ODESSA Research Team 7/31/21 ODESSA Research Team 7/31/21

Introduction | Subject 1 | ODESSA I

Perception of a Violin Section | Orchestral Distribution Effects in Sound, Space and Acoustics

This subject is from Tchaikovsky’s Symphony no. 6. mov. i, mm. 89–97. The goal was to examine differences between either a single violin, two violins, three violins, four violins, six violins, or the entire section.

ODESSA Research Team 7/30/21 ODESSA Research Team 7/30/21

Introduction | Subject 2 | ODESSA I

Study on Counterpoint and Energy | Orchestral Distribution Effects in Sound, Space and Acoustics

From: Tchaikovsky Symphony no. 6. mov. i, mm. 170–185, to study how counterpoint and orchestration are used as a way to enhance energy. Example A is the orchestration of just the string section, playing the thematic and motivic counterpoint Example B is the orchestration of just the woodwinds and brass sections Example C is the original tutti scored by Tchaikovsky

ODESSA Research Team 7/29/21 ODESSA Research Team 7/29/21

Introduction | Subject 3 | ODESSA I

Study of Counterpoint and Climax | Orchestral Distribution Effects in Sound, Space and Acoustics

Subject 3 is from Tchaikovsky’s Symphony no. 6. mov. i, mm. 284-304. The goal was to study the building of an orchestral climax and hyper-romantic counterpoint. Example A is the Winds (no fl), horn, trumpet, trombones, tuba, timpani: harmony+ counter-subject. Example B is the Flute, violin I, violin II, viola, cello: melody alone. Example C is the Tutti. Example D is the Tutti (extended section).

ODESSA Research Team 7/28/21 ODESSA Research Team 7/28/21

Introduction | Subject 4.1 | ODESSA I

Study of Counterpoint and Strata | Orchestral Distribution Effects in Sound, Space and Acoustics

Subject 4.1 is from Tchaikovsky’s Symphony no. 6. mov. i, mm. 305-313. The goal was to study orchestration strata and hyper-romantic counterpoint. Example A is the harmony only: Horns, Trombones, Tuba, Timpani, Viola, Cello, Contrabass. Example B is the contrechant only: Oboe, Clarinet, Bassoon, add Viola, Cella at m.309. Example C is the melody only: Flute, Violin I & II, add oboe (m. 311), add clarinet (m. 312). Example D is the original orchestration.

ODESSA Research Team 7/24/21 ODESSA Research Team 7/24/21

Introduction | Subject 4.2 | ODESSA I

Study of Poetic Affect | Orchestral Distribution Effects in Sound, Space and Acoustics

Subject 4.2 is from Tchaikovsky’s Symphony no. 6. mov. i, mm. 305-309. The goal was to examine how a poetic demand from the conductor can change the orchestra’s playing. Example A is the orchestra playing “normal. Example B is the orchestra playing like a “Bridge of Ice.”

ODESSA Research Team 7/23/21 ODESSA Research Team 7/23/21

Introduction | Subject 5 | ODESSA I

Study of Contrast | Orchestral Distribution Effects in Sound, Space and Acoustics

Subject 5 is from Tchaikovsky’s Symphony no. 6. mov. iii, mm. 196–256. The goal was to study the contrast created by pointillistic motives versus linear horizontal ascending lines. Example A is the original orchestration.

ODESSA Research Team 7/22/21 ODESSA Research Team 7/22/21

Introduction | Subject 6 | ODESSA I

Study on Alternating Sections | Orchestral Distribution Effects in Sound, Space and Acoustics

Subject 6 is from Tchaikovsky’s Symphony no. 6. mov. iii, mm. 221–229. The goal was to examine the unique alternating instrumental sections in this passage. Example A is the orchestration of just the string section. Example B is the orchestration of just the woodwind section. Example C is the original tutti scored by Tchaikovsky.

ODESSA Research Team 7/18/21 ODESSA Research Team 7/18/21

Introduction | Subject 7 | ODESSA I

Percussion study | Orchestral Distribution Effects in Sound, Space and Acoustics

Subject 7 is from Tchaikovsky’s Symphony no. 6. mov. iii, mm. 330–end. The goal was to examine the percussion and the orchestration that is built around these rhythmic elements. Example A is the orchestration of just the timpani and bass drum. Example B is the orchestration of just the timpani and bass drum and brass section. Example C is the orchestration of the woodwinds and strings. Example D is the original tutti scored by Tchaikovsky.

ODESSA Research Team 7/17/21 ODESSA Research Team 7/17/21

Introduction | Subject 8.1 | ODESSA I

Study on Addition and Reduction | Orchestral Distribution Effects in Sound, Space and Acoustics

Subject 8.1 is from Tchaikovsky’s Symphony no. 6. mov. iv, mm. 1–18. The goal was to study the woodwind combination, and the addition and reduction of instruments, and harmonic tension and release. Example A are the Woodwinds. Example B is the original scored Tutti.

ODESSA Research Team 7/15/21 ODESSA Research Team 7/15/21

Introduction | Subject 8.2 | ODESSA I

Study of Composite Lines | Orchestral Distribution Effects in Sound, Space and Acoustics

Subject 8.2 is from Tchaikovsky’s Symphony no. 6. mov. iv, mm. 19–23. The goal was to study the composite descending melodic line, scored between violin I and violin II. Example A is the Violin II. Example B is the Violin I. Example C are the Violins I & II; However, in this example the violin II leads. Example D are the Violins I & II: Balanced, normal performance. Example E are all the strings, for the full musical context.

ODESSA Research Team 7/13/21 ODESSA Research Team 7/13/21

Introduction | Subject 4.2 | ODESSA I (Copy)

Study of Poetic Affect | Orchestral Distribution Effects in Sound, Space and Acoustics