We coined the term EXTREME ORCHESTRATION in an attempt to capture the imagination of students whose orchestrations tended to be merely functional—inoffensive but unengaging. We suggest that this concept could be instilled as a primary motivator for all musical endeavors.
Extreme orchestration does not claim that every piece must be avant-garde or conspicuously innovative, or that all music, dynamically, should be at the threshold of audibility or pain. Unconventional ensembles are not necessarily less fascinating than commonplace ones, and the outermost instrumental registers are not always preferable to the more common, middle range. It certainly is not a decree that proselytizes the superiority of extended techniques over traditional ones, or one that shuns music written before the Twentieth Century! (In fact, it would be difficult to imagine an orchestrator more extreme than Beethoven.)
What is extreme orchestration? It is simply a challenge asking that composers and orchestrators define their goals and execute them extremely well. If your concept is to write a beautiful love ballad, make it gorgeous. Don’t be afraid to write violent passages that are primal and horrifying. If you wish to orchestrate in the style of Bach, study his scores thoroughly and aim for more than a superficial resemblance; find and emulate the details and subtleties that make his music awe- inspiring. If your aim is to orchestrate Bach’s music in an unusual way, search deep and hard to find a strategy that will allow the listener to hear Bach’s ideas in a completely fresh manner (as Webern did when he orchestrated Bach’s Musical Offering). Strive to make your music not only moderately pleasant (sad, etc.), but powerful and effective. Do not stop short of capturing the essence of your goals.
An extreme orchestrator must carefully balance two aspects of instrumentation and orchestration: craft and art. The craft of instrumentation deals with concrete issues such as instrument ranges, transpositions, registral characteristics, various performance techniques, and idiomatic devices. Orchestrational craft encompasses the ways in which instruments can be combined, how they balance with one another, transcription approaches, and a host of other concerns. In terms of craft-oriented issues, there is no need to reinvent the wheel, as there are many resources available to develop these skills. This text is a practical reference, aimed at developing techniques and strategies for dealing with such issues and concerns, but no book alone can teach you the craft of orchestration. In addition, the following are highly recommended:
Listen to Music. As often as possible. There is no better way to internalize the potential of instruments and instrumental combinations than actively listening to music.
Attend Concerts. By watching the performers and feeling the energy of shared musical communication, you should be able to re-visualize how the music comes to life as your work on your scores.
Attend Rehearsals. One of the best ways to learn about orchestration, it is possible to hear what is difficult for the ensemble and what works instantly. The kinds of concerns expressed by the conductor and how players respond to them may be observed in this setting.
Study Scores. Detailed score analysis teaches many lessons that would take volumes of books to describe, and is one of the primary methods for studying orchestration.
Piano Reductions. When available, compare piano reductions with full scores. Making piano reductions from large ensemble scores or orchestrating a reduction and comparing it against the original can teach many valuable lessons.
Work With Players. Ask performers questions about what their instruments do or don’t do well. Have them demonstrate specific techniques for you.
Have Your Music Read/Performed. No book or professor can teach you the lessons of such situations. It will quickly become apparent what worked and what didn’t (though failed passages may be the result of poor scoring from the orchestrator or poor reading from the players). If possible, record all readings, rehearsals, and performances of your works, and listen critically to them.
The art is the way in which the techniques and issues of craft are applied. All of the methods described above should also be used to engage the artistic side of the orchestrator. This text poses many artistic issues, but in the end only you can exercise your creative power.
Brass | Introduction
Brass instruments are a far more homogeneous group than woodwinds. All brass instruments produce their sound when lips are vibrated into a mouthpiece. Beyond the mouthpiece, the most important element in the structure of all brass instruments is a flaring bell at the end of the tubing, which not only amplifies the sound but also helps the higher partials to speak clearly and evenly.
Brass | Scoring
In the following excerpt, the brass section forms the core of the climax of Strauss’s Till Eulenspiegel. Here the brass is organized in a variety of configurations, ranging from contrapuntal balancing to homophonic power chords.
Brass | The Horn Family
The horn (rarely referred to as the “French horn” these days) is the most extensively used brass instrument in orchestral writing, whether measured by the number of scores which call for it, the number horns usually included in the instrumentation of a score compared to other brass instruments, or by the relative total duration of time that solo or section horns play in a score.
Brass | The Trumpet Family
The trumpet is arguably the loudest and most powerful member of the orchestra, if one excludes the organ and certain deafening percussion. A single trumpet in its middle to high register at the ƒ dynamic level can always be heard, no matter how dense and loud the texture surrounding it.
Brass | The Trombone Family
The trombone is so similar in its acoustic structure to the trumpet (predominantly cylindrical) that it may be considered a bass trumpet with a slide replacing the valves.
Brass | The Tuba Family
The tuba functions as the bass of the brass section. Comparable to the way string basses commonly double the cellos an octave lower (like adding an organ “16-foot” stop), the tuba is acoustically designed to provide depth and strength to the bass voice. Its sound is open and relatively diffuse, a “sub-woofer” to the brass and the orchestra as a whole.