

Instrument Ranges Timbral Characteristics Dynamic Curves Additional Comments


  


Shrill


© 2007 D. J. Prescott


 
Bright + clear

   
Piccolo

Weak, but





soft + mellow


Sounds 1 Octave Higher Flutes -More agile than flute

  
-Faster articulations

   

Piccolo -Dynamic curve similar to flute but with exaggerated
contrast
-Solo piccolo in mid+low registers - valuable voice

  
D4 — C7
Quiet, easily covered, Shrill + -High piano (p) - still shines through orchestral tutti


  
hauntingly hollow Clear + brilliant penetrating

   
  
sound Sweet, but with Flute

 

Only use B6 upwards at the

    
little carrying -Agile -2+ = Increased mass, not volume
end of an upward-rushing f-fff scale. power



  
 
-Fast articulations -Double, triple+flutter tonguing

      
 -Rapid scales -Wide leaps

 
Flute -Intonation good except from G6 upwards:
Also at this register, 2 flutes produce obvious
B3 — D7
These trills and tremolos are Pinched + beats which are more obvious with 4ths+5ths, less
Cold + weak,

  
so with 3rds+6ths -Easily masked below C5 (above mid C)

 
unplayable on the flute. ineffective

 
but luscious

 
Warm, prominent, Thin, but clear
Oboe
 
 
reedy, + poignant

  
Oboes -Agile -Vibrato - standard element

 
-Expressive -Trills+ornaments sound clear
Oboe
  

  

-Precise staccatos -All trills+tremolos possible (trems wider
-Rapid scales than perfect 4th are awkward)
These notes are hard to play at -Smooth legato - even with wide leaps
Bb3 — A6 -Double, triple tonguing. Flutter tonguing rare but possible
dynamics less than mf. Thick, heavy, wild

 

+ hard to subdue



English Horn

Thin, pinched

 

Sounds Written Mellow, reedy,

 
-As agile as oboe

(perfect 5th


lower) sonorous
-More delicate and slightly quieter than oboe

English Horn
   -Precise attack


-Pointed staccatos
E3 — B5 B3 — F#6
-Rich in upper partials
Bb Clarinet Eb Clarinet Piercing, shrill,

    
A Clarinet Deep, rich

   

Sounds flute-like


Sounds Sounds All written Written

   
+ intense
 
(minor 3rd

    
lower)
(major 2nd
lower)
(minor 3rd
higher) 'Throat tones': Clarinet -'Eb' more shrill without much chalumeau
rather pale, fuzzy Clarinets -Agile -All major+minor 2nd trills possible

 
   
    
+ lifeless (written)


(Written)
-Smooth legatos (tricky ones listed opposite)

 
Clarinet     -Tremolos - good -No problem crossing break from Bb4-B4


-Staccato not as pointed as double reeds, so should be

   G3 — C7
 Chalumeau register: Clarino register:
bright, incisive,  compensated for when used with oboes and/or bassoons
-Dynamic range greater than other woodwinds - all dynamics


E3 — A6 Avoid major 2nd trills expressive are available in all registers (attacks can be almost inaudible)


D3 — G6
# #
C 3—F 6 on these notes, when the deep, rich + dark
Clarino register: Bass Clarinet
 
part is solo, or exposed.



Sounds Written Thin, but clear

 
(major 9th OK when used in tutti. diffused + windy -Agile - almost as much as clarinet






lower) -Fluid
    -Useful ensemble voice - gives clarity to cellos + d. basses
 
Bass Clarinet in Bb
-Solo - distinguished + strikingly individual tone

b 
D 2 — G5
Chalumeau register:
deep, rich, very dark +
mellow - goblinesque
Eb3 — A6

   
Thin + often pinched

        
Sweet, more subdued,

  
  
Thin, but intense Bassoon
 
     
  ,    or   )
but expressive, horn-like,

 
-Often doubles string melodies in unison, or in 8va below

(

    
transparent + Bassoons
    blends well
  -Agile - except lowest 5th and above G4:
 
 
 
Bassoon -Rapid tonguing - single usual, but double

   
+ triple also possible -Wide leaps
Avoid trills (major or minor 2nd) Very focused, nasal, bright + unique -Rapid loud or low passages need lots of breath
Bb1 — E5
from low Gb downwards, or on -Excellent as solo voice in upper range
all Db's, Eb's, Gb's or on A4. Sonorous, brittle, Poor quality, -Divide tricky rapid passages below F2 between 2 bassoons

 
dark, vibrant, sinister Rough, but focused


easily masked Double Bassoon


+ dry (soft attacks + expressive


-Expressive -Well-focused

 
and true pp's impossible)
  

-Slightly less agile than bassoon, so make parts simpler
Double Bassoon
  -Good bass to p-mf brass or woodwind ensemble

 
-Reedy and growly
Sounds 1 Octave Lower -Adds unobtrusive pitch centre to low double basses
Bb1 — C5 -Often doubles double basses in unison and doubles
Growly, brittle, Hard to play cellos in 8va below


 
dark + full

 
Brilliant, loud ppp-p Horn -Stopped notes:Soft=Delicate, Loud=Ominous bite!
 
 
Sounds written Sounds
Bright + heroic + exciting Horns -Not very agile - leaps over 1 8ve should be used sparingly
 
above

      
  
(perfect 5th Deep + solid

  
  
   
written A4. (written)
lower) -Tonguing is less incisive than other brasses, but pro players
 can perform double, triple and flutter tonguing

 
Horn in F
 
-Trills: i)Lip-commonest+smoothest type. Most whole-step
 D2 — C6   Warm, expressive
lip trills above written Bb4, above mid C, are possible
ii)Valve-Best are minor 2nds throughout whole range
G1 — F5 Pedal tones (black notes) ppp-mp = Haunting + dark Brilliant, -High notes lack accuracy+security, more so in soft passages
Dark, unfocused,

  
and lower range: write only mf-fff = Heroic + brilliant but strident

  
Trumpet

weak, + easily


 
as long holding notes.

 
covered -Very agile - rapid passages, wide leaps
Trumpets

  



-Rapid tonguing easy - double, triple or flutter
 

-Trills: All major + minor 2nds possible

Trumpet in C
 
-Tremolos: minor 3rds+up are hard to play fast, but possible
Clear, bright, + if both pitches require little or no change of fingering


most articulate -Slurs: All possible, but bigger than 1 8ve ascending and
F#3 — D6 bigger than a 6th descending are difficult
Rather dull

 
 
     
  
 
Firm, powerful, Very intense Tenor Trombone -Glissandi

 
   
rich + -Responsive and flexible -Legato tonguing used frequently


Trombones

        
    
sonorous -Agile from Bb3 upwards (less so below that):


   
 
Tenor Trombone -Rapid tonguing easy - double, triple or flutter
-Good balance with orchestra in any voicing


All Trombones:- -Chords in open or close voicing - good -Fast-moving passages
E2 — D5 ppp-pp = Soft cushion of sound -Unison or 8ve doubling - good are unidiomatic
Dark, less strong, p-mp = Horn-like + mellow -Sustained chords good, but not for too long above mf
Pedal tones: Bb1 is easily playable. Below that

 
+ tubby, but

 
mf-fff = Assertive, massive + powerful
the notes become increasingly insecure. G1 is good pitch focus Very
Bass Trombone

 
usually the bottom limit for most players. -Darker, more somber tone

 
Deep + solid powerful


      
   -More secure lower range + pedal tones
Bass Trombone
  -Requires more breathing spaces in music passages

      
-Glissandi

C2 — D5
Pedal tones: Full sound with great carrying
Heavy + quite strong Getting weaker

  
  
power. More secure than Tenor Trombone's but quite intense, Tuba
pedal tones. Do not make them very rapid. Very strong, + strained -Agile
 
  

Tubas
 
smooth, + mellow -Rapid tonguing - double, triple or flutter

          
Tuba -Requires lots of air, especially in lower register + at f-fff


-Always use ledger lines for lower notes

 
Lower notes: Pedal tones: Hard to play, -Uniform expressiveness throughout range
Always use but possible. Best approached ppp-mp = Smooth, horn-like, but more
ledger lines, step-wise, or, if by leaping, -Usually used as bass line, or doubles bass line 8ve lower
not 8ve sign. use tempo 'rubato ad lib' . able to cut through orchestra than horn -Solo: Mellow + smooth


D1 — F4 Deep, heavy, mf-fff = Rich + powerful
Timpani


flabby, blurred +


32" 28" 25" 23" 20" (Piccolo)

-5 Ranges:The best tone is in the centre of each drum's range

      b
less agility


 
-Each drum's lower range=Dull+thumpy, Upper=Hard+pingy
Timpani -Can be muffled with cloth
-Struck dead centre = Darker, more ominous - less ring

   
B 2 — F3 D3 — A3 F3 — C4
F2 — C3
C2 — A2 The centre range of each drum produces the best tone. -Soft sticks = Warm, more resonant
Hard sticks = Louder + greater clarity -Glissandi
 
 
Light + clear, but


with small dynamic range, Harp -Harmonics: Left hand-up to 3 close harmonics (not over a 5th apart),


Normal Harmonic little carrying power right hand-only 1 harmonic. Must be all b, § , or # per hand.


Range Range Harp

+ quick decay -47 strings, 7 pedals for each pitch class. Only 1 b, § , or # tuning per string.

   
-All 8ves affected by changing 1 pitch class pedal, except the lowest 2 strings
which have to be tuned manually
-Allow approximately 0.5-1 second per pedal change, which can be done while
playing as long as that pitch is not played
-Only the left hand can reach lowest 8ve -Flat b strings resonate more than
Harp Sounds 1 Octave
Higher: write this
Very rich + warm -Chords of 4 or less notes per hand are possible natural § or sharp # strings.
-Thumb+3 fingers used: So favour large intervals between upper pitches, and
information


avoid large intervals between lower pitches

  

into the score
    -Average hand span interval of 10th from thumb > ring finger


-Tremolos: Fast and loud tremolos possible, using 2 strings tuned to same note

  
  
-Bisbigliando: Delicate rustling trems at ppp - mp only + less clear articulation

     
A2 — F5
Cb1 — G#7 -Glissandi: 1-handed, 2-handed, up, down or both, single notes or chord gliss.
Somber, dark + sonorous Can change the tuning in mid gliss. -Sons Étouffés: Dampen notes-dry stacc.


-Prés de la table: Guitar-like, plucked near soundboard

  
      
Violin

solo solo


Normal Harmonic Pizzicato
 

  
-Most agile, responsive + versatile of strings -Glissandi

Range group Range  Range group

   


-Sul Tasto: Bow over the fingerboard -Pizzicato: Can play 2 at once

Pizz.

  
-Col Legno: Tap string with wood of bow-hard, clattery sound (ord.=Bow with the hair of the bow)

Violin
   
-Ponticello or Sul Ponticello: Bow near bridge
Above E6
String: G - Rich + dark. D - Calm, fuzzy A - Unique and E - Brilliant with best -Multiple stops: i)Double:Adjacent strings, all dynamics, can sustain, easy to play
Natural Harmonics double with expressive. More carrying power. ii)Triple: Only mf-fff. If 2 open + 1 stopped string - easy
Higher range less + introspective.

   
G3 — E7 (B7) woodwind mellow than E string Softly-unworldly shimmer.

 
Artificial Harmonics, some of which can focused but more iii)Quadruple: Only f-fff


in the same range. Not placid, penetrating.
also be performed as natural harmonics. intensity. - uniform -
 
 
Viola
 
 
Normal solo Harmonic Pizzicato solo


      

Range Range Range -Good for doubling melodic lines at 8ve or in unison with violin -Can be used as an inner voice

 
group group



-Unison with English Horn = Rich + romantic -Solo: mellow + mellancholy
 
Pizz.


   -Can reinforce + double cello, acting as a small cello -Pizzicato: More ring + body

     
Viola -Good used as the only bass part - solid, but not heavy foundation than violin
Above A5 String: G - Moderately rich D - Quiet warmth A - Penetrating, brilliant, -Usually divisi, not multiple stops, for 2, 3, or 4 pitches (but it can -Glissandi
C3 — C6 (A6) double with
C - Dark + thick. reedy + unique play multiple stops - same limitations of multiple stops as violin)
Natural Harmonics ppp-mp = Delicate, rich The middle strings provide a good tone
-Excellent used in or as accompaniment - rhythmic figurations, or harmonic structure

 
Artificial Harmonics, some of which can woodwind
mf-fff = Vitalising - dynamic -
 
also be performed as natural harmonics. for an accompaniment and can give subtle

     
Cello -Solo: Comanding upper register. Also
 
-Multiple stops: -Avoid wide tremolos
   
     
Normal Harmonic Pizzicato reinforcements to other instruments.


i) Double: Adjacent strings, all dynamics, can sustain, good in mid and lower lines

Range Range Range

 
solo solo



   
group group easy to play. Avoid 2nds + 8ves unless 1 string is open. -Pizzicato: Good ringing quality + wide

Pizz.

 
ii)Triple: Best at f-fff. At mf or less the chord is broken. dynamics. Light, rapid. Pitch is well-focused
Cello
   
-Agile, expressive, melodic, mellow+warm -Pizz. Harmonics: Also good and sustain well!
C2 — A5 (D6) Above C5 String: G - Grave + D - Tranquil, warm A - Expressive, powerful, -Can play complex+intricate lines -Glissandi -Harmonics: Natural-up to the 12th partial - good
(Cello uses tenor or treble Natural Harmonics double with C - Heavy + rich. reflective. Lighter + not much bite. rich, melodious + vibrant. -Bass lines: Clear+focused. Subtle or aggressive -Ponticello: Bow near bridge - very effective

 
Artificial Harmonics, some of which can woodwind ppp-mp = Soft, easily than C string, Brighter than C or The most expressive of all


clef for higher passages) -Often scored above viola where it is very assertive -Sul Tasto: Bow over the fingerboard - very good

 


also be performed as natural harmonics.


drowned out but similar. G string. the strings. - range -

 
 
 
 -Less agile than other strings Double Bass -Try to avoid dividing basses in 8ves
    
Normal solo Practical Natural Pizzicato mf-fff = Powerful solo

     


 

 
  -Double stops: Best if 1 string is open -Ponticello (bowing near the bridge):
         
Range group group Both very


Harmonics Range

    

              
-Mid-upper range has a powerful intensity -Sul Tasto (bowing over the fingerboard): effective!


C2 — D5 (G5) Pizz.

 
-Pizzicato: Excellent, warm, full, sustaining. -Long pedal notes: staggered in a group of d. basses

  
Double Bass  Good at ppp-fff. They can provide the only due to the short bow (a solo player has to be skillful
Sounds 1 actual sounds String: E - Dark, somber A - Ponderous. D - Rich, mellow G - Very rich + expressive. It can be necessary bass to a complex tonal structure! to avoid breaking long held notes)
Octave
Sounds 1 + slightly dull. More buzz than E + reedy. melodious or agressive + can rival any -Natural Harmonics: Easy + good. They can provide an alternative to other string -Glissandi
Lower section tones because they are in the middle of the string section range.
C Extension Octave Lower C Ext. Ominous+forboding. string, but a bit bland. string in the orchestra for expressiveness.
 Bibliography

-Adler, Samuel
The Study of Orchestration
3rd ed. New York: Norton, 2002.

-Berlioz, Hector
Treatise on Instrumentation
Enl. and rev. Richard Strauss. Tran. Theodore Front.
New York: Dover, 1991.
-Blatter, Alfred
Instrumentation and Orchestration
2nd ed. New York, Schirmer Books, 1997.

-Forsyth, Cecil
Orchestration
2nd ed. New York: Dover, 1982.

-Jacob, Gordon
Orchestral Technique
3rd. ed. London and New York: Oxford University Press, 1982.

-Kennan, Kent and Grantham, Donald

Technique of Orchestration
6th ed. New Jersey: Prentice Hall, 2002.

-Rimsky-Korsakov, Nikolai
Principles of Orchestration
Ed. Maximilian Steinberg. Trans. Edward Agate.
New York: Dover, 1964.
-Piston, Walter
Orchestration
London: Victor Gollancz Ltd, 1955.

-Ray, Don B.
Orchestration Handbook
Milwaukee: Hal Leonard Corporation, 2000.

© 2007 D. J. Prescott