Chapter 12 Woodwind Basics ‘The first discussion is about the organization of the woodwind section and doubles from the ‘major symphony orchestra to the studio session player. Orchestra Woodwinds: Seating and Doubles ‘Thereare three sized woodwind sections per instrument, depending on the importance and size of the orchestra. These are 4, 3 and the minimum of 2 players per instrument. | | General Seating Arrangements for Orchestra and Studio Sessions ‘The woodwinds sit directly behind the violas. Behind the woodwinds sit the French horns. ExaMete 12-1 1234 ‘The numbers below the instrument name designate the seating position of the lead player (1). The number of players within each section also dictates who doubles what. 369Chapter 12 370 Doubles in a Four Player Symphonic Section Ina four player section, the following doubles can be planned for: Flutes Oboes Clarinets Bassoons 3 Flutes I 3 Oboes LIL 3 Clarinets HI 3 Bassoons I-III Bass Flute (III) Eng. Horn (IV) Small Clarinet (III) Contrabassoon (IV) Piccolo (IV) Bass Clarinet (IV) Ina major orchestra, the third chair player (if there’s no part written for him) can, at the conductor's discretion, double the lead player's part or spell him so that the lead player has a break. Doubles in a Two or Three Player Symphonic Section ‘The minimum symphonic woodwind section consists of one pair of each of the following instruments, especially with smaller orchestras: Flutes, Oboes, Clarinets, and Bassoons. The last symphonic player in each section most often doubles these instruments: Flute Tl or II doubles Piccolo Oboe Hor It doubles-_-English Horn Clarinet Hor It doubles Bass Clarinet Bassoon II or III doubles Contrabassoon Doubles in the Studio Orchestra Flute players are generally expected to double piccolo, alto flute and bass flute regardless of their “chair.” Oboe players are expected to double the English horn, Bassoon players are expected to double the Contrabassoon. Clarinet players will double the A-Clarinet, the Bass Clarinet, and when available, the Small Clarinet and the Bassett horn. Asking for Doubles Forastandard orchestra, it'sassumed that the second or third player ofeach section will have these doubles (as already illustrated). For a studio orchestra, it's best to assume nothing. When doubles are required, the orchestra contractor must be told up front what your needs are. Waiting until the session begins i too late. To make themselves more valuable as studio players, sax players often learn other wood- winds that they double. The most common sax doubling is the clarinet. The second most common doublings are the flute and alto flute. Some baritone sax players also learn bass clarinet and bassoon. Labeling Part Numbers and Marking the Score Insymphonic writing partsarelabeled with Roman numeralsforall instruments. In studio ‘writing, Arabic numbers are used. ‘When a player is to move to a doubled instrument, the score and parts are marked ToWoodwind Basics s00000%, On the average, a fewbars in moderate tempo are needed to changeto a double. When the player isto go back to the original instrument, the score and parts are marked To x0000x. (Oboe 2 Doubling the English Horn When Oboe 2 is doubling the English hom, there is a key change going to the English horn and then going back to the Oboe 2 part. Clarinet 2 Doubling the Bass Clarinet ‘There is not a key change for Clarinet 2 moving to the Bass Clarinet since both are in the key of Bb. However, if Clarinet 2 is playing an A-Clarinet, there will be a key change. When to Use the A-Clarinet With a complicated key signature, say three sharps or three flats and up, using the A- Clarinet simplifies the key signature for the player. ‘Octave Changes for Piccolo and Contrabassoon ‘There are no key changes for the Piccolo and Contrabassoon, but it should be remembered that the Piccolo sounds an octave higher than written and the Contrabassoon an octave lower. The Alto Flute Discussed later in this chapter, the Alto flute (which is a transposing instrument) is considered a must double for studio flutists. However, when booking a recording session, be sure to mention to the orchestra contractor what you want. For semi-professional and academic symphonic organizations, check first to see if one of the flute players doubles the alto flute. Ifnot, then the orchestra may have to contract out and hirea player just to perform your score. Use of Woodwind Doubles The following remarks by Rimsky-Korsakov suggest the characteristics, timbre, and use of special instruments. These remarks are completely subjective and are not law. The Piccolo The piccolo’s duty is principally to extend the range of the flute in the high register. The whistling piercing quality of the piccolo in its highest range is extraordinarily powerful, but doesn’ tlend itself to more moderateshades of expression. Thelow and middle registerof the piccolo correspond to the same register in the normal flute, but the tone is so much weaker that it's of little service in those regions. The Small Clarinet ‘The small clarinet in its highest register is more penetrating than the ordinary clarinet. The low and middle register of the small clarinet correspond to the same register in the normal clarinet, but the tone is so much weaker that it’s of litle service in those regions. The Contrabassoon The contrabassoon extends the range of the ordinary bassoon in the low register. The characteristic of the bassoon’ low range are still further accentuated in the corresponding 371Chapter 12 372 range of the contrabassoon, but the middle and upper registers of the latter are by no means 50 useful. The very deep notes of the double bassoon are remarkably thick and dense in quality, very powerful in p passages. The English Horn ‘The English horn is similar in tone to the ordinary oboe, the listless dreamy quality of its timbre being sweet in the extreme. In the low register its fairly penetrating, The Bass Clarinet ‘Though strongly resembling the ordinary clarinet, the bass clarinet is of darker color in the low register and lacks the silvery quality in the upper notes; it’s incapable of joyful expression. Often used to double low basses. Mixes well with the Contrabassoon and Bassoons when doubling extremely low bass lines. Rimsky-Korsakov Woodwind Color Chart ‘The chart in Example 12-2 on the following page, created by Rimsky-Korsakov, breaks each of the woodwind ranges into four registers: low, medium, high and very high. With each register, Rimsky-Korsakov has given adjectives to describe the color of each register. Limits to each register aren’t defined absolutely because of instrument design changes and the quality of players available. In the very high range, only those notes are given that per Rimsky-Korsakov, “could really be used.” Consider these as safe limits. The signs > < are used by Rimsky-Korsakov to show how an instrument's resonance increases or diminishes in relation to the characteristic quality of its timbre. The extent of greatest expression is marked with a bracket under the notes.Woodwind Basics Exam 12-1 ‘Small Clarinet r—D Clarinet Bp-a. Bass Clarinet BoA. Double bassoon Contato), Piccolo. Flute. Bass Flute ‘Ae FF, 0). Oboe English Horn (Corsage ato oboe. 373Chapter 12 Dynamics, p - pppp, Within the Range Breaks The following breakdown in example 12-3 on the following page gives an approximation of the difficulty of dynamics p-ppp of the woodwinds within each range break. With this chart, keep in mind that the Strings can easily play at virtually any dynamiclevel inany rangebreak depending on the technique and bowing used. Use this information with the chart in ‘example 12-2. Bano 123 Low Medium High Very High Piccolo pp most difficult Flute pp Pp & ppp p PP. very easy very easy hard, but poss. most difficult ‘Oboe pp Pp pand even pp most difficult hard in first half possible {Bb toC#) {above D) not hard in 2nd half English hom Pp Pp pp hard, but poss rot hard possible Carne peep rept p12 - ppp pt? -pp very easy very easy rot dificult most difficult Bass clarinet pand even pp and even pp Pp very easy very easy rot dificult Bassoon Pp P pp Pp most dificult not hard possible hard, but poss. Saxes P pand even pp Pp hard, but poss. easy not difficult French hom Pp Pp pp hard, but poss not difficult very difficult ‘Trumpets Pp Pp PP. possible not difficult most dificult ‘Trombone pp and even pp pp possible not difficult most difficult 374Woodwind Basics Dynamic Balance Chart Use this chartasa starting point for learning how to mix instruments from other sections. The information is general and subject to what registers the instruments are written in. Beams 12-4 Fr. homs = 2 or 3 Saxes at for ff 1 Trumpet = 1 Trombone = 1 Fr. horn = 2 Flutes = 2 Oboes = 2 Clarinets = 2 Bassoon Woodwinds Thus, 1 Trumpet = 1 Trombone = 2 French hos = atp 1 Fr.horn = 1 Flute = 1 Oboe = 1 Clarinet = 1 Bassoon = 1 Sax at pp 1 Trumpet = 1 Trombone = 1 Fr. hom = 1 Sax = 1 Flute = 1 Oboe = ‘1Clarinet Bassoon Psychological Characterization of Their Sound In the effort to characterize froma psychological point of view the timbre of each of the four families, the following observations by Rimsky-Korsakov apply to the middle and upper registers: Flute Cold in quality, specially suitablein themajorkey tomelodies of lightand graceful character. | Inthe minor key, to slight touches of transient sorrow. Oboe ‘Simple and cheerful in the major, pathetic and sad in the minor. Clarinet Pliable and expressive, suitable in the major to melodies of a joyful or contemplative character, oF to outbursts of mirth. In the minor, to sad and reflective melodies or impas- sioned and dramatic passages. | Bassoon In the major, an atmosphere of senile mockery. In the minor, a sad ailing quality. 375,Chapter 12 376 In the extreme registers, the instruments conveyed the following impressions to Rimsky- Korsakov’s mind: Low Register Very High Register Flute Dull, Cold Brilliant Oboe wild Hard, Dry Clarinet Ringing, threatening Piercing Bassoon Sinister Tense Tone Color and Expression “Iv true that no mood or frame of mind, whether itbe joyful or sad, meditative or lively, careless oreflective, mocking or distressed can be aroused by onesingle isolated timbre “itdepends moreon the general melodic ine, the harmony, rhythm, and dynamicshades ‘ofexpressionon the whole formation ofa given pieceof music. The choice of instruments, and timbre to be adopted depends on the positon that melody and harmony occupy in the seven octave scale ofthe orchestra. Far example, a melody of light character in the tenor register could notbegiven to theflutes, ora sad, plaintivephraseinthehigh soprano register confided to the bassoons. “But the ease with which tone color can be adapted to expression must nt be forgotten. Inthetirstofthesetwo cases, itcanbeconceedthat the mocking characterofthebassoon could easily and quite naturally assume a light-hearted aspect. In the second case, the slightly melancholy timbre of the flute is somewhat related to the feeling of sorrow and distress thatthe passage isto be saturated, The case of a melody coinciding in character With the instrument on which its played is of special importance, since the effect produced cannot fil to be succesful “There are also moments when a composer’s artistic feeling prompts him to use instruments, the character of which i at variance with the written melody for eccentric, srotesque effects, etc.” Rewsey-KoRsaKov Comprehensive Range Chart ‘The range chart on the following page shows where each instrument is written, where it sounds, and which clefs are used. Whole notes denote the practical range. Black notes show the extreme range as performed by professional studio players and virtuosi.Woodwind Basics Example 12-5 Piccolo oO Flute a a Eng. horn © Clarinet (eb) Clarinet a) Bass clar. (Bb) Bassoon 0, wie Contra bassoon ir = (1) Non-transposing. Muting the Woodwinds Offate years, the habit of muting woodwindshas come into fashion. This is done by inserting, a soft pad, ora piece of rolled up cloth into the bell of the instrument. Mutes deadened the tone of the oboes, English horns, and bassoons to such an extent that it’s possible for these instruments to attain the extreme limit of pp playing. The lowest noteon the bassoon, English hor and oboe are impossible when the instruments are muted. Mutes have no effect in the highest register of woodwind instruments. The Other Flutes: Alto and Bass There are two other flutes available, however, these are most often used in studio work. The firstis the Alto flute. The Alto flute isin G and transposes up a perfect fourth. The first octave and a half for ensemble work is considered the most effective. 377Chapter 12 378 Alto Flute Range Examptr 12-6 = ‘The Bass Fluteisin Candit's writtenan octave above whereit sounds. The Bass fluteis rarely used except in recording work. Sounds Written Bass Flute Range Exar 12-7 Sounds SS = Writing for Alto and Bass Flute The sour {or learning to write for these irstumen’ that abo includes recorded examples is Henry Mancin’s Sounds and Scores available rom Alexander Publishing. The Saxes Saxesarenot frequently used in symphonicwriting, but they areheavily used in popand film scoring, There are four saxes most commonly used: soprano, alto, tenor, and baritone sax. ‘There's also a bass sax, but this is rarely used. The comprehensive range chart in example 12-8 on the following page shows where each sax is written and where each sounds.Woodwind Basics Examrte 12-8 ‘Written Notation for All Saxophones Sounding Ranges (1) These notes are mising fom some instrument The Soprano sax transposes up a major second. The Tenor sax transposes up a major ninth. The Alto sax transposes up a major sixth. The Baritone sax transposes up a major sixth plus an octave. ‘The Bass sax transposes up a major second plus two octaves. Standard Combinations of Woodwinds on the Melody The followingare the most successful combinations. Please note that these combinations are covered in depth in Volume 2, Orchestrating the Melody Within Each Section. Most Common Unison Woodwind Combinations Flute + Oboe Flute + Clarinet Flute + Bassoon Flute + French horn Oboe + French horn Oboe + Clarinet Oboe + Bassoon 379Chapter 12 380 Clarinet +French horn Bassoon + French horn Three Woodwinds to a Unison Line Flute + Oboe + Clarinet Flute + Clarinet + Bassoon Oboe + Clarinet + Bassoon Oboe + Clarinet + French horn Clarinet + Bassoon + French horn Most Common Octave Combinations Flute - Clarinet Flute - Oboe Flute -Bassoon (often a 2-octave spread) Oboe - Clarinet Oboe - Bassoon Oboe - French horn Clarinet - French horn French horn - Bassoon Flute + Oboe - Clarinet + Bassoon Flute + Oboe - Clarinet + French horn Flute + Clarinet - Oboe + Bassoon Flute + Clarinet - Oboe + French horn Flute + Clarinet - French horn + Bassoon (Oboe + Clarinet - French horn + Bassoon Woodwind Ensembles Flute, Oboe, Clarinet, French hom, Bassoon 2 oboes, 2 clarinets, 2 horns, 2 bassoons 2 oboes, 2 clarinets, 4 horns, 2 bassoons, 1 bass, 2 basset horns.Woodwind Basics Most Common Sax Sections With 3 or 4-part harmony: Alto-Tenor-Baritone Sax ‘Tenor-Tenor-Tenor-Baritone Sax (Woody Herman Four Brothers sound) With 4-part harmony and the melody doubled an octave below: Clarinet-Alto-Alto-Tenor-Tenor (Glenn Miller sound) Alto-Alto-Tenor-Tenor-Baritone Sax (most common sax section) Multiphonics Multiphonics are a special technique typically available from only the top players. It's the simultaneous performance of two or more notes. These are rarely used in practical writing. For a detailed discussion, please see New Sounds for Woodwinds by Bertolozzi, Oxford University Press. 381