SUBJECT 4.1 | Orchestration

Subject 4.1

Jul 28

Study of Counterpoint and Strata

Formal Structure and Orchestration

Orchestration can be used to highlight the different musical ideas and moments of a composition; its function is to articulate the formal structure of the music and embue it with emotion. Taking a closer look at the construction of the passage, the 8-measure sentence, which starts at the third beat of m. 306, is divided into two sections, in the first section, the theme A[2+2]–played by the violins and flutes– is repeated twice; the second section of the sentence starts with a brief sequence followed by the reintroduction of the first half of theme A as a closing figure. Albeit subtle, changes in orchestration align with the formal structure of the passage.

Section 1:

The horns, bass trombone, and double basses provide the harmonic backbone of the passage. The Timpani, oboes and clarinets in A join in at the start of the short sequence in the second half of the sentence (on the third beat of measure 309 through the second beat of measure 311). The tenor trombones and the trumpets take over the woodwinds through the end of the passage (on the third beat of m. 311). Their entrance highlights the final cadence, which closes the sentence.

Section 2:

The secondary melody starts on the second beat of m. 306. The clarinets in A, written an octave apart, are reinforced by the oboes 1 and 2 in the upper note and by the bassoon in the lower note. The “woody” timbre of the bassoon is clearly audible, as well as the “reedy” timbre of the oboe. The clarinets are not as prominent; however, they are still audible, and they contribute greatly to the roundness of the blend.

The violas and the cellos come in at the start of the short sequence at the third beat of m 309 reinforcing the bassoons, which are spaced an octave apart. This grouping is kept through the end of the section. One can barely hear that the oboes and clarinets have stopped playing along. However, the low strings stand out due to the tremolo playing technique.

Section 3:

The main melody or “theme A” of the sentence is played by the Flutes and Violins. This coupling is held through the entire passage. As the theme head is introduced again on the third beat of m. 311, the oboes join in on the lower octave, taking the place of third flute. The clarinets join in on the second half of m. 311 in octave spacecing, highlighting the melodic suspension of the ninth of the dominant chord F#7 prior to the arrival of the tonic.