Apuntes De Scor

eBrinkman: How to Orchestra and Arrange Music 1

How to Orchestrate and Arrange Music
By Dr. David Brinkman Prepared for the Instrumentation and Arranging Class at the University of Wyoming This material is intended for use by students in the class, and may not be used or duplicated for any other purpose. Copyright 2009. All rights are reserved.

Table of Contents
Introduction Chapter 1Instruments Chapter 2 Definitions Chapter 3 Historical Instrumentation/Orchestration Chapter 4 Transcriptions Chapter 5 Arranging Chapter 6 Score and Parts Chapter 7 Overall Considerations Chapter 8 Grading Rubric Chapter 9 Jazz Arranging Chapter 10 Marching Band Arranging Chapter 11 Scoring for Young Band/Orchestra Chapter 12 Finale Check Sheet

Introduction
Creating an effective arrangement ofmusic is a craft and it is an art. A person can learn appropriate ranges of the instruments and effective combinations. That, as well as learning to effectively notate (using Finale or other notation program) can be considered the craft of arranging. The artistry is the ability to imagine sounds and to make them come alive. It involves creativity, musicality, musical experience, and attention todetails. The successful student—and the successful orchestrator/arranger will be able master the craft and work towards the artistry of creating a new musical work.

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Chapter 1 Instruments
You must know “in your ear” how the various instruments will sound individually and in combination. • You must know the ranges of the instruments o Consult yourtext o Use the Check Range Plug-in on Finale. On Finale 2009 it is under Scoring and Arranging. It will allow you to select for beginner, intermediate and advanced players. o Talk to persons who play the instrument in question • You must understand the sound of various registers of instruments (including percussion) o Consult your text o Listen and absorb the demonstrations in class You mustunderstand the blend and balance of instruments as they are combined o More blend—families of instruments such as strings or brass o Less blend—a variety of instruments such as a quartet of trumpet, clarinet, viola and bassoon. o Avoid masking. This happens when the melody is not on the top of the voicing and it is masked by other instruments in the same register or with similar tone quality Spreadthe voicing to give the melody space Make sure the voice has a different tone quality Double the voice or making it louder with a dynamic marking

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Understanding of the sounds of the instruments and how they will sound in combination takes time. Make a point of listening to music and trying to understand how sounds are created. As you arrange and orchestrate music, you should feel like you arelistening with “new ears.” Class Textbook Black, D. & Gerou, T. (1998). Essential Dictionary of Orchestration. Los Angeles: Alfred Other Resources Adler, S. (2002) The Study of Orchestration, 3rd Ed.. New York: Norton. A comprehensive guide with many musical examples. CDs accompany the book. Kennan, K.& Grantham, D. (1998). The Technique of Orchestration 5th Ed. Englewood Cliffs, NJ: PrenticeHall. A standard text. CDs accompany the book. McKay, G. F. (1963). Creative Orchestration. Boston: Allyn Bacon.

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Chapter 2 Definitions
Arrangement The adaptation of a piece of music so as to make it suitable for performance by media other than those for which it was originally; or, a simplified version of a work for the same medium ofperformance. Transcription An arrangement that strives to give the impression of the work in a new medium. Example: Transcribing an orchestra piece for band. A transcription can vary from trying to sound exactly like the original to a re-conception of the original in a new medium. In this case, the transcriber would use the resources of the new medium to come up with a new version of the piece. Composition...