OF ORCHESTRATION
THESI
MASTER OF MUSIC
By
Denton, Texas
August, 195$
4"Mm-mill pgpqmpm
TABLE 0F CyONTNT
Page
LIST OF B ES . - - - - - - - - - . . . . . . . .IV
I)A S ' 1-7LS1
2v P
LIST oF ILLUST rTOQ * . . * . . . . . , .
* * * 4 . . * V
OrchQtrti o Bolero
A s of Orchestration of is at
ti I is
Chlo'
-
Ara-ysis of Orchestration of La se
Anays0i1s of station of ILtroduction
'ouo
Analysis of Orchestration ofL Slihehra
'ncro zaid-re ..
iii
LIST OF TABLES
T oble
Page
I. Comparison of Rt vel0s Orchestra to that of
Orchard Wagner . . . - -
. . . . . . . . . . . 13
II *Ratios of Real Parts to Doubled Parts in
Ma a
ue a . . . - - -
I. >atios of Real Parts to Doubled- Parts
- - . .
i
. . . . Or
Page
1. Measures 1 and 2 of Pavwne
* . 9 9 . . 9 . . . . 19
.
2z. Measures 8 and 9 of Pavane,
S - 9 - 9 9 9 . . . . 20
13 Measure 10 of. Pavan -. - 9 9 9 9 - 9 9 - . . . 21
-
1. Measures 17 rnd 18 of Pavane
9 . 9 9 9 9 9 . . . . 22
5. easures 28 and 29 of Pavane
9 9 9 9 9 9 9 . . . . 25
0. mef sure 28 and 29 of Pavane
9 -
9 9 9 9 9 . . . . 25
(7. Me asire 37 of Pavane - . .0
* . - 9 9 9 9 .~ . . 27
8. evure 37 of Pavane . . .
.
9 - - 9 - 9 . . . . . 27
9., ias-Vures 41 ad 42 of Pavone
* 9 9 9 9 9 9 . . . . 28
1k. Measure 43 of Pavane . -
-
9 - - 9 9 9 . . . . . 29
11. Measure 7-o Pvae . - -- 9 9
17 9 9 9 4 9 - - * . 32
12. Measure 6) of Pavane . .
.
9 9 9 9 9 * 9 9 - 9 9 33
13. measures 104 mid 105 of M Me.-
re iLOie...99 2
1'. Mea sure 495 of MAL ere 1'Oye
15. Measure 67 of Pictures atn EU'hibitiLon- - - - . . 5,2
16. Measure 5 of Introduction and
A2l2e ro. .1911.
17. measure 63 of Introduction an-
.9 9 9.9113~
V
CHAPTER I
Spain.l
era ions before, was o-f -asqu orig0. Since RAvel ws born
e It:.
.hen vRavel was only a few months old, the family moved
I
0W+'=
2
me in'tellig-ent. t3
had learned to play well enough to play duets with his fa-
fact hich 'did not help his later feelings toward Wagnerian
music.
Ravel presently began to study harmony under Charles-
te archers with his cork. When Ravel was fourteen, Ghys and
3Goss, cit.,
3O. p. 22.
'+Ibid., p 23. 5Ibid., pp. 24-25.
3
Soon after he entered the Conservatoire, he met his
Faure made the most lasting impression upon Ravel. Faure was
For a time Ravel worried about pleasing the public and the
to accomplish.
that- of Beethoven and Iagner, but "Les Apaches" did not care
Jeu; d'Eau, -and the Stin Quartet.1 9 After the first per-
formance of the Sonatine in 1906, most of Ravel's compositions
peatedly to enter the French Air Force, 'ut was always re-
of Si0mese cats.20
2lIbid., p. 248.
22Goss, o-. cit., P. 3.
10
.
Hjs style is characterized by a sharp defi-
ition of contours, by finish, poInt and piquancy
dow,,n to theu otdcetail.25
TABLE I
COMPARISON OF RAVEL'S ORCHESTRA
TO THAT OF RICHARD WAGNER
Ravel's Orchestra(1911) Wagner's Orchestra
1 piccolo 1 piccolo
2 flutes 3 flutes
1 alto flute
2 oboes 3 oboes
1 English horn 1 English horn
1 E flat clarinet . . . .0.*.#.41.0.0.
2 B flat clarinets 3 B flat clarinets
1 bass clarinet 1 bass clarinet
13
14
TABLE I--Continued
3 bassoons 3 bassoons
1
I contra bassoon
4 horns- 8 horns
4 trumpets 3 trumpets
a 9 . 9. 9 1 bass trumpet
3 trombones
I
3 trombones
* 9. " . 1 contra bass trombone
.
9 9 . 9
.
2 tenor tubas
tuba 2 bass tubas
.. 9 9 9 9 9 . .9 1 contra bass, tuba
4 timpani 4 timpani
bass drum 9 9 9 9 0 9 9 9 9
.
cymbals cymbals
snare drum . 9 9 9
castanets 9 9 . 9
crotales 9 9 9 9
gong . . 9 9
Eoliphone . 9 9 9
glockenspiel . . .
.
* 9 9 9 0. 0 9 9 9 9 9 bells
celesta . . . . . . . . . .
.
2 harps 6 harps
violin I violin 1(16)
violin II violin 11(16)
violas violas(12)
violoncellos violoncellos(12)
double basses double basses(8)
Chorus: S. A. T. B., 13 solo voices
off-stage
and then the first and second violins have them. Ravel has
scored the chords in an interlocking superposition as he has
WWOMOMMM9
17
problems of transcribing.
Analysis of Orchestration of
Edmond de Polignas. 3
Chabrier, and that the form was poor. Norman Demuth says of
the Pavane:
the trmipets, trombones, and tuba are left out of the or-
chestration altogether. It is interesting to note that most
o1 the instruments seldom play in their high registers. All
of the instruments have solos except the strings and the
harp, but when the full or large ensemble is used the first
ures, the first horn has the melody with the second horn's
l s L-e
Ja 4O -11~
0L
,
ti Ir.~ J .?: Ii
qp
ft
- ' w 4w
ft
One flute enters with the melody as a solo in the sixth and
Ex. 3--Measure 10
clarinet and first bassoon parts two hrmo prarts that ar@e
anexanio o ALrAIM
te iano mus-I .Emple nuber four compares
Ef. +--Iasurs 17 nd
The eig hth not/ chor pattern, that rs i the pino sIcore,
is performed by the horns.. The bas part of the piano version
is given to tie harp doule ass.
The oboe ndth first cLarinet continue with the. ielody
i n mesr eighteen andl nineteen, the first non take u p the
fir- sthrmiony pr, and th second ciarinet cnd secon horn
play the second harmnony pat The bass prt of the pian
versi n consistr of parallel fifths, which in the orchestral
version are given to the bassoons mnd the harp
The Eelody, in measures twnty through twenty-four, is
executd by the first violins, andth second violins and
vioL thk o the eight note rhord pattern whsie the bassoon
is sustfined yhord tonns. The cellos perfro the lower
23
twenty-seven, the first flute and first horn join the first
violins on the melody while the first harmony pirt is being
performed by the oboe. The first clarinet aid the second
violins execute the second harmony part while the third har-
viola., Both the melody and the third harmony part appear in
tice,
The practice of writing the cello and double-bass parts
,*I' I
PiZZ.
Here aIvel has the second violins, violas, and cellos all
"strumming," which gives the effect of several lutes and gui-
the dance, after which the Pavane was written. Ravel has
added two parts to the orchestral version that do not appear
tween prases. The first flute a:d oboe have the melody in
the piano. They seem to take the place of shorter notes that
bass continues.
The two flutes(octave apart), the oboe, and the two clar-
inets(octave apart) perform the melody in measure thirty-seven,
.JE544r
'x.7--easure 37
Ex. 8--Measure 37
appears in the first horn rart. The bassoons, violas, and one
horn fulfill the rest of the chord tones on quarter notes with
on tro-line d.5
the second violins ave the first harmony part, the violas
have the second harmony part, the bassoons have the first har-
mony part in the bass, and one norn Las the bass part with the
notes tied.
the same as measure forty-one, except that the oboe and the
version two parts, ifnich do not occur in the piano ver sion: a
pizzicato bass part on eighth notes, which is similar to the
double-bass pa-rt through out the work; the other, the cellos on
5 George
A. VIedge, Ear-training and Sih (New
York, 1921), P. 31
29
Ravel adds the harp and flute with similar parts that rein-
force each other in measure forty-three.
Hrp
6IF40
Ex. 10--Measure 43
horns and the bass have a pedal point. The melody, that
starts on the last half of the third beat of measure forty-
viola with the fist flute, oboe, and the first violin
(double-stopped) performing the upper melody, and tne first
the second horn perform the first harmony part in the bass
of the piano version. The second bassoon executes the sec-
ond harmon, part in the bass, and the harp and cellos have
piano asking). The strings can only hold the lower notes
for a brief instant before they move the bow to the upper
ihen they are plucked, and then they die out rapidly. Even
though the piano score has one sharp in the key signature,
following page).
take the part the horns had, which gives the combination of
apart. The harp takes the arpeggic inner parts and the
410f
'C ja
4.
-1 0-
p4 he SF Harps /f
6
r. I
I4
I f
I __!_ -I
<f
w >
Ex. 12--Measure 65
the melody, and the harp has a glissando. The bass part is
$ i
34
WNA*WWMUM--
35
Melody and sustained chord tones. The harp has triple har-
manics on the final chord, and the first violins and violas
with chord tones added to the original notes, and the bass
measure eight, and the second violins and violas have the in-
ner part.
In the section consisting of measures twenty-eight to
and violins have the doubled melody with the horls added on
harp takes the inncr part as well as the bass part. The in-
nor part consists of broke chords on sixteenth notes.
Analysis of Orchestration of
ia Mere 1 Qe
brass except twzo iorns. The instruments used are one flute,
one iccolo(changing to second flute in some movements),
one oboe, one &mlish orn(changing to second oboe in some
pia1no plays softer than the second piano, and then in the
one clarine t , one horn, the first violins, and the second
that are marked pianissimo are one bassoon, one hor n, harp,
the first part or the divided violas, and the first part of
basses have the dynamic arI , .pu. The parts tht are
against it.)
the celesta has one of the most beautiful tones in the or-
the harp and the solo clarinet, piano; and the rest of the
instruments, pianissimo.
execu t ed izzicato and the other, rco. ihe bowed part con-
sists entirely of harmonics.
The violas and cellos are also muted vhen they take over the
in ee i tyraswre
hee
Jtv .. s e collo pperfo r :
at the top of its range, ' mt:or only a fewv measures.
In measure seventy-o e trough seventy-four there are
strings were set tihter in tne sharp key, they would not
. IMRWMNmkow- 1,
-
42
Piap
00 0
color.
the piano version does, the cellos have quarter notes and
out is wor-s.
The tam-tam(gong) is used quite effectively by Ravel
starting at measure 171, and it adds much color to the or-
chestral work.
The first and second violins -and violas are divided into
four separate parts at measure 470, each one playing the
14QWOAWM
'46
WWWW-MR-w
47
rrirr r
IAA
ririrrr
rrr rr
rr. rrrrrw
Sam K:
r"rrr r i w rr
. +r"rrrr w r rrrrrrrr
piano
solo Ving
0 MF
-
P no FT.
AE
r
iip
pian0.
Cyibal
Iat and part of the timpani part, and sharp attacks
Analysis of Orchestration of
Pictures at an Exhibition
The rork(piano version of Pictures at an Eahibition
oy usorgs1i,) loos rather like a sketch f an
orchesttion a'nd it has, i fct, been the su.jctO
Of'frCqent oOCchT 1 ftmee
ntiUent. it C)CUICred a
a to bring to life t nt an echy
hidden L . UsorfskIis YYio vr'-Sion and to
1k i s j cmose
s probably conceived
In his wn 1ainatin; it Canhardly be doubted
tht Ravel, w7ho undertook the tas in 1929, fully
succeeded in it. -Uis orchestrat-ion is not merely
tho wo oI a skillful craftsmn but the interpre-
tatlon of a great artist. The substance of the
sic i s almost untouched, but a carefu.11 study, ill
aos a considrable anutbor of small alterations
between the original and avel's score. It should
however be mentioned that in "I Castello Vecchio"
one bar is added for better balance; in "La Grande
Porte de Kiev" theL pauses are written out; antd one
of the "Promenades" is omitted.8
avel has the& change more orten. r 1 is is not the case all
of the time, since sometimes both of them have the dynamics
strument.
In the third "Promenade" and "Catacombae" Musorgskii
uses accidentals rather than a key signature, but Ravel has
intensity of th mic.
sitiorn with large distance between the treble and the bass,
peated in the strings in the same position with the same rhy-
and brasses the chords are sustained. Ravel has meter sig-
at meCO
sucr e 3543
and 953 are executed by te strings as bowed
t d .tLi thel piano tierpoli 3t 693 that conSist of
Ex. 15--Measure 67
,-Mmwqmll
I I I immmo
second violin part will have a staccato effect the same as
ure 412 the flutes, oboes, bassoons, horns, harp, and second
At measures 903, 904, 913, and 951 Ravel has taken li-
Espapole.
Analysis of Orchestration of
Rapsodie Espanole
At the outset of the first part("Prelude a la Nuit") of
ostinato for tree and one-third measures, and then the se-
the first violins performed it. The violas take the ostina-
to of the secoId violins and play it an octave lower, and
then the cellos and English horn come in with the ostinato.
parts, the violas into two parts, and the cellos into two
goes to the clarinet, and in measures 127 and 128 the horn
ave< substitutes the clarinet for the English horn and the
piccolo for the clarinet, so that the part will not be so
strenuous on one performer, and by chngnginstruments the
T Jo
eliminate theany sharps that the B flat clariet
would have to play ir the "Habanera," "; vel h>s the clari-
nets change to clarinet in A. At measure 187 the solo part
has the tone color of the clarinet and violin, but at meas-
it in triplets.
measure 3 bQ83
playing an otherwise sustAned no t e with a
lower cellos.
only for two mea suFores at 9 time. The first violins and vio-
highEr.
ments have 2_
an d t ze
flute, Eg1ish io1n, oboe, and :pccolo timbre is
TABLE II
RATIOS OF REAL PARTS TO DOUBLED PARTS
IN "MALAGUENA"
Measures Ratios
82- 87.* . **,.4:5
* 5:14 88- 910. * - . . .
, . . . . . . . . .
- - - *- . . . . . . 6:17 9 2-.97 . * , ,
98-i02. - - - - - - - - . - - . . * . . . . . . . 8:28
103-108. * - - - - - - - * - - - . . . . . . . . . 8:10
109-114-0 .0. 0. 0- 0- 0- -- -- -- -- -. 835
115-124- - - - - - - - - - - -* - - -. . . . .15:27
131-135-. - . .
* - . .. 12:47
136-141. . . . . . . . . , . . . * . . * . . . . . 7:7
1L 2-145* - .. - . . .. - . .6#010
146-150.0.0 . 0 .0.0 . o..l -0-0- -0-0 - -0-0 - -0-0 - 5:12
151-157. . .0. .9 . . #.. 9. . .. .. 0:
Average: 7:19
TABLE III
RATIOS OF THE REAL PARTS TO DOUBLE PARTS
IN "HABANERA"
Measures.Ratios
158-163 . . . . . . . . . . . . . . . . . 1:)26
164-170 . . . . . . . . . . . . . . . . . 6:11
171-172 . . . . . . . . . . . . . . . . . 1:61
173 . . . . . . . . . . . . . . . . . . . .6:*11
176-1i81......... 4:B
182-186 -..--- :-.7'13
187-191. 0.* .. .. 0.. 0 ... 6:9
192-196 .* 0 0.. .. 0..0.0 .. . #.10#10 (7th chord)
197-200 *... 0 .... .... 8:-18
201-204 9.... .... ... 11:012 0
205-208 a.... ... 16:37
... *
209-212 0... 0 ... ... ..19:26 0
213-218 0--- 0 ... .. ...5:*15 &
Average: 9:17
TABLE.IV
IATIOS OF REAL ?IRTS TO DOUBLED PARTS
IT "FERIA"t
Measures Ratios
219-2214 t ft .t .t .t .t .t ft .18:24
-" S
225-231 ft -Sft .t .t
.t
-" .t ." ft .s.t * 8:15
-" -" -s
232--214 -" ft -S
-I
-"
.N
.15:22
-
.t
-
.t
-I -S
235-2 4 -"
-t ft
."
.t
."
.I
ft
." .R .t
.e * 7:38
."
245-250
.
-t
.S .S .S .mentioned
above
.t.
ft.
ft . 251-257
- ft f- . f 7:33
258-264
265-268 ft ft ft ft ft ft ft ft ft ft ft ft ft ft ft ft ft 9 :3 9
Sft
ft
f f f . 269-276
. f f f f f f f f f antiphonal
f
ft
ft ft f 277-283
f
284-288
f f . . . 11:27
289-294
.t
ft
ft ft ft . 295-306
ft ft ft ft ft ft ft ft . . ft ft ft ft antiphonal1
solos
ft 307-316
ft ft ft ft ft ft . . . . ft ft ft ft .t ft ft ft ft .anitiphonal
tff
solos
f f 317-320
f f f f f f f f f f .antiphonal
solos
321-326 ft -" ft .t ft .t .t . 6:17
327-329 .t
ft ." .t
-"
.t
-s
ft
ft .t
ft .t
.t
. 5:32
330-333 .t ." ft
-s
ft
-"
.t
ft
ft .t
." ." .t ft .t
."
.t . 7:25
.t .t .t .t ." ft .a ."
334-338 .t .a ." .t ft ft ft .s ft . 3:16
-
.t .t .t
ft .t .t .I ." .a .0
-t .s .ft
0
.t .a -" -" .ft
s S ."
.t ."
.t ."
.t ft . 6:12
344-350 ft
-a ft
-t
-a ."
-t
." ." -s
ft
.S
.I
-"
ft
ft
S
S
ft
.t
." .0
.s a .I .0
. 6:27
ft ft ." ." .a I .r
351-354 aft .a ." .s ."
ft
.a
.t
.w
ft .ftS
ft
.0 .0 . 8:14
.
.t
.
ft .a .a
355-362 .a.t
.t .t
.t ."
.t
.
-s .a.t
* 4:14
.
.S ft .N .0 .t
-
-a
363-367
.
ft ." ft .t a ft .t .a .M
.t .M
.a.t ."
6:32
.
." .a .w
ft .S .S .
.
36 -372 .a
.
-" .A
.t .t .t .a.t .a ."
-a.t .t ." ."
.t .a
.t ." -0 .t .S
ft
.* .12:28
.
.a ." .S .f .s .U .0
4:36
.t
373-3 8 .a ." ." -"
ft -I .a ." .
-s .a
379-3 2 ft
-a
." ft
.A
-"
."
-S .a
.S
.0
.S
.t
."
-a
-a
0
."
.0
.M
-w
6:40
383-39r * 10:23
.
.t ." .S .S
.a ." -S .a ." ." -a
391-395 ."
-A .R ." -A
.0
. 8:35
396-399 ."
." .S ." .0 -f .a .0
4:35
.
4Co- o3 -S -0
9:36
-
.w .
66
TABLE IV--Continued
Measures Ratios
4o4-407 . . * . . . . . . . . . . . . . . . . . . 7:+1
408-409 . . . . . . . . . . . . . . . . . . . . . 741
Average: 8:29
TABLE V
AVERAGE RATIOS OF REAL PARTS TO DOUBLED PARTS OF
EACH SECTION OF RAPSODIE ESPAGNOLE
Section Ratios
"Prelude a la Nuit" . . . .5:17
"Malaguena" . . . . . . . .7:19
"Habanera" . . . . . . . .9:17
"Feria" . . . . . . * . . .8:29
soli with the strings; one soli with harp; seven soli with
solos.
The brass choir performs eight soli, seven soli with
clarinet soli, two solos, two soli, and three soli with
horn. The trombones perform, in the entirety of the compo-
sition, two accompaniments with the horns and one soli with
the bassoons.
and in other passages they play one soli with the woodwind
net solo.
one solo.
280 and 363 to three-line g, and then the range of the horn
does Ravel use the muted tone of the trumpet, and the trum-
tonguing.
measures 142 and 316 chords in one hand, and in 8, 56, 176,
and 383 the harp plays harmonics. Double harmonics, triple
pists set the pedal of one note in sharp position, and the
open strings(once).
way), and they are legato and saltando bowing, but in four
but if the bow is drawn across the strings above the finger-
lin part, but only one in the second violin part. The
72
violins are divided into three parts three times and into
four parts twice.
One is made with the fingers, and the other, with the bow.
solo cello part, and the only other device for the viola in
-Wlir
73
monics, four passages with cello solos, two with cello soli,
four with portamenti, one with a glissando on harmonics,
one >ith a glissando to a harmonic, and one with open strings.
Analysis of Orchestration of
Bolero
-- -, M
Piece relies entirely upon the instrmaentatior of ech section,
(The numbers used in this analysis ere placed at the begin-
ning of the sixteen-measure statements in the Durad ot Ci
publicat-Ion.)
horn, two piccolos, and the celesta make up the tone color
one flute in low register and one horn execute the rhythmic
two clarinets on the first theme with one horn, one trumpet,
two oboes, the English horn, two clarinets, end the tenor
- - -
-
76
saxophone English
hd horn in the above ensemble, and the
harwnzed second theme with the four horns and the tambou-
the rhythmic pattern. Both the melody and the rhythanic pat-
and cellos on the rhythmic pattern; and the rest of the in-
Analysis of Orchestration of
Da et Chlo 4
.nis
T --
78
that the woodwind parts are merely melodic obligatos, being
performed above the very rhyt1mic string parts. The wood-
wind parts are more melodic than the strin parts, and the
string part,
colo solo, and one oboe solo In "Suite 1o. One." In three
sections the woodwinds play a sustained accompaniment,
id
in one of these sections part of the woodwinds trill their
notes for added color. Ravel usually uses the rest of the
woodwinds to accompany awoodwind instrument solo, and
there
is one section in which he woodwinds play a rhythmic accom-
paniment, and two sections containing woodwind and
brass soli.
Ravel has only one place in "Suite No. One" in which
the
woodwind, brass, percussion, and string parts are duplicated
mic baccground.
1 1 - W
8-),
harps perform a rhytnmic cbordal accompaniment, and in two
sections there appear two melodic ostinatos; a different one
4 4) 4-)4) 4-,
St
0)
-I Hr 0 H.- 'o ro
H 0 0 0 StHzS
H o reto 0 r r. tS
H
OR HO
O0 He0( r d
-0toRZ SO
$aOo4 0 0
Oo HC HH0 C Stw 544 E 02
40 H0 H~eo 0 '0 co
H0H
02 A 10 0 c) as
H C) H Oto 00 mObD I20 Co
H 4'- CO 02
0 C 0 0 020
02 o o
040
02o St
to
Q) 4) 0 S 0 a
4' EH
EI, cs
CO HEH Pq
,,.a , -- -- -.- -- -.0 p *M*dmk*W
4'4
4'
So 4
.S o e
Hri Ore H 0a H
S 0
HOCas
0 Hr CO
HE
0 SCH
)
RC it e
0 4'F- 4' r
.* SO) 0
HC 0 o O 5H
0 cs Rs 4b
H
02 e re 0)02 p 't~
(D 4' 0) ize
po (S .0 C co
H p HN
CO
H 4
H.
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02 0
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E
H H re
H Owo Co
0 r05CH HCo 0
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H 0 0 O 0
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0 02 0)
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TABLE VIII--Continued
106
a Analysis of Orchestration of
La Valse
L Valse contains most interesting instrumental color.
At the outset the double basses are divided into three parts,
interest. Mien the cellos enter they also are divided into
violins, and then gradually they drop out. The two bassoons
play a duet with the strings acting as a background. These
same string parts serve as the background for a bass clarinet
solo and two-clarnet soli. Only the basses are divided into
two parts, and the cellos play mode ordinaire, whereas previ-
performing.
otier, arpeggios.
Ravel adds color to the tonal combination of the piccolo,
clarinet parts.
There is no new material in sections seventy-four to
ninety-seven.
At ninety-eight Ravel has antiphonal effects, and table
TABLE IX
ANTIP<(DUAL ESEPBLES IN SECTION 98
IN LA VALSE
First Ensemble Second Ensemble
Analysis of Orchestration of
o"MI
113
row
I a-I -
ff
Wft
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a rp
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Now=,
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"goals"
oe
This passage goes into a viola and cello version of the pre-
vious clarinet and flute duet.
At the seventh measure the harp changes to C sharp, B
flat, G natural, F flat, E natural, and executes an arpeggio
at the tenth measure on A natural, C sharp, E natural, G nat-
ural, B flat, and at the eleventh measure tihe harp changes to
solo. harp
rhe enters at measure seventeen with a thirty-
left hanid.
"Mau
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aw
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20 .....
ex. 17--Measure 63
Analysis of Orchestration of
Sh herazade
parts, and less use of brasses than in any other large or-
violin solo, one cello solo, two flute solos, two solo flutes,
one English horn solo, and one clarinet solo. In the string
parts there are three finger tremoli, seventeen "Dow tremoli,
The rehearsal nubers that are used. are taren from the
Durand and compny of Paris edition. The X in the voice col-
mn shows then the singer is performing. A thorough study of
this table will gve ai over-all conception of the instru-
mental color, orchestral devices cd general technic of the
instru ents. The harp is included Wih the percussion, in
the table, even though it is not percussion irstruent.
117
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125
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126
Analysis of Orchestration of
harmonic, and the piccolo has a solo. Vhen the piccolo has a
crescendo in its lowest register, it is reinforced by the flute.
In sections one and two the piano h'as glissandi.
ister.
In section siteen there appears in the first violin part
double-stopped octave glissandi, a three-easure trill is per-
irs Lviolins, one viola, three zore cellos, and two basses on
a soli.
127
ously around the woodwind section, ending with the oboe exe-
rather frequently.
The orchestration of Concerto for Piano aan Orchestra is
agmenta ry and )liht in character i'th the instrunentation
eing thin; to Alow the piano to be heard. The pino part is
in the form of an obligato to te fragmentary orches t ral solos
Analvsis of Orchestra-ion of
.
Concerto for the Left Hand for Piano and Orchestra
Left hand for Piano adOrches t ra for Paul Witt renstein ,the
concert pianist who lost his right hald in World War I. This
is a most unusual composition for the poiano and extremely
di ficult.
the orchestra.
The iano enters at section four with a long and extreme-
ly difficult cadenza.
tonguing passages.
129
tro horns, the first violins, the second violins, violas and
cellos perform the trill. After this the flute takes the
three parts, and the second violins are divided into two parts.
The double basses are divided into three parts, and the first
Conclusion
Orchestration is an art and defies mathematical analysis,
The possibilities of orchestrating any one composition are
of the classicists.
131
paniments.
tonal color. The color tlat Ravel used could have been dif-
ferent, and wy 'he chose any particular in strurental combination
Books0
Bauer, Marion and Peyser, Ethel R., Lusic Thro the A
Iew York, 2. P. Putnams Sons, 1T946.
132
133
music Dictionaries
Calvocoressi, M. D., usictans Galler , Lontdon, Faber and
Faber Company, 19.
zusic Scores
Ravel, rice, Bolero, Paris, Durand and Company, 1928.