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1a
NORMAN LUDWIN
The instrumental makeup of an orchestra has varied a great deal over time and can
even vary significantly from piece to piece. Below is a list for four approximate
orchestra sizessmall, medium, large, and very large.The goal of these numbers is
to create a balanced ensemble for a live performance. As one section grows larger,
the others must grow simultaneously to maintain a balanced ensemble.
The string section is always made up of five sectionsViolin I, Violin II, Viola,
Cello and Double Bass. The smaller instruments generate less sound per
instrument, so they require increased numbers to achieve a balanced sound. As
a result, each violin section will outnumber the viola section, which will
outnumber the cello section, which will outnumber the bass section.
Notably, the string numbers are already reflected in most samples. For instance,
Vienna Symphonic Library has released string samples in three sizeschamber,
standard and appassionato strings. The numbers during each recording sessions
were: chamber (6 violins, 4 violas, 3 cellos and 2 basses; standard (14 violins,
10 violas, 8 cellos, and 6 basses); appassionato (20 violins, 14 violas, 12 cellos,
and 10 basses).
As an example, I played on the Oscar winner motion picture UP, that had 15
Violin I, 12 Violin II, 12 Viola, 10 Cello and 7 Double Bass players.
When notating an orchestral score, you do not need to specify string numbers.
Simply indicating Violin I, Violin II, Viola, Cello and Double Bass is sufficient.
On the other hand, specific numbers for woodwind, brass and percussion are
required.
1 Flute
2 Oboes
2 Clarinets
2 Bassoons
2 Horns in C
Violin I
Violin II
Viola
Cello
Double Bass
The graph shows the instrumental usage as a percentage of total measures. For instance, the
movement consists of 294 measures, and the Violin I section played in 98% of them.
Several observations should be made immediately. First, the strings perform nearly continuously
throughout the work. Second, the woodwinds are used extensively but less frequently than the strings.
Third, the brass section is very small and used comparatively infrequently. Fourth, Mozart chose to
bypass percussion entirely. Even if Mozart had chosen to include timpani (or trumpets), it would have
been used sparingly. All of the above trends are characteristic of Mozart's time period.
2 Oboes
2 Clarinets in A
2 Bassoons
4 Horns
2 Trumpets
3 Trombones
1Tuba
Timpani
Violin I
Violin II
Viola
Cello
Double Bass
Here, we can immediately see that the orchestra has expanded, primarily with additions to the brass and
percussion section. Below is a graph showing how frequently Tchaikovsky used the instruments in his first
movement.
9
10
Bass Drum
Tam-Tam
Xylophone
Triangle
Hammer
Glockenspiel
2 Harps
(3rd
4 Oboes
and
English Horn)
4th
doubling on
Bass Clarinet
Snare Drum
Cymbals
8 Horns
Violin I
6 Trumpets
Violin II
4 Trombones
Viola
1 Tuba
Cello
2 Timpani
Double Bass
Obviously, the orchestra for which Mahler writes is quite large. The woodwind, brass and
percussion sections have all expanded, and the numbers in the string section would have to expand
to balance the full ensemble.
Below is a graph showing how frequently Mahler used the instruments in his first movement.
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12
13
2 Oboes
Snare Drum
Taiko Drums
Cymbals
Xylophone
Harp
Piano
Violin I
Violin II
Viola
4 Horns
Cello
3 Trumpets
Double Bass
1 Cimbasso
Timpani
Bass Drum
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Here, the instrumentation most resembles that of the Mahler Symphony, with several
significant changes. Notably, a cimbasso is used in lieu of a tuba. The cimbasso is a
valved brass instrument with a range similar to that of the tuba but with a bore more like
a trombone. In addition, the percussion section has been expanded and includes several
ethnic drums. The taiko and shime daiko drums are both Japanese in origin, with the
taiko drum being the larger of the two.
Notably, the score specifies 26 Violins (presumably 14 Violin I and 12 Violin II), 10
Viola, 8 Cello and 6 Double Bass.
Below is a graph showing how frequently each instrument was used in the cue.
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As with the classical works, the strings are the instruments most frequently called upon.
Similar to Mahler, the woodwind and brass instruments are used extensively, but slightly
less frequently than the strings. The chief difference between this piece and the Mahler
Symphony is the extensive and nearly continuous use of percussion. The percussion is now
on par with the remainder of the orchestra.
The primary takeaway here is that the string section has always been the heart of the
orchestra. In the case of contemporary film and concert music, the string section remains
the primary focus of orchestral writing, though all instruments are used extensively with
the brass and percussion family being much more significant than in the past.
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In the
woodwind
family, the
piccolo, alto
flute, English
horn,
contrabassoo
n and the
most
common
clarinets are
all
transposing
instruments.
22
In the brass
section, the
horn and the
Bb trumpet
are
transposing
instruments.
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In the
percussion
family, the
crotales,
glockenspiel,
xylophone
and celesta
are
transposing
instruments.
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rehearsal or live
performance, the
conductor will follow
the score (or memorize
it).
Score Layout
The orchestral
instruments are
Flutes
Oboes
English Horn
Clarinets
Bass Clarinet
Bassoons
Contrabassoons
Horns I and II
Horns III and IV
Trumpets
Trombones
Tuba
Timpani
Percussion
Harp
Piano/Celesta
Violin I
Violin II
Viola
Cello
Double Bass
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27
#
" !!
#!
" !
% #!
!
% #!
!
#!
" !
Trombone
% #!
!
Bass Trombone
% #!
!
% #!
!
% !
!
!
!
!
!
#!
" !
Flute
#!
" !
Alto Flute
28
Allegro q = 120
Piccolo
#
" !!
Oboe
#
" !!
English Horn
#
" !!
Clarinet in Eb
#!
" !
Clarinet in Bb
Bass Clarinet
in Bb
Bassoon
Contrabassoon
"
!
#!
" !
#
" !!
Horn in F
Trumpet in Bb
Tuba
Timpani
Percussion
Harp
Piano/Celesta
Violin I
"
!&
"&
#
#
#
" !!
% #!
!
#!
" !
% #!
!
Violin II
#!
" !
#
" !!
Allegro q = 120
Viola
' # !!
Violoncello
% #!
!
% #!
!
Double Bass
"
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Notably, if two parts are on a single staff and there is only one written note, some
confusion can occur. If you wish both players to play the part, mark the passage with the
term "a2". To indicate only player one should be playing, mark the part either "1." or
"1". Likewise, "2." or "2" indicates only the second player should play. If legibility
becomes a concern, it is best to place the parts on two staves connected by a subbracket.
As yet another alternative, you can place both parts on a single staff and break them
into separate voices. Voice 1 is placed at the top of the staff with stems upward and will
be played by player 1. Voice 2 is placed at the bottom of the staff with stems
downward and will be played by player 2.
As a result, the two notations below would be equivalent.
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In the score, instruments that are not "C instruments" can be notated at
either the sounding or written pitch, with the former called a "C
Score" (sometimes called a Concert Score, though this term is erroneous
as not all parts are written at their concert pitch) and the latter a
"Transposed Score".
Notably, not all instruments are written at their sounding pitch in a C
score. More specifically, instruments that are in C but transpose by the
octave (such as Piccolo, Double Bass, and Glockenspiel) are written at
their transposed pitch. This creates a score in C rather than a concert
pitch score.
In the case of a transposed score, it is customary to give transposing
instruments different key signatures to minimize accidentals. For
instance, if the piece is in C major, then the F Horn will be given a Gmajor key signature in a transposed score.
Given these considerations, the two scores below are equivalent.
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Certainly, there are pros and cons to both methods. In the case of a
transposed score, the conductor and players are looking at the same
pitches during a rehearsal, performance or recording session. Note:
Parts for the players are always written at the transposed pitch
and not the sounding pitch.
From the perspective of the orchestrator or composer, C scores are
easier to analyze harmonically, since no transposition is required
when deciphering chords.
Pros and cons aside, the vast majority of classical scores are
transposed scores, while C scores are generally favored by today's
film score industry.
Notably, the use of a C score does not relieve the orchestrator or
composer of a thorough knowledge of transposition. Individual parts
are always written at the transposed pitch and the orchestrator must
be able to quickly transpose parts when conversing with players.
Le Tombeau de Ravel
Norman Ludwin
36
Andante q = 70
7
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& # 44
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47
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37