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
-Useful ensemble voice - gives clarity to cellos + d. basses

Bass Clarinet in Bb
-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 touffs: Dampen notes-dry stacc.

-Prs 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 necessary bass to a complex tonal structure! to avoid breaking long held notes)
String: E - Dark, somber A - Ponderous. D - Rich, mellow G - Very rich + expressive. It can be
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.
 Bibliography

-Adler, Samuel
The Study of Orchestration
3rd ed. New York: Norton, 2002.
-Berlioz, Hector
Treatise on Instrumentation
Enl. and rev. Richard Strauss. Tran. Theodore Front.
New York: Dover, 1991.
-Blatter, Alfred
Instrumentation and Orchestration
2nd ed. New York, Schirmer Books, 1997.
-Forsyth, Cecil
Orchestration
2nd ed. New York: Dover, 1982.
-Jacob, Gordon
Orchestral Technique
3rd. ed. London and New York: Oxford University Press, 1982.
-Kennan, Kent and Grantham, Donald
Technique of Orchestration
6th ed. New Jersey: Prentice Hall, 2002.
-Rimsky-Korsakov, Nikolai
Principles of Orchestration
Ed. Maximilian Steinberg. Trans. Edward Agate.
New York: Dover, 1964.
-Piston, Walter
Orchestration
London: Victor Gollancz Ltd, 1955.
-Ray, Don B.
Orchestration Handbook
Milwaukee: Hal Leonard Corporation, 2000.

D. J. Prescott 2005