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.
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.
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.
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.
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.