Instrument Ranges Timbral Characteristics Dynamic Curves Additional Comments


  


Shrill


© 2005 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

        
end of an upward-rushing f-fff scale. power -Agile -2+ = Increased mass, not volume


  
 
-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
  
 
-Precise staccatos -All trills+tremolos possible (trems wider
  
Oboe than perfect 4th are awkward)
-Rapid scales
These notes are hard to play at -Smooth legato - even with wide leaps
Bb3 — A6 dynamics less than mf. -Double, triple tonguing. Flutter tonguing rare but possible
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 All written Written flute-like


Sounds Sounds

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

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

   Chalumeau register: 
-Staccato not as pointed as double reeds, so should be

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

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


D3 — G6 deep, rich + dark
C#3 — F#6 on these notes, when the
part is solo, or exposed. Clarino register: Bass Clarinet
 

OK when used in tutti. Thin, but clear

Sounds Written
diffused + windy -Agile - almost as much as clarinet
 
(major 9th



lower)


-Fluid
Bass Clarinet in Bb

 

  -Useful ensemble voice - gives clarity to cellos + d. basses
-Solo - distinguished + strikingly individual tone

Chalumeau register:
Db2 — G5
deep, rich, very dark +
Eb3 — A6 mellow - goblinesque

         
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:

 
 
-Rapid tonguing - single usual, but double
Bassoon
   
+ 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
from low Gb downwards, or on -Excellent as solo voice in upper range
Bb1 — E5 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, cellos in 8va below


dark + full


Hard to play


 
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
  
  
   
lower) written A4. (written)
-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
and lower range: write only Dark, unfocused, mf-fff = Heroic + brilliant

  
but strident

  
Trumpet

as long holding notes. weak, + easily


   
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):


   -Rapid tonguing easy - double, triple or flutter

 
Tenor Trombone -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

  
but quite intense,

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

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

     
Tuba -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
mf-fff = Rich + powerful


D1 — F4 Deep, heavy,
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 Very rich + warm -Chords of 4 or less notes per hand are possible natural § or sharp # strings.
Higher: write this -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

  
      
solo solo Violin


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
Higher range less + introspective. expressive. More carrying power. ii)Triple: Only mf-fff. If 2 open + 1 stopped string - easy

     
G3 — E7 (B7) woodwind

 
Artificial Harmonics, some of which can focused but more mellow than E string Softly-unworldly shimmer. iii)Quadruple: Only f-fff


also be performed as natural harmonics. in the same range. Not placid, penetrating. - Uniform -
 
intensity.

  
Viola
 
   
Normal solo Harmonic Pizzicato solo

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

 
-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

 
Artificial Harmonics, some of which can woodwind -Excellent used in or as accompaniment - rhythmic figurations, or harmonic structure
mf-fff = Vitalising for an accompaniment and can give subtle

     
- dynamic -
 
also be performed as natural harmonics.


Cello -Solo: Comanding upper register. Also
 
reinforcements to other instruments. -Multiple stops: -Avoid wide tremolos
         
Normal Harmonic Pizzicato
good in mid and lower lines

i) Double: Adjacent strings, all dynamics, can sustain,

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

 
clef for higher passages) ppp-mp = Soft, easily -Often scored above viola where it is very assertive -Sul Tasto: Bow over the fingerboard - very good

woodwind

    
Artificial Harmonics, some of which can than C string, Brighter than C or The most expressive of all

 
 
also be performed as natural harmonics. drowned out - range -
 
 
but similar. G string. the strings.

         

-Less agile than other strings Double Bass -Try to avoid dividing basses in 8ves
   
Normal solo Practical Natural Pizzicato solo


mf-fff = Powerful
Harmonics   


 
-Double stops: Best if 1 string is open -Ponticello (bowing near the bridge):
       
Range group group Both very

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 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)
String:
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
C Extension Lower Octave Lower C Ext. Ominous+forboding. string, but a bit bland. string in the orchestra for expressiveness. section tones because they are in the middle of the string section range.
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The Study of Orchestration
3rd ed. New York: Norton, 2002.
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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.
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Orchestration
London: Victor Gollancz Ltd, 1955.
-Ray, Don B.
Orchestration Handbook
Milwaukee: Hal Leonard Corporation, 2000.

© D. J. Prescott 2005