Basics of instrumentation. Main types of orchestral texture Orchestra swelling as a technique and method of instrumentation

Unlike chamber ensembles, in an orchestra some of its musicians form groups that play in unison.

• 1 Historical sketch
• 2 Symphony Orchestra
• 3 Brass band
• 4 String orchestra
• 5 Folk Instruments Orchestra
• 6 Variety Orchestra
• 7 Jazz orchestra
• 8 Military Band
• 9 History of military music
• 10 School orchestra
• 11 Notes

Historical sketch

The very idea of ​​a group of instrumental performers simultaneously playing music goes back to ancient times: back in Ancient Egypt, small groups of musicians played together at various holidays and funerals. An early example of orchestration is the score of Monteverdi's Orpheus, written for forty instruments: that is how many musicians served at the court of the Duke of Mantua. During the 17th century, ensembles consisted, as a rule, of related instruments, and only in exceptional cases was the combination of dissimilar instruments practiced. By the beginning of the 18th century, an orchestra based on string instruments had developed: first and second violins, violas, cellos and double basses. This composition of strings made it possible to use full-voiced four-voice harmony with octave doubling of the bass. The leader of the orchestra simultaneously performed the part of the general bass on the harpsichord (in secular music playing) or on the organ (in church music). Later, the orchestra included oboes, flutes and bassoons, and often the same performers played the flutes and oboes, and these instruments could not sound at the same time. In the second half of the 18th century, clarinets, trumpets and percussion instruments (drums or timpani) joined the orchestra.

The word “orchestra” (“orchestra”) comes from the name of the round platform in front of the stage in the ancient Greek theater, which housed the ancient Greek choir, a participant in any tragedy or comedy. During the Renaissance and further in the 17th century, the orchestra was transformed into an orchestra pit and, accordingly, gave its name to the group of musicians housed in it.

Symphony Orchestra

A symphonic orchestra is an orchestra made up of several different groups of instruments - a family of strings, winds and percussion. The principle of such unification developed in Europe in the 18th century. Initially, the symphony orchestra included groups of bowed instruments, woodwind and brass instruments, which were joined by a few percussion musical instruments. Subsequently, the composition of each of these groups expanded and diversified. Currently, among a number of varieties of symphony orchestras, it is customary to distinguish between a small and a large symphony orchestra. A small symphony orchestra is an orchestra of predominantly classical composition (playing music of the late 18th - early 19th centuries, or modern stylizations). it consists of 2 flutes (rarely a small flute), 2 oboes, 2 clarinets, 2 bassoons, 2 (rarely 4) horns, sometimes 2 trumpets and timpani, a string group of no more than 20 instruments (5 first and 4 second violins, 4 violas, 3 cellos, 2 double basses). The Big Symphony Orchestra (BSO) includes trombones and tubas in the brass group and can have any composition. The number of woodwind instruments (flutes, oboes, clarinets and bassoons) can reach up to 5 instruments of each family (sometimes there are more clarinets) and include their varieties (small and alto flutes, oboe d'amour and English horn, small, alto and bass clarinets, contrabassoon). The brass group can include up to 8 horns (including Wagnerian (horn) tubas), 5 trumpets (including snare, alto, bass), 3-5 trombones (tenor and bass) and tuba. Sometimes saxophones are used (all 4 types, see jazz orchestra). The string group reaches 60 or more instruments. A huge variety of percussion instruments is possible (the basis of the percussion group is timpani, snare and bass drums, cymbals, triangle, tom-tom and bells). Harp, piano, harpsichord, organ.

Brass band

A brass band is an orchestra consisting exclusively of wind and percussion instruments. The basis of the brass band is made up of brass instruments, the leading role in the brass band among the brass instruments is played by the wide-bore brass instruments of the flugelhorn group - soprano-flugelhorns, cornets, altohorns, tenorhorns, baritone euphoniums, bass and double bass tubas, (note in the symphony orchestra only one double bass tuba is used). Parts of narrow-bore brass instruments trumpets, horns, and trombones are superimposed on their basis. Woodwind instruments are also used in brass bands: flutes, clarinets, saxophones, and in larger ensembles - oboes and bassoons. In large brass bands, wooden instruments are repeatedly doubled (like strings in a symphony orchestra), varieties are used (especially small flutes and clarinets, English oboe, viola and bass clarinet, sometimes double bass clarinet and contrabassoon, alto flute and amour oboe are used quite rarely). The wooden group is divided into two subgroups, similar to the two subgroups of brass: clarinet-saxophone (bright-sounding single-reed instruments - there are slightly more of them in number) and a group of flutes, oboes and bassoons (weaker in sound than clarinets, double-reed and whistle instruments) . The group of horns, trumpets and trombones is often divided into ensembles; trumpets (small trumpets, rarely alto and bass) and trombones (bass) are used. Such orchestras have a large group of percussion, the basis of which is the same timpani and the “Janissary group”: small, cylindrical and large drums, cymbals, a triangle, as well as a tambourine, castanets and tom-toms. Possible keyboard instruments are piano, harpsichord, synthesizer (or organ) and harps. A large brass band can play not only marches and waltzes, but also overtures, concertos, opera arias and even symphonies. The gigantic combined brass bands in parades are actually based on doubling all the instruments and their composition is very poor. These are just multiply enlarged small brass bands without oboes, bassoons and with a small number of saxophones. The brass band is distinguished by its powerful, bright sonority and therefore is often used not in closed spaces, but in the open air (for example, accompanying a procession). It is typical for a brass band to perform military music, as well as popular dances of European origin (so-called garden music) - waltzes, polkas, mazurkas. Recently, garden music brass bands have been changing their composition, merging with orchestras of other genres. So, when performing Creole dances - tango, foxtrot, blues jive, rumba, salsa, elements of jazz are used: instead of a Janissary drum group, a jazz drum set (1 performer) and a number of Afro-Creole instruments (see jazz orchestra). In such cases, keyboard instruments (piano, organ) and harp are increasingly used.

String orchestra

A string orchestra is essentially a group of bowed string instruments in a symphony orchestra. The string orchestra includes two groups of violins (first violins and second violins), as well as violas, cellos and double basses. This type of orchestra has been known since the 16th-17th centuries.

Folk Instruments Orchestra

In various countries, orchestras made up of folk instruments have become widespread, performing both transcriptions of works written for other ensembles and original compositions. As an example, we can name an orchestra of Russian folk instruments, which includes instruments of the domra and balalaika family, as well as gusli, accordion, zhaleika, rattles, whistles and other instruments. The idea to create such an orchestra was proposed at the end of the 19th century by the balalaika player Vasily Andreev. In a number of cases, such an orchestra additionally includes instruments that are actually not folk instruments: flutes, oboes, various bells and many percussion instruments.

Variety orchestra

A pop orchestra is a group of musicians performing pop and jazz music. A pop orchestra consists of strings, winds (including saxophones, which are usually not represented in the wind groups of symphony orchestras), keyboards, percussion and electric musical instruments.

A pop symphony orchestra is a large instrumental composition capable of combining the performing principles of various types of musical art. The variety part is represented in such compositions by a rhythm group (drum set, percussion, piano, synthesizer, guitar, bass guitar) and a full big band (groups of trumpets, trombones and saxophones); symphonic - a large group of string instruments, a group of woodwinds, timpani, harp and others.

The predecessor of the pop symphony orchestra was symphonic jazz, which arose in the USA in the 20s. and created the concert style of popular-entertainment and dance-jazz music. In line with symphonic jazz, the domestic orchestras of L. Teplitsky (Concert Jazz Band, 1927) and the State Jazz Orchestra under the direction of V. Knushevitsky (1937) performed. The term “Variety Symphony Orchestra” appeared in 1954. This became the name of the Variety Orchestra of the All-Union Radio and Television under the direction of Y. Silantyev, created in 1945. 1983, after the death of Silantyev, it was led by A. Petukhov, then M. Kazhlaev. The variety and symphony orchestras also included the orchestras of the Moscow Hermitage Theater, the Moscow and Leningrad Variety Theatres, the Blue Screen Orchestra (director B. Karamyshev), the Leningrad Concert Orchestra (director A. Badchen), the State Variety Orchestra of the Latvian SSR under the direction of Raymond Pauls, State Pop Symphony Orchestra of Ukraine, Presidential Orchestra of Ukraine, etc.

Most often, pop symphony orchestras are used during song gala performances, television competitions, and less often for the performance of instrumental music. Studio work (recording music for radio and cinema, on sound media, creating phonograms) prevails over concert work. Pop symphony orchestras have become a kind of laboratory for Russian, light and jazz music.

Jazz orchestra

A jazz orchestra is one of the most interesting and unique phenomena of modern music. Having emerged later than all other orchestras, it began to influence other forms of music - chamber, symphonic, and brass band music. Jazz uses many of the instruments of a symphony orchestra, but has a quality that is radically different from all other forms of orchestral music.

The main quality that distinguishes jazz from European music is the greater role of rhythm (much greater than in a military march or waltz). Therefore, in any jazz orchestra there is a special group of instruments - the rhythm section. A jazz orchestra has one more feature - the predominant role of jazz improvisation leads to noticeable variability in its composition. However, there are several types of jazz orchestras (about 7-8): chamber combo (although this is the area of ​​the ensemble, it must be indicated, since it is the essence of the rhythm section), Dixieland chamber ensemble, small jazz orchestra - small big band , large jazz orchestra without strings - big band, large jazz orchestra with strings (not symphonic type) - extended big band, symphonic jazz orchestra.

The rhythm section of all types of jazz orchestras usually includes drums, plucked strings, and keyboards. This is a jazz drum kit (1 player) consisting of several rhythm cymbals, several accent cymbals, several tom-toms (either Chinese or African), pedal cymbals, a snare drum and a special type of bass drum of African origin - the "Ethiopian (Kenyan) kick drum "(its sound is much softer than the Turkish bass drum). In many styles of southern jazz and Latin American music (rumba, salsa, tango, samba, cha-cha-cha, etc.), additional drums are used: a set of congo-bongo drums, maracas (chocalos, cabasas), bells, wooden boxes, Senegalese bells (agogo), clave, etc. Other instruments of the rhythm section that already hold the melodic-harmonic pulse: piano, guitar or banjo (a special type of North African guitar), acoustic bass guitar or double bass (played only by plucking). in large orchestras there are sometimes several guitars, a guitar along with a banjo, both types of bass. The rarely used tuba is the rhythm section's wind bass instrument. large orchestras (big bands of all 3 types and symphonic jazz) often use vibraphone, marimba, flexatone, ukulele, blues guitar (both of the latter are slightly electrified, along with bass), but these instruments are no longer part of the rhythm section.

Other jazz orchestra groups depend on its type. the combo is usually 1-2 soloists (saxophone, trumpet or bow soloist: violin or viola). Examples: ModernJazzQuartet, JazzMessenjers.

Dixieland has 1-2 trumpets, 1 trombone, clarinet or soprano saxophone, sometimes alto or tenor saxophone, 1-2 violins. The Dixieland rhythm section uses banjo more often than guitar. Examples: Armstrong ensemble (USA), Tsfasman ensemble (USSR).

A small big band may have 3 trumpets, 1-2 trombones, 3-4 saxophones (soprano = tenor, alto, baritone, everyone also plays clarinets), 3-4 violins, sometimes a cello. Examples: Ellington's First Orchestra 29-35 (USA), Bratislava Hot Serenaders (Slovakia).

In a large big band there are usually 4 trumpets (1-2 play high soprano parts at the level of small ones with special mouthpieces), 3-4 trombones (4 trombone tenor-double bass or tenor bass, sometimes 3), 5 saxophones (2 altos, 2 tenors = soprano, baritone).

An extended big band can have up to 5 trumpets (with individual trumpets), up to 5 trombones, additional saxophones and clarinets (5-7 general saxophones and clarinets), bowed strings (no more than 4 - 6 violins, 2 violas, 3 cellos) , sometimes horn, flute, small flute (only in the USSR). Similar experiments in jazz were carried out in the USA by Duke Ellington, Artie Shaw, Glenn Miller, Stanley Kenton, Count Basie, in Cuba - Paquito d'Rivera, Arturo Sandoval, in the USSR - Eddie Rosner, Leonid Utyosov.

A symphonic jazz orchestra includes a large string group (40-60 performers), and bowed double basses are possible (in a big band there can only be bowed cellos, the double bass is a member of the rhythm section). But the main thing is the use of flutes, rare for jazz (in all types from small to bass), oboes (all 3-4 types), horns and bassoons (and contrabassoon), which are not at all typical for jazz. Clarinets are complemented by bass, viola, and small clarinet. Such an orchestra can perform symphonies and concerts specially written for it, and participate in operas (Gershwin). Its peculiarity is a pronounced rhythmic pulse, which is not found in a regular symphony orchestra. What should be distinguished from a symphonic jazz orchestra is its complete aesthetic opposite - a pop orchestra, based not on jazz, but on beat music.

Special types of jazz orchestras are the brass jazz band (a brass band with a jazz rhythm section, including a guitar group and with a reduced role of flugelhorns), a church jazz band ( currently exists only in Latin American countries, includes an organ, choir, church bells, the entire rhythm section, drums without bells and agogos, saxophones, clarinets, trumpets, trombones, bowed strings), a jazz-rock ensemble (the Miles Davis group, from the Soviets - “Arsenal”, etc. .).

Military band

Military band- a special full-time military unit designed to perform military music, that is, musical works during drill training of troops, during military rituals, ceremonies, as well as for concert activities.

Central Band of the Czech Army

There are uniform military bands, consisting of brass and percussion instruments, and mixed ones, which also include a group of woodwind instruments. The leadership of a military orchestra is carried out by a military conductor. The use of musical instruments (wind and percussion) in war was already known to the ancient peoples. The use of instruments in the Russian troops is already indicated in the chronicles of the 14th century: “and the many voices of the military trumpets began to blow, and the jew's harps teput (sound), and the warriors roared without wolf."

Admiralty Band of the Leningrad Naval Base

Some princes had 140 trumpets and a tambourine with thirty banners or regiments. Old Russian military instruments include timpani, which were used under Tsar Alexei Mikhailovich in the Reitar cavalry regiments, and nakrys, currently known as tambourines. In ancient times, tambourines were small copper bowls covered with leather on top, which were struck with sticks. They were tied in front of the rider at the saddle. Sometimes the tambourines reached extraordinary sizes; They were carried by several horses, and eight people struck them. These same tambourines were known to our ancestors as timpani.

In the XIV century. Alarm bells, that is, drums, are already known. In the old days, surna, or antimony, was also used.

In the West, the establishment of more or less organized military bands dates back to the 17th century. Under Louis XIV, the orchestra consisted of pipes, oboes, bassoons, trumpets, timpani, and drums. All these instruments were divided into three groups, rarely combined

In the 18th century, the clarinet was introduced into the military orchestra, and military music acquired a melodic meaning. Until the beginning of the 19th century, military bands in both France and Germany included, in addition to the above-mentioned instruments, horns, serpents, trombones and Turkish music, that is, bass drum, cymbals, triangle. The invention of pistons for brass instruments (1816) had a great influence on the development of the military orchestra: trumpets, cornets, bugelhorns, ophicleides with pistons, tubas, and saxophones appeared. It is also worth mentioning the orchestra, consisting only of brass instruments (fanfare). Such an orchestra is used in cavalry regiments. The new organization of military bands moved from the West to Russia.

The orchestra of the Czechoslovak Corps is visible in the foreground, 1918.

History of military music

Military band at the parade in Pereslavl-Zalessky

Peter I cared about improving military music; Knowledgeable people were sent from Germany to train the soldiers who played from 11 to 12 o'clock in the afternoon on the Admiralty Tower. During the reign of Anna Ioannovna and later at operatic court performances, the orchestra was reinforced by the best musicians from the guards regiments.

Military music should also include choirs of regimental songbooks.

When writing this article, material was used from the Encyclopedic Dictionary of Brockhaus and Efron (1890-1907)

School orchestra

A group of musicians consisting of school students, led, as a rule, by a teacher of primary music education. For musicians it is often the starting point of their future musical career.

Notes

1. Kendall
2. VARIETY ORCHESTRA

Glenn Miller Orchestra, James Last Orchestra, Kovel Orchestra, Kurmangazy Orchestra, Paul Moriah Orchestra, Silantiev Orchestra, Smig Orchestra, Wikipedia Orchestra, Eddie Rosner Orchestra, Yani Concert Orchestra

Orchestra Information About

In the modern symphony orchestra, a certain composition of instruments has stabilized. The same cannot be said about pop orchestras. If there are some general patterns regarding the composition of brass and saxophone groups in various pop orchestras, the number of strings and woodwinds has not been firmly established. Not all large compositions also include harp, horns, timpani, marimbaphone, and accordion. When considering issues of instrumentation for large pop orchestras, the authors focus on approximately the following composition: 2 flutes (one of them can be a piccolo), oboe, 5 saxophones (2 altos, 2 tenors and a baritone, with a change to clarinets), 3 trumpets, 3 trombones, 2 percussion players, harp, accordion, guitar, piano, 6 violins I, 4 violins II, 2 violas, 2 cellos, 2 double basses.

What are the main differences between instrumentation for large pop orchestras and instrumentation for small ones?

Here we can say, first of all, about the increase in the number of orchestral groups. Groups of woodwinds, strings, and as part of brass trombones acquire independent significance, expanding to a large extent the timbre and performing means of the entire orchestra. Such a composition makes it possible, in addition to specific instrumentation techniques characteristic only of a pop orchestra, to widely use many methods of orchestral writing coming from symphony orchestras. Nevertheless, the basic principles of instrumentation discussed in previous chapters remain unchanged. The main thing is the chord structure in the presentation of musical material, the interaction not only of unison and octave melodic lines, but mainly the movement and combination of entire chord complexes.

Woodwind group

The entire group as a whole (2 flutes and an oboe) is characterized by: timbral unity in the chord, easy mobility, transparent sound, the ability to perform complex technical passages at fast tempos. When the group plays independently, it is recommended to supplement the existing two flutes and oboe with one or two clarinets. The conduction of the melody by the entire group of woodwinds takes place mainly in the high register of the orchestra (2nd - 3rd octaves). The theme can be presented in octave, chords and, less often, in unison. The unaccompanied woodwind group is rarely used, and then only in individual episodes of short duration. A unique timbre effect is obtained by combining a flute with a low clarinet in an interval of two octaves. The performance of sub-voices, counter-voices, etc. in woodwind parts sounds most vividly when the orchestral fabric is moderately saturated.

The group's performance of wooden ornaments, passages, trills, scale-like chromatic and diatonic sequences, and arpeggiated chords in the highest register gives shine and light color to the sound of the orchestra as a whole.

Woodwind parts can be doubled an octave higher by middle voice chords (brass, saxophones). This technique is most effective in tutti orchestra.

The woodwind parts in some cases duplicate the string parts in unison.

The pedal in the wooden group is found mainly in the upper registers of the orchestra (mainly the 2nd octave and the lower section of the 3rd). Sustained intervals in the parts of two flutes in the 1st octave sound good as a pedal. At the same time, given the weak sound of the instruments, it is necessary to exclude the playing of strong-sounding brass and saxophones at this moment. When using clarinets as a separate group in large pop orchestras, one should be guided by the same methods and techniques of instrumentation that were discussed in Chapters II and III.

The solo woodwind parts in a pop orchestra (see example 113) are fundamentally not much different from similar parts in a symphony orchestra. The use of one or another solo instrument is determined by the genre, thematic theme, and the nature of the work being performed. For example, in dance music (rumba, slow foxtrot), a solo flute or a duet of flutes is appropriate. In tango, a clarinet solo in a low register is common. The oboe solo in dance music is a rarer phenomenon, but in the song genre, in some orchestral pieces, fantasies, medleys - the oboe solos along with other instruments of the orchestra.

Saxophone group

Basic information about the methods of using saxophones in a pop orchestra is presented in the previous chapters. The role and functions of these instruments, both individually and as a group in large pop orchestras, remain the same. In this composition, the saxophones represent a five-voice choir, creating the opportunity to perform a large number of different harmonic combinations. When presenting a theme in chords, it is recommended to use a close arrangement (see examples 114 and 115).

With so many performers, the crystal chorus sounds impressive. It is recommended to use a combination of one or two clarinets with two altos and a tenor (see examples 116-118).

The presence of a baritone expands the volume of sound of a group of saxophones. Chords in mixed arrangements spanning more than two octaves are possible:

Pedal chords in a wide and mixed arrangement sound rich and have a beautiful, thick timbre.

The features of performing solos on alto and tenor saxophones, discussed in Chapters II and III, also apply to instrumentation for a large pop orchestra.

The baritone solo occurs mainly in episodes. The part of this instrument may contain short melodic chants, echoes, etc. in the volume of the upper half of the large octave and the entire small octave (in sound):

The saxophone parts, located in the lower register of the orchestra, when combined with the brass group, form a powerful sound basis in the chords.

To get a chord of this type, you need, for example, in C major to add a sixth and a non to the chord of the first degree - that is, the notes A and D. You can add the note G to the small minor seventh chord (second degree) - we get the chord D, F, G, A, C.

To the major major seventh chord: do, mi, salt, si - (bekar) - A is added. Attaching a nona to a minor chord with a sixth is not recommended, as it creates a sharp dissonance between the third tone of the chord and the nona (1/2 tone).

Similar chords taken in a wide and mixed arrangement are called “wide” harmony and are instrumented as shown in example 123. Given the wide volume of chords, the upper voice should not be written below the D of the first octave (in sound).

Chords of modern jazz harmony in the five-voice scale of saxophones sound extremely diverse when rearranging the chord tones. Below are examples of possible instrumentation options for five-voice chords in a saxophone group.

a) A regular chord with a sixth, doubling the fundamental tone, the so-called “closed” chord. When these chords move in parallel, they are called "block-chords".

b) Here the sixth is moved an octave lower

c) We receive another request. Mixed chord placement

d) When moving the third tone and sixth an octave lower, we get a “wide” harmony chord

The following examples show the dominant seventh chord and its modifications in inversion and orchestration.

a) Main view

b) The seventh is moved down an octave

c) Fifth octave lower

d) The seventh and third are moved down an octave

a) Chord with a note and a sixth: condensed narrow harmony

b) The sexta is moved an octave lower

c) The fifth tone is moved down an octave

d) Below is the sixth and third. The result is a chord of fourth construction - “wide” harmony *.

* (Examples 122 and 123 are taken from the book: Z. Krotil. Arranged for modern dance orchestra; examples 124, 125 and 126 from the book: K. Krautgartner. About instrumentation for dance and jazz orchestras.)

Brass group

In general, the group, in terms of the method of application in large pop orchestras, occupies the same position as in small compositions. However, the presence of a six-voice choir, as well as its possible division into two subgroups (3 trumpets and 3 trombones), creates conditions for the formation of a number of new interesting orchestral combinations and effects. The group's presentation of the theme in a chordal presentation in most cases produces massive sonority, significantly increasing in strength as the register of playing increases. The performance of closely spaced chords by brass winds within the upper half of the 1st octave and the entire 2nd octave has a specific character inherent in pop orchestras and is distinguished by a bright, sharp, somewhat intense sonority. However, frequent or prolonged use of this method of instrumentation leads to monotony and creates unnecessary overload in the orchestra. It should also be remembered that nuance for brass instruments playing high notes is very difficult.

In Example 127, the brass section plays chords in close quarters. The chords follow a rhythmic theme running through the outer voices (trumpet I and trombone II). The trumpet and trombone parts are written in good-sounding instrument registers. For a typical case of a theme being carried out by a group of brass, see example 127.

In example 128, the copper group is divided into three register layers. The parts of trumpets, three trombones and a fourth trombone with trumpet, respectively located, cover a volume of 3 1/2 octaves. Three trombones double an octave below the trumpet line. Trombone IV and tuba form an organ point in fifths. Carrying out a theme in a group of brass instruments can be orchestrated by other techniques.

Such instrumentation by means of a brass group, although less typical of a pop orchestra, will always sound good, despite the fact that here, unlike the previous example, the theme is not in the extreme voices.

Carrying out a theme in octave and unison by a brass group in a large pop orchestra does not differ significantly from a similar method of instrumentation in small ensembles. Here you just need to take into account the relatively increased sound strength of the brass and accordingly equalize it in interaction with other orchestral groups.

The performance of backing and auxiliary material in chords, octave and unison must also be balanced accordingly. When the theme is carried out by strings, woodwinds and other instruments that do not have a strong sound, the brass group, which plays a secondary role, can only be used with the correct ratio of the playing registers, for example, the theme in the string parts, taking place in the 1st octave, can be easily drown out by a group of brass playing with an open sound in the same octave.

The most even sound relationships are formed in the brass group in interaction with saxophones. Carrying out a theme in a group of saxophones throughout their entire volume in chords or monophonically can practically be accompanied by the entire group of brass instruments in any register:

The playing of brass con sordino in large compositions of pop orchestras finds the widest application both in carrying out the theme and in the performance of backing vocals, auxiliary material, etc.

Mutes significantly weaken the sound power of instruments and allow the entire group of brass to be played when combined even with instruments such as solo violin, solo accordion, piano, and clarinet.

As already mentioned, the brass section of a large orchestra is divided into two subsections, consisting of 1) trumpets and 2) trombones. Each of these subgroups is characterized by special qualities that determine the texture of the batches. The moving technique is more common for trumpets, but less available for trombones. Three trumpets, forming a three-note chord, can freely perform complex virtuoso passages without connection with the trombones.

In example 131, the theme runs through the trumpet parts (chord addition). At the same time, the trombones perform a completely different function: the pedal chord assigned to the trombones helps to highlight the moving melodic line running near the pipes from the overall sound of the orchestra.

In example 132, on the contrary, the function of the pedals is replaced by a counter-addition line - essentially a secondary line. The main melodic line runs through the trombone parts in chord composition. It should be noted that both of these lines (trumpets and trombones) are combined without obscuring each other, since the rhythm of their parts is well thought out.

Three trombones, when playing chords, form a very interesting combination with a beautiful timbre. The three trombone parts are usually characterized by free-flowing, wide melodic lines at moderate tempos (see example 133). However, in modern instrumentation, the trombone group also plays sharp accented chords, moving licks, at medium and fast tempos (see example 134).

If the theme is played by a group of trombones, the register of their playing is predominantly high. When combined with trumpets and saxophones in a tutti orchestra, trombones usually play in the middle register of their volume. The pedal of three trombones sounds great in the high and middle registers. The timbre of such a pedal is distinguished by softness, beauty and nobility:

If it is necessary to obtain a four-voice chord in a trombone group, it is recommended to include the 2nd or 3rd voice of this chord in the baritone saxophone part *.

* (In some cases, it is possible to use a trumpet as one of the middle voices of a trombone group.)

Carrying out the theme by all trombones in unison creates one of the brightest and most powerful sonorities in the orchestra.

Artistic practice, in the process of developing the technique of instrumentation of a pop orchestra, has accumulated a large number of various techniques for connecting instruments, their sequences, etc.

Below are a few examples that give an idea of ​​the possible ways to use a group of trumpets, trombones, and the entire brass section in a large variety orchestra.

In example 137 the topic is in the copper group. Clarinets and violins accompany the brass in a two-octave counterposition that contrasts with the theme. The contrast is determined, firstly, by the different rhythmic structure of the parts of brass and clarinets with violins; secondly, by contrasting the chordal implementation of the theme with the octave implementation of the counter-addition. Finally, the correct choice of the ratio of the registers of playing brass and clarinets with violins gives two clearly audible lines in the orchestra (see example 137).

In example 138, holding the theme in unison alternately with a group of trombones and a group of trumpets against the backdrop of the chordal texture of the orchestra creates an interesting effect. This method of instrumentation gives a bright, rich sonority, in which the relief melodic line of the trombones and then the trumpets can be heard with utmost clarity.

The effective technique of gradually increasing the strength of sound in the orchestra creates an alternating entry of instruments into chord tones by beat beats. Each instrument can be activated in either ascending or descending order.

In Example 139, in four-beat time, the brass section alternately enters from bottom to top on each beat of the bar along the chord tones. Thus, the gradual inclusion of voices towards the end of the second bar completes the formation of the chord.

It should be noted that in such cases, alternating instruments with different sound strengths, for example, trombones in the high register and clarinets in the middle register, cannot create the required effect. The difference in sound strength will disrupt the orderly construction of such a “chain”.

In example 140, the orchestrator found an interesting technique for alternating instruments differently. The voices enter through the missing chord tones. It gives the impression of swaying, ringing.

The instrumentation technique shown in Examples 139 and 140 relates to some degree to the orchestral pedal. The alternating inclusion of voices in a chord creates the effect of a kind of chime.

Example 141 shows one way to combine a brass group with saxophones in a large pop orchestra.

Here the theme runs through the brass group in a chordal presentation. The parts of the saxophone group are located in the middle and low register of the orchestra and are in opposition. The combination of two chord layers creates a wide, massive sonority. This is one of the characteristic instrumentation techniques for a pop orchestra.

Bowed string instruments

In large pop orchestras, bowed string instruments acquire a completely independent meaning. All methods of playing, effects, and string instrumentation techniques adopted in symphony orchestras are entirely used in pop orchestras. However, here a number of certain orchestration techniques crystallized, which became characteristic of the string part. The presentation of a theme by a group of strings in a large pop orchestra can take place in any register of the orchestra in unison, in an octave, in two or three octaves, in chords. The most common method of playing strings that present a theme is polyphonic chords (in most cases divisi), following in exact rhythmic accordance with the leading voice. In these cases, chords are played only in close proximity. The correct distribution of parties when playing divisi is of great importance. For example: violins I are divided into three parts (i.e., two performers per part), violins II into two, violas form one part, and the cello part can in some cases be divided into two voices (see example 142).

Divisi string chords sound good if the outer voices move in parallel octaves, i.e. the lower voice duplicates the melody *.

* (The so-called "closed chords".)

This technique achieves the greatest effect when playing a group of strings within the 2nd and 3rd octaves.

It is typical for a pop orchestra to conduct the melody or backing strings in unison, especially in slow-tempo pieces. The combination of violins in the low register with violas and cellos in unison creates a deep, expressive timbre (see example 144). In the high register of the orchestra, mostly only violins play in unison (see example 145). Violas can also be included here if the tessitura of the melody lies within their accessible limits. In small compositions, to enhance the sound of the violins, their parts are doubled with clarinets or accordion. This is not recommended for large trains. It is also undesirable to duplicate violin parts with flutes and oboe.

When carrying out a theme or a melodically rich counterposition with strings, it is always better to have a clean timbre of the group, without mixing the timbres of other instruments into it.

Below are several examples of strings playing in a large pop orchestra * (see examples 146-150).

* (In some cases, composers divide groups of violins into three parts, writing each on a separate staff.)

The pedal in a string group is a widely developed technique in large ensembles. There are no significant differences from the similar role of the strings of a symphony orchestra in a pop orchestra.

The playing of strings in a pop orchestra is characterized by scale-like rises to the notes of the upper register, followed by a reverse movement over long durations. The descending legato moves of sixteenth and thirty-second notes also sound unique. Techniques of this kind add pomp, elegance, and sparkling brilliance to the sound of the entire orchestra (see examples 151 and 152).

Example 152 shows an interesting technique of instrumentation, when a group of violins goes through a series of ascending tertian sequences and then a gradual decline in small durations. This technique is often found in the scores of modern pop works.

Accordion, guitar, drums and double bass in a large pop orchestra perform parts similar to those in a small ensemble.

The piano part in a large pop orchestra is somewhat different from the piano part in a small orchestra. Since there is no guitar in small orchestras, the piano is used mainly as an accompanying instrument. In large compositions, the presence of a guitar is mandatory, and this makes it possible to treat the piano as an independent orchestral instrument. The piano often plays solo here. It is possible to carry out the theme of the work in the piano part, perform supporting voices and auxiliary material. In large compositions, with average saturation of the orchestral fabric, it is most beneficial to use the upper register of the piano volume (see examples 153-155).

Playing tutti in large pop orchestras, as well as in small ones, is built taking into account the most effective use of registers and instrument technique. Significantly expanded compared to small compositions, orchestral means make it possible to obtain a wide variety of orchestral tutti in a wide variety of genres of pop music. If, when considering individual groups, it was recommended to maintain their pure timbre, in the conditions of playing the entire orchestra as a whole, mixing timbres, doubling and duplicating voices to enhance the overall sonority is quite acceptable. So, for example, parts of violins can double parts of trumpets by an octave or more; parts of flutes, oboe and clarinets can, in turn, duplicate parts of violins. In large compositions, individual orchestral groups, significantly enlarged compared to small compositions, acquire greater independence. The number of groups themselves is also increasing. Therefore, when playing tutti, the technique of matching groups has even greater application. Below are examples of different types of tutti in large pop orchestras.

Example 156 shows the simplest way to instrument tutti. The melody is presented in octave in the parts of violins, woodwinds and saxophones. The brass group plays chords, emphasizing them on beats. This method of instrumentation is closest to symphonic. The melody is revealed quite clearly.

Example 157 shows one of the tutti instrumentation techniques, when a group of saxophones and a group of brass and strings alternately perform individual melodies of the theme. The functions of the groups alternately change: from presentation of the theme to accompaniment (pedal, auxiliary material). This is also one of the common instrumentation techniques in a pop orchestra.

Example 158 shows a way to combine several orchestral parts with different structures. The theme takes place in the brass group in a chord presentation. Strings and xylophone play short descending motifs. The entire woodwind group, along with the saxophones, performs ostinato triplet figures. This method of instrumentation can be used in fast tempo pieces.

Example 159 illustrates the tutti method of instruments, in which a very dense, rich sonority is formed due to the good filling of the middle register of the orchestra and a fairly clearly defined melodic line.

This example shows the tutti instrumentation method typical for a pop orchestra.

Finally, two examples are given on the instrumentation and placement of tutti chords (see examples 160 and 161).

In example 160, the large tutti of the orchestra is preceded by an episode in which the solo in the baritone saxophone part is accompanied by accompaniment in the parts of the piano (high register), harp, metallophone and flutes. This combination of timbres is distinguished by its vivid imagery. The author was faced with the task of depicting a southern night landscape, a picture of a slowly walking caravan. The music at the beginning of the piece is imbued with a lyrical, dreamy mood, which is why the orchestrator used such a unique combination of instruments. The episode ends with a cut to a large orchestra tutti. This transition combines two lines: a downward movement in the woodwind parts and a rise in the violin parts against the backdrop of a harp glissando. In this example, the orchestra's tutti is instrumented in one of the most common ways: the theme runs in a chord presentation in the brass and saxophone parts and is duplicated in the oboe and cello parts. The line of opposition in the violin and flute parts is drawn in the high register of the orchestra. Due to the fact that the upper voice of the counter (violin I and flute) is located at a significant interval from the voice leading the theme (trumpet I), both lines are clearly audible. The orchestral tutti ends with a spectacular triplet ascending move in the parts of all instruments.

The instrument maker carefully thought out the orchestration plan for this passage, basing it on a contrasting comparison of the first episode, based on an interesting coloristic technique of instrumentation, with the second episode, sounding wide and very rich. The content of the musical material was correctly embodied in the instrumentation.

Guided by the examples given in this chapter, the reader can, to a certain extent, become familiar with some instrumentation techniques for large compositions of pop orchestras. It goes without saying that everything recommended in this chapter does not exhaust the rich possibilities and techniques of orchestration. Only as a result of systematic practical work on scores can one develop a good orchestral writing technique.

Topic 3. Instrumentation for a full orchestra.

Instrumentation in an orchestral composition is important, but cannot be an end in itself. Its tasks are to make the development of a musical work more prominent and to emphasize the main factors of musical thinking. So, for example, during one implementation of a theme, the instrumentation, as a rule, does not change, thereby emphasizing the integrity of the theme and focusing the main attention on its modal-harmonic and melodic development. on the contrary, with the appearance of new material that contrasts with the theme, the instrumentation changes, thereby emphasizing the development of the theme.

The instrumentation plan includes an analysis of the musical work: the development of musical material, harmony, the structure of metro-rhythmic pulsation (complete rhythm), dynamic intonation, etc. You need to peer, listen closely (playing the piece), and nurture the piece until the strategy (plan) for the instrumentation matures.

Let's look at the instrumentation plan using the example of N. Budashkin's "Russian Overture". Overture in the key of F-dur in 4-part form, with signs of a rondo, however, the 4th part (refrain) is in minor.

After a short introduction, the main theme of the overture sounds, it is presented in intervals of alto domras, the middle and high registers of which give a rich and rich sound, the endings of phrases in the theme are filled with passages of button accordions, then everything is the other way around. The theme is presented in a chordal manner by accordions, and the fillings are played by domra primas. This mosaic presentation of the theme at the beginning of the work creates a cheerful, cheerful mood.

Here is a graph of the topic from 1st to 4th numbers:

Subject Filling

1) d. viola accordions

2) d. prima d. viola

3) button accordions d. prima

4) d. violas d. primas

5) button accordions and violas

For complete clarity, we give a musical example.

See Appendix (example No. 57 a, example No. 57 b, example No. 57 c)

This is followed by a lyrical episode in the key of fis-moll. And again N. Budashkin entrusts the domra chorus to the altos in the upper register, although in terms of range it could be played by prima domras.

See Appendix (example no. 58)

This is the beauty of the instrumentation. Domra primas are included in the development of musical material, but button accordions are turned off from the game, which allows the human ear to take a break from this timbre.

See Appendix (example no. 59)

But what a pleasure the listener experiences when this theme sounds for a short time in unison, in a tertsian presentation of domra altos with accordions in nuance p .

See Appendix (example no. 60)

This is followed by an episode of a developmental nature, using the middle type of presentation of musical material: alteration, sequentiality, original point. This dominant precursor again leads us to the key of F-dur, to the main theme of the overture. All groups of the orchestra participate in the development in detail f – ff . Unlike the beginning, the instrumentation changes significantly. The theme is no longer divided into timbres - it sounds entirely in the domra group, gaining some strength and solidity, and the button accordions play only fills.

See Appendix (example no. 61)

The second lyrical episode sounds in C major in unison with domra altos and bayans in nuance mf (it is longer), sounds majestic and rich, reminiscent of “The Tale of Baikal” by the same N. Budashkin.

See Appendix (example no. 62)

Strategically, this section is perhaps more complex, since in addition to its beginning, the author uses the entire composition of the orchestra, but monotony is not felt, since the functions of the orchestra groups change all the time. This is one of the ways to maintain the freshness of the executed texture.

It is interesting to analyze the final stage of instrumentation. as mentioned above, it sounds in the minor scale of the same name. And the most interesting thing is that the theme is again divided into timbral segments, but in a mirror image: it is not the violas that begin the theme, but the bayans - the violas fill the domra, etc.

Then tutti- a short episode sounds on the intonations of lyrical themes and the final stage of the overture - Coda, the main theme of the overture sounds. And again, the instrument maker’s discovery: for the first time, the theme along with the fills is played by all the instruments. It sounds grandiose and powerful.

See Appendix (example no. 63)

It is probably noticeable that during the analysis process nothing was said about the group of balalaikas. This is because in this piece there are no melodic episodes that would be assigned to this group (with some exceptions of balalaikas). Basically, this is an accompanying role and metrorhythmic pulsation. The entire theater of action is in the group of domras and button accordions. This is perhaps a classic example of instrumentation. Without having many timbres (as in a symphony orchestra), the author, with meager means, managed to create a bright canvas of the folk genre. The main thing is to skillfully manage what you have.

ChapterII. Orchestral functions.

Topic 1. Melody is the queen of orchestral functions. Methods for its isolation.

The melody in the orchestral texture in most cases carries the main emotional load, so the instrumentalist faces a serious task - to find ways to strengthen the melodic line. Isolation of melody is achieved by a number of techniques:

Doubling the melody in unison;

Doubling in an octave or several octaves;

Isolation of melody timbre;

Carrying out a melody at a distance from harmonic voices (selecting a free zone);

Phono-ornamental doublings (superimposition of small durations onto larger ones and vice versa).

In orchestral scores quite often (especially in folk music) one melody sounds without any accompaniment. Sometimes there is a division into several voices, forming subvoices. From the point of view of instrumentation, such a presentation is considered as a whole as a melody and, during instrumentation, is entrusted to instruments of the same timbre group that performs the main melodic voice. The subvocal presentation of the theme turns into a choral-subvocal presentation, that is, a presentation with clearly expressed harmony, but developing according to the principle of melodic subvocals.

See Appendix (example no. 64)

For orchestral fabric, the superposition of the sonority of some instruments on the sonority of others is of great importance. Two main types of duplication can be noted: precise duplications (unison, octave and alternate octave) and inaccurate duplications (phono-ornamental and emphasizing).

Unison doublings are used to achieve a cleaner, more powerful sonority or to soften it; for a more prominent presentation of the theme, to achieve greater clarity in melodic patterns; to create a new voice.

See Appendix (example no. 65)

Octave doubling is used mainly to expand and enhance sonority. This is perhaps the most common technique in tutti, this also includes doublings of two, three and four octaves.

See Appendix (example no. 66)

Octave doublings are very peculiar. The sonority turns out to be fabulous - whimsical, similar, in Gevart’s words, to “an unnaturally elongated shadow trailing behind a person” 2 . This technique is characteristic of music of an exotic nature.

See Appendix (example no. 67)

The melody can also be distinguished by timbre. A very common technique is to present the melody in a different, contrasting manner compared to the presentation of other orchestral functions in the orchestra, and the sound of the melody in a contrasting timbre contributes to the ability to conduct the melody in the same register in which the melodic figuration sounds.

See Appendix (example no. 68)

In instrumentation, there is the concept of “choosing a free zone” - this, first of all, refers to the main function of texture - melody. It is very good when it is possible to play a melody at a distance from other functions. This technique should be used if the texture of the musical work allows or corresponds to the author's intention. In principle, there is a pattern in filling the distance between the voices leading the melody, depending on the register used: within the 3rd, 4th octave it is almost never filled, within the 2nd, 3rd octave it is rarely filled, within The 1st and 2nd octaves of filling occur; within the 1st and minor octave it is almost always filled.

This conclusion was made based on the analysis of many musical works. It should be noted that in practice there are the most extraordinary solutions; it all depends on the talent and experience of the instrument maker

See Appendix (example No. 69 a, example No. 69 b)

Phono-ornamental duplications or doublings are less common than those described below, but they exist and you need to know about them. They represent a simultaneous combination (overlapping) of different forms of presentation of the same musical material. In this case, one of the forms, rhythmically and linearly simplified, that is, given in larger durations, serves as a kind of background, as if the initial basis for another, rhythmically more animated, that is, given in notes of smaller durations. In practice, there are such duplications when the fund can be material performed for large durations or, on the contrary, for small durations - one does not exclude the other. In general, it is better to call these duplications (doublings) as phono-ornamental, that is, mutually duplicating each other.

See Appendix (example no. 70)

Topic 2. Counterpoint. The location of counterpoint relative to the melody.

Counterpoint – point against point (translated from Latin). In the broad sense of the word, counterpoint is any melodic line that sounds simultaneously with the theme: 1) canonical imitation of the theme; 2) a secondary theme, sounding simultaneously with the main one; 3) a specially composed independent melodic sequence that differs from the theme in rhythm, direction of movement, character, register, etc. Positive voice is often confused with counterpoint. The echo is close to the melody, has the same direction of movement, and sounds in the same timbre. They try to separate counterpoint from the melody, give it a different direction of movement, and most importantly, assign it to instruments of a contrasting timbre. Counterpoint itself is similar to melody, and its development is characterized by the same qualities as melody: doubling, in unison with related timbres, leading with double notes, chords. The placement of counterpoint in relation to the melody can vary. The main thing is that these two lines sound clearly in the orchestra.

See Appendix (example No. 71 a)

In this example (71 a) the counterpoint is located above the melody (accordion II), and sounds in an octave (domra prima, domra viola). The melody and counterpoint are contrasting rhythmically and in timbre.

See Appendix (example No. 71 b)

In this example (71 b), the counterpoint sounds lower than the melody that sounds in the domra and button accordion I. The second button accordion performs a contrapuntal function with smaller durations in a low register.

See Appendix (example no. 71c)

This note example (71c) is a rather rare occurrence in works for folk orchestra. Melody and counterpoint sound in a group of harmonics (accordions), homogeneous instruments. The contrast is only register, rhythmically almost the same type.

But, however, there may be examples that are not so clear and definite. Thus, often the function of a counterpointing voice is performed by melodic lines of a figurative nature and even melodic-harmonic figurations. In this case, they are not so much opposed to the leading melody as they accompany it.

See Appendix (example no. 72)

So, in the above example, the melody is performed by domra prima tremolo, and counterpoint in the form of melodic figurations is played by balalaikas and domra double bass. The relief of the sound is achieved due to the dashed line - melody legato, counterpoint staccato. Despite the homogeneity of the instruments, both lines sound convex.

In complex musical works, it is sometimes difficult to determine the leading melodic line and counterpoint, where each of the melodic layers expresses its own vivid individual image.

See Appendix (example no. 73)

In this example, Symphony-Fantasy by R. Gliere, a complex fragment of presentation of musical material is given. Three melodic lines are clearly expressed here, which are difficult to characterize - what function each of them belongs to.

Topic 3. Pedal. Position of the pedal relative to the melody. The concept of an organ point. Self-pedaling fabric.

In the broad sense of the word, the concept of “orchestral pedals” is associated with the auditory representation of the fullness, duration and coherence of sound.

A distinctive feature of the harmonic pedal is the longer duration of sustained sounds compared to the melody (figuration, counterpoint).

In a folk orchestra, the pedal is of particular importance, since the basic techniques of playing many instruments are not able to cement the sonority of the orchestra (for example, staccato instruments of the balalaika group). The most commonly used pedals are bass domras (low and middle register), button accordions and viola domra (middle register).

In terms of pitch position, the pedal is most often located below the melody. The best register for pedal sounds in a folk orchestra is considered to be the register from “E” of the small octave to “A” of the first. An orchestral pedal contains a wide variety of harmonic sounds. Logical use of the pedal in three- and four-voice presentation. However, often only a part of the harmonic sounds (for example two) are used for the pedal. Sometimes only one harmonic sound is sustained as a pedal. This could be a bass or some kind of middle harmonic voice. Pedal sound can be sustained not only in the bass. Quite often there are cases when it is maintained in the upper voice, this indicates that the pedal is not always located below the melody. From the point of view of the timbre used, the pedal can be assigned both to instruments of a timbre group related to the melody being played, and to instruments of a contrasting timbre. It is better to use a contrasting tone pedal when the melody and the pedal are in the same register.

See Appendix (example no. 74)

In this example, the pedal passes near the bass domra, being the background of the melodic line of the alto domra.

See Appendix (example No. 74 a)

This is not a rare example when the pedal sounds in the upper register, above the melody that runs through the first button accordion and balalaikas for approx.

See Appendix (example No. 74 b)

In the given musical fragment of “The Lizard” by G. Fried, the “mix” technique is used, when the melody and pedal sound in the same combinations.

Melody: domra prima I, domra alto I, button accordion I;

Pedal: domra prima II, domra alto II, button accordion II plus domra bass and balalaika prima. In this example, the pedal sounds in one register.

Self-pedaling musical fabric is a phenomenon when the melodic line is expressed in long, sustained sounds, which is typical for a drawn-out Russian folk song. Naturally, there is no need to use any pedals here.

See Appendix (example no. 75)

A special case of the orchestral pedal is a sustained sound that is also an organ point. In the orchestral fabric there are various organ points. The defining feature of organ points is the specific function they perform. It lies in the fact that individual sounds (most often tonic and dominant), as if isolated from the rest of the tissue, turn into a peculiar background that has suspended movement or is frozen in its movement, maintained for more or less significant time, against which the development of melodic and harmonic continues. fabrics. Most often, organ points are used in the bass voice. In musical literature, organ points can be found not only on extended notes, but also on rhythmic and sometimes melodically ornamented sounds. This is quite rare in scores for folk orchestras.

See Appendix (example no. 76

This example shows a case where the organ point of the double basses is also a pedal.

Topic 4. Harmonic figuration. Varieties of figurations.

Harmonic figurations are basically middle harmonic voices in their rhythmic movement and figurative pattern, isolated from the melody and from the bass voice. An example is the stereotypical forms of presentation of waltz accompaniment, bolero, polonaise, etc. Harmonic figuration helps to reveal greater independence of harmony. In an orchestra of Russian folk instruments, I usually entrust the harmonic figuration to balalaikas seconds and violas, sometimes with the addition of balalaikas prime or bass balalaikas. Cases of performing harmonic figurations with domras and button accordions are less common and mainly in combination with figurations with balalaikas.

The simplest harmonic figuration is repeated chords.

See Appendix (example no. 77)

A special case of repeated chords are repeated chords legato. This alternation of harmonic sounds in different directions for two instruments creates the impression of a swaying legato, it is possible only with button accordions or wind instruments, much less often with domras.

See Appendix (example no. 78)

Repeated chords are fairly easy to play, so it is common to use repeated chords in more complex rhythmic patterns.

See Appendix (example no. 79)

A more striking form of harmonic figuration is movement along the sounds of a chord: alternating two sounds, a short arpeggio with transfer from low balalaikas to higher ones and vice versa. Most often you can find movement along the sounds of a chord simultaneously (prima balalaikas, second balalaikas, alto balalaikas, possible use of bass balalaikas, depending on the texture being presented).

See Appendix (example No. 80 a, example No. 80 b)

A non-typical presentation of harmonic figuration is the use of non-chord sounds (superposition of figurations on the melodic line). This figuration approaches counterpoint. This is especially typical for figurations performed above the melody.

See Appendix (example no. 81)

Occasionally, harmonic figuration acquires dominant significance. So, for example, in the introduction to some plays or sections of these plays that are independent in form. Such moments in music mobilize the listener, preparing him for the main action.

See Appendix (example no. 82)

Topic 5. Bass. Characteristic techniques of performance and presentation. Figured bass. Solo parts.

Regarding the above mentioned orchestral functions, we can say that they have one characteristic feature - they can sound in any register of the material presented, and, moreover, be in any pitch relationship with each other. The bass is an exception in this regard - it is always the lowest sound of an orchestral presentation. Bass as an orchestral function and bass as a sound characterizing harmony are one and the same.

Beginning instrumentalists often make mistakes when making instrumentation for a group of balalaikas, where the lower voice plays the balalaika bass. The error appears due to the fact that the balalaika alto is a transposing instrument (sounds an octave lower) and the voices move - the bass goes into the middle voices, and the alto goes into the lower voices (a change in the harmonic function).

See Appendix (example no. 83)

In most cases, the bass is distinguished as an independent orchestral function. This is achieved by doubling the bass voice in unison or an octave. In an orchestra of folk instruments, to give independence to the bass voice, a contrasting method of sound production is used - staccato balalaika basses and double basses.

See Appendix (example no. 84)

To create space and surround sound in the bass voice, not only octave presentation is used (bass, double bass), but also in the interval of fourths and fifths.

See Appendix (example no. 85)

Sometimes the bass is not singled out in an orchestra as an independent function of the orchestral texture, but coincides with the lower note of some other function.

See Appendix (example no. 86)

There are some other types of bass. For example, featured. The simplest type of figured bass is a bass made up of two alternating sounds: the main one, which determines the function (harmonic) and the auxiliary one. Most often, the auxiliary bass is the neutral sound of the triad.

See Appendix (example no. 87)

The figured bass is sometimes quite complex, moving mainly along the sounds of the chord.

See Appendix (example no. 88)

It is no exception when the bass performs a melodic function in the low register. In folk orchestra scores, such a manifestation of the bass voice is not uncommon.

See Appendix (example no. 89)

ChapterIII. Analysis of the clavier.

Topic 1. Clavier and its features. Instrumentation of keyboard pieces.

The clavier is an arrangement of an orchestral work for piano. An original piece for piano or button accordion, proposed for instrumentation.

To orchestrate a particular piece, it is not enough to know the capabilities of orchestral instruments and the principles of presenting musical material - it is also important to know the texture features of the instrument for which the piece was originally written. When instrumenting piano pieces, you need to remember that the piano does not have a continuous, long-lasting sound, which is available on string instruments due to the movement of the bellows. However, the piano has a device (pedal), due to which the durations are lengthened, although they are recorded in smaller durations.

See Appendix (example no. 90)

When analyzing the clavier, you need to be careful about recording the piano texture. You can often find abbreviations of voices in the recorded texture. For example, missing a double note in one of the voices.

See Appendix (example no. 91)

A feature of many piano works is also the limitation of the range of chords played by an octave interval. As a result, the chords tutti very often there are gaps between voices, which must be filled during instrumentation.

See Appendix (example no. 92)

See Appendix (example 93 a, example 93 b)

One of the features of the piano texture is the replacement of rapidly repeating sounds of a chord by alternating two or more sounds of this chord.

See Appendix (example No. 94 a, example No. 94 b)

The whole variety of pieces written for piano can be distinguished into two main types. There are pieces with a specific piano texture that, when instrumented by any master, lose in sound, and there are pieces with such a texture that, with skillful decoding, can enrich the sound of the piece.

When analyzing piano pieces from the point of view of their suitability for instrumentation, one must carefully compare the capabilities of the piano and orchestral instruments, compare the coloristic capabilities of the piano and orchestral groups, and, finally, the technical implementation of the piano texture.

ChapterIV. Arranged from a symphonic score.

Topic 1. Groups of instruments of a symphony orchestra and their relationship with instruments of a folk orchestra.

Wind instruments:

a) wooden

b) copper

Any score is a complete presentation of the author's thoughts, with all the manifestations of technical means and techniques for revealing the artistic image. Therefore, when re-instrumenting from a symphonic score, one should, if possible, keep the texture of the instrumental work intact. The instrument maker's task is to transfer them, after a careful analysis of the functions of the symphonic score, to the score of the Russian folk orchestra. If we talk about approximating the timbres of a symphony orchestra with the means of a Russian orchestra, then we can assume that the string group of a folk orchestra, mainly domras, corresponds to the bow group of a symphony orchestra, and button accordions correspond to the woodwind and brass groups. However, this is true only to a certain extent and as long as the development of the material corresponds to the character, technical capabilities and sound power of the listed groups.

Inexperienced or novice instrument players often see the task of re-instrumentation only in the correspondence of the bow group - domrams, and the wind group - bayans, without taking into account the timbres, sound strength, or technical capabilities of the instruments.

If woodwind instruments are somehow equivalent to the accordion group, especially in terms of sound strength, then the brass group in sound tutti – f when compared with a button accordion group, it requires additional resources that complement the strength of the sound. Imitating a brass group, button accordions should be presented in octave or chords if the texture is harmonic, plus balalaikas tremolo chords. And this is sometimes not enough; we can give a lot of examples when the musical material of the bow group is fully or partially entrusted to the button accordion group (technically complex material, high tessitura, arpeggiated texture) and vice versa (though less often), when the melodic function of the wind instruments is performed by the domra and balalaika groups . When comparing the colors of a symphony orchestra with a folk orchestra, which is rather poor in timbre, it is worth considering whether it makes sense to re-instrument those works in which the author uses paint as the basis of figurative characteristics (such as Dukas, M. Ravel, C. Debussy). It is more expedient to re-instrument pieces that are related to the folk song basis and are similar in character, nature and means of the Russian folk orchestra.

Taking into account the specific capabilities of the Russian folk orchestra, it is necessary to a certain extent to “disengage” from the real sound of a symphony orchestra, and at the same time preserve the main idea of ​​the author.

Here are some examples of re-orchestration of a symphonic score.

See Appendix (example no. 95)

This example reflects exactly the case when it is possible to transfer the entire texture of a symphony orchestra to a folk orchestra, practically without change. The only thing is that the pedal, which is performed by the oboe and horns in the symphonic score, was assigned to a group of balalaikas. And this is not an indisputable decision - there are options.

See Appendix (example No. 96 a, example No. 96 b)

In this example, it is better to transfer the part of the first violins to button accordion I, since in the domra this register (the first three measures) is inconvenient and sounds bad. Pedal sounds of wood are performed by button accordion II plus prima balalaikas. The function of the group of brass instruments is entrusted to the III button accordion and balalaikas, seconds and violas. This is perhaps the only correct decision.

See Appendix (example No. 97 a, example No. 97 b)

In this fragment of the symphony, the parts of the first and second violins are performed by accordions, since they create this reverent background more expressively than domras. Harmonic pedal for domras and balalaikas approx. To make the theme sound more prominent (it is led by violas), the third button accordion duplicates it (as a subtimbre). Such a presentation of the texture does not violate the author's intention, but, on the contrary, contributes to the disclosure of the artistic image.

Let's consider another option for re-instrumentation, when the texture of wind instruments is clearly separated from the functional task of string instruments. In a symphony orchestra, as in a folk orchestra, the largest group is the strings. For any nuance (in this case p) string instruments sound dense, rich and alarming. When re-instrumenting this fragment, it is necessary to add a balalaika group to the domra group in order to get the same effect.

See Appendix (example No. 98.a, example No. 98 b)

All examples of re-instrumentation are given for a full composition of a folk instrument orchestra without a brass group. If the orchestra has at least a flute and an oboe, then the instrument maker’s task is greatly simplified - a resource appears in the group of button accordions and balalaikas for the implementation of other artistic tasks.

Literature

Andreev V. Materials and documents. / V. Andreev. – M.: Muzyka, 1986.

Alekseev P. “Russian folk orchestra” - M., 1957.

Alekseev I. Russian folk orchestra. / I. Alekseev - M., 1953.

Blok V. Orchestra of Russian folk instruments. / V. Blok. – M.: Muzyka, 1986.

Basurmanov A. Handbook of accordion player. / A. Basurmanov. – M.: Soviet Composer, 1987.

Vertkov K. Russian folk instruments. / K. Vertkov. – L., 1975.

Vasiliev Yu. A story about Russian folk instruments. / Yu. Vasiliev, A. Shirokov. – M.: Soviet Composer, 1976.

Vasilenko S. Instrumentation for symphony orchestra. / S. Vasilenko. T. 1. - M., 1952.

Gevart F. New course in instrumentation. / F. Gevart. – M., 1892.

Gevart F. Methodological course of instrumentation. / F. Gevart. – M., 1900.

Glinka M. Notes on instrumentation. Literary heritage. / M. Glinka. – L.-M., 1952.

Zryakovsky N. General course of instrumentation. / N. Zryakovsky. – M., 1963.

Zryakovsky N. Problems in the general course of instrumentation. / N. Zryakovsky. Part 1. – M., 1966.

Kars A. History of orchestration. / A. Kars. – M.: Muzyka, 1990.

Konyus G. Problem book on instrumentation. / G. Konyus. – M., 1927.

Maksimov E. Orchestras and ensembles of Russian folk instruments. / E. Maksimov. – M., 1963.

Rimsky-Korsakov N. Fundamentals of orchestration. / N. Rimsky-Korsakov. – M., 1946.

Rimsky-Korsakov N. Fundamentals of orchestration. – Literary works and correspondence. / N. Rimsky-Korsakov. T. 3. - M., 1959.

Rozanov V. Instrumentation. / V. Rozanov. – M.: Soviet Composer, 1974.

Tikhomirov A. Instruments of the Russian folk orchestra. / A. Tikhomirov. – M., 1962.

Chulaki M. Instruments of the symphony orchestra. / M. Chulaki. – M., 1962.

Shishakov Y. Instrumentation for an orchestra of Russian folk instruments. / Yu. Shishakov. – M., 1964.

1 Everywhere, both at the beginning and subsequently, all musical examples are written without a piccolo domra, because This instrument is not used in most orchestras.

This instrumentation course is intended for practical study of this discipline at a music university; it is intended primarily for students of theoretical and composition departments (mainly composers and only partly theorists).
Instrumentation is a purely practical discipline, which was decisive for the content and structure of this textbook. The student will find a detailed description of the individual instruments included in the symphony orchestra, the characteristics of their ranges, properties and features of their registers in textbooks on instrument science. Here we give only a brief - to the extent necessary for practical work - consideration of the orchestral groups included in the symphony orchestra - bowed, woodwind and brass, as well as orchestras - bowed, small symphonic and large symphonic. This course represents the initial stage of studying instrumentation; For pedagogical reasons, it introduced a number of restrictions on the use of individual instruments and groups of the orchestra, both in relation to extreme registers and technical capabilities. In the further practical activity of the young orchestrator, as he masters the art of orchestration, these restrictions will naturally disappear.

The textbook includes special exercises: on the arrangement of chords in bowed instruments, in woodwinds, brass, exercises on connecting wood and brass groups, as well as on the arrangement of chords 1 and 3 in a large symphony orchestra. The main place in the textbook is occupied by tasks arranged in a strictly defined and systematic order for all groups of the orchestra separately - strings, wood, brass - and for small and large symphony orchestras.
When taking an instrumentation course, teachers leading this course usually use piano pieces as material for students’ practical work. However, pieces suitable for this purpose and meeting all the requirements that they must meet (works where the timbres and functions of individual instruments and orchestral groups would be clearly and clearly identified, but at the same time small in duration and size) are extremely few . Of course, almost every piano work can be orchestrated, but very rare of them will, after orchestration, give the impression of being composed specifically for an orchestra. Therefore, I had to compose special problems, purely orchestral in texture, which formed the basis of the Practical Course in Instrumentation.

The musical material of the proposed tasks is mostly simple in melodic, harmonic and textural terms. A number of tasks are small prelude pieces, complete in form, for orchestra, in which the connection between the content of music, musical form, melody, harmony, the development of motivation and orchestration already comes into force.

This course sets as its main goal to develop the student's sense of the orchestra and teach him to think orchestrally, both in timbre and textural terms. Failure to comply with these conditions will lead to abstract composition of music, and its arrangement with an orchestra will be inorganic.
To master the technique of orchestration, a student must first study the capabilities of each instrument that is part of the orchestra: its range, registers, the strength of sound in them, technical capabilities and other individual properties and features. And also the relationship between the instruments and groups of the orchestra. He must be able to position the chord tutti, achieve evenness of sound, ensure that all the different elements of the texture are clearly audible, and much more. An important role in mastering orchestration is played by the ability to think logically, which is very helpful in finding the right timbres, their combinations and the sequence of their alternations. All this is easier to comprehend and learn in the simple language of the proposed tasks. As in all areas of creativity and science (and orchestration is creativity and science), in order to pass the learning stage, you need to move from simple to complex. Student composers, no matter what style and direction they write music, in their future work will still have to face the need to be able to correctly position the chord in tutti (even if it is not a simple triad, but consists of all twelve sounds), master the combination and alternation of different timbres and all other elements that are included in the concept of orchestration technique. And again, it’s easier to learn this with simple material. Having mastered the initial stage of mastering an orchestra, the composer will later find his own style of orchestration that he needs for his music. (By the way, A. Schoenberg taught his students using simple material according to the classical system.)

As is already clear from what has been said, before proceeding to the practical solution of the problems included in this textbook for bowed, woodwind, and brass instruments, the student must firmly grasp the basics of instrumentation (at the discretion of the teacher, from any of the available textbooks). I also strongly recommend that you thoroughly study N. Rimsky-Korsakov’s book “Fundamentals of Orchestration”, including the tables on the bow group, woodwind group, brass group, as well as the chapters that discuss harmony in woodwind and brass instruments. In these chapters, special attention should be paid to examples concerning the location of harmony in woodwinds, brass and their connections.
The exercises in this course must also be completed before solving the corresponding problems.
And only after this can you begin to actually solve problems.
In all the problems proposed here, the musical material is presented in such a way that its correct solution in the score, with the exception of small details, does not allow for variations. The student must hear and select the most characteristic timbres for a particular function of the existing texture, in some cases fill in the missing middle in the chords, sometimes add an octave bass, and find good voice leading.
Solving easy problems can be done orally under the guidance of a teacher. More complex tasks or individual measures of them are in the score.
It must be taken into account that the recommendations offered in the textbook regarding the use of individual instruments, orchestral groups and their combinations and alternations apply only to the tasks and exercises found in this course. Therefore, not all the possibilities of instruments and their interaction with each other in the orchestra are presented here. These restrictions are deliberately introduced, and they are necessary at the initial stage of a student mastering orchestration. After graduating from the conservatory and starting an independent creative life, the young composer himself will find a solution to a number of orchestral problems that will confront him. It is, of course, impossible to compose problems for all possible orchestration cases. This is hardly necessary. Orchestration is not painting abstractly composed music into different colors and timbres, but one of the components of the musical form, such as melody, harmony, development and repetition of motifs, etc. Therefore, when composing an orchestral work, the composer must accurately imagine the sound of the orchestra , orchestral texture and every musical phrase, melody, harmony, chord can be heard in an orchestral timbre.