whole work is fully completed. That was, for instance, the method of composition ofJules Massenet.In other instances, simple cooperation between various creators is utilized, as whenJonathan TunickorchestratesStephen Sondheim's songs, or when orchestration is done from alead sheet(a simplified music notation for a song which includes just the melody and thechord progression). In the latter case, arranging as well as orchestration will be involved.

Film orchestration

Due to the enormous time constraints of film scoring schedules, most film composers employ orchestrators rather than doing the work themselves, although these orchestrators work under the close supervision of the composer. Somefilm composershave made the time to orchestrate their own music, includingBernard Herrmann(1911–1975),Georges Delerue(1925–1992),Ennio Morricone(1928–2020),John Williams(born 1932) (his very detailed sketches are 99% orchestrated),Howard Shore(born 1946),James Horner(1953–2015) (on Braveheart),Bruno Coulais(born 1954),Rachel Portman(born 1960),Philippe Rombi(born 1968) andAbel Korzeniowski(born 1972).

Some staff composers at the Walt Disney studios during the 1930s and 1940s (except forFrank Churchill) had orchestrated their own music, such asPaul J. Smith(onSnow White and the Seven Dwarfs,Pinocchio,The Three Caballeros,andFun and Fancy Free. Leigh Harline(onSnow WhiteandPinocchio),Oliver Wallace(onDumbo) andEdward H. Plumb(onBambi). These composers alsodevelopedthemes and songs that Churchill had written. Plumb continued to provide numerous film orchestrations at the Disney studios until his death in 1958.

Although there have been hundreds of orchestrators in film over the years, the most prominent film orchestrators for the latter half of the 20th century wereJack Hayes,Herbert W. Spencer,Edward Powell(who worked almost exclusively withAlfred Newman),Arthur Morton,Greig McRitchie, andAlexander Courage.Some of the most in-demand orchestrators today (and of the past 30 years) includeJeff Atmajian,Pete Anthony,Brad Dechter(James Newton Howard, Christopher Young, Theodore Shapiro, Teddy Castellucci, Danny Elfman, John Powell, Marco Beltrami, John Debney, Marc Shaiman, Michael Giacchino, Ludwig Göransson),Conrad Pope(John Williams, Alexandre Desplat, Jerry Goldsmith, James Newton Howard, Alan Silvestri, James Horner, Mark Isham, John Powell, Michael Convertino, Danny Elfman, Howard Shore),Eddie Karam(John Williams, James Horner),Bruce Fowler(Hans Zimmer, Klaus Badelt, Harry Gregson-Williams, Steve Jablonsky, Mark Mancina, John Powell),John Ashton Thomas(John Powell, John Debney, Alan Silvestri, James Newton Howard, Henry Jackman, Lyle Workman, Theodore Shapiro, John Ottman, John Paesano, Alex Heffes, Christophe Beck, Carter Burwell),Robert Elhai(Elliot Goldenthal, Michael Kamen, Ed Shearmur, Brian Tyler, Klaus Badelt, Ilan Eshkeri) andJ.A.C. Redford(James Horner, Thomas Newman).

Conrad Salingerwas the most prominent orchestrator of MGM musicals from the 1940s to 1962, orchestrating such famous films asSingin' in the Rain,An American in Paris,andGigi.In the 1950s, film composerJohn Williamsfrequently spent time with Salinger informally learning the craft of orchestration.Robert Russell Bennett(George Gershwin, Rodgers and Hammerstein) was one of America's most prolific orchestrators (particularly of Broadway shows) of the 20th century, sometimes scoring over 80 pages a day.

Process

Most films require 30 to 120 minutes of musical score. Each individual piece of music in a film is called a "cue". There are roughly 20-80 cues per film. A dramatic film may require slow and sparse music while an action film may require 80 cues of highly active music. Each cue can range in length from five seconds to more than ten minutes as needed per scene in the film. After the composer is finished composing the cue, this sketch score is delivered to the orchestrator either as hand written or computer generated. Most composers in Hollywood today compose their music using sequencing software (e.g.Digital Performer,Logic Pro,orCubase). A sketch score can be generated through the use of aMIDIfile which is then imported into amusic notation programsuch asFinaleorSibelius.Thus begins the job of the orchestrator.

Every composer works differently and the orchestrator's job is to understand what is required from one composer to the next. If the music is created with sequencing software then the orchestrator is given a MIDI sketch score and a synthesized recording of the cue. The sketch score only contains the musical notes (e.g. eighth notes, quarter notes, etc.) with no phrasing, articulations, or dynamics. The orchestrator studies this synthesized "mockup" recording listening to dynamics and phrasing (just as the composer has played them in). They then accurately try to represent these elements in the orchestra. However some voicings on a synthesizer (synthestration) will not work in the same way when orchestrated for the live orchestra.

The sound samples are often doubled up very prominently and thickly with other sounds in order to get the music to "speak" louder. The orchestrator sometimes changes these synth voicings to traditional orchestral voicings in order to make the music flow better. He may move intervals up or down the octave (or omit them entirely), double certain passages with other instruments in the orchestra, add percussion instruments to provide colour, and add Italian performance marks (e.g. Allegro con brio, Adagio, ritardando, dolce, staccato, etc.). If a composer writes a large action cue, and no woodwinds are used, the orchestrator will often add woodwinds by doubling the brass music up an octave. The orchestra size is determined from the music budget of the film.

The orchestrator is told in advance the number of instruments he has to work with and has to abide by what is available. A big-budget film may be able to afford aRomantic music era-orchestra with over 100 musicians. In contrast, a low-budgetindependent filmmay only be able to afford a 20 performerchamber orchestraor ajazz quartet.Sometimes a composer will write a three-part chord for three flutes, although only two flutes have been hired. The orchestrator decides where to put the third note. For example, the orchestrator could have the clarinet (a woodwind that blends well with flute) play the third note. After the orchestrated cue is complete it is delivered to the copying house (generally by placing it on a computer server) so that each instrument of the orchestra can be electronically extracted, printed, and delivered to the scoring stage.

The major film composers in Hollywood each have a lead orchestrator. Generally the lead orchestrator attempts to orchestrate as much of the music as possible if time allows. If the schedule is too demanding, a team of orchestrators (ranging from two to eight) will work on a film. The lead orchestrator decides on the assignment of cues to other orchestrators on the team. Most films can be orchestrated in one to two weeks with a team of five orchestrators. New orchestrators trying to obtain work will often approach a film composer asking to be hired. They are generally referred to the lead orchestrator for consideration. At the scoring stage the orchestrator will often assist the composer in the recording booth giving suggestions on how to improve the performance, the music, or the recording. If the composer is conducting, sometimes the orchestrator will remain in the recording booth to assist as a producer. Sometimes the roles are reversed with the orchestratorconductingand the composer producing from the booth.

Texts

• Michael Praetorius(1619):Syntagma Musicumvolume two,De Organographia.
• Valentin Roeser (1764):Essai de l'instruction à l'usage de ceux, qui composent pour la clarinet et le cor.
• Hector Berlioz(1844), revised in 1905 byRichard Strauss:Grand traité d’instrumentation et d’orchestration modernes(Treatise on Instrumentation).
• François-Auguste Gevaert(1863):Traité general d’instrumentation.
• Charles-Marie Widor(1904):Technique de l’orchestre moderne(Manual of Practical Instrumentation).
• Nikolay Rimsky-Korsakov(1912):Основы оркестровки(Principles of Orchestration).
• Cecil Forsyth(1914; 1935):Orchestration.This remains a classic workalthough the ranges and keys of some brass instruments are obsolete
• Alfredo Casella:(1950)La Tecnica dell'Orchestra Contemporanea.
• Charles Koechlin(1954–9):Traité de l'Orchestration(4 vols).
• Walter Piston(1955):Orchestration.
• Henry Mancini(1962): Sounds and Scores: A Practical Guide to Professional Orchestration.
• Stephen Douglas Burton (1982):Orchestration.
• Samuel Adler(1982, 1989, 2002, 2016):The Study of Orchestration.
• Kent Kennan&Donald Grantham:(1st ed. 1983)The Technique of Orchestration.A 6th edition (2002) is available.
• Nelson Riddle(1985):Arranged by Nelson Riddle
• Perone, James E. (1996).Orchestration Theory: A Bibliography.Music reference collection, Number 52.Greenwood Press.ISBN0-313-29596-4.
• Alfred Blatter (1997):Instrumentation and Orchestration (Second edition).

See also

• Musical notation
• Elastic scoring
• Klangfarbenmelodie
• Orchestral enhancement
• Arrangement
• Instrumentation

External links

• Rimsky-Korsakov's Principles of OrchestrationatProject Gutenberg– full, searchable text with music images, mp3 files, and MusicXML files
• Rimsky-Korsakov'sPrinciples of Orchestration(full text with "interactive scores" )
• The Orchestra: A User's Manualby Andrew Hugill with The Philharmonia Orchestra. In depth information on orchestration including examples and video interviews with instrumentalists of each instrument.
• Books about Music: OrchestrationAn overview of books on the theory and practice of orchestration.