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https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425561029-JWYMSTMHA5H0G375LR00/0037.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425562700-5YAG9WHNIC5EOM4DL932/0038.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425562211-ICM1JPF1Q3MD5ZM7FC21/0039.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425563135-T3NEH0CBNFDMM15UM07P/0040.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425563794-53O04FAEM19JQEBNKRUE/0041.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425564315-ZYA8EUDO1WF23V1J1EQC/0042.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425565514-W4H2A55B1MMWVK1DNMSK/0043.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425565842-GMZ1C5R93CVNGOSJ6TH9/0044.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425566437-WZJ9ORS1P3DFBP4RXR7E/0045.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425567418-CBDNOUWKDA3VS4RLQDBZ/0046.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425567764-Z82HFO3HR7MKI2DQ5VHA/0047.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425568540-5FU799HDT95MTNN0SMHJ/0048.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425569059-TDAE6AY0OZRGDS68MWGB/0049.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425571733-MO0L22DQZAU32HKELSQZ/0050.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425571752-N22UGVS58T8CLZO0OUWI/0051.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425574968-38SL04NHCYOY44YVXTUX/0052.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425574944-TWJSWM733UVRK1LMC5J9/0053.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425576571-CZEA4UDZ9T1RQGH275BB/0054.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425576580-8Y8XS74HH7EEROTIUN7B/0055.jpg CORE — McGill - Diba — Supplemental Materials https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643425577485-80QJ1D4GE05ARCPGKOHD/0056.jpg CORE — McGill - Diba — Supplemental Materials https://timbreandorchestration.org/tor/modules/core/mcgill/report/pedram-diba monthly 0.5 2022-01-28 https://timbreandorchestration.org/tor/modules/core/mcgill/report/elia-foster monthly 0.5 2022-01-28 https://timbreandorchestration.org/tor/modules/core/mcgill/report/ryan-cass monthly 0.5 2022-01-29 https://timbreandorchestration.org/tor/modules/core/mcgill/report/jeanne-cote monthly 0.5 2022-01-29 https://timbreandorchestration.org/tor/modules/core/mcgill/report/martin-daigle monthly 0.5 2022-01-29 https://timbreandorchestration.org/tor/modules/core/mcgill/report/quentin-lauvray monthly 0.5 2022-01-28 https://timbreandorchestration.org/tor/modules/core/mcgill/round-1/overview monthly 0.5 2022-02-09 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619237972411-417VE6QMWTBH2UMDFL9B/CORE-Screen+Shot+2020-11-13+at+09.43.27.png CORE — McGill - Overview - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/core/mcgill/round-1/participants monthly 0.5 2022-01-28 https://timbreandorchestration.org/tor/modules/core/mcgill/round-1/composition-sketches monthly 0.5 2022-01-28 https://timbreandorchestration.org/tor/modules/core/mcgill/round-1/final-scores monthly 0.5 2022-04-05 https://timbreandorchestration.org/tor/modules/core/mcgill/round-1/video monthly 0.5 2022-01-28 https://timbreandorchestration.org/tor/modules/core/mcgill/round-1/recording-session monthly 0.5 2022-01-28 https://timbreandorchestration.org/tor/modules/core/mcgill/round-1/performer-feedback monthly 0.5 2022-01-28 https://timbreandorchestration.org/tor/modules/core/mcgill/round-1/archives monthly 0.5 2022-01-28 https://timbreandorchestration.org/tor/modules/core/mcgill/round-1/syllabus monthly 0.5 2024-05-29 https://timbreandorchestration.org/tor/modules/core/mcgill/category/Syllabi monthly 0.5 https://timbreandorchestration.org/tor/modules/core/mcgill/category/round+1 monthly 0.5 https://timbreandorchestration.org/tor/modules/core/mcgill/tag/CORE+Syllabi monthly 0.5 https://timbreandorchestration.org/tor/modules/core/mcgill/tag/Report monthly 0.5 https://timbreandorchestration.org/tor/modules/core/mcgill/tag/Student monthly 0.5 https://timbreandorchestration.org/tor/modules/core/mcgill/tag/Sidebar monthly 0.5 https://timbreandorchestration.org/tor/modules/core/universite-de-montreal daily 0.75 2022-05-30 https://timbreandorchestration.org/tor/modules/core/universite-de-montreal/supplemental-material/bucchi monthly 0.5 2022-05-30 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424459499-S6WQ6RKFYJI2AML0DETG/0001.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424459832-QETDHB4CHYAU3O0ZDXUE/0002.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424460613-0AXEEWETK6NI2AB7QSUU/0003.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424461168-54Q39E9F4D90EHLY6EHV/0004.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424461939-5OERY2R1BGDG9PX4HV11/0005.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424462732-QGLWY4Y7U88Y15KV8BF7/0006.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424463461-D1WDAFIADK6AYWIBS6T4/0007.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424464405-U4AHTOE4WKMBVBH0MPXC/0008.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424464920-J75UMY1B37MKTY2KULM1/0009.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424466002-FKS6J7Z69H04T62AR5OS/0010.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424466477-GZKKR4FRMMQXF0XPQS3M/0011.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424467809-QZT1LAEGEA1U05NKOAGZ/0012.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424468382-8FUYJ0MJF5KOQEU1ADTG/0013.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424469347-YGXH9J03NB9Z9KKE7IVW/0014.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424469786-PH0LCY680B8TSJTCYDVY/0015.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424470527-YCFMVZQ9LYXTQU9JNUAO/0016.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424471030-8B08KJVEHW3W8UN3SUV1/0017.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424471596-23K7DZ81O7MFA22T8ALP/0018.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424472498-MEA5OVXX4T6XOAJ8K1ID/0019.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424472942-8RNR8L15IFBSH090X85T/0020.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424473746-SNGGNWTB0CV5ZDE204LR/0021.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424474514-75MU5EH7EWB9A8MH66LW/0022.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424475053-930UG6IWOKLEWUARGTDR/0023.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424475837-V2GG91B5F3U8W2URX8F0/0024.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424476541-HW8DFWNV1GPEWS9EE5Y8/0025.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424477589-3VHQLMFJ17FLY5JJ02XG/0026.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424478060-BTPPIW455JEMWG8PAY8P/0027.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424478695-RSQQCMCGHL0Y782OZTBH/0028.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875934007-MGJVNZKX94ZUP7X0LVNA/0001.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875934091-MCOHBHK8I71X3I2WUS71/0002.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875935292-1JX6D4MEQSYGCAWEKLMJ/0003.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875935483-Q0OCI9ZDQJ160KTD02A9/0004.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875936551-EEMC77AE6LBMFOK6M8ZR/0005.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875936614-M7DTWJXK6AYSM9YNKXVE/0006.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875937883-XHM0XGIOAG3ENHPH2058/0007.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875938016-U829M7V4RMO2Q7ST5W35/0008.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875938994-ZB8Z5C97WCII06G4ZF8X/0009.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875939212-OGC9SOSKG4XPXE71DHN4/0010.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875940025-H1IHKJ6Z4R76MXL349QO/0011.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875940306-KJXI8AXG92GAFSLB90JW/0012.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875940990-KTGD7F81TM4NSNOMMWMU/0013.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875941465-P86VKVZXBUGX1D4MT931/0014.jpg CORE — UdeM - Bucchi — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1653875941897-U0QWJXSC9TJPWX8VUUG4/0015.jpg CORE — UdeM - Bucchi — Supplemental Material https://timbreandorchestration.org/tor/modules/core/universite-de-montreal/supplemental-material/kramer monthly 0.5 2022-05-30 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424459499-S6WQ6RKFYJI2AML0DETG/0001.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424459832-QETDHB4CHYAU3O0ZDXUE/0002.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424460613-0AXEEWETK6NI2AB7QSUU/0003.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424461168-54Q39E9F4D90EHLY6EHV/0004.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424461939-5OERY2R1BGDG9PX4HV11/0005.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424462732-QGLWY4Y7U88Y15KV8BF7/0006.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424463461-D1WDAFIADK6AYWIBS6T4/0007.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424464405-U4AHTOE4WKMBVBH0MPXC/0008.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424464920-J75UMY1B37MKTY2KULM1/0009.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424466002-FKS6J7Z69H04T62AR5OS/0010.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424466477-GZKKR4FRMMQXF0XPQS3M/0011.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424467809-QZT1LAEGEA1U05NKOAGZ/0012.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424468382-8FUYJ0MJF5KOQEU1ADTG/0013.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424469347-YGXH9J03NB9Z9KKE7IVW/0014.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424469786-PH0LCY680B8TSJTCYDVY/0015.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424470527-YCFMVZQ9LYXTQU9JNUAO/0016.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424471030-8B08KJVEHW3W8UN3SUV1/0017.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424471596-23K7DZ81O7MFA22T8ALP/0018.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424472498-MEA5OVXX4T6XOAJ8K1ID/0019.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424472942-8RNR8L15IFBSH090X85T/0020.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424473746-SNGGNWTB0CV5ZDE204LR/0021.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424474514-75MU5EH7EWB9A8MH66LW/0022.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424475053-930UG6IWOKLEWUARGTDR/0023.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424475837-V2GG91B5F3U8W2URX8F0/0024.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424476541-HW8DFWNV1GPEWS9EE5Y8/0025.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424477589-3VHQLMFJ17FLY5JJ02XG/0026.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424478060-BTPPIW455JEMWG8PAY8P/0027.jpg CORE — UdeM - Kramer — Supplemental Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644424478695-RSQQCMCGHL0Y782OZTBH/0028.jpg CORE — UdeM - Kramer — Supplemental Material 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Instruments - Plucked Strings | Introduction (click to enlarge) https://timbreandorchestration.org/all-instruments/ensembles/chinese-orchestra/plucked-strings/practicalities monthly 0.5 2023-03-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140320706-A2CLGJ2AHHS5935OB8YZ/image-asset.png Instruments - Plucked Strings | Practicalities https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140315181-WOURU42DTOEHUBLZW1XL/image-asset.png Instruments - Plucked Strings | Practicalities https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140317446-3H06K3GXU7OY1L8B2FDF/image-asset.png Instruments - Plucked Strings | Practicalities https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140319448-2MVY8NYF0EM60FMJIXOM/image-asset.png Instruments - Plucked Strings | Practicalities https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140318496-ZAYZ5Q0ISXZVF3KQ5KZD/image-asset.png Instruments - Plucked Strings | Practicalities https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140316390-1AKTJMNKZEXEHBXC6AHF/image-asset.png Instruments - Plucked Strings | Practicalities https://timbreandorchestration.org/all-instruments/ensembles/chinese-orchestra/plucked-strings/in-depth monthly 0.5 2023-03-25 https://timbreandorchestration.org/all-instruments/ensembles/chinese-orchestra/plucked-strings/orchestration monthly 0.5 2023-03-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140335483-AKZR6IRBSPNWOQ0PR7DB/image-asset.png Instruments - Plucked Strings | Orchestration pring Festival Overture (春节序曲) composed by Li Huanzhi https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140327863-RWRNB7DGYOM5YSOYEBCU/image-asset.png Instruments - Plucked Strings | Orchestration Beautiful Flowers and the Full Moon (花好月圆) tune by Huang Yijun, arr. Peng Xiuwen https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140329862-MA7EX6C80NHGMBW7UUQB/image-asset.png Instruments - Plucked Strings | Orchestration The Flying Apsaras (飞天) by Xu Jingxin and Chen Dawei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140331039-ZEMT0P69TWNX9PKYU97U/image-asset.png Instruments - Plucked Strings | Orchestration Luanyunfei (乱云飞) opera tune, arr. Peng Xiuwen https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140334352-KTWMT943AA8WJ2LS15V9/image-asset.png Instruments - Plucked Strings | Orchestration The Legend of Shadier (沙迪尔的传奇) by Liu Yuan https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140332242-OMMRB3EZJD8V9V27ONQS/image-asset.png Instruments - Plucked Strings | Orchestration First Erhu Rhapsody (第一二胡狂想曲) by Wang Jianmin https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140333413-Q6J6I0L3TTGIETNY6FJO/image-asset.png Instruments - Plucked Strings | Orchestration The Legend of Shadier (沙迪尔的传奇) by Liu Yuan https://timbreandorchestration.org/all-instruments/ensembles/chinese-orchestra/bowed-strings monthly 0.5 2023-04-11 https://timbreandorchestration.org/all-instruments/ensembles/chinese-orchestra/bowed-strings/introduction monthly 0.5 2023-01-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140341237-8TQQBN09AMA4ZEGZDJRR/image-asset.jpeg Instruments - Bowed Strings | Introduction (click to enlarge) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140343510-EMJF5EVXKLSS24PI3G0M/image-asset.jpeg Instruments - Bowed Strings | Introduction (click to enlarge) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140342203-E0J8VNWMI617AJRH6Z4S/image-asset.jpeg Instruments - Bowed Strings | Introduction (click to enlarge) https://timbreandorchestration.org/all-instruments/ensembles/chinese-orchestra/bowed-strings/practicalities monthly 0.5 2023-01-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140349947-8F27LTJFGMKF5X741U6S/image-asset.png Instruments - Bowed Strings | Practicalities https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140347976-XJWPATN5HIUCZ25PGK39/image-asset.png Instruments - Bowed Strings | Practicalities https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140348932-VJ164MGTXTU5HAG8RXWP/image-asset.png Instruments - Bowed Strings | Practicalities https://timbreandorchestration.org/all-instruments/ensembles/chinese-orchestra/bowed-strings/in-depth monthly 0.5 2023-01-04 https://timbreandorchestration.org/all-instruments/ensembles/chinese-orchestra/bowed-strings/orchestration monthly 0.5 2023-01-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140362682-CU8CKB8GC9BWNG8SVVQD/image-asset.png Instruments - Bowed Strings | Orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140355260-89M3R2D4Y2RTHXYJTHT9/image-asset.png Instruments - Bowed Strings | Orchestration Dance of Yao (瑶族舞曲) by Liu Tieshan and Mao Yuan, arr. 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Instruments - Cello | Practicalities - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619748407120-HAR8TJYT5H9NXWJWVRU0/cello_scroll_shutterstock_711950611.jpg Instruments - Cello | Practicalities - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/all-instruments/cello/in-depth monthly 0.5 2021-06-22 https://timbreandorchestration.org/all-instruments/cello/orchestration monthly 0.5 2024-01-18 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140500078-8RAQFRZK2SA2S1U1Q8DS/image-asset.png Instruments - Cello | Orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619140558111-QIFVRS19SXEABE27D79N/Prout+1898+p11+ex11.png Instruments - Cello | Orchestration 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https://timbreandorchestration.org/odessa-recordings/montreal/all-subjects/subject-1/example-g monthly 0.5 2024-05-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619148934716-8N2GG67JMO96DF4YFCL2/image-asset.png ODESSA recordings - ODESSA Montreal — Subject 1, Example G https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427259719-ZY2BT2KX6I7CGP81OJV2/S4_ViolinI-1.jpg ODESSA recordings - ODESSA Montreal — Subject 1, Example G - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/odessa-recordings/montreal/all-subjects/subject-1/example-f monthly 0.5 2024-05-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427259719-ZY2BT2KX6I7CGP81OJV2/S4_ViolinI-1.jpg ODESSA recordings - ODESSA Montreal — Subject 4, Example F - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619148934716-8N2GG67JMO96DF4YFCL2/image-asset.png ODESSA recordings - ODESSA Montreal — Subject 4, Example F https://timbreandorchestration.org/odessa-recordings/montreal/all-subjects/subject-1/example-e monthly 0.5 2024-05-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427259719-ZY2BT2KX6I7CGP81OJV2/S4_ViolinI-1.jpg ODESSA recordings - ODESSA Montreal — Subject 1, Example E - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619148934716-8N2GG67JMO96DF4YFCL2/image-asset.png ODESSA recordings - ODESSA Montreal — Subject 1, Example E https://timbreandorchestration.org/odessa-recordings/montreal/all-subjects/subject-1/example-d monthly 0.5 2024-05-22 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recordings - ODESSA Montreal — Subject 1, Example C https://timbreandorchestration.org/odessa-recordings/montreal/all-subjects/subject-1/example-b monthly 0.5 2024-05-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427259719-ZY2BT2KX6I7CGP81OJV2/S4_ViolinI-1.jpg ODESSA recordings - ODESSA Montreal — Subject 1, Example B - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619148934716-8N2GG67JMO96DF4YFCL2/image-asset.png ODESSA recordings - ODESSA Montreal — Subject 1, Example B https://timbreandorchestration.org/odessa-recordings/montreal/all-subjects/subject-1/example-a monthly 0.5 2024-05-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427259719-ZY2BT2KX6I7CGP81OJV2/S4_ViolinI-1.jpg ODESSA recordings - ODESSA Montreal — Subject 1, Example A - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619148934716-8N2GG67JMO96DF4YFCL2/image-asset.png ODESSA recordings - ODESSA Montreal — Subject 1, Example A https://timbreandorchestration.org/odessa-recordings/montreal/all-subjects/subject-2/example-a monthly 0.5 2024-05-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619148934716-8N2GG67JMO96DF4YFCL2/image-asset.png ODESSA recordings - ODESSA Montreal — Subject 2, Example A https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427408470-BFWJXXW41N34N6QI8LB1/S5+A_Strings-1.jpg ODESSA recordings - ODESSA Montreal — Subject 2, Example A - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/odessa-recordings/montreal/all-subjects/subject-2/example-b monthly 0.5 2024-05-22 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ODESSA recordings - ODESSA Montreal — Subject 7, Example C https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658454847361-AIHJF4V662O1632GLPEL/S8_3_InC-1.jpg ODESSA recordings - ODESSA Montreal — Subject 7, Example C https://timbreandorchestration.org/odessa-recordings/montreal/all-subjects/subject-7/example-d monthly 0.5 2024-05-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658504439524-97RK0JITWLYV17XBMM3R/S8_Tutti_InC-1.jpg ODESSA recordings - ODESSA Montreal — Subject 7, Example D https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658504439507-7I3HKDWVQ04KQR0JCJDQ/S8_Tutti_InC-2.jpg ODESSA recordings - ODESSA Montreal — Subject 7, Example D https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658504440552-808N82MDL7G6UZHAA1Z5/S8_Tutti_InC-3.jpg ODESSA recordings - ODESSA Montreal — Subject 7, Example D 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https://timbreandorchestration.org/odessa-recordings/tag/orchestration monthly 0.5 https://timbreandorchestration.org/odessa-recordings/tag/subject+1 monthly 0.5 https://timbreandorchestration.org/odessa-recordings/tag/Subject+5 monthly 0.5 https://timbreandorchestration.org/odessa-recordings/tag/Subject+10 monthly 0.5 https://timbreandorchestration.org/odessa-recordings/tag/Subject+8 monthly 0.5 https://timbreandorchestration.org/treatises daily 0.75 2024-11-15 https://timbreandorchestration.org/treatises/links monthly 0.5 2024-04-23 https://timbreandorchestration.org/treatises/berlioz-strauss monthly 0.5 2024-11-15 https://timbreandorchestration.org/treatises/fidler monthly 0.5 2024-09-06 https://timbreandorchestration.org/treatises/forsyth monthly 0.5 2024-01-18 https://timbreandorchestration.org/treatises/gevaert monthly 0.5 2024-09-06 https://timbreandorchestration.org/treatises/kling monthly 0.5 2024-07-05 https://timbreandorchestration.org/treatises/prout/volume-1 monthly 0.5 2024-07-06 https://timbreandorchestration.org/treatises/category/Fidler monthly 0.5 https://timbreandorchestration.org/treatises/tag/Links monthly 0.5 https://timbreandorchestration.org/treatises/figures daily 0.75 2024-11-15 https://timbreandorchestration.org/treatises/figures/berlioz-strauss monthly 0.5 2024-09-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622226079228-D9RR50WKTED7SZCBWDOY/BERLIOZ-STRAUSS-1905-77%2C5-cello-doublestops.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 77 [Notes: An example showing double stop tenths that are possible on the cello due to the lower note being an open string.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622420368357-N90J28LIBDO6SJMLRVQQ/BERLIOZ-STRAUSS-1905-80-ex32-cello-viola-bassline-weber.png Treatises | Figures - Berlioz | Figures An example from Agathe's aria in the second act of Weber's "Der Freischütz" demonstrating a soft string texture without double bass. The violas play the bassline at first below four violin lines, and they are later doubled by the cellos. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622420486057-MQXWO732JIZWNMWEJ351/BERLIOZ-STRAUSS-1905-81-ex32-cello-viola-bassline-weber.png Treatises | Figures - Berlioz | Figures An example from Agathe's aria in the second act of Weber's "Der Freischütz" demonstrating a soft string texture without double bass. The violas play the bassline at first below four violin lines, and they are later doubled by the cellos. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622226245168-8IWMQTY89AT875S23XJC/BERLIOZ-STRAUSS-1905-78%2C3-cello-artificialharmonics-thumb.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 78 [Notes: An example showing the possibility of fingering artificial harmonics high on the cello fingerboard using the thumb as the "nut" and the fourth finger lightly touching a fifth above.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622225902016-S92CZ1LMZCQK1QJA07BV/BERLIOZ-STRAUSS-1905-77%2C4-cello-clefs.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 77 [Notes: An example demonstrating the modern custom of notating high cello passages in tenor and treble clef at sounding pitch.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622226220831-Z0SQ2MGORTEVOGQN5OFG/BERLIOZ-STRAUSS-1905-78%2C2-cello-artificialharmonics.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 78 [Notes: An example showing the most convenient fingering for artificial harmonics on the cello, and the resulting pitches.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622420286335-YTHACIZ9HOO8G7ANZ0Y6/BERLIOZ-STRAUSS-1905-78%2C7-cello-bass-independence-berlioz.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 79 [Notes: An example from Berlioz's Requiem demonstrating one type of situation in which independence of the cello and double bass parts is advisable. In this case, the parts are similar but the cellos play a faster line that would be difficult to execute cleanly on the double bass.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622421351659-TBCRQHCMBHOY0IXARO3M/BERLIOZ-STRAUSS-1905-92-ex39-cello-viola-octavedoubling-wagner.png Treatises | Figures - Berlioz | Figures An example from Act 1 of Wagner's "Tristan und Isolde" demonstrating octave doubling between violas and cellos. According to Strauss, this shows the capacity of the cello to express a feeling of "roughness." https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622421400819-P8YB7KOW6HC3YJ3K998E/BERLIOZ-STRAUSS-1905-93-ex39-cello-viola-octavedoubling-wagner.png Treatises | Figures - Berlioz | Figures An example from Act 1 of Wagner's "Tristan und Isolde" demonstrating octave doubling between violas and cellos. According to Strauss, this shows the capacity of the cello to express a feeling of "roughness." https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622421438347-RH6VPRBA7RRBVTKG3J9M/BERLIOZ-STRAUSS-1905-94-ex39-cello-viola-octavedoubling-wagner.png Treatises | Figures - Berlioz | Figures An example from Act 1 of Wagner's "Tristan und Isolde" demonstrating octave doubling between violas and cellos. According to Strauss, this shows the capacity of the cello to express a feeling of "roughness." https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622421181553-Q1EONJIFQF589LXB6SD4/BERLIOZ-STRAUSS-1905-88-ex37-cello-melody-doubling-wagner.png Treatises | Figures - Berlioz | Figures An example from the conclusion of Wagner's "Meistersinger" demonstrating a melodic line in the cellos that according to Strauss expresses "mature wisdom." This example also features unison and octave doubling between horns, bassoons, and cellos. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622421235955-86YNYPCOJJDVK9LYV2YS/BERLIOZ-STRAUSS-1905-89-ex37-cello-melody-doubling-wagner.png Treatises | Figures - Berlioz | Figures An example from the conclusion of Wagner's "Meistersinger" demonstrating a melodic line in the cellos that according to Strauss expresses "mature wisdom." This example also features unison and octave doubling between horns, bassoons, and cellos. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622225804782-2I3PCDIMGOMGHE808NXN/BERLIOZ-STRAUSS-1905-77%2C2-cello-range.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 77 [Notes: An example showing the 3 1/2-octave range available on the cello in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622226125912-CA48AG8B51HTL8LU0CXR/BERLIOZ-STRAUSS-1905-77%2C7-cello-naturalharmonics.png Treatises | Figures - Berlioz | Figures An example showing the natural harmonics that sound best on each string of the cello. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622226188756-ONNEYWM62FQDJY9OJ033/BERLIOZ-STRAUSS-1905-78%2C1-cello-naturalharmonics.png Treatises | Figures - Berlioz | Figures An example showing the natural harmonics that sound best on each string of the cello. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622420245731-3JTI4C61RS9B02V1JOW4/BERLIOZ-STRAUSS-1905-78%2C6-cello-violin-divisi.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 78 [Notes: An example demonstrating an easier and more precise way to achieve the effect shown in the previous example through the use of divisi violins.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622420525826-X8Q139QMC78PN3SGCQYD/BERLIOZ-STRAUSS-1905-82-ex33-cello-upperstringsmelody-weber.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 82 [Notes: An example from Weber's "Oberon" Overture demonstrating the use of the cello's upper strings for "singing" melodies. In this example, the cellos and violas are paired in thirds while two clarinets play in unison below them. This excerpt also demonstrates the absence of the double basses on the bassline, which is instead played by the other half of the divided cello section.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622421493024-3UOMB9DJL5BRMSSV8B6Q/BERLIOZ-STRAUSS-1905-95-ex40-cello-divisi-lowharmonies-berlioz.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 95 [Notes: An example from the Love Scene of Berlioz's "Roméo et Juliette" demonstrating a "quartet of low harmonies." This is achieve by the division of the cello section into two parts, the pairing with the violas, and the support underneath by an independent pizzicato bassline.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622226312875-CQGTU2FLXUI5UFGTR7YC/BERLIOZ-STRAUSS-1905-78%2C5-cello-harmonics-divisi.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 78 [Notes: An example demonstrating the effect of dividing the cello section to produce chords with harmonics https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622420916724-OPJEBVGXRQXUDQS2QX4L/BERLIOZ-STRAUSS-1905-85-ex36-cello-mutes-melody-wagner.png Treatises | Figures - Berlioz | Figures An example from Act 3 of Wagner's "Tristan und Isolde" demonstrating a poignant line in the upper strings of the muted cellos. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622421070447-JPKANZ69FWB7W859FC64/BERLIOZ-STRAUSS-1905-86-ex36-cello-mutes-melody-wagner.png Treatises | Figures - Berlioz | Figures An example from Act 3 of Wagner's "Tristan und Isolde" demonstrating a poignant line in the upper strings of the muted cellos. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622421109636-TJ0FLJFJU1V04UJL7PUL/BERLIOZ-STRAUSS-1905-87-ex36-cello-mutes-melody-wagner.png Treatises | Figures - Berlioz | Figures An example from Act 3 of Wagner's "Tristan und Isolde" demonstrating a poignant line in the upper strings of the muted cellos. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622225880383-FV6HEQNLO9PMWUI9408X/BERLIOZ-STRAUSS-1905-77%2C3-cello-trebleclef.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 77 [Notes: An example demonstrating one custom of notating high cello passages in treble clef, an octave above sounding pitch. Berlioz presents this as a possibility but notes that "there is nothing to justify this practice". Editor: This notational custom is now considered obsolete.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622226272070-GU9TQ8E0YJE74O7QCDZ2/BERLIOZ-STRAUSS-1905-78%2C4-cello-harmonics-scales.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 78 [Notes: An example demonstrating the possibility of playing a scale higher than the practical range of the cello using a combination of natural and artificial harmonics.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622421537754-8G5SPT3JWDG4MFNWKIKZ/BERLIOZ-STRAUSS-1905-96%2C1-cello-pizzicato-speed.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 96 [Notes: An example showing the fastest recommended speed for pizzicato on cello in two different metrical contexts.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622225730057-PN5CMSFJS7Z5RZJXYKCF/BERLIOZ-STRAUSS-1905-77%2C1-cello-tuning.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 77 [Notes: An example showing the tuning of each string on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622226105445-NZ5C5VGCUD6XA276PSLW/BERLIOZ-STRAUSS-1905-77%2C6-cello-doublestops.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 77 [Notes: An example showing double stop tenths that are impossible on the cello due to the lower note not being an open string.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622421270384-5D8R6DPRB3GBKNUJQ7G7/BERLIOZ-STRAUSS-1905-90-ex38-cello-yearningmelody-wagner.png Treatises | Figures - Berlioz | Figures An example from the Prelude to Wagner's "Tristan und Isolde" demonstrating a high cello melody. According to Strauss, this shows the capacity of the cello to express a feeling of "yearning." https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622421313627-LAQIYWX7R4R0T4R6MGVE/BERLIOZ-STRAUSS-1905-91-ex38-cello-yearningmelody-wagner.png Treatises | Figures - Berlioz | Figures An example from the Prelude to Wagner's "Tristan und Isolde" demonstrating a high cello melody. According to Strauss, this shows the capacity of the cello to express a feeling of "yearning." https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622420749558-M6CCDU0KY59W49M81GHI/BERLIOZ-STRAUSS-1905-84-ex35-cello-divisi-contrition-wagner.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 84 [Notes: An example from the introduction to Act 3 of Wagner's "Tannhäuser" demonstrating the divisi of the cello section, and the use thereof to express what Strauss describes as "profound contrition".] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622420558515-S64P7HGIFC6G7EMM7M7N/BERLIOZ-STRAUSS-1905-83-ex34-cello-violin-voice-doubling-wagner.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 83 [Notes: An example from Wagner's "Meistersinger" demonstrating unison and octave doubling between cellos, first violins, and the tenor soloist.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622420328894-6GRA7NLZC69021I2DFJC/BERLIOZ-STRAUSS-1905-79-ex31-cello-bass-independence-berlioz.png Treatises | Figures - Berlioz | Figures - Make it stand out Berlioz, 1905, p. 79 [Notes: An example from Berlioz's Requiem demonstrating an unusual case of cello-bass independence. In this excerpt, the lower octave of the cello section's octave C actually sounds below the double bass line, and the upper C forms a minor second clash with the B natural in the double bass part.] https://timbreandorchestration.org/treatises/figures/fidler monthly 0.5 2024-11-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c3483dd9-9306-4b3e-8382-7ec717b7cdbf/FIDLER-1921-25%2C1-score-winds-tutti-unison-octave-doubling-beethoven.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 25 [Note: An example from the Scherzo of Beethoven's Symphony No. 3 ("Eroica") demonstrating the use of the second wind parts for reinforcement in tutti passages, doubling the same line as the first part either at the unison or octave.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623888481905-2N8VZGOVV1224CZ3YZYT/FIDLER-1921-98-trombone-tenor-bass-slide-positions.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 98 [Note: A table showing the pitches available with each slide position on the tenor trombone. This table also applies to the bass trombone if shifted down a minor third.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5a4428da-0198-4e39-ae87-7510204162b9/FIDLER-1921-26%2C2-score-winds-pairs-doubling-thirds-beethoven.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 26 [Note: An example from the first movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating melodic doubling in thirds between the pairs of winds.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/41aca27b-5451-4f0e-9e7f-042d2fa17bd5/FIDLER-1921-127%2C1-scores-horns-a-transposing-clefs-mendelssohn.png Treatises | Figures - Fidler | Figures - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623888660563-PXY0FT48CI4CW3FYWEG5/FIDLER-1921-129-instrument-names-italian-german-french-english.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 129 [Note: A table showing the names of the common orchestral instruments in Italian, German, French, and English.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623888432144-AA7YDW4OJQQHGPUZJKXH/FIDLER-1921-56-strings-tremolo-notation-fingerings-bowings.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 56 [Note: A table showing the notation for the three kinds of tremolo possible on string instruments: bowed, fingered, and broken.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651202599994-VR478IXAOY5N7W1PXAHK/FIDLER-1921-127%2C3%281%29-scores-trumpets-d-transposing-mendelssohn.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 127 [Note: An example from the Scherzo of Mendelssohn's "Midsummer Night's Dream" showing the choice of trumpets crooked in D and notated in transposed pitch, i.e. a major second below sounding pitch.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651202600337-WUI5IVS5858EIYSIZ1P5/FIDLER-1921-127%2C3%282%29-scores-trumpets-d-transposing-mendelssohn.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 127 [Note: An example from the Scherzo of Mendelssohn's "Midsummer Night's Dream" showing the choice of trumpets crooked in D and notated in transposed pitch, i.e. a major second below sounding pitch.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623887694193-PUT2WVNRYES2GF5LPSLJ/FIDLER-1921-14-compass-chart-1-strings-ranges-harmonics.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 14 [Note: A chart showing the ranges of the string instruments, including the lowest possible and highest recommended stopped and harmonic notes.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651195895387-CX9RTDLOH5T3RPV7AV0O/FIDLER-1921-27%2C2%281%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 27 [Note: Several discontinuous examples from the "Marche" of Tchaikovsky's "Nutcracker" demonstrating string, woodwind, and horn writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651195895459-BHIT9LH5IYEHW19OYGZQ/FIDLER-1921-27%2C2%282%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 27 [Note: Several discontinuous examples from the "Marche" of Tchaikovsky's "Nutcracker" demonstrating string, woodwind, and horn writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651195896253-KM9CMOASM5VHHRNHHTPC/FIDLER-1921-27%2C2%283%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 27 [Note: Several discontinuous examples from the "Marche" of Tchaikovsky's "Nutcracker" demonstrating string, woodwind, and horn writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651195896633-04AVFTSWRF7X99FEC6T4/FIDLER-1921-27%2C2%284%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 27 [Note: Several discontinuous examples from the "Marche" of Tchaikovsky's "Nutcracker" demonstrating string, woodwind, and horn writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651195897467-XOO2429EW6XR2N89V5B1/FIDLER-1921-27%2C2%285%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 27 [Note: Several discontinuous examples from the "Marche" of Tchaikovsky's "Nutcracker" demonstrating string, woodwind, and horn writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651195897732-UL25JKKXQK5Y10N7FYCJ/FIDLER-1921-27%2C2%286%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 27 [Note: Several discontinuous examples from the "Marche" of Tchaikovsky's "Nutcracker" demonstrating string, woodwind, and horn writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f8237e48-3ae1-4c2c-b752-4d5a04b222bd/FIDLER-1921-22%2C1-score-strings-repeated-notes-accompaniment-forte-beethoven.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 22 [Note: An example from the 2nd movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating the use of repeated notes or tremolo in the strings as a common accompanimental feature analagous to arpeggiated chords for the piano. This example shows the technique in a forte passage with double stops or divisi in most string sections.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997613132-UTWZUL2ALELKWJFR9RQY/FIDLER-1921-23%2C3%281%29-score-winds-bassoon-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 23 [Note: Several discontinuous examples from the first movement of Tchaikovsky's Symphony No. 6 ("Pathétique") demonstrating bassoon writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997612871-RAIR8X367ZQQBOET76LZ/FIDLER-1921-23%2C3%282%29-score-winds-bassoon-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997612440-JCZTVTBHCVCDHF9VN7C1/FIDLER-1921-23%2C3%283%29-score-winds-bassoon-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997611022-KVWC26G8Z3PSTXS5A8VQ/FIDLER-1921-23%2C3%284%29-score-winds-bassoon-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997610341-NSJ0WT49KPV2E39C5IEY/FIDLER-1921-23%2C3%285%29-score-winds-bassoon-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997609512-SRSN7BNZ9C8JGIQV89NW/FIDLER-1921-23%2C3%286%29-score-winds-bassoon-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997608609-DW8KGX72N2XGKB81A9GZ/FIDLER-1921-23%2C3%287%29-score-winds-bassoon-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997607639-LNU8R6MJF6BDO7B20HLQ/FIDLER-1921-23%2C3%288%29-score-winds-bassoon-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997608466-URZ9BYCY9XV0GR1LQ9NU/FIDLER-1921-23%2C3%289%29-score-winds-bassoon-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651157539497-BYOJU99RWZN8LYKVPEUR/FIDLER-1921-22%2C3%281%29-score-strings-repeated-notes-accompaniment-piano-beethoven.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 22 [Note:An example from the 2nd movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating the use of repeated notes or tremolo in the strings as a common accompanimental feature analagous to arpeggiated chords for the piano. This example shows the technique in a quiet accompanimental passage for violins and violas.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651157539358-ESC515DICLNQ67WGCIBG/FIDLER-1921-22%2C3%282%29-score-strings-repeated-notes-accompaniment-piano-beethoven.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 22 [Note: An example from the 2nd movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating the use of repeated notes or tremolo in the strings as a common accompanimental feature analagous to arpeggiated chords for the piano. This example shows the technique in a quiet accompanimental passage for violins and violas.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623887728530-GR6HVWW1N6R0CTC759EP/FIDLER-1921-15-compass-chart-2-winds-ranges-tone-quality.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 15 [Note: A chart showing the ranges of the wind instruments, with each instrument written according to its transposition and the corresponding sounding pitches on the top staff. Note values indicate the quality of tone on each instrument, where whole notes represent "the most perfect notes," sixteenth notes represent "the most imperfect," and note values in between represent the different gradations of tone quality.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d9010ecb-3382-491b-b275-57533751b940/FIDLER-1921-18%2C7-score-strings-brass-octave-doubling-beethoven.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 18 [Note: An example from the 2nd movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating a passage for strings and brass with several examples of doubling. The octaves held by the horns are doubled at the unison by trumpets, and the string parts have octave doubling in the repeated notes for violins and violas, and the lines for cellos and basses (notated on the same staff). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f293f252-99ff-4570-b567-23b49eab023a/FIDLER-1921-18%2C6%281%29-score-doubling-unison-octaves-tenths-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7b7c0259-651f-4940-a667-beddce5be422/FIDLER-1921-18%2C6%282%29-score-doubling-unison-octaves-tenths-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651199220504-XCKF3G39LGRPG28Y9Q82/FIDLER-1921-26%2C1%281%29-score-winds-pairs-doubling-thirds-sixths-beethoven+%281%29.png Treatises | Figures - Fidler | Figures Fidler, 1921, p, 26 [Note: An example from the first movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating melodic doubling in thirds and sixths between the pairs of winds.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651199221870-NPMJJ8PTHL9QR7PO27Y1/FIDLER-1921-26%2C1%282%29-score-winds-pairs-doubling-thirds-sixths-beethoven+%281%29.png Treatises | Figures - Fidler | Figures Fidler, 1921, p, 26 [Note: An example from the first movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating melodic doubling in thirds and sixths between the pairs of winds.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196171332-48M413G8BNCAV3RUOOHK/FIDLER-1921-28%2C1%281%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 28 [Note: An example from the "Trepak" of Tchaikovsky's "Nutcracker" demonstrating string, woodwind, and horn writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196171371-V1HUCC56FOX10VD7O7PJ/FIDLER-1921-28%2C1%282%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 28 [Note: An example from the "Trepak" of Tchaikovsky's "Nutcracker" demonstrating string, woodwind, and horn writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196172404-VT0N9ITCF36WG03SZRHP/FIDLER-1921-28%2C1%283%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 28 [Note: An example from the "Trepak" of Tchaikovsky's "Nutcracker" demonstrating string, woodwind, and horn writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196172606-Q0KPSW4UUO2EB69RYK3G/FIDLER-1921-28%2C1%284%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 28 [Note: An example from the "Trepak" of Tchaikovsky's "Nutcracker" demonstrating string, woodwind, and horn writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196173137-U8ZENBOM65BAJOKPUEK9/FIDLER-1921-28%2C1%285%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 28 [Note: An example from the "Trepak" of Tchaikovsky's "Nutcracker" demonstrating string, woodwind, and horn writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/89e40227-b03b-4d0b-9f0f-40e1f9d72c37/FIDLER-1921-18%2C1-score-indications-instrument-tempo-beethoven.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 18 [Note: An example from the 2nd movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating several conventions of full score layout. Each instrumental line has its own clef, key signature, and expression markings, but tempo indications that affect all instrument are only placed at the top of the score.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b318faeb-0252-4bee-8312-c05352286fcf/FIDLER-1921-18%2C3%281%29-score-textural-variety-tutti-quiet-strings-beethoven.png Treatises | Figures - Fidler | Figures Summary of Figure: An example from the 2nd movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating the possibility of varying orchestral textures by not having all instruments play continuously. This example features the sudden contrast between a passage for nearly the complete tutti and a quiet passage for selected strings. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/05382c5b-ddec-4734-b98a-42163009c7a0/FIDLER-1921-18%2C3%282%29-score-textural-variety-tutti-quiet-strings-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650996346160-A8ZUDXHYIB3T1YLW3X0Q/FIDLER-1921-20%2C2%281%29-score-strings-general-writing-no-bass-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 20 [Note: (1/5) An example from the "Overture miniature" of Tchaikovsky's "Nutcracker" demonstrating string writing in general. This excerpt, like the entire movement, features the use of a string section without cellos or basses. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650996345685-9B98NAJ2K9UDL8FUZX8X/FIDLER-1921-20%2C2%282%29-score-strings-general-writing-no-bass-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 20 [Note: (2/5) An example from the "Overture miniature" of Tchaikovsky's "Nutcracker" demonstrating string writing in general. This excerpt, like the entire movement, features the use of a string section without cellos or basses. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650996344768-KP6STH1T7V6VRBQIDD9W/FIDLER-1921-20%2C2%284%29-score-strings-general-writing-no-bass-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 20 [Note: (3/5) An example from the "Overture miniature" of Tchaikovsky's "Nutcracker" demonstrating string writing in general. This excerpt, like the entire movement, features the use of a string section without cellos or basses. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650996345441-LER00ZAADFISMS9SBKLI/FIDLER-1921-20%2C2%283%29-score-strings-general-writing-no-bass-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 20 [Note: (4/5) An example from the "Overture miniature" of Tchaikovsky's "Nutcracker" demonstrating string writing in general. This excerpt, like the entire movement, features the use of a string section without cellos or basses. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650996344788-3URT2NX3IJW8HVDAB629/FIDLER-1921-20%2C2%285%29-score-strings-general-writing-no-bass-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 20 [Note: (5/5) An example from the "Overture miniature" of Tchaikovsky's "Nutcracker" demonstrating string writing in general. This excerpt, like the entire movement, features the use of a string section without cellos or basses. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ad7533ca-4205-4b85-b668-f13ba8493852/FIDLER-1921-22%2C4-score-strings-chromatic-scale-sections-overlap-mendelssohn.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 22 [Note: An example from the Scherzo of Mendelssohn's "Midsummer Night's Dream" demonstrating a chromatic scale passed from the cellos through each string section to the first violin. This excerpt exemplifies Fidler's recommendation to have such continuing figures overlap or "dovetail" for at least one note between sections.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5cc4e972-a540-4e9f-b9e7-1b1ddb1f61a6/FIDLER-1921-18%2C5%281%29-score-ranges-relative-positions-voicing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4abf1ce2-08b6-463b-a449-4cbabcedd24e/FIDLER-1921-18%2C5%282%29-score-ranges-relative-positions-voicing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1642219571671-VMVA1MA35RWUUJLSBZ2T/FIDLER-1921-22%2C3%281%29-score-strings-repeated-notes-arpeggios-scales-beethoven.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 22 [Note: An example from the Presto in the last movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating the use of repeated notes or tremolo in the strings. This example shows the technique in an energetic tutti passage, both as an accompanimental figure when staying on a single note, and adding activity when doubling the notes of scales and arpeggios. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1642219571834-672CXTFSZDTZ777YBJUQ/FIDLER-1921-22%2C3%284%29-score-strings-repeated-notes-arpeggios-scales-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1642219573429-F7NGMP0LIKSX0W4O7TUP/FIDLER-1921-22%2C3%283%29-score-strings-repeated-notes-arpeggios-scales-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1642219573800-SPH9WE40735BAQX5KVSQ/FIDLER-1921-22%2C3%282%29-score-strings-repeated-notes-arpeggios-scales-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196574781-MI7O5939OOHGUP5KE5P6/FIDLER-1921-28%2C2%281%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 28 [Note: An example from the "Danse arabe" of Tchaikovsky's "Nutcracker" demonstrating small orchestra writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196575152-SY4SZVW44AWA1MWMOTYG/FIDLER-1921-28%2C2%282%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 28 [Note: An example from the "Danse arabe" of Tchaikovsky's "Nutcracker" demonstrating small orchestra writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196575905-YNAGC2RMMXCLMY94TLXB/FIDLER-1921-28%2C2%283%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 28 [Note: An example from the "Danse arabe" of Tchaikovsky's "Nutcracker" demonstrating small orchestra writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196576201-XH0FUV7JMF83XC6JR2H9/FIDLER-1921-28%2C2%284%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 28 [Note: An example from the "Danse arabe" of Tchaikovsky's "Nutcracker" demonstrating small orchestra writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623888597030-HUUTD6MZCVTD8JUXF61N/FIDLER-1921-108-snaredrum-strokes-roll-paradiddle-drag-flam.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 108 [Note: A table showing the notation for four common types of strokes on the snare drum: the roll, paradiddle, drag, and flam.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3d673211-9d24-491b-b00d-ae8f5c04e501/FIDLER-1921-17%2C2%281%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures Citation: Fidler, 1921, p. 17. Summary of Figure: Several discontinuous examples from the 2nd movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating string writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpts chosen here. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3519121a-52f8-497d-b7aa-06a5b41d9aff/FIDLER-1921-17%2C2%282%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f75e9701-d071-4b9a-946a-6fe93f82c380/FIDLER-1921-17%2C2%283%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8a4a9cdc-2f79-4f14-a4f2-24771f59a8dc/FIDLER-1921-17%2C2%284%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d6eb40ae-abf3-4741-8ace-ba1fd3c97b71/FIDLER-1921-17%2C2%285%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f4843821-dd7f-4864-b4b9-0e178e54bf1a/FIDLER-1921-17%2C2%286%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997805376-Y8AIXL9WKRZ4WTD1HHCH/FIDLER-1921-24%2C1%282%29-score-strings-winds-general-writing-mendelssohn.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 24 [Note: An example from the Wedding March of Mendelssohn's "Midsummer Night's Dream" demonstrating string and woodwind writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997805284-KZ9C801S99S2OA6TR9VH/FIDLER-1921-24%2C1%283%29-score-strings-winds-general-writing-mendelssohn.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997802887-8VEKSLZIZZMU1HLX8KPV/FIDLER-1921-24%2C1%284%29-score-strings-winds-general-writing-mendelssohn.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997802850-52A3WONBBUVY3K7JD1IL/FIDLER-1921-24%2C1%281%29-score-strings-winds-general-writing-mendelssohn.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651201393445-YTWJLSE9ROPWVS785X85/FIDLER-1921-113%282%29-instruments-celesta-strings-winds-selective-doubling-tchaikovsky+%281%29.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 113 [Note: An example from the "Dance of the Sugar Plum Fairy" from Tchaikovsky's "Nutcracker" demonstrating a characteristic celesta part, notated at sounding pitch rather than an octave below as is now conventional. This example also demonstrates a relationship of selective doubling, or "highlighting," between the solo celesta and the string and wind sections.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651201393510-IIFQNSLKDSDZYLEFQE1J/FIDLER-1921-113%281%29-instruments-celesta-strings-winds-selective-doubling-tchaikovsky+%281%29.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 113 [Note: An example from the "Dance of the Sugar Plum Fairy" from Tchaikovsky's "Nutcracker" demonstrating a characteristic celesta part, notated at sounding pitch rather than an octave below as is now conventional. This example also demonstrates a relationship of selective doubling, or "highlighting," between the solo celesta and the string and wind sections.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/17b65d27-eb93-471e-a1a2-c522cfe3ea0a/FIDLER-1921-43-score-winds-brass-unison-octave-doubling-tchaikovsky.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 43 [Note: An example from Tchaikovsky's Symphony No. 6 ("Pathétique") demonstrating doubling between winds and brass in such a way that the brass timbre predominates but is "mellowed" by the winds. In this example, the trumpet melody in octaves is doubled at the unison by oboes and bassoons respectively.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/12ef284c-6745-4c93-a227-bccb84dd5efb/FIDLER-1921-25%2C2-score-winds-voicing-tutti-chords-beethoven.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 25 [Note: An example from the first movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating the use of separate wind parts to produce full voicings of chords in a tutti passage.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651197677158-9C1VCNNOXCAUQC2EU4O2/FIDLER-1921-51%281%29-score-strings-bowings-notation-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651197677469-2L5JS8LBKWA0GU1LVKWR/FIDLER-1921-51%282%29-score-strings-bowings-notation-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651197678626-QQQB8LUM719M0JG0X1OK/FIDLER-1921-51%283%29-score-strings-bowings-notation-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651197680514-U9WJ8WXU4LBLWWV6V4VF/FIDLER-1921-51%284%29-score-strings-bowings-notation-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651197681421-97FFHQEI1GK8NI63Z5KE/FIDLER-1921-51%285%29-score-strings-bowings-notation-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1660837326047-ATMODTC8DPGO7FY93EDU/FIDLER-1921-23%2C1%281%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures Fidler, 192, p. 23 [Several discontinuous examples from the first movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating string and oboe writing in general. Editor: Fidler references the string parts of the whole movement and oboe parts of the whole symphony as examples, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1660837327064-CSQ0CL6LCQ6DF696OZIG/FIDLER-1921-23%2C1%282%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1660843194577-LR5XN7EMCZHU4FWOOVPG/FIDLER-1921-23%2C1%283%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1660837327718-UUHF1IS5GMPC1Y6NJ6CG/FIDLER-1921-23%2C1%284%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1660837328417-3PF1YD9KNPHR6B84OOOC/FIDLER-1921-23%2C1%285%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1660837329013-7VTW4Z3YVSY6RWFUMSJP/FIDLER-1921-23%2C1%286%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1660837329641-XQSN7XHYKYMW9LPXJJZQ/FIDLER-1921-23%2C1%287%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1660837330262-DFYYPTDCNSEVZJ0FBRGY/FIDLER-1921-23%2C1%288%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1660837331131-HQSZXL4Y51SBHNFDN0DJ/FIDLER-1921-23%2C1%289%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1660837331842-SSRI5BR5L4XGXA56TLF7/FIDLER-1921-23%2C1%2810%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6d33658f-9ac0-41d2-ac79-99a47db46575/FIDLER-1921-87-instruments-bass-clarinet-bassoon-unison-doubling-tchaikovsky+%281%29.png Treatises | Figures - Fidler | Figures - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651198808331-ULMSXON6S6KTR9IV0SGX/FIDLER-1921-68%281%29-instruments-doublebass-divisi-loud-fast-tchaikovsky+%281%29.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 68 [Note: An example from Tchaikovsky's Symphony No. 6 ("Pathétique") demonstrating the division of the double bass section in order to facilitate the playing of a loud and fast passage.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651198806395-FIXTABGO67FP50LCV8T9/FIDLER-1921-68%282%29-instruments-doublebass-divisi-loud-fast-tchaikovsky+%281%29.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 68 [Note: An example from Tchaikovsky's Symphony No. 6 ("Pathétique") demonstrating the division of the double bass section in order to facilitate the playing of a loud and fast passage.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e8b248d7-8bad-4c67-8f67-a233f4e8398f/FIDLER-1921-18%2C2-score-textural-variety-strings-bassoons-beethoven.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 18 [Note: An example from the 2nd movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating the possibility of varying orchestral textures by not having all instruments play continuously. This example features the contrast between passages for the full string section and selected strings with both bassoons.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650996124593-MY9JKOLC4H4AKBXQL1U4/FIDLER-1921-20%2C1%281%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 20 [Note: (1/5) An example from the last movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating string writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650996123346-7I2LNLB9LSC2MEXN7IVM/FIDLER-1921-20%2C1%282%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 20 [Note: (2/5) An example from the last movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating string writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650996123275-0G423D0VKE1DSLEUYR2S/FIDLER-1921-20%2C1%283%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 20 [Note: (3/5) An example from the last movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating string writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650996120611-AYU31IP57K05Y96HP07K/FIDLER-1921-20%2C1%284%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 20 [Note: (4/5) An example from the last movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating string writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650996120613-EHQ26TZ344HES8LBEKTA/FIDLER-1921-20%2C1%285%29-score-strings-general-writing-beethoven.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 20 [Note: (5/5) An example from the last movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating string writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623888548764-YNM460E8LDXIUM6K0A2Z/FIDLER-1921-103-percussion-rolls-notation.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 103 [Note: An example showing two slightly different ways of notating rolls for percussion instruments. They differentiate between the roll simply stopping at the end of the last note value or the last individual written note being articulated as a single stroke.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997901811-87XA1U5JR0TDJ0AGMTUT/FIDLER-1921-24%2C2%281%29-score-winds-three-flutes-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 24 [Note: An example from the "Danse des mirlitons" of Tchaikovsky's "Nutcracker" demonstrating flute writing in general. This excerpt prominently features the use of three flutes for a soli melody. Editor: Fidler references the flute parts of the whole Suite, and of this complete movement in particular as examples, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997901650-PCWRR6GVRNG2U69B4PMU/FIDLER-1921-24%2C2%282%29-score-winds-three-flutes-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997902418-1WMBT0TMGYGA5U5SCRAJ/FIDLER-1921-24%2C2%283%29-score-winds-three-flutes-tchaikovsky.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cb459151-1581-414c-b4a5-62d27b98dba6/FIDLER-1921-26%2C3-score-winds-flute2-melody-solo-break-beethoven.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 26 [Note: An example from the last movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating the possibility of assigning a melody to the "second" wind player of a pair in order to give the solo player a period of rest. In this example, the flute melody is largely assigned to flute 2, giving flute 1 a short break.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ee9d349d-a311-464e-939f-225331c82a71/FIDLER-1921-126%2C1-scores-horns-e-flat-transposing-beethoven.png Treatises | Figures - Fidler | Figures - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651195393953-O47KBUWR2S44D17AWMZW/FIDLER-1921-26%2C4%281%29-score-winds-clarinet2-bassoon2-solo-break-beethoven+%281%29.png Treatises | Figures - Fidler | Figures Fidler, 1921, p.26 [Note: An example from the 2nd movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating the possibility of assigning a melody to the "second" wind player of a pair in order to give the solo player a period of rest. In this example, the clarinet 2 and bassoon 2 parts sometimes play even when there is nothing for the first clarinet or bassoon, giving those players a short break.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651195394209-MJ1NT44WKO4UFLZ4CHFA/FIDLER-1921-26%2C4%282%29-score-winds-clarinet2-bassoon2-solo-break-beethoven+%281%29.png Treatises | Figures - Fidler | Figures Fidler, 1921, p.26 [Note: An example from the 2nd movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating the possibility of assigning a melody to the "second" wind player of a pair in order to give the solo player a period of rest. In this example, the clarinet 2 and bassoon 2 parts sometimes play even when there is nothing for the first clarinet or bassoon, giving those players a short break.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196854232-OSGNIG2RPYSFDYRECK6B/FIDLER-1921-29%281%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 29 [Note: Several discontinuous examples from the third movement of Tchaikovsky's Symphony No. 6 ("Pathétique") demonstrating small orchestra writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196855838-PXKBK4JMV4WCANG5MS3K/FIDLER-1921-29%282%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 29 [Note: Several discontinuous examples from the third movement of Tchaikovsky's Symphony No. 6 ("Pathétique") demonstrating small orchestra writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196855613-89MXEUIPVTU4JFIV8D43/FIDLER-1921-29%283%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 29 [Note: Several discontinuous examples from the third movement of Tchaikovsky's Symphony No. 6 ("Pathétique") demonstrating small orchestra writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196856643-HIRFLN45D0DUMEZH7VX0/FIDLER-1921-29%284%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 29 [Note: Several discontinuous examples from the third movement of Tchaikovsky's Symphony No. 6 ("Pathétique") demonstrating small orchestra writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196856911-VDT77TYVZBX7YLC4LZTQ/FIDLER-1921-29%285%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 29 [Note: Several discontinuous examples from the third movement of Tchaikovsky's Symphony No. 6 ("Pathétique") demonstrating small orchestra writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196857430-RZUGOG9021U3JATORPZ7/FIDLER-1921-29%286%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 29 [Note: Several discontinuous examples from the third movement of Tchaikovsky's Symphony No. 6 ("Pathétique") demonstrating small orchestra writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651196858907-H5MUXXDSZIT3QROE9MSH/FIDLER-1921-29%287%29-score-small-orchestra-general-writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 29 [Note: Several discontinuous examples from the third movement of Tchaikovsky's Symphony No. 6 ("Pathétique") demonstrating small orchestra writing in general. Editor: Fidler references the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c08e4528-012d-4291-b917-0d6ab133a553/FIDLER-1921-22%2C1-score-strings-piano-accompaniment-argpeggiated-beethoven.png Treatises | Figures - Fidler | Figures - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651197139176-PWY193IDU0S4MDUCXT42/FIDLER-1921-31%2C1%281%29-score-full-orchestra-general+writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 31 [Note: An example from the "Danse des mirlitons" of Tchaikovsky's "Nutcracker" demonstrating full orchestral writing in general. Editor: Fidler references this whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651197138309-55PINDOTGPWE8BL28AX9/FIDLER-1921-31%2C1%282%29-score-full-orchestra-general+writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 31 [Note: An example from the "Danse des mirlitons" of Tchaikovsky's "Nutcracker" demonstrating full orchestral writing in general. Editor: Fidler references this whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651197139238-VDWGDRUQABF7ECQX67G7/FIDLER-1921-31%2C1%283%29-score-full-orchestra-general+writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 31 [Note: An example from the "Danse des mirlitons" of Tchaikovsky's "Nutcracker" demonstrating full orchestral writing in general. Editor: Fidler references this whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651197141316-G3UUGQJ7GJI31R3RPS49/FIDLER-1921-31%2C1%284%29-score-full-orchestra-general+writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 31 [Note: An example from the "Danse des mirlitons" of Tchaikovsky's "Nutcracker" demonstrating full orchestral writing in general. Editor: Fidler references this whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651197141396-XMKOAJ79GWJH1DOVLUJQ/FIDLER-1921-31%2C1%285%29-score-full-orchestra-general+writing-tchaikovsky.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 31 [Note: An example from the "Danse des mirlitons" of Tchaikovsky's "Nutcracker" demonstrating full orchestral writing in general. Editor: Fidler references this whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650900679864-IH815CLH6JYXUNN8Z2Z2/FIDLER-1921-19%281%29-score-strings-general-writing-beethoven+%281%29.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 19 [Note: (1/5) Several discontinuous examples from the Scherzo of Beethoven's Symphony No. 3 ("Eroica") demonstrating string writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650900679178-5H0A0HN1EJYM7EPNLGU9/FIDLER-1921-19%282%29-score-strings-general-writing-beethoven+%281%29.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 19 [Note: (2/5) Several discontinuous examples from the Scherzo of Beethoven's Symphony No. 3 ("Eroica") demonstrating string writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650900676960-6EHKH0GDSMQ44WEMF5AW/FIDLER-1921-19%284%29-score-strings-general-writing-beethoven+%281%29.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 19 [Note: (3/5) Several discontinuous examples from the Scherzo of Beethoven's Symphony No. 3 ("Eroica") demonstrating string writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650900678805-04XB3APAGJX82FBIWZAT/FIDLER-1921-19%283%29-score-strings-general-writing-beethoven+%281%29.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 19 [Note: (4/5) Several discontinuous examples from the Scherzo of Beethoven's Symphony No. 3 ("Eroica") demonstrating string writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650900677334-INLEBDTLUAVPUXRABADH/FIDLER-1921-19%285%29-score-strings-general-writing-beethoven+%281%29.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 19 [Note: (5/5) Several discontinuous examples from the Scherzo of Beethoven's Symphony No. 3 ("Eroica") demonstrating string writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpts chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650998094481-EUR5NQADD16EGZXEBQ2N/FIDLER-1921-24%2C3%281%29-score-strings-winds-general-writing-mendelssohn.png Treatises | Figures - Fidler | Figures Fidler, 1921, p, 24 [Note: An example from the Scherzo of Mendelssohn's "Midsummer Night's Dream" demonstrating string and woodwind writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650998094687-31F7HGL47EV4DHWNCPNB/FIDLER-1921-24%2C3%282%29-score-strings-winds-general-writing-mendelssohn.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650998097809-9JZO4STKEP492LNXQP35/FIDLER-1921-24%2C3%283%29-score-strings-winds-general-writing-mendelssohn.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650998098118-4FMJIPATQZ8DI5ZBPR1F/FIDLER-1921-24%2C3%284%29-score-strings-winds-general-writing-mendelssohn.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e63d3b2d-18ea-4b75-a6be-cd8e0a45b842/FIDLER-1921-93%2C1-instruments-horn-high-register-stepwise-beethoven.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 93 [Note: An example from the Scherzo of Beethoven's Symphony No. 3 ("Eroica") demonstrating the use of the high register (above the stave) of the horn. This excerpt exemplifies Fidler's recommendation to write mostly by step in this register of the horn.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1642441637847-IQP88NJD9JIZK3GSE3JC/FIDLER-1921-93%2C2%281%29-instruments-horn-melody-tutti-accompaniment-mendelssohn.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 93 [Note: An example from the Nocturne of Mendelssohn's "Midsummer Night's Dream" demonstrating the capacity for a horn melody to stand out, even when accompanied by the tutti. Editor: Fidler does not specify the relevant page or bar numbers within the movement, but is likely referring to this passage.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1642441637121-2DWYCS748BSMAFE840A4/FIDLER-1921-93%2C2%282%29-instruments-horn-melody-tutti-accompaniment-mendelssohn.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1642441637205-GN5I3AGUOT89HM840W89/FIDLER-1921-93%2C2%283%29-instruments-horn-melody-tutti-accompaniment-mendelssohn.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4bf386c4-9801-4c0d-ac2c-eb15e8ae887e/FIDLER-1921-127%2C2-scores-trumpets-e-flat-transposing-beethoven.png.png Treatises | Figures - Fidler | Figures - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997438171-3KMUKNOBF5LVP2SQJO6D/FIDLER-1921-23%2C2%281%29-score-strings-winds-general-writing-mendelssohn.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 23 [Note: (1/3) An example from the Intermezzo of Mendelssohn's "Midsummer Night's Dream" demonstrating string and woodwind writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997435920-3I4EWI40H46LYDMLI41S/FIDLER-1921-23%2C2%282%29-score-strings-winds-general-writing-mendelssohn.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 23 [Note: (2/3) An example from the Intermezzo of Mendelssohn's "Midsummer Night's Dream" demonstrating string and woodwind writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650997435502-99MVMENY3IYDS9CKWFRP/FIDLER-1921-23%2C2%283%29-score-strings-winds-general-writing-mendelssohn.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 23 [Note: (3/3) An example from the Intermezzo of Mendelssohn's "Midsummer Night's Dream" demonstrating string and woodwind writing in general. Editor: Fidler references the string parts of the whole movement as an example, without specifying the excerpt chosen here.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623887795330-WVPZC4ZH482EMV4IJ6BN/FIDLER-1921-16-compass-chart-3-brass-ranges-tone-quality.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 16 [Note: A chart showing the ranges of the brass instruments, with each instrument written according to its transposition and the corresponding sounding pitches on the top staff. Note values indicate the quality of tone on each instrument, where whole notes represent "the most perfect notes," sixteenth notes represent "the most imperfect," and note values in between represent the different gradations of tone quality.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651195794315-2RN95EXOLMI5UEIU7AMS/FIDLER-1921-27%2C1%281%29-score-small-orchestra-general-writing-mendelssohn+%281%29.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651195794876-WNF54YAOTNMMP2N46I3O/FIDLER-1921-27%2C1%282%29-score-small-orchestra-general-writing-mendelssohn+%281%29.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1651195796112-FTT2NK23E21Q68PB0AKU/FIDLER-1921-27%2C1%283%29-score-small-orchestra-general-writing-mendelssohn+%281%29.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4bf5a866-e7d7-4932-a94b-925ffadbbce8/FIDLER-1921-18%2C4%281%29-score-textural-variety-strings-winds-pizzicato-bass-beethoven.png Treatises | Figures - Fidler | Figures Summary of Figure: An example from the 2nd movement of Beethoven's Symphony No. 3 ("Eroica") demonstrating the possibility of varying orchestral textures by not having all instruments play continuously. This example features the contrast between a passage for selected winds and strings, and a passage for only violins with pizzicato cellos and basses. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/32f87f8f-3c4e-4146-9e3a-25df7bd5a2b8/FIDLER-1921-18%2C4%282%29-score-textural-variety-strings-winds-pizzicato-bass-beethoven.png Treatises | Figures - Fidler | Figures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f7df0698-cb22-4f7a-a7f6-0abc56ed1e0c/FIDLER-1921-126%2C3-scores-horns-d-transposing-mendelssohn.png Treatises | Figures - Fidler | Figures - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623888391249-8AGCZZYOPNLU7SRBZL7H/FIDLER-1921-52-violin-viola-fingerings-positions.png Treatises | Figures - Fidler | Figures - Make it stand out Fidler, 1921, p. 52 [Note: A table showing the notes assigned to each finger on every string of the violin in positions 1 to 7. This table also applies to the viola if shifted down a fifth.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623887922731-DGCQHR88WFFJ57X4FQ4F/FIDLER-1921-17-compass-chart-4-percussion-ranges-tone-quality.png Treatises | Figures - Fidler | Figures Fidler, 1921, p. 16 [Note: A chart showing the ranges of several percussion instruments, with each instrument written according to its transposition and the corresponding sounding pitches on the top staff. The timpani staff shows the ranges of the four common sizes of drum. Note values indicate the quality of tone on each instrument, where whole notes represent "the most perfect notes," sixteenth notes represent "the most imperfect," and note values in between represent the different gradations of tone quality.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fdf15ec5-a166-47c7-a2ca-478f98135df6/FIDLER-1921-126%2C2-scores-horns-c-e-flat-transposing-beethoven.png Treatises | Figures - Fidler | Figures - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/treatises/figures/forsyth monthly 0.5 2024-11-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428853537-CX6HTW3LIYYFME3WP0GL/FORSYTH-1935-417%2C9-cello-chords-openA.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 417 [Note: An example showing the three triple stops involving the open A string which are possible and convenient on the cello in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622429636532-CMBSLK806K62RFC7R1AN/FORSYTH-1935-419%2C2-cello-chords-quadruplestops.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 419 [Note: The notes A3 and F4. When writing quadruple stop chords with no open strings on the cello, the notes on the two highest strings should not go above these.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622427939740-27H8HHJXZRZMUBVF60V0/FORSYTH-1935-411-cello-thumbfingerings-B4.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 411 [Note: The note B4. On the cello, passages above this note make use of the "thumb positions," in which the thumb is placed on the string and becomes an "artificial nut."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622427904178-CJBSYCYZCD5EBCJOMU72/FORSYTH-1935-410%2C4-cello-shifting-D4.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 410 [Note: The note D4. Any scales or passages on the cello that go above this note involve shifting. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622429553873-N124X77S5ZIRFW2HZBCW/FORSYTH-1935-418%2C5-cello-chords-openCmodel.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 418 [Note: An example showing the pattern of notes that can be played on the three upper strings of the cello in quadruple stops that include the open C string.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428015019-R4PPGNGITGJAPI11GKYL/FORSYTH-1935-412%2C1-cello-thumbfingerings.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 412 [Note: An example showing the notation for the use of thumb fingering on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622427725831-LKSUSPLI63OSEILRPGB1/FORSYTH-1935-409%2C2-cello-Gstring-tonequality.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 409 [Note: An example showing four notes on the G string of the cello which, according to Widor, are invariably "bad," with a "rough, harsh, incongruous, and uncertain" tone. Forsyth, however, considers this appraisal "rather too sweeping."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622491088081-0P8HFXY0HYQS1X3GJJ0R/FORSYTH-1935-424%2C1-cello-artificialharmonics.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 424 [Note: An example showing the approximate upper limit for artificial harmonics on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622429806405-5CUTJJPA7VGQENVJGK2V/FORSYTH-1935-419%2C5-cello-doublestops-thirds.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 419 [Note: An example showing the double stopped intervals of a third that are possible on the cello, up to C4/E4.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428042662-A8AULRMHOD9YWVUJFD8X/FORSYTH-1935-412%2C2-cello-thumbfingerings-doublestops.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 412 [Note: An example demonstrating the possibility of using the thumb to finger the lower note of an octave double stop on the cello, when that note is not an open string. Though technically possible, this practice is not recommended by Forsyth, who deems all octave passages on the cello "too risky for orchestral use."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622491120489-CJRDI4F1CNJTL5K2PMUF/FORSYTH-1935-424%2C2-cello-harmonics.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 424 [Note: An example showing all the notes that can be played with harmonics on the cello. The first three can only be played using natural harmonics, and the rest can all be played using artificial harmonics. Notes with crosses can be played either way.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622491043619-VTTAO5CW6ZMMAH2DTHZ4/FORSYTH-1935-423%2C2-cello-chords-avoidpatterns.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 423 [Note: An example showing three models of chords that should not be used on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622427704885-XK3EUQ60XVA1TEADU9OT/FORSYTH-1935-409%2C1-cello-tuning.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 409 [Note: An example showing the tuning of each string on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428828042-PJJZPP0HGGYDCLP7ONQJ/FORSYTH-1935-417%2C8-cello-chords-A3.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 417 [Note: The note A3, which is the highest open string of the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428767204-CZW2VYBK8KNS6TU0IHZ6/FORSYTH-1935-417%2C6-cello-chords-D3.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 417 [Note: The note D3, which is the second-highest open string of the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622429844458-5IYW219TXYAYZZKXV5BA/FORSYTH-1935-420%2C1-cello-doublestops-fourths.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 420 [Note: The notes Db2 and G2, which are possible as a double stop on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428806543-ILLBEITRONO0DEO1Q7LY/FORSYTH-1935-417%2C7-cello-chords-openD.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 417 [Note: An example showing the three triple stops involving the open D string which are possible and convenient on the cello in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622491174644-S2ETSWSEOGNR2350DR8T/FORSYTH-1935-424%2C3-cello-harmonics-divisi-humperdinck.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 424 [Note: An example from Humperdinck's "Hansel ünd Gretel" demonstrating the use of cello harmonics to form a chord. In this example, the cello section is divided and the harmonics are played by two solo cellos. Though the notation is the same for both, the upper line is actually played as a natural harmonic while the bottom can only be played as an artificial harmonic.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622429439768-SFQ67ACRU3705LBMUPNI/FORSYTH-1935-418%2C2-cello-chords-openCG.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 418 [Note: The notes C2 and G2, which are the two lowest open strings of the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428131210-M4B8001DD7AV0SCEHUJR/FORSYTH-1935-413%2C3-cello-chromaticfingerings.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 413 [Note: An example showing cello fingerings for chromatic scales.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428423640-ENCBHHCY50H02Q7MBQRV/FORSYTH-1935-415%2C5-ex261-cello-highregister-cadenza-beethoven.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 415 [Note: An example from Beethoven's "Prometheus" demonstrating the use of the high register (up to G5) in a solo cello cadenza.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428745702-W5WAR7QFNO5TWGVKXCKB/FORSYTH-1935-417%2C5-cello-chords-openG.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 417 [Note: An example showing the collection of notes on the D string of the cello which can be combined with a note a fifth or sixth above and the open G string to form a triple stop.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622489786619-21E1BGK0277H7TGXR7FX/FORSYTH-1935-423%2C1-cello-chords-augmentedfifths.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 423 [Note: An example showing the pattern for augmented fifth chords on the cello using three or four strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622489703851-9870P8HIENJMKJ5OUBGE/FORSYTH-1935-422%2C2-cello-chords-dominantninths.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 422 [Note: An example showing the only two dominant ninth chords possible on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622489756733-94RK4KH7MS1YAW74U5PT/FORSYTH-1935-422%2C4-cello-chords-diminishedsevenths.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 422 [Note: The note G4. This is the recommended upper limit for the highest note of any partial diminished seventh chord on the cello following the pattern of the previous example.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622491489730-Q4Y27X7VVHW70VWCINTI/FORSYTH-1935-431%2C1-ex268-cello-strings-D-beethoven.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 431 [Note: An example from the last movement of Beethoven's Symphony No. 9 demonstrating the quality of the cello's D string that Forsyth calls "caressing reticence," "silky," and "capable of expressing the most poetical feelings."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622491375315-GQ4AHXYQ1Z3I2PVN6V0I/FORSYTH-1935-428-ex265-cello-pizzicato-accompaniment-winds-brahms.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 428 [Note: An example from the 3rd movement of Brahms' Symphony No. 1 demonstrating the use of cello pizzicato as both a bassline and accompanimental figure. This example also demonstrates its pairing with woodwinds and horns, as well as the subtle entries of the upper string and oboe parts.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428286827-UZCL55Y3E06U7XHCNDCQ/FORSYTH-1935-415%2C1-cello-highregisterclefs-beethoven.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 415 [Note: An example from Beethoven's String Quartet No. 12 demonstrating a passage in the cello's high register that is comfortably notated in treble clef at sounding pitch.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428676832-S4ZJJT0INLCT0LOQX24G/FORSYTH-1935-417%2C4-cello-chords-G2.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 417 [Note: The note G2, which is the second-lowest open string of the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622429687116-7NUB35XWWJZMMQ7FK94T/FORSYTH-1935-419%2C3-cello-doublestops-seconds.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 419 [Note: An example showing three double stopped intervals of a second that are possible on the cello using open strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428397393-JL1JLP3PG8DJY0UXC6E6/FORSYTH-1935-415%2C4-cello-highregister-limit-D5-haydn.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 415 [Note: The note D5. This was the upper limit used by Haydn for cello writing in an orchestral context. Editor: This note is drawn from a work that the treatise identifies as "Symphony No. 13," but is now known as No. 88.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428213630-2TRZ81T6HW540BJQRRQ3/FORSYTH-1935-414%2C2-cello-clefs-C4F4.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 414 [Note: The notes C4 and F4. In between these notes, the use of the tenor clef eliminates the need for ledger lines.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622430065387-R5IXV1PU6NNZ22U1PWE5/FORSYTH-1935-420%2C4-cello-doublestops-sixths.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 420 [Note: An example showing the range within which major and minor sixth intervals are possible as double stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622429415220-SNGH72EXE43O62FI78U1/FORSYTH-1935-418%2C1-cello-chords-A4.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 418 [Note: The note A4. In triple stops on the cello that don't contain any open strings, the top note should not go higher than this.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622489517517-LG5GR73EL46Y8B5QT0UN/FORSYTH-1935-420%2C6-cello-doublestops-sevenths.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 420 [Note: An example showing the range within which minor seventh intervals are possible as double stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428647067-B40QFRWAK4BL7M2K6BXH/FORSYTH-1935-417%2C3-cello-chords-openC.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 417 [Note: An example showing three triple stops which are possible on the cello with the open C string.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622427805737-Y2PJOZZ37IB5DWVSBUW3/FORSYTH-1935-410%2C2-cello-fingerings.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 410 [Note: An example showing the fingering on the cello for a sequence of three ascending notes consisting of a semitone and a whole tone.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622429506267-5MU9GKR9KKMUQRJ4DOTC/FORSYTH-1935-418%2C4-cello-chords-openCGlimit.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 418 [Note: The notes C4 and A4. When writing quadruple stops on the cello with the two open lower strings, the notes on the two higher strings should not go beyond these. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428372931-C6Y72L1SP5FXH4Y1EITB/FORSYTH-1935-415%2C3-cello-highregister-limit-E5.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 415 [Note: The note E5. Forsyth suggests this as a "reasonable upward-limit for orchestral writing" in cello parts.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428625638-WHKJJNXPFE8E0RLH9MFY/FORSYTH-1935-417%2C2-cello-chords-Ab2A2.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 417 [Note: The notes Ab2 and A2, as played on the G string of the cello. These notes can be combined with any a fifth or sixth above, and the open C string to form a triple stop.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622429781656-DXN228PYEJIBQ6FVJPBU/FORSYTH-1935-419%2C4-cello-doublestops-seconds.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 419 [Note: An example showing three double stopped intervals of a second that are possible on the cello using open strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622491511618-04415SFAJOFK8J819GEB/FORSYTH-1935-431%2C2-ex269-cello-lowerstrings-legato-wagner.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 431 [Note: An example from Wagner's "Lohengrin" demonstrating the quality of the cello's lower strings that Forsyth calls "straightforward" with a "mingled smoothness" and "austerity." The slurs in this example are not literal bowing indications, but a way of denoting a general legato quality for the passage.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622430013619-JZVYIZMUW0D3IV6F6YFW/FORSYTH-1935-420%2C2-cello-doublestops-fourths.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 420 [Note: The notes D2 and C4. Double stopped intervals of perfect or augmented fourths are possible on the cello if the lower note is within the range of these notes.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622489557951-TMTZH0EYQI5LTVX9R17S/FORSYTH-1935-421%2C1-cello-doublestops-sevenths.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 421 [Note: An example showing the three major seventh intervals possible as double stops on the cello with open strings as the lower note. These are also the only major seventh double stops recommended for use on the cello in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622429580777-TQJU9BFT2707VUH66KDB/FORSYTH-1935-418%2C6-cello-chords-openClimit.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 418 [Note: The notes A3 and F#4. When writing quadruple stops on the cello with the open C string, the notes on the two highest strings should not go beyond these.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622489578577-6C32TS4V2UCPOGI4YNE4/FORSYTH-1935-421%2C2-cello-triads-G4.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 421 [Note: The note G4. All major and minor triads and their inversions are possible on the cello up to the point where this note is the top note in the chord.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428564263-M7V49FPRLLY8T51D1ZZO/FORSYTH-1935-416%2C2-cello-doublestops-G4.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 416 [Note: The note G4. When considering double stops where both notes must be fingered, this is the highest top note up to which perfect fifths, minor and major sixths, and diminished and minor sevenths can be safely used.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622491413971-DLL2BZRYVLZMNKOO7GZX/FORSYTH-1935-429-ex266-cello-pizzicato-upperlimit-humperdinck.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 429 [Note: An example from Act 3 of Humperdinck's "Hansel ünd Gretel" demonstrating a scalar pizzicato passage in the cello that reaches a high Bb (Bb4). This can be considered the upper limit for effective pizzicato on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622489681493-30T8GWMWQ1T6OYOHHPZH/FORSYTH-1935-422%2C1-cello-chords-dominantsevenths.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 422 [Note: An example showing the only quadruple stop dominant seventh chord that is practical on the cello in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622427777939-ZNXMN0WRGZIDLTWYZSSM/FORSYTH-1935-410%2C1-cello-fingerings.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 410 [Note: An example showing the fingering on the cello for a sequence of three ascending notes consisting of two whole tones.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622489628883-3FQEYSHIYAG83O18FFHO/FORSYTH-1935-421%2C3-cello-triads-inversions.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 421 [Note: An example showing the patterns for triads and their first and second inversions on the cello, using three or four strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428061659-GFE2K3GRUNH5MNMPNEJX/FORSYTH-1935-413%2C1-ex260-cello-doublestops-beethoven.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 413 [Note: An example from Beethoven's Symphony no. 9 demonstrating a rare situation in which a fingered octave double stop in the cello part is reasonable in an orchestral context. In this example, the double stop is approached slowly and held for a long time, and the only intervening note (in bar 8 of the excerpt) is an open string that doesn't pose a fingering issue.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622430101287-SWSWIIEWOX6OKYS8O7BW/FORSYTH-1935-420%2C5-cello-doublestops-sevenths.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 420 [Note: An example showing the three minor seventh intervals possible as double stops on the cello with open strings as the lower note.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622489735889-XJHPEPZHO9BDRVWPOIHU/FORSYTH-1935-422%2C3-cello-chords-diminishedsevenths.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 422 [Note: An example showing the two easiest partial diminished seventh chords possible on the cello. This pattern may also be used for chords without an open string, where the lowest note is stopped by the first finger, but these are much more difficult to play.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428323261-O85JZV8FYFJE7A5FYWUB/FORSYTH-1935-415%2C2-cello-highregisterclefs-beethoven.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 415 [Note: An example from Beethoven's String Quartet No. 12 demonstrating the archaic custom of notating high cello passages in treble clef, an octave above sounding pitch. The combination of tenor and octave-displaced treble clefs in this example creates a need for sixteen ledger lines, none of which are needed when the same passage is written in treble clef at sounding pitch.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428264758-RTV9YCGYHWBL4VG295ED/FORSYTH-1935-414%2C3-cello-clefs-A3A4.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 414 [Note: The notes A3 and A4. The tenor clef is often used to notate cello passages that lie in this general register.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622489654242-IEI1JKPT8MP0QZY4YFPL/FORSYTH-1935-421%2C4-cello-chords-dominantsevenths.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 421 [Note: An example showing the six dominant seventh chords that are possible to play on the cello using triple stops.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428496683-AYF38VYMDB7JL5ZMKPYS/FORSYTH-1935-416%2C1-ex262-cello-highregister-solo-strauss.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 416 [Note: An example from Strauss' "Don Quixote" Variations demonstrating a technical passage for the solo cello reaching into the extreme high register of the instrument's range. This is an example of the type of high passage that would be inadvisable to write for a whole cello section.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622491064290-3MHOC8Q175NNM9B70BGT/FORSYTH-1935-423%2C3-violin-viola-artificialharmonics.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 423 [Note: An example showing the approximate upper limits for artificial harmonics on the violin and viola.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428595745-753KSBEXVYIVT8FKP6NV/FORSYTH-1935-417%2C1-cello-chords-C2.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 417 [Note: The note C2, which is the lowest open string of the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622491202084-74344189BJD9OHMSZZE1/FORSYTH-1935-426-ex263-cello-pizzicato-accompaniment-sullivan.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 426 [Note: An example from Sullivan's "The Mikado" demonstrating the use of pizzicato in the middle register of the cello as a light accompanimental figure. The cellos also play the bass note on the first beat of each bar, and it is reinforced an octave below by the double basses.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622491267136-ZHX3YA1FUUE5PTEHMD40/FORSYTH-1935-427-ex264-cello-pizzicato-accompaniment-sullivan.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 427 [Note: An example from Sullivan's "The Yeomen of the Guard" demonstrating the use of pizzicato in the middle register of the cello as a light accompanimental figure. The cellos also play the bass note on the first beat of each bar, and it is reinforced at the same pitch by the double basses in every second bar.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622429607459-NHC1RHV1NKY1KG74PN8U/FORSYTH-1935-419%2C1-cello-chords-quadruplestops.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 419 [Note: An example showing practically the only convenient model of four note chords on the cello containing no open strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622491442057-1XBWMYKU1RPEIVG9W62F/FORSYTH-1935-430-ex267-cello-bassoon-violin-doubling-tchaikovsky.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 430 [Note: An example from the end of Tchaikovsky's "Romeo and Juliet" Overture demonstrating the rare unison doubling of bassoon, violins, and cellos. In this example, they are supported by a pedal texture consisting of a timpani ostinato, a held note in the tuba, and pizzicatos in the double bass.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428168620-0KGOOMP9IM4DMYSR5T8S/FORSYTH-1935-414%2C1-cello-clefs.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 414 [Note: An example showing the three clefs used for the cello: bass (F) clef, tenor clef, and treble (G) clef.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622428108238-7R2BHA0U9E530QC1LECR/FORSYTH-1935-413%2C2-cello-doublestops-openstrings.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 413 [Note: An example showing the three octave double stops available on the cello that have an open string as the lower note. These are easy and convenient to play, even in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622429463889-2VK4QQWXO0B5K3DI9DI1/FORSYTH-1935-418%2C3-cello-chords-openCGmodel.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 418 [Note: An example showing the pattern of fifths and sixths that can be used on the two upper strings of the cello in conjunction with the two open lower strings to form quadruple stop chords.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622430043278-GTQ8TIC8OYG9QDRPYXH1/FORSYTH-1935-420%2C3-cello-doublestops-fifths.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 420 [Note: The fifth intervals of C2-G2 and A3-E4. All perfect fifth intervals within this range are possible as double stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622427824995-NC4UXYXY76PV4YBU4LLZ/FORSYTH-1935-410%2C3-cello-fingerings.png Treatises | Figures - Forsyth | Figures - Make it stand out Forsyth, 1935, p. 410 [Note: An example showing the fingering on the cello for a sequence of three ascending notes consisting of a whole tone and a semitone.] https://timbreandorchestration.org/treatises/figures/gevaert monthly 0.5 2024-11-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161568973-S9QXN67CHFS18Q6BHMLK/GEVAERT-1885-61%2C4-ex101-cello-unisondoubling-beethoven.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 61 [Note: An example from Beethoven's Symphony no. 7 demonstrating the cello in a melodic role, doubled at the unison by the violas.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621046817001-SF5P9G62CODWFFHWSIZD/GEVAERT-1885-55%2C1-cello-chromaticfingerings.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 55 [Note: An example showing cello fingerings for chromatic scales in first position.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621046849634-RLADK8NCWUSLTSQYKQN3/GEVAERT-1885-55%2C2-cello-thumbfingerings.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 55 [Note: An example showing the notation for the use of thumb fingering on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621047277889-NUI15R91HTMKT721T5JL/GEVAERT-1885-58%2C4-ex93-cello-outlineleaps-mendelssohn.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 58 [Note: An example from the Scherzo of Mendelssohn's "Midsummer Night's Dream" demonstrating passagework that outlines thirds. This size of leap or outline is idiomatic to the cello as it can sit comfortably in a single hand position.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161343634-EVLD0OYIC30SKEZF9K0P/GEVAERT-1885-60%2C1-ex98-cello-mutes-divisi-doubling-beethoven.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 60 [Note: An example from the "Scene by a Brook" in Beethoven's Pastorale Symphony demonstrating the division of the cello section into two muted soloists and the rest of the section, which doubles the bassline. This example also features octave doubling between the solo cello lines and the 2nd violins and violas, respectively.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161676626-9XF90ZQWO88D77SR1J6P/GEVAERT-1885-62%2C1-ex104-cello-unisondoubling-beethoven.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 62 [Note: An example from Beethoven's Symphony no. 6 demonstrating the cello in a melodic role, doubled at the unison by the bassoons.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161589542-NNWNM8LISRIH1VA19IL2/GEVAERT-1885-61%2C5-ex102-cello-unisondoubling-beethoven.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 61 [Note: An example from Beethoven's Symphony no. 9 demonstrating the cello in a melodic role, doubled at the unison by the violas.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621047241794-P55C2I9OACFB02IQQKLZ/GEVAERT-1885-58%2C2-ex91-cello-agility%2Cslurs-rossini.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 58 [Note: An example from Rossini's William Tell demonstrating the capacity of the cello to play fast, agile figures. As in this example, such figures are often slurred in orchestral music.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161313104-HNJ77CW2H0IXOFXEJ50G/GEVAERT-1885-59%2C3-ex97-cello-lowregister-wagner.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 59 [Note: An example from Wagner's "Lohengrin" demonstrating the dark and mysterious character often given to the lowest string of the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161648680-OL7XKRHIJ98V2M1FULB5/GEVAERT-1885-61%2C6-ex103-cello-unisondoubling-beethoven.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 61 [Note: An example from Beethoven's Symphony no. 6 demonstrating the cello in a melodic role, doubled at the unison by the violas and one bassoon.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161393166-Q1UZY8C4IUEBI917NA9L/GEVAERT-1885-60%2C2-cello-naturalharmonics.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 60 [Note: A series of examples showing the collection of natural harmonics on the cello that are possible and convenient in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621046556676-SFP445JNMZ5K0Y2C75RB/GEVAERT-1885-54%2C6-cello-fingeringspositions.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 54 [Note: An example showing the combination of positions needed to play an E major scale on the cello, according to the method of Duport.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621046371509-QZW6GA1LGR7VQNXIFM4K/GEVAERT-1885-53%2C3-cello-tuning-schumann.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 53 [Note: An example from Schumann's Piano Quartet in which the lowest string of the cello is detuned by a whole tone in order to play an octave double stop on Bb.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621047034877-Q1DLAPHX4D23GSBJ3CNE/GEVAERT-1885-56%2C3-cello-doublestops.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 56 [Note: A series of examples showing the collection of double stops that are possible and convenient in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621047257358-Z3G6FYVT1WYSECC9L4DB/GEVAERT-1885-58%2C3-ex92-cello-agility%2Cslurs-wagner.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 58 [Note: An example from Wagner's Tannhäuser Overture demonstrating the capacity of the cello to play fast, agile figures. As in this example, such figures are often slurred in orchestral music.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621046508611-XR155W2U7L7YOERQT4I3/GEVAERT-1885-54%2C4-cello-fingerings.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 54 [Note: An example showing first position fingerings for D major and minor scales on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621046884400-JAD6HB1XFDZJC8R7W2CN/GEVAERT-1885-55%2C3-ex85-cello-highregistermelody-haydn.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 55 [Note: An example from Haydn's Symphony No. 88 demonstrating the use of the high register for melodic purposes. Note: the treatise identifies this work as "Symphony No. 13," but it is now known as No. 88.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161520405-HK3G3I7B518AEI81ASB9/GEVAERT-1885-61%2C2-ex99-cello-range-solo-rossini.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 61 [Note: An example from Rossini's "William Tell" Overture demonstrating the almost complete use of the cello range in a solo cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161490816-XQ9NSDO6D3YG4X080XQN/GEVAERT-1885-61%2C1-cello-range-registers.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 61 [Note: An example showing the range of the cello with the low, middle, high, and extreme high registers indicated.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621046350150-IL9M1BKN8I4FQW94TILY/GEVAERT-1885-53%2C2-cello-tuning.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 53 [Note: An example showing the tuning of each string on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621046983668-U3Z7OQ0GL1UY3B19ZXUF/GEVAERT-1885-55%2C5-ex86%282%29-cello-highregisterclefs-beethoven.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 55 [Note: An alternate notation of the previous example, using treble clef in the extreme high register for increased ease of reading.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621047300851-1OJB7OUDYTXYGJFAG2ZJ/GEVAERT-1885-58%2C5-ex94-cello-arpeggiation-accompaniment-beethoven.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 58 [Note: An example from Beethoven's Symphony No. 8 demonstrating the use of cello arpeggiations as an accompanimental figure.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161725552-746RCU6NWUZRY4HCW9TD/GEVAERT-1885-62%2C3-ex106-cello-divisi-wagner.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 62 [Note: An example from Wagner's "Die Walküre" demonstrating the division of the cello section into 5 parts, the first being a solo cello part and the others having two players each.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621047162545-PZQCD49I86ADC9Y5ZL6Z/GEVAERT-1885-57%2C2-ex88-cello-pizzicato%2Cclefs-doubling-he%CC%81rold.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 57 [Note: An example from Hérold's "Le Pré aux Clercs" demonstrating cello pizzicato. This example also shows three different clefs being used in a cello part, independence of cello and bass parts, and doubling of cello with viola and violin.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621046538529-DM2H501OL2RE0AK1HSH1/GEVAERT-1885-54%2C5-cello-fingeringspositions.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 54 [Note: An example showing second and third position fingerings on the cello, and demonstrating the impossibility of playing a complete scale in a single position.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161452643-ZIUJU3IFCLXUT69EP7NK/GEVAERT-1885-60%2C3-cello-artificialharmonics.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 60 [Note: A series of examples showing the collection of artificial harmonics on the cello that are possible and convenient in an orchestral context. Asterisks indicate cases in which the resulting note is also achievable with a natural harmonic (from an open string).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621047123793-GBING05LEOUF00IAOQOI/GEVAERT-1885-57%2C1-cello-chords.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 57 [Note: A series of examples showing the collection of 3- and 4-note chords that are possible and convenient in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dd284ae4-8da4-42ea-a266-086ab78f4d7e/GEVAERT-1885-54%2C3-cello-fingerings.jpg Treatises | Figures - Gevaert | Figures - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621047005341-4JOMZOFI6R0SN9LMLROJ/GEVAERT-1885-56%2C1-ex87-cello-highregisterclefs-beethoven.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 56 [Note: An example demonstrating the archaic custom of notating high cello passages in treble clef, an octave above sounding pitch.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621047203226-I5W03MTXQHCKHSFJRXW7/GEVAERT-1885-57%2C3-ex89-cello-agility%2Cslurs-beethoven.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 57 [Note: An example from Beethoven's Symphony No. 5 demonstrating the capacity of the cello to play fast, agile figures. As in this example, such figures are often slurred in orchestral music.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621047222294-CK9203W5P6HLSTSKAUOZ/GEVAERT-1885-58%2C1-ex90-cello-agility%2Cslurs-beethoven.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 58 [Note: An example from Beethoven's Pastorale Symphony demonstrating the capacity of the cello to play fast, agile figures. As in this example, such figures are often slurred in orchestral music.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621046420855-2ICRMLRW8EWBWZ0L6UST/GEVAERT-1885-54%2C2-cello-fingering.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 54 [Note: An example showing fingerings on the D string of the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621046466556-01BKPKY6849VGW0Z22HO/GEVAERT-1885-54%2C3-cello-fingerings.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 54 [Note: An example showing first position fingerings for C and F major scales on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621047631014-P5ML8EQMMTHDE698JDHF/GEVAERT-1885-56%2C2-ex87%282%29-cello-highregisterclefs-beethoven.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 56 [Note: An example demonstrating the modern custom of notating high cello passages in tenor and treble clef at sounding pitch.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161697229-33XN4P2SL6COZF9ULK60/GEVAERT-1885-62%2C2-ex105-cello-obligato-handel.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 62 [Note: An example from Handel's "Alexander's Feast" demonstrating the use of the cello's melodic character to fill a solo obligato role in vocal music.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621046934662-CRUOUM3TT0MCUCL9HD5A/GEVAERT-1885-55%2C4-ex86-cello-highregistercadenza-beethoven.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 55 [Note: An example from Beethoven's "Prometheus" demonstrating the use of the high register (up to G4) in a solo cello cadenza.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621047328977-6DIERXF3FS8GJCLOEX2K/GEVAERT-1885-59%2C1-ex95-cello-chanterelle-melody-weber.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 59 [Note: An example from Weber's "Oberon" demonstrating the use of the cello's A string (or "chanterelle") for an expressive melody.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161545689-9CX4W82SC6XUCY5EXYDC/GEVAERT-1885-61%2C3-ex100-cello-unisondoubling-beethoven.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 61 [Note: An example from Beethoven's Symphony no. 5 demonstrating the cello in a melodic role, doubled at the unison by the violas.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622161226063-6YI9OJQTIJF1VGAUO6K5/GEVAERT-1885-59%2C2-ex96-cello-middlestrings-melody-meyerbeer.png Treatises | Figures - Gevaert | Figures - Make it stand out Gevaert, 1885, p. 59 [Note: An example from Meyerbeer's "Robert le Diable" demonstrating the rare occurance of an orchestral cello melody on the middle two strings. This example highlights the "creamy" quality of the register with a cantabile melody.] https://timbreandorchestration.org/treatises/figures/kling monthly 0.5 2024-07-05 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622214924270-0EPY9XVFOYKU7NCH6GVB/KLING-1905-20%2C3-cello-double-trills.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 20 [Note: An example showing two double trills that are possible but very difficult on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622215148652-E2YACMF9YER0XHFYY7UC/KLING-1905-23%2C1-cello-divisi-soli-wagner.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 23 [Note: An example from Wagner's "Die Walküre" demonstrating the division of the cello section into 5 parts, the first being a solo cello part and the others having two players each.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622215310975-F9PX708I97S2CWZGIOHX/KLING-1905-25%2C1-cello-solo-cadenza-holzmann.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 25 [Note: (continued 2/2) An example of a solo cello cadenza provided by the cellist H. Holzmann.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622215248116-I49HN9KFHEU657GS4MZA/KLING-1905-24%2C1-cello-bassoon-melody-doubling-massenet.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 24 [Note: An example from the "Air de Ballet" of Massenet's "Scènes pittoresques" demonstrating a "graceful" melody in the cellos, doubled at the unison by both bassoons.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622214861330-N66IT51RCP3LMOBRHC5N/KLING-1905-20%2C1-cello-bowings-staccato-saltato.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 19 [Note: An example showing two of the most difficult bowing techniques on the cello: staccato and saltato, which is also known as martellato or "jumping bow."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622214895600-Y6PGJQBLIOC9BZ7J00IH/KLING-1905-20%2C2-cello-chords-arpeggios-bowings.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 20 [Note: An example showing various forms and bowings of arpeggios that are possible on the cello using three or four strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622215027336-1E2YJZRVN0YNHZDP7Z01/KLING-1905-21%2C1-cello-trebleclef-melody.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 21 [Note: An example showing the notation of a high cello melody in treble clef, written an octave above sounding pitch (shown on the bottom stave). Kling presents this as a practice that (in 1905) is gradually becoming obsolete, and advises against using it in favour of notating at sounding pitch. Editor: The custom of writing in treble clef an octave above sounding pitch is now considered obsolete.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622215050274-H066P9S3OWKHFAJ9C468/KLING-1905-21%2C2-cello-strings-naturalharmonics.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 21 [Note: An example showing the common natural harmonics on each string of the cello, and the resultant sounding pitches.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622214938558-X563TURXMG2SBYAGUHIJ/KLING-1905-20%2C4-cello-double-triple-quadruple-stops.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 20 [Note: An example showing some of the double, triple, and quadruple stops that are possible on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622214771375-MN5ODP8ZO8IUG2VRPIXG/KLING-1905-19%2C3-cello-range-orchestral-solo.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 19 [Note: An example showing the usable range of the cello for both orchestral and solo contexts.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622214719792-6D8FCF8JFZKQRNPQEAP6/KLING-1905-19%2C2-cello-strings-tuning.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 19 Note: An example showing the tuning of each string on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622215075750-TW80D2ACMJ9V75L1EMPH/KLING-1905-22%2C1-cello-A-string-artificialharmonics.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 22 [Note: An example showing the notation of artificial (or "artistic") harmonics on the A string of the cello, and the resultant sounding pitches.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622214969657-YPXCMR5E0GLV2614BCZL/KLING-1905-20%2C5-cello-broken-chords-patterns.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 20 [Note: An example showing some of the patterns for broken chords that are possible on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622215282039-Y7DZWBWXRZX9UT5IN9F7/KLING-1905-24%2C2-cello-solo-cadenza-holzmann.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 24 [Note: (1/2) An example of a solo cello cadenza provided by the cellist H. Holzmann.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622214994850-T7XHFBR5OID8EPOREWE2/KLING-1905-20%2C6-cello-bowings-tremolo-doublestops-chords.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 20 [Note: An example showing the notation for tremolo on the cello, using double stops and arpeggiated chords.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622215203304-QACH92QWLHPAW5BSGI9Y/KLING-1905-23%2C2-cello-melody-echo-meyerbeer.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 23 [Note: An example from Act 4 of Meyerbeer's "Les Huguenots" demonstrating the melodic capacity of the cello. In this example, the cello line sits on the A string and is used to create an "echo" effect in imitation of the solo voice.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622215375126-Q28LWOKXD1V6TM7B3NY0/KLING-1905-25%2C2-cello-pizzicato-accompaniment-dance-music.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 25 [Note: An example showing several common figures used to create pizzicato accompaniments with the cello in dance music.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622215105555-MIK80DZ1UDPJL235IBUI/KLING-1905-22%2C2-cello-solo-divisi-rossini.png Treatises | Figures - Kling | Figures - Make it stand out Kling, 1905, p. 22 [Note: An example from the beginning of Rossini's "William Tell" Overture demonstrating the division of the cello section into five solo cello parts.] https://timbreandorchestration.org/treatises/figures/prout/volume-1/chapter-iii monthly 0.5 2024-01-11 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980128427-FCSQJQKJSCB2CFR9WLTS/PROUT-1899-30%2C3-ex18-violin-strings-bowings-tremolo-dynamics-schubert.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 30 [Note: An example from Schubert's "Fierrabras" Overture demonstrating the use of tremolo bowings in the strings with a range of dynamics, from pianissimo to fortissimo.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980960629-TULZWYWI3CMZ659A4FQ0/PROUT-1899-44%2C2-viola-positions-range-A5.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 44 [Note: The note A5. Prout suggests that notes above this are "far more effective, as well as easier, on the violin" than on the viola, making positions higher than the fifth rare in an orchestral viola context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980761386-77SR5VJS5O4MDV3WHXED/PROUT-1899-40-ex30-violin-solo-harmonics-clarinet-doubling-saint-saens.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 40 [Note: (2/2) An example from the slow movement of Saint-Saëns' Violin Concerto No. 3 demonstrating an arpeggiated passage in harmonics played by the solo violin and doubled two octaves below by a clarinet. This is an example of a passage in harmonics that is possible in a solo violin part but would be inadvisable in the context of an orchestral section. The notation in this example indicates only the intended sounding notes; the specific method of execution is left to the discretion of the player.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980159240-5PUFQFL7LPJVUQTPHUH8/PROUT-1899-31%2C1-violin-accidentals-enharmonic-reading-beethoven.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 31 [Note: An example from Beethoven's Piano Concerto No. 5 demonstrating the notation of a violin passage with accidentals that are easier for performers to read despite not representing the "true" theoretical notes (next example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980996743-2VMC2OD4DFAPJQ9YMT70/PROUT-1899-45-ex33-viola-melody-voice-doubling-mendelssohn.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 45 [Note: An example from Mendelssohn's "Elijah" demonstrating a passage in which the violas play above both first and second violins. In this example, the viola line doubles the solo voice melody an octave above.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623977658602-25NJ2JAFDVMODRH1ASMR/PROUT-1899-21%2C2-violin-seventhposition-fingerings.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 21 [Note: An example showing the fingerings on each string of the violin in seventh position.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980537722-A01AIRV5HZOT70BIE4WE/PROUT-1899-37%2C2-ex26-violin-strings-naturalharmonics-notation.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 37 [Note: An example showing Prout's recommended notation for all natural harmonics on each string of the violin. Because the first (octave) harmonic is touched and sounds at the same part of the string as the corresponding fully fingered note, it is indicated with a single regular notehead and a "o" above. The others involve indicating the string played (regular notehead), the note touched (diamond notehead), and the resulting sounding pitch (small note).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623977974380-MXJSWLBTV4AGGX6837X5/PROUT-1899-22%2C3-ex2-violin-positions-sulG-wagner.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 22 [Note: An example from Wagner's "Lohengrin" demonstrating the indication to play a passage on a specific string. In this example, the passage must be played "Nur auf der G Saite," only on the G string, forcing the violinists to play in the higher positions.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978828741-1XVZ3X9SX55Z6YMKXD4Y/PROUT-1899-26-ex10-violin-doublestops-strings-without-viola-mozart.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 26 [Note: An example from No. 4 of Mozart's "12 Minuets" demonstrating the use of violin double stops in an orchestral context. In this example, they are particularly useful for filling in the harmony given the absence of violas in the string section.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980357853-HFZ84242809Q2GCY0BJJ/PROUT-1899-34-ex23-strings-bowings-col-legno-staccato-boieldieu.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 34 [Note: An example from Boieldieu's "Le Calife de Bagdad" demonstrating the use of "col legno" bowing in the whole string section.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980441042-6YAE3OMUSHE8Z0GISAOK/PROUT-1899-35%2C2-ex25-strings-mutes-pianissimo-no-doublebass-herold.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 35 [Note: An example from Hérold's "Le Pré aux Clercs" demonstrating a pianissimo passage for muted strings without double bass.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980611993-ZSIY36USIZUQSGYYREDD/PROUT-1899-38%2C1-ex27-violin-naturalharmonics-notation-raff.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 38 [Note: An example from Raff's Symphony No. 3 demonstrating an unconventional notation of natural harmonics in the first violin part. In this example, the touched notes are solid noteheads and the sounding notes are diamond noteheads.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980302219-5CZO4WVWZHJ9RB7LV2Z4/PROUT-1899-33%2C2-ex21-strings-pizzicato-harp-effect-prout.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 33 [Note: An example from Prout's "Alfred" demonstrating the use of pizzicato in the whole string section to imitate the sound of a harp.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978398664-6JO1WCB4HR46GIQZ2CLQ/PROUT-1899-25%2C3-ex9-violin-doublestops-openstrings.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 25 [Note: An example showing double stops involving open strings that are possible on the violin, and several that are not (e).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978280364-T3E79FBD15HQYF7K9AKP/PROUT-1899-24%2C4-ex6%28a%29-violin-bowings-slurs-syncopation-beethoven.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 24 [Note: An example from Beethoven's Symphony No. 9 demonstrating slurring by pairs of two notes in the violin part. The grouping of slurs in this example fall on the weak half of each beat, producing a syncopated accentuation.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980100392-W4VAWRQGC2PPQPEXVPUJ/PROUT-1899-30%2C2-violin-bowings-tremolo-notation.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 30 [Note: An example showing the notation for tremolo bowing on the violin, or any string instrument.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980588817-YIUHUF9LHWJLEM2TSQGK/PROUT-1899-37%2C3-footnote-table-strings-naturalharmonics-intervals.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 37 [Note: A table outlining the relationship between touched and sounding notes for natural harmonics on the violin and other string instruments.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623977950292-W16IW0AQDC1L5FON304B/PROUT-1899-22%2C2-ex1-violin-positions-sulGeD-beethoven.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 22 [Note: An example from Beethoven's violin concerto demonstrating the indication to play a passage on a specific string or strings. In this example, the passage must be played "Sul G e D," only on the G and D strings, forcing the violinist to play in the higher positions.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980388097-U5GZ26DHAQ95R8LQFLD1/PROUT-1899-35%2C1-ex24-violin-viola-mutes-handel.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 35 [Note: An example from Handel's "Alexander Balus" demonstrating a passage with muted (con sordino) violin and viola parts, and unmuted cellos.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623977629836-4FENUIHP9SALMZTK10HF/PROUT-1899-21%2C1-violin-firstposition-fingerings.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 21 [Note: An example showing the fingerings on each string of the violin in first position.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980977746-ACQ4G65WDF0BC9KDMDN5/PROUT-1899-44%2C3-viola-strings-naturalharmonics.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 44 [Note: An example showing the first (octave) natural harmonic on each string of the viola.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978895200-W0UTGNOI9XEX2VV313BF/PROUT-1899-27%2C2-ex12-violin-doublestops-solo-violin-beethoven.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 27 [Note: An example from Beethoven's G major "Romance for Violin" demonstrating a level of double stop complexity that is possible for a solo violin line but would not be advisable in the context of an orchestral section.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980228364-OPNO4DHNRBKRUL1OJH7V/PROUT-1899-32-ex19-strings-legato-tremolo-texture-wagner.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 32 [Note: (2/2) An example from Wagner's "Tristan und Isolde" demonstrating a string texture Prout calls the "legato tremolo." In this texture, pairs of parts (violins 1/2 and viola/cello) alternate rapidly between the same two notes but in reverse order. All the notes are therefore heard continuously, but the resulting effect is different from a texture in which each part plays one note with a bowed tremolo.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978923947-8SPIE4YXXKFGOHX3QI11/PROUT-1899-27%2C3-violin-chords-triplestops-impossible.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 27 [Note: An example of a three-note chord that is impossible to play on the violin due to fingering limitations and string placement.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980813136-PJLXDP8PPN7MI4R4AWWU/PROUT-1899-41%2C1-ex31-violin-divisi-soli-mutes-doublestops-weber.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 41 [Note: An example from the Overture to Weber's "Euryanthe" demonstrating a passage for 4 separate violin lines, with 2 soli players on each one. This passage also displays the use of mutes and the careful distribution of double stops.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978872647-HKZJBRDBFJBQNFD4OGEO/PROUT-1899-27%2C1-ex11-violin-doublestops-bowings-legato-no-viola-mozart.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 27 [Note: An example from No. 3 of Mozart's "6 Minuets" demonstrating the use of violin double stops in a legato passage. In this example, they are particularly useful for filling in the harmony given the absence of violas in the string section.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623979028249-EG2TU2KKSJ3KQP6V2FLX/PROUT-1899-29%2C1-ex15-violin-chords-quadruplestops-fingerings.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 29 [Note: An example showing a pattern for four-note chords on the violin that don't contain any open strings. Prout suggests that this is the only form of such chords that is "expedient to write."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623977515938-7VSA09GKY6WYSRPDCF2B/PROUT-1899-20%2C1-violin-illustration.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 20 [Note: An illustration showing the appearance of the violin] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978203617-DJAMQBALOSS5VADLJ7QB/PROUT-1899-24%2C2-ex4-violin-bowings-slurs-sforzandos-haydn.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 24 [Note: An example from Haydn's Symphony No. 104 demonstrating variety of slurring in the violin part for expressive purposes. In this example, the notes with sforzandos are not slurred with other notes in order to allow stronger accents.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980332236-U4GLMDCGNEQMTU2TS7K1/PROUT-1899-33%2C3-ex22-violin-solo-melody-arpeggios-pizzicato-accompaniment-haydn.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 33 [Note: An example from Haydn's Symphony No. 60 demonstrating a solo violin melody accompanied by second violin arpeggios and pizzicato in the low strings. In this example, the viola section is divided into two parts.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978988492-8E77L7LVZN38OD1WXI5U/PROUT-1899-28%2C2-ex13-violin-chords-triple-quadruple-stops-openstrings.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 28 [Note: An example showing three- and four-note chords on the violin that contain at least one open string.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980672184-57ZVFU8VRYV7LI4TV9JH/PROUT-1899-39%2C1-ex29-violin-solo-divisi-harmonics-notation-wagner.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 39 [Note: An example from the opening of Wagner's "Lohengrin" demonstrating an unconventional notation for harmonics in a passage for four solo violins. In this example, only the intended sounding notes are written, with the indication "Durch Flageolet hervorzubringen" ("to produce by harmonics"); the specific method of execution is left to the discretion of the players.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623981030754-AMHJHRPM2260L40KWHUC/PROUT-1899-46-ex34-viola-divisi-violin-octave-doubling-mozart.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 46 [Note: An example from Mozart's "Litaniae de venerabili altaris sacramento" demonstrating the division of the viola section into two parts. In this example, the two violin sections play a figure in thirds with alternating legato and staccato bowings, then the divisi violas repeat the figure at the same pitch. At the end of this example, the violas double the violins an octave above, demonstrating an unusual distribution of parts for that pairing.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978185813-HY5VYXJ1ZGDGN6DL34XD/PROUT-1899-24%2C1-ex3-violin-bowings-legato-schubert.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 24 [Note: An example from Schubert's "Unfinished" Symphony showing a simple legato passage in the violins with many notes slurred.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980500237-N0KZX9G7OEYOZWU6AK6E/PROUT-1899-37%2C1-violin-strings-naturalharmonics-octave.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 37 [Note: An example showing the notation for the first (octave) natural harmonic on each string of the violin.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980476139-0DMLSWJB4XOUDFIWD7GT/PROUT-1899-36-violin-Gstring-harmonic-series.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 36 [Note: An example showing the first six notes of the harmonic series, with the open G string of the violin as the fundamental.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978943396-LJNYM8B3NN4CLEHSSU3M/PROUT-1899-28%2C1-violin-chords-quadruplestops-fingerings-impossible.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 28 [Note: An example of a four-note chord that is impossible to play on the violin due to the same finger being required on two non-adjacent strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623979069316-G3AY416OCPPA2ZNES5J1/PROUT-1899-29%2C3-violin-chords-quadruplestops-notated-duration.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 29 [Note: An example showing two quadruple stop chords on the violin notated with longer note values on respectively the top two and top notes. In practice, all four notes cannot be sustained for the full value, so Prout recommends using this notation for chords of long duration to specify which notes should be sustained.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978143805-QLZPOF4MUJG0GZWKX2KA/PROUT-1899-23-violin-chromaticfingerings.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 23 [Note: An example showing a fingering method for playing chromatic notes on the violin using the same finger as the nearest diatonic note, in first and third positions.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623979101418-2VN35TCP3DXL83YJI2KQ/PROUT-1899-29%2C4-ex16-violin-chords-spacing-timing-beethoven.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 29 [Note: An example from Beethoven's "Consecration of the House" Overture demonstrating the spacing of three- and four-note violin chords to give players time to change fingerings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623981128830-ZS3R2J7ROUAMYK4DMSI1/PROUT-1899-49-ex37-viola-cello-divisi-no-violins-schubert.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 49 [Note: An example from Schubert's "Gesang der Geister über den Wassern" demonstrating a passage for strings without violins. Both the viola and cello sections are divided into two parts, and the double bass line is semi-independent from the cellos.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623979047301-0HLKUSZ88KQH24YUQWLA/PROUT-1899-29%2C2-violin-chords-quadruplestops-notated-duration.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 29 [Note: An example showing a quadruple-stop chord on the violin notated with equal note values for each note. In practice, all four notes cannot be sustained for the full value, so Prout recommends against using this notation for chords of long duration.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978321667-2T3MEKZF1RH12S3LDAXM/PROUT-1899-25%2C1-ex7-violin-bowings-slurs-detached-mendelssohn.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 25 [Note: An example from Mendelssohn's "Elijah" demonstrating the combination of slurred and detached notes in the violin part. The detached notes are marked as staccato in the first measure to clarify the pattern.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980941388-I97VQ6R0NMU53R1JBK32/PROUT-1899-44%2C1-viola-strings-tuning.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 44 [Note: An example showing the tuning of each string on the viola in alto clef.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980080094-XQO06JE0LAK6IBD8FSWO/PROUT-1899-30%2C1-violin-adjacent-strings-leaps-bowings.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 30 [Note: An example showing a figure that is possible to play on the violin at a fast tempo despite the wide leaps and quick alternation between notes. The facility of this version (as opposed to the previous example) is due to the fact that it can be played on two adjacent strings, the lower of which is an open string.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623977919714-9G6H2TH61VFI10WUY3HO/PROUT-1899-22%2C1-violin-fifthposition-F6.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 22 [Note: The note F6, which is accessible on the first string of the violin in fifth position. This was the upper limit usually used by Haydn and Mozart for orchestral violin parts.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623977486721-KOCEOYOOMPHISXGIUCK7/PROUT-1899-19%2C2-violin-range-E7.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 19 [Note: The note E7, the highest suggested by Prout for orchestral music on the violin.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623977604427-8DHR8BYD241A1XU4V9B9/PROUT-1899-20%2C2-violin-tuning.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 20 [Note: An example showing the tuning of each string on the violin.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980855579-DJU9W0A499PH9N663Q1E/PROUT-1899-41%2C2-ex32-strings-solo-divisi-pizzicato-accompaniment-haydn.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 41 [Note: (1/2) An example from Haydn's Symphony No. 75 demonstrating the addition of solo violin 1, 2, and cello lines to the usual string sections. In this example, the solo strings play arco while the accompanying section parts are pizzicato. The wavy line under the first solo violin in bar 5 indicates vibrato. Editor: The treatise identifies this work as "Symphony in D, No. 43" but it is now known as No. 75.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623981059992-KPFRZ0HSVOYISN7IYI21/PROUT-1899-47-ex35-viola-melody-divisi-pizzicato-accompaniment-gluck.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 47 [Note: An example from Gluck's "Alceste" demonstrating a viola section melody and two-part divisi. The first viola line doubles the solo voice at the unison for most of this excerpt, and the violin sections (in unison), cellos, and basses accompany with pizzicato.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978302899-0WW7R3GWV8ITKUSJ3UV6/PROUT-1899-24%2C5-ex6%28b%29-violin-bowings-slurs-syncopation-beethoven.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 24 [Note: An example from Beethoven's "Fidelio" demonstrating slurring by pairs of two notes in the violin part. The grouping of slurs in this example fall on the weak half of each beat, producing a syncopated accentuation.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980650419-B98JVKS2MGGF8I04VLPX/PROUT-1899-38%2C2-ex28-violin-artificialharmonics-scales-notation.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 38 [Note: An example demonstrating the possibility of playing a complete scale on the violin using artificial harmonics. The notation for artificial harmonics in this example is the same as the one suggested by Prout for most natural harmonics (Ex. 26). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980252819-UEMKL2TCFAYUCL3YWGPR/PROUT-1899-33%2C1-ex20-strings-pizzicato-section-crossing-viola-cello-doubling-bennett.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 33 [Note: An example from Bennett's "The Naiades" Overture demonstrating an imitative passage in which the strings (without the double bass) all play pizzicato. This example features an instance of second violins crossing above first violins, as well as unison doubling between viola and cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978354294-1AZOZUYKM5Y0KEBCJXNE/PROUT-1899-25%2C2-ex8-violin-bowings-legato-staccato-auber.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 25 [Note: An example from Auber's "Le Philtre" demonstrating the combination of legato and staccato bowings in the violin part.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623979118976-JGY8XQNEODDRXLMBPJYF/PROUT-1899-29%2C5-ex17-violin-chords-spacing-timing-beethoven.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 29 [Note: An example from Beethoven's "Prometheus" demonstrating the spacing of three- and four-note violin chords to give players time to change fingerings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623981155114-3B77QSA7L42RLE0GQJ91/PROUT-1899-50-violadamore-strings-tuning.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 50 [Note: An example showing the tuning of each of the seven strings on the viola d'amore.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623977391734-JKAYIPBIYD5EI8008LI7/PROUT-1899-19%2C1-doublebass-strings-E1.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 19 [Note: The note E1, the lowest on the double bass and in the string section.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623978221754-ZXIKW90D4CY2Y2I7WPMU/PROUT-1899-24%2C3-ex5-violin-bowings-slurs-beethoven.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 24 [Note: An example from Beethoven's "Fidelio" demonstrating slurring by pairs of two notes in the violin part with the groupings on the beat.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623979008380-XNO8A8MZC1JGRKMRIN0G/PROUT-1899-28%2C3-ex14-violin-chords-triplestops-fingerings.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 28 [Note: An example showing three-note chords on the violin containing no open strings, in which the distance between notes on adjacent strings is always a fifth, sixth, or seventh.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980913208-HS1HV0YZU1R7KZ60IAKC/PROUT-1899-42-ex32-strings-solo-divisi-pizzicato-accompaniment-haydn.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 42 [Note: (2/2) An example from Haydn's Symphony No. 75 demonstrating the addition of solo violin 1, 2, and cello lines to the usual string sections. In this example, the solo strings play arco while the accompanying section parts are pizzicato. The wavy line under the first solo violin in bar 5 indicates vibrato. Editor: The treatise identifies this work as "Symphony in D, No. 43" but it is now known as No. 75.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623979142634-WZCMFUFZPJBR505YOOYG/PROUT-1899-29%2C6-violin-strings-leaps-bowings-impossible.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 29 [Note: An example showing a figure that is impossible to play on the violin at a fast tempo due to the quick alternation between non-adjacent strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980173421-ZBP61EOZVBYOW2U7E3P0/PROUT-1899-31%2C2-violin-accidentals-enharmonic-reading-beethoven.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 31 [Note: An example from Beethoven's Piano Concerto No. 5 demonstrating the "true" theoretical notes of a violin passage that Beethoven notated instead with accidentals that are easier for performers to read (previous example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980201485-FWMM950W06P2FLN1CYC3/PROUT-1899-31%2C3-ex19-strings-legato-tremolo-texture-wagner.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 31 [Note: (1/2) An example from Wagner's "Tristan und Isolde" demonstrating a string texture Prout calls the "legato tremolo." In this texture, pairs of parts (violins 1/2 and viola/cello) alternate rapidly between the same two notes but in reverse order. All the notes are therefore heard continuously, but the resulting effect is different from a texture in which each part plays one note with a bowed tremolo.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623980728074-77B59L5R989GFHUELBSX/PROUT-1899-39%2C2-ex30-violin-solo-harmonics-clarinet-doubling-saint-saens.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 39 [Note: An example from the slow movement of Saint-Saëns' Violin Concerto No. 3 demonstrating an arpeggiated passage in harmonics played by the solo violin and doubled two octaves below by a clarinet. This is an example of a passage in harmonics that is possible in a solo violin part but would be inadvisable in the context of an orchestral section. The notation in this example indicates only the intended sounding notes; the specific method of execution is left to the discretion of the player.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623981093344-3AJNIGOYZUWNY43Y7QPP/PROUT-1899-48-ex36-viola-bassline-pianissimo-no-cello-doublebass-handel.png Treatises | Figures - Prout | Chapter III | Figures - Make it stand out Prout, 1899 (vol.I), p. 48 [Note: An example from Handel's "Hide me from day's garish eye" in "L'Allegro" demonstrating a pianissimo string texture without cello or double bass. The role of the bassline is instead given to the violas.] https://timbreandorchestration.org/treatises/figures/prout/volume-1/chapter-iv monthly 0.5 2024-01-11 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021314208-4568SIU9G6LO9FWXSZ72/PROUT-59-cello-sectiondivisi-raff.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 59 [Note: An example from Raff's first symphony in which the cello section is divided and plays both the melody and bassline.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021279084-XHPRP3F2MEVFI2VNGITE/PROUT-58-cello-cantabilemelody-meyerbeer.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 58 [Note: An example from Meyerbeer's "Robert le Diable" demonstrating a cantabile melody in the cellos with light accompaniment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621012785267-ADXP33GISPUNLOJ166AO/PROUT-52%2C1-cello-trebleclef-onslow.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 52 [Note: An example demonstrating the archaic custom of notating high cello passages in treble clef, an octave above sounding pitch.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021404195-1DIGHW5SI472W6FF7MSP/PROUT-60%2C1-cello-doubling-auber.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 60 [Note: An example from Auber's "Marco Spada" demonstrating the rare unison doubling of violin 1 and cello in a melodic context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021445775-JVOXAL3OPPZVPSTVVYF9/PROUT-60%2C2-cello-divisi-doubling-schubert.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 60 [Note: (1/2) An example from Schubert's 9th symphony demonstrating doubling between viola and cello sections, which are both divided. The doubling occasionally breaks off with the violas going below the cello line, and they are accompanied by light pizzicati in the other string parts. Editor: the treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621015995703-ACRMBCKJZI4V24BUCXO6/Screen+Shot+2021-05-14+at+2.12.52+PM.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 51 [Note: A tenor clef.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621001934052-KZ2U1X3HCDMW9KOXJ6M1/PROUT-51%2C2-cello-tuning.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 51 [Note: An example showing the tuning of each string on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621012842889-0722J6MRO67BX16BQ4Y7/PROUT-52%2C2-cello-tenorclef-onslow.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 52 [Note: An example demonstrating the modern custom of notating high cello passages in tenor clef.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021551170-XTPR7AMI7RH54ZNRS696/PROUT-61%2C2-cello-mute-divisi-cherubini.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 61 [Note: (1/2) An example from Cherubini's "Chant sur le mort de Joseph Haydn" demonstrating the division of the cello section into four muted parts.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021783055-FX3L5JK1HL9YKNLMTE01/PROUT-64%2C2-cellotrebleclef-beethoven.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 64 [Note: An example from Beethoven's "Christ on the Mount of Olives" showing the notation of the original edition. This version used the archaic custom of notating high cello passages in treble clef, an octave above sounding pitch.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621013057219-Z0UX3ED2TVMDI153IR58/PROUT-53%2C2-cello-chords-beethoven.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 53 [Note: An example from Beethoven's "Namensfeier" overture demonstrating cello chords containing open strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021236623-09G3EJGTSIOR6BIOEH9Z/PROUT-57-cello-middlevoicemelody-brahms.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 57 [Note: An example from Brahms' second symphony in which the cello has a melodic, middle-voice role. This example also shows the pairing of cello and viola with the cello as the upper voice.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021715956-VMAX4G0ET1V3WL6YJH5B/PROUT-63%2C1-cello-divisi-wagner.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 63 [Note: (2/2) An example from Wagner's "Siegfried" demonstrating the division of the cello section into four parts. The division of the accompanying double bass line is another unusual feature.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021630116-EJJEGFOAC439TR10NDIC/PROUT-62%2C1-cello-mute-divisi-cherubini.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 62 [Note: (2/2) An example from Cherubini's "Chant sur le mort de Joseph Haydn" demonstrating the division of the cello section into four muted parts.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021660584-WTCWXQL9WYXMFM7QWIVS/PROUT-62%2C2-cello-divisi-wagner.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 62 [Note: (1/2) An example from Wagner's "Siegfried" demonstrating the division of the cello section into four parts. The division of the accompanying double bass line is another unusual feature.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621001876813-1B3C0JRFBWAZIC1V166W/PROUT-51%2C1-cello-illustration.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 51 [Note: An illustration showing the appearance of the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621016014993-6Y6XLVHW68SGEMOJXZ3G/Screen+Shot+2021-05-14+at+2.12.57+PM.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 51 [Note: A treble, or G clef.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021763480-O10ZSAMXTDNJDVDALKZY/PROUT-64%2C1-cello-divisisolo-beethoven.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 64 [Note: (2/2) An example from Beethoven's "Christ on the Mount of Olives" demonstrating a cello section divisi in which a solo cello has the melody and the remaining cellos double the bassline with the double basses.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021198177-GEWFZ6P5F0U2EXCYQ93H/PROUT-56-cello-middlevoiceaccompaniment-goetz.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 56 [Note: An example from Goetz's Symphony in F demonstrating the placement of cellos above the violas for the purpose of expressive contrapuntal middle-voice accompaniment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621029830829-XXK8XSF8L57ATI7HSCOJ/Screen+Shot+2021-05-14+at+6.03.30+PM.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 64 [Note: An example from Schumann's Piano Quartet in which the lowest string of the cello is detuned by a whole tone in order to play an octave double stop on Bb.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621013218002-1ENRNRRSFPJTWRZ2982G/PROUT-55-cello-pizzicato%2Cclefs-doubling-herold.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 55 [Note: An example from Hérold's "Le Pré aux Clercs" demonstrating cello pizzicato. This example also shows three different clefs being used in a cello part, independence of cello and bass parts, and doubling of cello with viola and violin.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621022823387-67POXRJ19Q09NPSSNAS8/Screen+Shot+2021-05-14+at+4.06.12+PM.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 53 [Note: The note C5, which is accessible on the first string of the cello in seventh position.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621012940482-M90U0ORJCDXZVG1NB3AA/PROUT-52%2C4-cello-fingering.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 52 [Note: An example showing cello fingerings for a D major scale in first position.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021500626-QOFWDQTDTSWP051WRRGO/PROUT-61%2C1-cello-divisi-doubling-schubert.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 61 [Note: (2/2) An example from Schubert's 9th symphony demonstrating doubling between viola and cello sections, which are both divided. The doubling occasionally breaks off with the violas going below the cello line, and they are accompanied by light pizzicati in the other string parts. Note: the treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621013098565-M956VWVNZKXF5APH4VNI/PROUT-54-cello-chordarpeggiation-weber.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 54 [Note: An example from a duet in the second act of Weber's "Euryanthe" demonstrating the arpeggiation of cello chords in an accompanimental role.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621021740294-VHCDPZ3UI0XCUN8RLL7U/PROUT-63%2C2-cello-divisisolo-beethoven.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 63 [Note: (1/2) An example from Beethoven's "Christ on the Mount of Olives" demonstrating a cello section divisi in which a solo cello has the melody and the remaining cellos double the bassline with the double basses.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621012885667-M1J306J4IGS2UCEGGAOX/PROUT-52%2C3-cello-fingering.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 52 [Note: An example showing cello fingerings for a C major scale in first position.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1621012956678-HQFTRTQ2BJEJW08DTK9Y/PROUT-53%2C1-cello-chromaticfingering.png Treatises | Figures - Prout | Chapter IV | Figures - Make it stand out Prout, 1899, p. 53 [Note: An example showing cello fingerings for chromatic scales.] https://timbreandorchestration.org/treatises/figures/prout/volume-1/chapter-ix monthly 0.5 2024-11-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634614722154-79XISH6USUUSBQ3SA98G/PROUT-1899-184%2C2-ex145-horn-unaccompanied-solo-weber.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 184 [Note: An example from the beginning of the Overture to Weber's "Oberon" demonstrating an unaccompanied horn solo with a character Prout describes as "dreamy and melancholy."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634657313999-O77K9V0RDIIFSPGSP3M6/PROUT-1899-203%2C1-trumpet-slide-range-lowerlimit-D4.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 203 [Note: The note D4, which is the lowest note possible on the slide trumpet.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634614815503-BV5757FDHWFH4WYXABAI/PROUT-1899-186-ex146-horn-natural-solo-stopping-cherubini.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 186 [Note: An example from Cherubini's "Eliza" demonstrating a horn solo originally intended for the natural horn. This example contains several notes that don't exist naturally in the horn as part of the harmonic series and that must be obtained by "stopping" with the hand. They are usually approached by step from the "open" notes they modify.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634614073871-GNM8L6CP0ZIJ5ODHU37I/PROUT-1899-181%2C3-horn-keys-transposing.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 181 [Note: A table showing the relationship of sounding and notated pitch for horns written in different transposing keys. For natural horns, each key represents the use of a different crook on the instrument.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615382606-8HJE95QIS9DYBPPJCW2M/PROUT-1899-191%2C2-ex152-horn-quartet-natural-horns-rossini.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 191 [Note: An example from Rossini's "Semiramide" demonstrating a passage for four horns that is difficult on the natural horns for which it was originally written, but much easier on valved instruments.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634656646272-J5HANSIW1E39CIQIEX2Y/PROUT-1899-200-ex159-posthorn-solo-dance-range-beethoven.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 200 [Note: An example from the last of Beethoven's 12 German Dances demonstrating a solo for the post horn. The four notes used in this excerpt are the only ones ever used on the instrument in the pieces that include it by Beethoven and Mozart. The accompaniment is omitted, but consists only of a C major chord.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634656970998-QVXDLW4SB7QDDC2DRJ7Z/PROUT-1899-201%2C3-trumpet-principalblaser-range-upperlimit-C5.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 201 [Note: The note C5, which was the typical limit of the "principal-bläser" trumpet range in the Baroque era.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634613441717-TREU9BFHZ03S865YPWHA/PROUT-1899-176-trumpet-air-pressure-embouchure.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 176 [Note: An example showing three notes. On the flute or oboe they are all produced with the same air pressure by pressing different keys, but on the trumpet they all require a different air pressure and embouchure.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615089835-2KS2HUIHX97GZW09NUPA/PROUT-1899-189%2C1-ex148-horn-unison-doubling-high-G-schubert.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 189 [Note: An example from Schubert's "Great C Major" Symphony (No. 9) demonstrating a passage for two unison horns accompanied by string chords. In this example, it is reasonable to write up to the high G for the second horn because on the natural horn with the C crook it is a lower note than if the horns had been, for example, in F. Editor: The treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634614038747-1ANCJ99XN1GPPEJYM03W/PROUT-1899-181%2C2-horn-clefs-notation-bass-C2-C3.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 181 [Note: The notes C2 and C3 in bass clef. An archaic notational custom used this notation for the notes an octave above in horn parts.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634659438080-BSBM8NNG678PTWDQEB92/PROUT-1899-211%2C2-ex168-trumpet-high-C-wagner.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 211 [Note: An example from Wagner's "Götterdämmerung" demonstrating the use of the high C in a fortissimo trumpet passage, a rare occurrence in music of the Romantic era.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634659387477-EHMSSU4TWAHIRJR109S2/PROUT-1899-211%2C1-ex167-trumpet-five-high-register-mozart.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 211 [Note: (2/2) An example from the first movement of a Divertimento for flutes, 5 trumpets and timpani demonstrating the use of more than 2 trumpets and the use of the high register in the first trumpet. The timpani provides the bassline. Editor: The treatise identifies this work as "8 Pieces" by Mozart, but it is now known to be of spurious attribution; the piece is in fact a collection of arrangements by Leopold Mozart of dances by Gluck and Starzer, and has also been published as "Divertimento" and "Eight Pieces."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634658732146-UDDH7R3YOCIYGKRXVLCB/PROUT-1899-208-ex165-trumpet-flute-timpani-soprano-aria-mozart.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 208 [Note: (2/2) An example from Mozart's "Thamos, König in Ägypten" demonstrating the combination of soft trumpets, flutes, and timpani in the context of a soprano aria. This example also features unison doubling between pizzicato violin sections and later bassoon, as well as doubling of the bassline an octave above by the violas (Viola col Basso).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634613853598-34HOLRP3XYWTC2PHQCSJ/PROUT-1899-179-horn-transposing-G4.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 179 [Note: The note G4.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634614519460-1FBFJ8POWGNZ6PEGL158/PROUT-1899-183%2C2-ex144-horn-melody-artificial-factitious-notes-haydn.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 183 [Note: (1/2) An example from Haydn's Symphony No. 51 demonstrating a melody for the first horn and the use of very low "artificial" or "factitious" notes in the second horn. In the string accompaniment, violins are muted and violas play "col Basso," doubling the cello and double bass line an octave higher. Editor: The treatise identifies this work as "Symphony in B flat, No. 24," but it is now known as No. 51.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634614989514-XEKTFB8KB9MQD3CNJSEE/PROUT-1899-188%2C1-ex147-horn-solo-melody-keys-agility-spontini.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 188 [Note: (2/3) An example from Spontini's "La Vestale" demonstrating a solo horn melody originally intended for the natural horn. Though the key of the movement is C major, the natural horn in F is used because of its greater agility in "florid" passages. Writing the part for horn in C (next example) requires fewer stopped notes, but would be technically much more difficult on the natural horn.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634656824060-8GZ0B2BA11GNR5Z6MXBV/PROUT-1899-201%2C1-ex160-trumpet-florid-melody-high-register-bach.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 201 [Note: An example from Bach's cantata "Der Himmel lacht" (No. 31) demonstrating Bach's use of florid passages and the high register in trumpet parts.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634613488129-FFST0BU86DM5E6WJEF08/PROUT-1899-177%2C1-trumpet-horn-acoustics-harmonic-series-C2.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 177 [Note: The note C2, which is the fundamental tone produced by the vibration of an eight-foot tube.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634614141457-ITED51K2JYPKMK3OEJ5D/PROUT-1899-182%2C1-horn-range-upperlimit-keys-G5.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 182 [Note: The note G5, which is the twelfth upper partial of the horn in a given key. Prout recommends not writing above this note for a horn part in a key higher than F.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634657951722-RHYNABEXHTK0G34YGD4F/PROUT-1899-207%2C1-ex164-trumpet-accompaniment-piano-bass-aria-haydn.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 207 [Note: An example from Part 2 of Haydn's "Creation" demonstrating a quiet accompanimental figure for the second trumpet in the context of a bass aria.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634614452132-JEO3EXTF9ZLOZHYA8HNJ/PROUT-1899-182%2C4-horn-natural-stopping-Bb4.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 182 [Note: The note Bb4, which is naturally flat in the harmonic series with respect to equal temperament. On a natural horn, the hand can be used to "stop" this note to a lower pitch, producing an A4.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634614487787-G99HM4LJF5EA0R7YXKBH/PROUT-1899-183%2C1-horn-artificial-factitious-notes-bass-clef.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 183 [Note: An example showing a series of low notes in the bass clef that could be played on the natural horn using a special embouchure and hand technique. These are known as "artificial" or "factitious" notes.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634614900376-NHAVAU3H5REEL7ZKFH8A/PROUT-1899-187-ex147-horn-solo-melody-keys-agility-spontini.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 187 [Note: (1/3) An example from Spontini's "La Vestale" demonstrating a solo horn melody originally intended for the natural horn. Though the key of the movement is C major, the natural horn in F is used because of its greater agility in "florid" passages. Writing the part for horn in C (next example) requires fewer stopped notes, but would be technically much more difficult on the natural horn.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634657680608-I1AVYM53FZ9IY79G60C5/PROUT-1899-205-ex162-trumpet-slide-intonation-melody-brass-prout.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 205 [Note: (1/2) An example from Prout's "Alfred" demonstrating a solo trumpet melody originally intended for the slide trumpet. The use of the slide trumpet allows the intonation to be fine-tuned, especially on notes like the high F near the end of this excerpt, which is naturally sharp with respect to equal temperament. The accompaniment consists of other brass and the snare drum.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634613616488-CIG15B2734RTOJJVEXG3/PROUT-1899-177%2C4-ex143-trumpet-horn-acoustics-harmonic-series-20.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 177 [Note: An example showing the notes of the harmonic series based on the fundamental C2, up to the 20th partial.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615550116-2QMEZKXK6QPFB12T5SHM/PROUT-1899-193-horn-valved-illustration.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 193 [Note: An example showing the appearance of the valved horn.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615486115-5RJV2CH5R4TTE3YJZ9CZ/PROUT-1899-192-ex153-horn-quartet-trills-rossini.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 192 [Note: (2/2) An example from Rossini's "William Tell" demonstrating a passage for four horns that includes a trill for the second horn.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634613950081-F1LGNOORV223RTRGETEK/PROUT-1899-180%2C2-horn-clefs-notation-bass-C3-C4.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 180 [Note: The notes C3 and C4 in treble clef.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634656932623-53G6PZP646LF4YD0M9X3/PROUT-1899-201%2C2-trumpet-natural-illustration.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 201 [Note: An example showing the appearance of the natural trumpet.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634657522036-KSVNYXY4IKVEB0X2MFBD/PROUT-1899-203%2C3-trumpet-valved-illustration.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 203 [Note: An example showing the appearance of the valved trumpet.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634657791817-QVRR0MEYACOOD7IQSAII/PROUT-1899-206%2C1-ex162-trumpet-slide-intonation-melody-brass-prout.png+.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 206 [Note: (2/2) An example from Prout's "Alfred" demonstrating a solo trumpet melody originally intended for the slide trumpet. The use of the slide trumpet allows the intonation to be fine-tuned, especially on notes like the high F near the end of this excerpt, which is naturally sharp with respect to equal temperament. The accompaniment consists of other brass and the snare drum.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634613543461-MMPVN28CKNS9O3CPPBQI/PROUT-1899-177%2C3-trumpet-horn-acoustics-harmonic-series-G3.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 177 [Note: The note G3, which is the second harmonic of the fundamental tone C2, and is produced by an eight-foot tube vibrating in thirds.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634613991533-W2J6EUF0UPGN2AF1KZRV/PROUT-1899-181%2C1-horn-clefs-notation-bass-C3-C4.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 181 [Note: The notes C3 and C4 in bass clef.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634656596459-WDD4LO4G7STC3RUMKF1V/PROUT-1899-199-ex158-horn-four-chromatic-vocal-part-division-wagner.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 199 [Note: An example from Wagner's "Tristan und Isolde" demonstrating a passage for four horns, solo voice, and double bass. This example shows the possibility of writing with a "vocal" melodic contour for each horn part, even in highly chromatic music. The division of the horn parts in this excerpt gives the lowest ranges to horns 2 and 4, and this is reflected in the ordering of parts on the score.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615237230-3C4G54HG4TBG6OQDH7K2/PROUT-1899-190-ex150-horn-duet-three-part-texture-meyerbeer.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 190 [Note: An example from Meyerbeer's "Les Huguenots" demonstrating a passage for two horns, soprano, and cellos. The first bars show a typical horn duet figure consisting of mostly open notes on the natural horn. The remainder of the excerpt demonstrates the distribution of different lines in a three-part texture.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634658135797-RE8NAPD0W2EK2ZP9GU2J/PROUT-1899-207%2C2-ex165-trumpet-flute-timpani-soprano-aria-mozart.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 207 [Note: (1/2) An example from Mozart's "Thamos, König in Ägypten" demonstrating the combination of soft trumpets, flutes, and timpani in the context of a soprano aria. This example also features unison doubling between pizzicato violin sections and later bassoon, as well as doubling of the bassline an octave above by the violas (Viola col Basso).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634614665500-H0K0B7ZXY9N7GADPUKA7/PROUT-1899-184%2C1-ex144-horn-melody-artificial-factitious-notes-haydn.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 184 [Note: (2/2) An example from Haydn's Symphony No. 51 demonstrating a melody for the first horn and the use of very low "artificial" or "factitious" notes in the second horn. In the string accompaniment, violins are muted and violas play "col Basso," doubling the cello and double bass line an octave higher. Editor: The treatise identifies this work as "Symphony in B flat, No. 24," but it is now known as No. 51.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634657612422-J3XF9ALA02AED3SU3JL0/PROUT-1899-204-ex161-trumpet-solo-melody-open-notes-auber.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 204 [Note: An example from the Overture to Auber's "Fra Diavolo" demonstrating a solo trumpet melody that uses only "open" notes that occur naturally in the harmonic series. The strings accompany without double bass.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615046097-UIQQZ1XL0LLMFY7YWOB5/PROUT-1899-188%2C2-ex147%282%29-horn-solo-melody-keys-agility-spontini.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 188 [Note: (3/3) An example from Spontini's "La Vestale" demonstrating a solo horn melody originally intended for the natural horn in F (previous example). Though the key of the movement is C major, the natural horn in F is used because of its greater agility in "florid" passages. Writing the part for horn in C (this example) requires fewer stopped notes, but would be technically much more difficult on the natural horn.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634657903070-XWLUW8DBSRC1QBG964KX/PROUT-1899-206%2C2-ex163-trumpet-unison-doubling-horns-imitation-rossini.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 206 [Note: An example from Rossini's "William Tell" Overture demonstrating unison doubling between two trumpets in a fortissimo passage. The trumpets are unaccompanied for the first half of this excerpt, then joined by the horns in loose imitation.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634614428279-6VIKO5JB97Y328A2V23O/PROUT-1899-182%2C3-horn-second-range-upperlimit-E5.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 182 [Note: The note E5, which is the upper limit recommended by Prout for the typical range of a second horn part.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615408838-XJQCAF0GQ7CZ74TI8DS4/PROUT-1899-191%2C3-ex153-horn-quartet-trills-rossini.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 191 [Note: (1/2) An example from Rossini's "William Tell" demonstrating a passage for four horns that includes a trill for the second horn.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634659209750-0MQZ46YWUIINU6IGPM6J/PROUT-1899-209-ex166-trumpet-six-flourish-part-division-verdi.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 209 [Note: An example from Verdi's "Otello" demonstrating a "flourish" figure for six trumpets. This example features the use of the high C in the first trumpet. The division of parts follows an "interlocking" pattern which sometimes places the third trumpet above the second in pitch level.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634657500506-XUABPB6BEPL0AF0G87P4/PROUT-1899-203%2C2-trumpet-slide-intonation-F4.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 203 [Note: The note F4, which according to Prout is "always slightly sharp" on the slide trumpet.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634655908297-1RPHG3HBECT28IIZEVS8/PROUT-1899-197%2C2-ex157-horn-four-solo-vocal-melody-high-register-schumann.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 197 [Note: (1/2) An example from the solo entrance of Schumann's Concertstück for four horns demonstrating a "vocal" type of melodic writing for the valved horn. This example also shows the use of the high register in the first horn part.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615793331-SFLNYTF3T0EISNTDX2QW/PROUT-1899-196%2C1-horn-valved-stopped-notes-echo-effect.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 196 [Note: An example showing the most common notation for stopped notes, which can still be used on the valved horn for their distinctive tone quality. In an example like this, they can be used to produce an "echo" effect.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615720427-9YE967CX3Y7HL0IPDAZ1/PROUT-1899-194%2C2-ex155-horn-valved-pistons-open-notes-melody-spontini.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 194 [Note: An example from Spontini's "La Vestale" demonstrating a horn melody as written in F, and with a line showing the open notes blown in combination with the pistons pressed on the valved horn. The original example is shown in Ex. 147.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634613738986-06BIJSEPSJM1PNKNXUW1/PROUT-1899-178%2C1-trumpet-horn-natural-acoustics-harmonic-series-D-crook.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 178 [Note: An example showing the first nine notes of the harmonic series based on the fundamental D2. This series produces the notes available on a natural trumpet or horn when the "D crook" is used.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615770682-SZ0UI9A132SH7WQASNWI/PROUT-1899-195-ex155-horn-valved-pistons-open-notes-melody-spontini.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 195 [Note: An example from Spontini's "La Vestale" demonstrating a horn melody as written in F, and with a line showing the open notes blown in combination with the pistons pressed on the valved horn. The original example is shown in Ex. 147.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634656021467-XTHKS76DREULHVLXIX69/PROUT-1899-198-ex157-horn-four-solo-vocal-melody-high-register-schumann.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 198 [Note: (2/2) An example from the solo entrance of Schumann's Concertstück for four horns demonstrating a "vocal" type of melodic writing for the valved horn. This example also shows the use of the high register in the first horn part.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634613522758-YJKAYBVQXCM91RHBBWIK/PROUT-1899-177%2C2-trumpet-horn-acoustics-harmonic-series-C3.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 177 [Note: The note C3, which is the first harmonic of the fundamental tone C2, and is produced by an eight-foot tube vibrating in halves.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634657174687-KMF9YM6N6Q4EW248I1OP/PROUT-1899-202%2C2-trumpet-dynamics-range-E5.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 202 [Note: The note E5. Prout recommends against writing at a pianissimo dynamic above this note for the trumpet.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634613920287-R32CGNWSAR8VZ4QYXKQC/PROUT-1899-180%2C1-horn-natural-illustration.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 180 [Note: An example showing the appearance of the natural horn.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615875108-RTA3G9P2QW8SPERB1KNN/PROUT-1899-196%2C2-ex156-horn-transposing-notation-wagner.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 196 [Note: An example from Act 2 of Wagner's "Lohengrin" demonstrating an unconventional horn notation in which crook changes are written with no break, forcing the player to transpose for individual notes.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615648633-Z9HZL7NEIHJ370E0FZHS/PROUT-1899-194%2C1-ex154-horn-valved-pistons-keys.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 194 [Note: An example showing the notes available with each combination of pistons on the horn.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615348385-W7CUNELJDC4M9QN141DG/PROUT-1899-191%2C1-ex151-horn-trio-stopped-notes-weber.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 191 [Note: An example from Weber's "Preciosa" demonstrating a passage for three horns. When played on natural horns as originally intended, the F naturals in the third bar of this excerpt must be produced by "stopping" with the hand.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634613764138-OE1SV4IMHAI1NWV3W2XV/PROUT-1899-178%2C2-trumpet-horn-natural-acoustics-harmonic-series-F-crook.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 178 [Note: An example showing the first nine notes of the harmonic series based on the fundamental F2. This series produces the notes available on a natural trumpet or horn when the "F crook" is used.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634616399955-Y7V6HN7MIOD3YINQJNZP/PROUT-1899-197%2C1-ex156%282%29-horn-transposing-notation-wagner.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 197 [Note: An example from Act 2 of Wagner's "Lohengrin" demonstrating two simpler ways of notating a horn passage. The original used an unconventional notation in which crook changes are written with no break, forcing the player to transpose for individual notes (previous example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634659295386-KID1CRS4PTI3NPIGHS00/PROUT-1899-210-ex167-trumpet-five-high-register-mozart.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 210 [Note: (1/2) An example from the first movement of a Divertimento for flutes, 5 trumpets and timpani demonstrating the use of more than 2 trumpets and the use of the high register in the first trumpet. The timpani provides the bassline. Editor: The treatise identifies this work as "8 Pieces" by Mozart, but it is now known to be of spurious attribution; the piece is in fact a collection of arrangements by Leopold Mozart of dances by Gluck and Starzer, and has also been published as "Divertimento" and "Eight Pieces."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634615171198-67JCRIO5BCSFZ71AFDRP/PROUT-1899-189%2C2-ex149-horn-melody-middle-voice-harmony-schubert.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 189 [Note: An example from Schubert's "Lazarus" demonstrating a passage in which two horns play a melody, accompanied by the cellos and basses, that turns into the middle voice harmonic accompaniment to a solo vocal melody.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634614338033-W65UF6EC25ANTTAUKWGM/PROUT-1899-182%2C2-horn-first-range-lowerlimit-C4.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 182 [Note: The note C4, which is the lower limit recommended by Prout for the typical range of a first horn part.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634657110487-TRV6Y3IGZ3KHX737N6B6/PROUT-1899-202%2C1-trumpet-keys-transposing.png Treatises | Figures - Prout | Chapter IX | Figures - Make it stand out Prout, 1899 (vol.I), p. 202 [Note: A table showing the relationship of sounding and notated pitch for trumpets written in different transposing keys. For natural trumpets, each key represents the use of a different crook on the instrument.] https://timbreandorchestration.org/treatises/figures/prout/volume-1/chapter-viii monthly 0.5 2024-01-11 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608398797-EYK1U1TXU81DCFRCVQAP/PROUT-1899-156%2C1-ex126-clarinet-thirds-bassoon-octave-doubling-chalumeau-arpeggios-mozart.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 156 [Note: (2/2) An example from Mozart's "Così fan tutte" demonstrating several melodic and accompanimental roles possible on the clarinet. Parts of this example feature melodic doubling in thirds between two clarinets, and octave doubling of both parts by bassoons. In the middle of this excerpt, the second clarinet accompanies with arpeggios in the chalumeau, or low register.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634611239692-PMAV5Y7VKW1BITPTBW6R/PROUT-1899-171%2C2-ex139-bassclarinet-melody-notation-violins-legato-tremolo-wagner.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 171 [Note: (1/2) An example from Wagner's "Die Walküre" demonstrating a bass clarinet melody accompanied by "legato tremolo" in the two violin sections. In this type of accompaniment, the two parts alternate rapidly between the same two notes but in reverse order, producing a different effect from a texture in which each part plays one note with a bowed tremolo. The bass clarinet is written an octave below the intended notes, an unconventional notation adopted by Wagner.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608883311-AG144C02AAUMVQ3X8OIM/PROUT-1899-160%2C1-ex129-clarinet-melody-range-solo-viola-arpeggios-weber.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 160 [Note: (3/3) An example from Act 2 of Weber's "Euryanthe" demonstrating a clarinet melody that uses the whole range of the instrument except for the highest register. The accompaniment consists of sustained notes in the other clarinet and bassoons, and an arpeggiated sixteeth-note figure for a solo viola.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610171317-4GWOKH3IMDT0K3QJ4J2O/PROUT-1899-164%2C2-ex134-clarinet-thirds-doubling-unaccompanied-wagner.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 164 [Note: An example from the end of Act 3 in Wagner's "Siegfried" demonstrating an unaccompanied passage for two clarinets in parallel thirds.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610461625-Q14FMZ05MPO96LI11F1X/PROUT-1899-166%2C4-basset-horn-range-practical-upperlimit-C6.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 166 [Note: The note C6. Several notes above this are possible on the basset horn but rarely used as they can be written for the clarinets instead. Sounding pitch is a fifth below notated.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634611183508-LU9FX5W6T2WYG3KSYMB3/PROUT-1899-171%2C1-ex138-bassclarinet-solo-unaccompanied-lowregister-liszt.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 171 [Note: (122) An example from Liszt's "Dante" Symphony demonstrating an expressive unaccompanied bass clarinet solo that reaches the bottom of the low register.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634607887146-L43JHUHNAMLGZKC1M0VK/PROUT-1899-150%2C3-ex123-clarinet-trills-fingerings-avoid.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 150 [Note: An example showing the specific trills on the clarinet that Prout suggests are "best to avoid" due to being "either difficult or altogether impossible."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634611304275-56WAPG2V9QCPM52B6L06/PROUT-1899-172%2C1-ex139-bassclarinet-melody-notation-violins-legato-tremolo-wagner.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 172 [Note: (2/2) An example from Wagner's "Die Walküre" demonstrating a bass clarinet melody accompanied by "legato tremolo" in the two violin sections. In this type of accompaniment, the two parts alternate rapidly between the same two notes but in reverse order, producing a different effect from a texture in which each part plays one note with a bowed tremolo. The bass clarinet is written an octave below the intended notes, an unconventional notation adopted by Wagner.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608077926-D302HOP0CLZIFPJZ073G/PROUT-1899-152%2C3-ex125-clarinet-keys-transposing-C-Bb-A.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 152 [Note: A table showing the correspondences of key signatures between clarinets in C, Bb, and A.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610433060-660JBG8WLF67RIL5QXWZ/PROUT-1899-166%2C3-basset-horn-range-C3-G6.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 166 [Note: The notes C3 and G6, which are the limits of the basset horn range. Sounding pitch is a fifth below notated.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610005107-ZOENBFHWOTDIN7RPPRF5/PROUT-1899-163%2C1-ex132-clarinet-florid-melody-bassoon-horn-octave-doubling-rossini.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 163 [Note: An example from Rossini's "Semiramide" demonstrating a "florid" and technically difficult solo clarinet melody, doubled at the octave below by bassoon then horn. The strings provide a piano pizzicato accompaniment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610128612-V5YF4BETWKVRDS5DU9Q2/PROUT-1899-164%2C1-ex133-clarinet-pianississimo-melody-winds-pppp-tchaikovsky.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 164 [Note: (2/2) An example from Tchaikovsky's "Pathétique" Symphony (No. 6) demonstrating a pianississimo solo clarinet melody. The accompaniment in other winds and horns features even softer dynamics, going as far as "pppp."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634607569662-XDCFCHGTMD2KTRGVS52G/PROUT-1899-149%2C1-clarinet-fundamental-full-range-E3-Bb4.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 149 [Note: The notes E3 and Bb4, which are the limits of the full range of fundamental notes on the clarinet.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608193272-RTRPOZ62B4SINH672ZS9/PROUT-1899-153%2C1-clarinet-transposing-fingerings-C.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 153 [Note: An example showing a figure that is very uncomfortable to play on the C clarinet (this example), slightly better on the Bb clarinet (next example), and much easier on the A clarinet (example after next).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634607969460-Y4YYZEJHXUQHLB982BTD/PROUT-1899-151-ex124-clarinet-break-fingerings-mendelssohn.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 151 [Note: An example from the Scherzo of Mendelssohn's "Midsummer Night's Dream" demonstrating a passage that lies in the "break" of the clarinet. At a fast tempo, this distribution of notes makes the fingering of the passage very difficult.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610905763-AE2WH6B75TY8GPA7E5UO/PROUT-1899-169%2C2-bassclarinet-range-written-E3-G6.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 169 [Note: The notes E3 and G6, which are the limits of the written bass clarinet range.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634611354941-0IEYZEWCJQS3OH7M5YZ0/PROUT-1899-172%2C2-ex139%282%29-bassclarinet-transposing-notation-standard-wagner.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 172 [Note: An example from Wagner's "Die Walküre" showing the standard notation of a bass clarinet melody. The original notation was an octave lower, and in bass clef (previous example). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610830918-4UMVLHOXQ4UHJKUH5E82/PROUT-1899-168-ex136-basset-horn-melody-arpeggiated-accompaniment.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 168 [Note: (2/2) An example from Beethoven's "Prometheus" demonstrating the melodic and accompanimental capacities of the basset horn. When the basset horn accompanies the oboe melody with an arpeggiated figure, it is notated in bass clef, an octave below the intended notes.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634607340024-LKKBGC0XP0SMVE3LE76H/PROUT-1899-148%2C2-clarinet-fundamental-scale-G-major.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 148 [Note: An example showing the fundamental scale of the clarinet, which is G major starting on the pitch G3.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608763110-0E4RTHTTR859A9B7F2G9/PROUT-1899-158%2C2-ex129-clarinet-melody-range-solo-viola-arpeggios-weber.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 158 [Note: (1/3) An example from Act 2 of Weber's "Euryanthe" demonstrating a clarinet melody that uses the whole range of the instrument except for the highest register. The accompaniment consists of sustained notes in the other clarinet and bassoons, and an arpeggiated sixteeth-note figure for a solo viola.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608661704-6J7FYEJGB5L738N2K7LE/PROUT-1899-158%2C1-ex128-clarinet-melody-horn-pedal-schubert.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 158 [Note: An example from the "Sheperd's Melody" of Schubert's "Rosamunde" demonstrating a melody for two clarinets accompanied by an open fifth horn pedal and occasional harmonic support from the bassoons.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634607235899-NHJU5RNGB9TZI2MJTIZO/PROUT-1899-147-clarinet-illustration.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 147 [Note: An example showing the appearance of the clarinet.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634607813183-N1U0ZJY3SY9GBXPG2CNA/PROUT-1899-150%2C1-ex122-clarinet-registers.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 150 [Note: An example showing the division of the clarinet range into registers, labeled Grave, Medium, Acute, and Highest.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610054577-K1ZLK5XIHYHLIBWVF0YJ/PROUT-1899-163%2C2-ex133-clarinet-pianississimo-melody-winds-pppp-tchaikovsky.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 163 [Note: (1/2) An example from Tchaikovsky's "Pathétique" Symphony (No. 6) demonstrating a pianississimo solo clarinet melody. The accompaniment in other winds and horns features even softer dynamics, going as far as "pppp."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634607859933-58MXWW4WXX41CM4BJ6XC/PROUT-1899-150%2C2-clarinet-trills-range-F3-E6.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 150 [Note: The notes F3 and E6, which are the limits of the range recommended by Prout for trills on the clarinet.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610941078-OZ1AR5TV1RAFUWXMZN8G/PROUT-1899-169%2C3-bassclarinet-Bb-range-sounding-D2-F5.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 169 [Note: The notes E3 and G6, which are the limits of the written bass clarinet range.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608254079-UX1ZF4ZIF5FLD6CDELSA/PROUT-1899-153%2C3-clarinet-transposing-fingerings-A.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 153 [Note: An example showing a figure that is very uncomfortable to play on the C clarinet (example before previous), slightly better on the Bb clarinet (previous example), and much easier on the A clarinet (this example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608228929-BXIMLB6DNQ2CY3ISBEGC/PROUT-1899-153%2C2-clarinet-transposing-fingerings-Bb.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 153 [Note: An example showing a figure that is very uncomfortable to play on the C clarinet (previous example), slightly better on the Bb clarinet (this example), and much easier on the A clarinet (next example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634611533274-80UG4AI56E5TWB8GSOWL/PROUT-1899-173%2C1-saxophone-soprano-illustration.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 173[Note: An example showing the appearance of the soprano saxophone.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634611111318-KUKY2OLW8JDKTUUAHF01/PROUT-1899-170%2C3-ex138-bassclarinet-solo-unaccompanied-lowregister-liszt.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 170 [Note: (1/2) An example from Liszt's "Dante" Symphony demonstrating an expressive unaccompanied bass clarinet solo that reaches the bottom of the low register.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608503912-VAUIEVFWVZYMF3J9FXGD/PROUT-1899-156%2C2-ex126%282%29-clarinet-chalumeau-register-notation.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 156 [Note: An example from Mozart's "Così fan tutte" (previous example) showing a notational custom in which clarinet parts in the chalumeau, or low register are notated an octave higher with the indication "Chal." written above. Prout recommends against using this practice.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608042728-2TB1KJOI2N09E0QFBK31/PROUT-1899-152%2C2-clarinet-G-major-transposing-A.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 152 [Note: An example showing the sounding pitches when a written G major scale is played on an A clarinet. The transposition results in sounding pitches a minor third lower than notated.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634607609991-6E9FRAAPX15J9DYIRFQH/PROUT-1899-149%2C2-clarinet-fingerings-G3-scale.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 149 [Note: An example showing the first six notes of a G major scale starting on G3. On the clarinet, these notes have the same fingering, except for one key, as the series of notes a twelfth higher (next example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608935586-YS09Q4FBRFQDAY57D2VY/PROUT-1899-160%2C2-ex130-clarinet-lively-melody-strings-tremolo-mendelssohn.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 160 [Note: (1/2) An example from the Scherzo of Mendelssohn's "Scottish" Symphony (No. 3) demonstrating a "lively" solo clarinet melody. The strings, without cello or double bass, provide a pianissimo sixteenth-note tremolo accompaniment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634607409184-1N37GOE5FZV7ZYM9UF24/PROUT-1899-148%2C4-clarinet-acoustics-third-partial-B4.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 148 [Note: The note B4, which is the 3rd partial of E3, the lowest fundamental note on the clarinet.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634611669314-JYEU47N5QBZG1OFRURKH/PROUT-1899-174%2C2-saxophone-range-upperlimit-F6.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 174 [Note: The note F6, which is the upper limit of the range of some types of saxophones.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634611636949-YLLOZI384XWMIELYPFTY/PROUT-1899-174%2C1-saxophone-range-B3-Eb6.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 174 [Note: The notes B3 and Eb6, which are the limits of the range of most saxophones. Some are able to go slightly higher (next example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610620995-I8L3XGM3OXAXY2PZVROR/PROUT-1899-167%2C3-ex135%283%29-basset-horn-clefs-transposing-sounding-mozart.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 167 [Note: An example from Mozart's "La Clemenza di Tito" showing the resulting sounding pitches on the basset horn. The original notation of this passage used bass clef for the lower notes (example before previous), and the modern notation uses treble clef written a fifth above sounding pitch (previous example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610245713-HDS7A7SSEM6G2DHVN6KP/PROUT-1899-166%2C1-basset-horn-illustration.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 166 [Note: An example showing the appearance of the basset horn.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608576297-37RQ8LWINEBC6X1RU0JH/PROUT-1899-157-ex127-clarinet-solo-melody-strings-tremolo-pizzicato.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 157 [Note: An example from Schubert's "Die Verschworenen" demonstrating a solo clarinet melody accompanied by tremolo and pizzicato strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634609097339-PSOA6FAT2T07LFS03XCR/PROUT-1899-162%2C1-ex131-clarinet-graceful-melody-high-register-boieldieu.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 162 [Note: (2/2) An example from Boieldieu's "Jean de Paris" demonstrating a solo clarinet melody that lies mostly in the middle and high registers. This example demonstrates the capacity of the clarinet to portray a character Prout describes as "graceful."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634607683285-2F5XM7HT6VWZMEFUJNKO/PROUT-1899-149%2C4-clarinet-range-upperlimit-F6-G6.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 149 [Note: The notes F6 and G6, which Prout suggests as two possible upper limits for the range of the clarinet in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634609035109-YHQTV4GO5AQMUPGG4J56/PROUT-1899-161%2C2-ex131-clarinet-graceful-melody-high-register-boieldieu.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 161 [Note: (1/2) An example from Boieldieu's "Jean de Paris" demonstrating a solo clarinet melody that lies mostly in the middle and high registers. This example demonstrates the capacity of the clarinet to portray a character Prout describes as "graceful."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634611409446-MPANHFC7B6DM1QIMOEGO/PROUT-1899-172%2C3-ex140-bassclarinet-melody-brass-pizzicato-strings-accompaniment-dvorak.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 172 [Note: An example from the last movement of Dvořák's Symphony No. 5 demonstrating a bass clarinet melody with two different types of accompaniment. It is first accompanied by very soft brass and timpani, then by pizzicato low strings. Editor: The treatise identifies this work as "3rd Symphony," but it is now known as No. 5.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610666270-7TH9BU95GLEP7R730XVK/PROUT-1899-167%2C4-ex136-basset-horn-melody-arpeggiated-accompaniment.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 167 [Note: (1/2) An example from Beethoven's "Prometheus" demonstrating the melodic and accompanimental capacities of the basset horn. When the basset horn accompanies the oboe melody with an arpeggiated figure, it is notated in bass clef, an octave below the intended notes.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634611706730-A0RJVX317KVSLYKDAQNY/PROUT-1899-174%2C3-ex141-saxophone-types-ranges-notated-sounding.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 174 [Note: A table showing the ranges of 12 different types of saxophones, both as notated and at sounding pitch.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634607308066-LJ46NCR4R35XB28AWIVD/PROUT-1899-148%2C1-oboe-clarinet-acoustics-C4.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 148 [Note: The note C4 (middle C), which is obtained on the oboe with a two-foot-long tube, but on the clarinet with only one foot of tube.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610517494-I4PDTQGLXLK74EZD4GCI/PROUT-1899-167%2C1-ex135-basset-horn-clefs-transposing-notation-mozart.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 167 [Note: An example from Mozart's "La Clemenza di Tito" demonstrating the archaic custom of notating lower passages for the basset horn in bass clef, an octave below the intended pitch. As a result, such passages sound a fourth higher than written.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634607643863-3461P947QWQ5O4TBBAKH/PROUT-1899-149%2C3-clarinet-fingerings-D5-scale.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 149 [Note: An example showing the first six notes of a D major scale starting on D5. On the clarinet, these notes have the same fingering, except for one key, as the series of notes a twelfth lower (previous example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608831673-8YDJ3B9URZKAF4RWR5GR/PROUT-1899-159-ex129-clarinet-melody-range-solo-viola-arpeggios-weber.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 159 [Note: (2/3) An example from Act 2 of Weber's "Euryanthe" demonstrating a clarinet melody that uses the whole range of the instrument except for the highest register. The accompaniment consists of sustained notes in the other clarinet and bassoons, and an arpeggiated sixteeth-note figure for a solo viola.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608366339-AQH48OC8P3JC11NOUL9R/PROUT-1899-155-ex126-clarinet-thirds-bassoon-octave-doubling-chalumeau-arpeggios-mozart.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 155 [Note: (1/2) An example from Mozart's "Così fan tutte" demonstrating several melodic and accompanimental roles possible on the clarinet. Parts of this example feature melodic doubling in thirds between two clarinets, and octave doubling of both parts by bassoons. In the middle of this excerpt, the second clarinet accompanies with arpeggios in the chalumeau, or low register.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634611582982-DNRHZQZTXD7DLKLJMZE4/PROUT-1899-173%2C2-saxophone-soprano-illustration.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 173 [Note: An example showing the appearance of the alto saxophone.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610593266-D6TI7SP25IUG8LPXTDOO/PROUT-1899-167%2C2-ex135%282%29-basset-horn-clefs-transposing-notation-mozart.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 167 [Note: An example from Mozart's "La Clemenza di Tito" demonstrating the modern notational custom of writing basset horn parts entirely in treble clef, a fifth above sounding pitch. The original notation of this passage used bass clef for the lower notes (previous example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608973222-UIKECC6J3TPZJ4BGQL2X/PROUT-1899-161%2C1-ex130-clarinet-lively-melody-strings-tremolo-mendelssohn.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 161 [Note: (2/2) An example from the Scherzo of Mendelssohn's "Scottish" Symphony (No. 3) demonstrating a "lively" solo clarinet melody. The strings, without cello or double bass, provide a pianissimo sixteenth-note tremolo accompaniment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610387521-N9VAUHKTSBY3SATCTYJF/PROUT-1899-166%2C2-basset-horn-range-lowerlimit-C3.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 166 [Note: The note C3, which is the lowest note possible on the basset horn. Sounding pitch is a fifth below notated.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610875843-UDJB9RG1CJ2YRBGVUA2L/PROUT-1899-169%2C1-ex137-basset-horn-bassline-soprano-melody-mozart.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 169 [Note: An example from Mozart's "La Clemenza di Tito" demonstrating a passage for soprano voice accompanied only by the basset horn in the low register.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634611068130-4SGTEE5FHSGK7YF66ABX/PROUT-1899-170%2C2-bassclarinet-illustration.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 170 [Note: An example showing the appearance of the bass clarinet.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634610978436-HHFNS2M7AMBYL87MI7NF/PROUT-1899-170%2C1-bassclarinet-A-range-sounding-C%232-E5.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 170 [Note: The notes C#2 and E5, which are the limits of the sounding range of the bass clarinet in A.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634608013889-CWFRP17TGV6RCCVXSKP7/PROUT-1899-152%2C1-clarinet-G-major-transposing-Bb.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 152 [Note: An example showing the sounding pitches when a written G major scale is played on a Bb clarinet. The transposition results in sounding pitches a whole tone lower than notated.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634611756107-N270NKU4VYTHM2D6HYLS/PROUT-1899-175-ex142-saxophone-alto-melody-bizet.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 175 [Note: A table showing the ranges of 12 different types of saxophones, both as notated and at sounding pitch.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634607374981-CCP6ZPQGWLAQLH3VU7AE/PROUT-1899-148%2C3-clarinet-range-lowerlimit-E3.png Treatises | Figures - Prout | Chapter VIII | Figures - Make it stand out Prout, 1899 (vol.I), p. 148 [Note: The note E3, which is the lowest note possible on the clarinet.] https://timbreandorchestration.org/treatises/figures/prout/volume-1/chapter-vii monthly 0.5 2024-01-11 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589280291-5S7Y1QK6NASRIJW1I7B0/PROUT-1899-132%2C2-bassoon-range-lowerlimit-Bb1.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 132 [Note: The note Bb1, which is the lowest note possible on the bassoon.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589023631-RVZW76GJ6CQZ8VJTP9W0/PROUT-1899-129%2C1-ex106-english-horn-solo-sustained-strings-berlioz.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 129 [Note: An example from Berlioz's "La damnation de Faust" demonstrating a solo english horn melody accompanied by quiet sustained chords in the strings without double bass.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589132479-ECZXUS2VKKKTR9I3NIRQ/PROUT-1899-130-ex108-english-horn-bassoon-octave-doubling-enharmonic-keys-wagner.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 130 [Note: (1/2) An example from Wagner's "Die Walküre" demonstrating an english horn melody doubled an octave below, and with softer dynamics, by the first bassoon. In this example, the english horn part is written in keys that are enharmonically equivalent to the "true" keys, for easier readability. The string section, without double bass, provides a constant tremolo accompaniment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588713330-HER6CR4KR2YDDCCSJ7SW/PROUT-1899-126%2C2-ex103-english-horn-notation-clefs-bass-rossini.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 126 [Note: An example from Rossini's "William Tell" Overture demonstrating the obsolete notational custom of writing english horn parts in bass clef, an octave below sounding pitch.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589406680-KGP7KJ6S8QW9G3LAAEZR/PROUT-1899-132%2C5-bassoon-trills-range-F2-F4.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 132 [Note: The notes F2 and F4, which are the limits of the range recommended by Prout for trills on the bassoon.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588936993-7VWBCQS7NC4WRBNQ0JUD/PROUT-1899-128-ex105-english-horn-voice-imitation-harp-meyerbeer.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 128 [Note: (2/2) An example from "Robert, toi que j'aime" in Meyerbeer's "Robert le Diable" demonstrating the capacity of the english horn to imitate a solo voice. The harp accompaniment includes block chords and several forms of arpeggiation. The second harp part doubles the bassline for a few bars, and was left out of the example to save space.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589499545-SJ41VAO6B3KNKOK47ACT/PROUT-1899-133%2C1-ex109-bassoon-solo-agility-fast-tempo-mozart.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 133 [Note: (2/2) An example from Mozart's Bassoon Concerto in Bb demonstrating the agility of the bassoon in the context of a solo concerto. This passage showcases the possibility of playing arpeggios, repeated notes, scales, and large leaps at a fast (allegro) tempo.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588255930-4BRRC44WQGOPAT9R5LMM/PROUT-1899-122%2C1-ex98-oboe-staccato-legato-vivace-spohr.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 122 [Note: An example from Spohr's "Jessonda" demonstrating a vivace solo oboe melody containing a mix of staccato and legato articulations. The strings provide a simple accompaniment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589988796-CEHFCCCIOEMP7K6DY9Z1/PROUT-1899-138%2C2-ex115-bassoon-unison-bassline-winds-spontini.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 138 [Note: An example from Spontini's "Fernand Cortez" demonstrating a texture for winds and horns in which two bassoons play the bassline in unison.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589189373-C5WHFGI4BND41TFEMEQ0/PROUT-1899-131-ex108-english-horn-bassoon-octave-doubling-enharmonic-keys-wagner.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 131 [Note: (2/2) An example from Wagner's "Die Walküre" demonstrating an english horn melody doubled an octave below, and with softer dynamics, by the first bassoon. In this example, the english horn part is written in keys that are enharmonically equivalent to the "true" keys, for easier readability. The string section, without double bass, provides a constant tremolo accompaniment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588174191-HUJBHN6DZNATDYC495ST/PROUT-1899-121-ex97-oboe-staccato-strings-pizzicato-auber.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 121 [Note: An example from Auber's "La Muette de Portici" demonstrating a staccato solo oboe melody accompanied by pizzicato strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589688870-1IT0P5P785F9EJKH3RFW/PROUT-1899-135%2C2-ex111-bassoon-oboe-octave-doubling-mendelssohn.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 135 [Note: An example from Mendelssohn's "Lobgesang" Symphony (No. 2) demonstrating a melody doubled in octaves between oboe and bassoon, accompanied by pizzicato strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589857307-80Z5Y7ZRQW1SCTXO2ZIX/PROUT-1899-137%2C2-ex114-bassoon-divisi-cellos-accompaniment-solo-voice-doubling-weber.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 137 [Note: (1/2) An example from the Romance in Act 1 of Weber's "Euryanthe" demonstrating a solo tenor voice passage accompanied by two bassoons and two cello parts. For the first four bars of this excerpt, the second bassoon plays the bassline and the first cello doubles the voice at the unison. In the remaining bars, the second cello plays the bassline and the first bassoon doubles the voice at the unison.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588593614-ZNNU0JJA0778WS3YIG0V/PROUT-1899-125%2C3-english-horn-illustration.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 125 [Note: An example showing the appearance of the english horn.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588008118-J68ORYO7LQMZ0AIUR004/PROUT-1899-120-ex96-oboe-florid-cantabile-melody-viola-col-basso-cherubini.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 120 [Note: An example from Cherubini's "Eliza" demonstrating a florid and cantabile solo oboe melody accompanied by strings. The oboe line reaches into the high register and uses a scalar passage to approach the high F near the end of this excerpt. The violas play "col Basso," doubling the same line as the cellos and double basses, typically an octave above the cello line.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588335685-UTKL4E2HGRQOLA8KZIGA/PROUT-1899-122%2C3-ex100-oboe-lowregister-trombone-chords-piano-schubert.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 122 [Note: An example from Schubert's Mass No. 6 in E-flat demonstrating the combination of the oboe's low-register with bassoon and trombone chords at a piano dynamic.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634590423310-JOJKGYU7FWY8ZCZ996YT/PROUT-1899-143%2C1-ex119-bassoon-four-accompaniment-bass-voice-berlioz.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 143 [Note: (2/2) An example from Berlioz's "La damnation de Faust" demonstrating a bass voice solo accompanied primarily by four bassoons.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589338788-54Z3XBRIIICVFM0UQFV9/PROUT-1899-132%2C3-bassoon-fundamental-notes-upperlimit-F3.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 132 [Note: The note F3, which is the upper limit of the range of fundamental notes on the bassoon.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634590481291-OV93O2L6IADT4KL4L1NI/PROUT-1899-143%2C2-contrabassoon-illustration.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 143 [Note: An example showing the appearance of the contrabassoon.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588691234-37S8HNOXCFMO04TU0FN7/PROUT-1899-126%2C1-english-horn-clefs-mezzo-soprano-clef.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 126 [Note: A mezzo soprano clef. An old notational custom among French composers was to use this clef for the english horn.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589810860-IK8F6FFKG9NHKEDO8YN6/PROUT-1899-137%2C1-ex113-bassoon-thirds-doubling-strings-imitation-mozart.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 137 [Note: An example from the Andante of Mozart's Symphony No. 25 demonstrating a passage in which two bassoons imitate the muted violins an octave below. Like the violin parts, the two bassoons move in parallel thirds for most of this excerpt.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589461314-AMR51SB339K0ZTV0EM1Y/PROUT-1899-132%2C6-ex109-bassoon-solo-agility-fast-tempo-mozart.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 132 [Note: (1/2) An example from Mozart's Bassoon Concerto in Bb demonstrating the agility of the bassoon in the context of a solo concerto. This passage showcases the possibility of playing arpeggios, repeated notes, scales, and large leaps at a fast (allegro) tempo.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587495592-EPQCZBN3FBHQHVXO3KC2/PROUT-1899-115%2C1-oboe-trills-lowerlimit.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 115 [Note: The note D4, below which Prout recommends avoiding trills on the oboe.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589554688-F1WYR01F9QQNHULORI84/PROUT-1899-133%2C2-ex110-bassoon-melody-complete-range-high-C-cherubini.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 133 [Note: (1/3) An example from Cherubini's "Médée" demonstrating a bassoon melody with a string accompaniment. This excerpt makes use of the whole range of the bassoon, even extending to the extreme high register with the high C six bars from the end.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587282323-VW1GTVCXKQ50GTJSDWNY/PROUT-1899-114%2C1-oboe-illustration.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 114 [Note: An example showing the appearance of the oboe.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634590372182-3IXN8DDFUP8AQOS5HND6/PROUT-1899-142%2C2-ex119-bassoon-four-accompaniment-bass-voice-berlioz.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 142 [Note: (1/2) An example from Berlioz's "La damnation de Faust" demonstrating a bass voice solo accompanied primarily by four bassoons.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589604447-P2X83WR8U14VT6S1JLXD/PROUT-1899-134-ex110-bassoon-melody-complete-range-high-C-cherubini.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 134 [Note: (2/3) An example from Cherubini's "Médée" demonstrating a bassoon melody with a string accompaniment. This excerpt makes use of the whole range of the bassoon, even extending to the extreme high register with the high C six bars from the end.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588780612-WCZL07C0RHOEJ3VRU03D/PROUT-1899-126%2C3-ex103%282%29-english-horn-notation-clefs-treble-transposing-rossini.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 126 [Note: An example from Rossini's "William Tell" Overture demonstrating the modern notational custom of writing english horn parts in treble clef, a fifth above sounding pitch. Treating the english horn as a transposing instrument in this way allows the written notes and fingerings to correspond between the english horn and oboe.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589086871-9OPLC08Z92ZO6ERVD1GV/PROUT-1899-129%2C2-ex107-english-horn-solo-muted-sustained-strings-dvorak.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 129 [Note: An example from Dvořák's "New World" Symphony (No. 9) demonstrating a solo english horn melody with a pianissimo string accompaniment. The strings are also muted, violas and cello sections are divided, and the double bass is absent. Editor: The treatise identifies this work as "5th Symphony," but it is now known as No. 9.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589657612-C0VFZ3A332RRBFDTBRIF/PROUT-1899-135%2C1-ex110-bassoon-melody-complete-range-high-C-cherubini.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 135 [Note: (3/3) An example from Cherubini's "Médée" demonstrating a bassoon melody with a string accompaniment. This excerpt makes use of the whole range of the bassoon, even extending to the extreme high register with the high C six bars from the end.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634590335021-2PMRKF3KM7MGO1MTIRUP/PROUT-1899-142%2C1-ex118-bassoon-flute-two-octave-doubling-staccato-melody-auber.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 142 [Note: (2/2) An example from Auber's "Le Maçon" demonstrating a staccato melody doubled two octaves apart between solo flute and bassoon, and accompanied by strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587583935-G2PTPYL31GNZJ25HPAR1/PROUT-1899-115%2C3-oboe-trills-avoid.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 115 [Note: An example showing trills on the oboe containing two sharp or flat notes, and which Prout recommends avoiding.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588506354-V4ZT7EQ4HJWJIEJR7C27/PROUT-1899-125%2C2-oboe-damore-soprano-clef.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 125 [Note: A soprano clef. Prout recommends a score-reading strategy for reading transposing parts written in A, such as the oboe d'amore. If the notes are read as if in the soprano clef, they are moved up a third in relation to treble clef - this compensates for the minor-third shift caused by the transposing part, giving the reader the correct concert pitches.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587713683-IC8SXDS7RPM46TSSOT8O/PROUT-1899-117%2C1-ex93-oboe-melody-sustained-strings-accompaniment-hummel.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 117 [Note: (2/2) An example from Hummel's Mass in E-flat demonstrating an oboe melody containing long sustained notes. The string accompaniment consists of repeated chords and a pizzicato bassline.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634590548154-9VIU5QWU8VTNX16EV75N/PROUT-1899-144-ex120-contrabassoon-bassoon-doubling-fortissimo-haydn.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 144 [Note: (1/2) An example from Haydn's "Creation" demonstrating fortissimo interjections for bassoons and contrabassoon in the context of a piano passage for strings and bass voice. The first written note for the contrabassoon is a low Bb, which would be played either in unison with or an octave below the bassoons, depending on the range of the individual instrument.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587368453-7SM4DDP1AG9MPLI5447L/PROUT-1899-114%2C2-oboe-range-B3-F6.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 114 [Note: The notes B3 and F6, which are the limits of the standard oboe range.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587655691-452XOB6D20FFWANHJGWN/PROUT-1899-116%2C2-ex93-oboe-melody-sustained-strings-accompaniment-hummel.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 116 [Note: (1/2) An example from Hummel's Mass in E-flat demonstrating an oboe melody containing long sustained notes. The string accompaniment consists of repeated chords and a pizzicato bassline.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588377141-GX3X7JGKSDK9G6YU97EG/PROUT-1899-123-ex101-oboe-flute-four-part-harmony-auber.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 123 [Note: An example from Auber's "Le Philtre" demonstrating a passage in four-part harmony for two flutes and two oboes.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587939426-29CQJOLBYH44J747B4QO/PROUT-1899-119-ex95-oboe-melody-majorkey-bassoon-echo-mozart.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 119 [Note: (2/2) An example from Mozart's "Thamos, König in Ägypten" demonstrating an oboe melody in a major key. This example also shows an "echo" effect in the bassoons, and the mixing of pizzicato and arco in the string section.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587400333-6N1TS7Z9PJZ81TST29FU/PROUT-1899-114%2C3-oboe-fundamental-notes-range-B3-C%235.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 114 [Note: The notes B3 and C#5, which are the limits of the range of fundamental notes on the oboe. On some instruments, this range extends down to Bb3.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634590596865-KVF1RAO3F3KZGBSEHZ6W/PROUT-1899-145%2C1-ex120-contrabassoon-bassoon-doubling-fortissimo-haydn.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 145 [Note: (2/2) An example from Haydn's "Creation" demonstrating fortissimo interjections for bassoons and contrabassoon in the context of a piano passage for strings and bass voice. The first written note for the contrabassoon is a low Bb, which would be played either in unison with or an octave below the bassoons, depending on the range of the individual instrument.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634590051610-OXABBGUAY46PLADNVAU3/PROUT-1899-139-ex116-bassoon-melody-middlevoice-strings-winds-imitation-beethoven.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 139 [Note: (1/2) An example from Beethoven's Symphony No. 4 demonstrating the bassoon in a mostly staccato melodic role, then in a middle voice role providing sustained harmonies. This example also features imitation between and within the wind and string sections.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589232843-35FL9QAK9EP723A2ALL2/PROUT-1899-132%2C1-bassoon-illustration.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 132 [Note: An example showing the appearance of the bassoon.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588636191-EYB0MCGAYGVJRDCZHD2U/PROUT-1899-125%2C4-english-horn-range-E3-B5.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 125 [Note: The notes E(b)3 and B5, which are the limits of the english horn range.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588426162-5NW0D3L688EGJ2IZMIUE/PROUT-1899-124-ex102-oboe-damore-melody-transposing-graun.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 124 [Note: (1/2) An example from C.H. Graun's "Kommt her und schaut" Passion demonstrating an oboe d'amore melody accompanied by strings and continuo. In this example, the oboe d'amore is written as a transposing instrument in A, notated pitches being a minor third above sounding.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588465228-PKQEPL707TYP3GSX0FJ4/PROUT-1899-125%2C1-ex102-oboe-damore-melody-transposing-graun.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 124 [Note: (2/2) An example from C.H. Graun's "Kommt her und schaut" Passion demonstrating an oboe d'amore melody accompanied by strings and continuo. In this example, the oboe d'amore is written as a transposing instrument in A, notated pitches being a minor third above sounding.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634590119172-7WO0CU4U2W1X6N3B8APT/PROUT-1899-140%2C1-ex116-bassoon-melody-middlevoice-strings-winds-imitation-beethoven.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 140 [Note: (2/2) An example from Beethoven's Symphony No. 4 demonstrating the bassoon in a mostly staccato melodic role, then in a middle voice role providing sustained harmonies. This example also features imitation between and within the wind and string sections.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588906347-N4F3XZ5BJPLZ0PK125S6/PROUT-1899-127%2C2-ex105-english-horn-voice-imitation-harp-meyerbeer.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 127 [Note: (1/2) An example from "Robert, toi que j'aime" in Meyerbeer's "Robert le Diable" demonstrating the capacity of the english horn to imitate a solo voice. The harp accompaniment includes block chords and several forms of arpeggiation. The second harp part doubles the bassline for a few bars, and was left out of the example to save space.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587458932-9FPZ50S174LNXFJOOAR2/PROUT-1899-114%2C4-oboe-middle-register-G4-A5.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 114 [Note: The notes G4 and A5, which are the approximate limits of the middle register on the oboe.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587846530-FDHU54UIZ9M2H3XRDQVP/PROUT-1899-118%2C1-ex94-oboe-melody-middleregister-strings-accompaniment-mendelssohn.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 118 [Note: (2/2) An example from Mendelssohn's "Psalm 42" demonstrating an oboe melody in the middle register. The subtle string accompaniment contains a mix of repeated and sustained notes, and the double bass is absent for all but a few notes near the end of this excerpt.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634590238252-763FJ67MJU2QTUKU7B4Z/PROUT-1899-141%2C1-ex117-bassoon-staccato-accompaniment-unison-beethoven.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 141 [Note: (2/2)An example from Beethoven's Symphony No. 4 demonstrating a staccato accompanimental figure played in unison by both bassoons. Other winds and horns sustain long chords, and the melody is in the first violins.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587904252-0PTK7Z3O9CMY4IHTV52U/PROUT-1899-118%2C2-ex95-oboe-melody-majorkey-bassoon-echo-mozart.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 118 [Note: (1/2) An example from Mozart's "Thamos, König in Ägypten" demonstrating an oboe melody in a major key. This example also shows an "echo" effect in the bassoons, and the mixing of pizzicato and arco in the string section.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587526158-OLPJAQ8727LRH5R7BFYN/PROUT-1899-115%2C2-oboe-trills-upperlimit.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 115 [Note: The note C6, above which Prout recommends avoiding trills on the oboe.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588294536-EUBGVY987GCXGE8QO1WK/PROUT-1899-122%2C2-ex99-oboe-staccato-tenuto-flute-accompaniment-raff.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 122 [Note: An example from the finale of Raff's Symphony No. 4 demonstrating a "pastoral and rustic" solo oboe melody containing a mix of staccato and tenuto articulations. The accompaniment consists of a single held note in the first flute.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589365908-PPLEQIDWRVSOB7DT4TTD/PROUT-1899-132%2C4-bassoon-range-Bb1-Bb4.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 132 [Note: The notes Bb1 and Bb4, respectively in bass and tenor clef. These are the standard limits of the bassoon range in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634590516973-TVNOMYOIIFQV9EU4DA21/PROUT-1899-143%2C3-contrabassoon-range-D1-F3.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 143 [Note: The notes D1 and F3, which are the limits of the range recommended by Prout for the contrabassoon. Sounding pitches are an octave lower than notated.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634590282880-3YWX59AK8MRRCBSKTD49/PROUT-1899-141%2C2-ex118-bassoon-flute-two-octave-doubling-staccato-melody-auber.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 141 [Note: (1/2) An example from Auber's "Le Maçon" demonstrating a staccato melody doubled two octaves apart between solo flute and bassoon, and accompanied by strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634590157289-ZH45DAZ1TUUA1PYK6MRF/PROUT-1899-140%2C2-ex117-bassoon-staccato-accompaniment-unison-beethoven.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 140 [Note: (1/2)An example from Beethoven's Symphony No. 4 demonstrating a staccato accompanimental figure played in unison by both bassoons. Other winds and horns sustain long chords, and the melody is in the first violins.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634588827190-QO94SCUMN8TAXOMRB4TP/PROUT-1899-127%2C1-ex104-english-horn-unaccompanied-solo-schumann.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 127 [Note: An example from Schumann's "Manfred" demonstrating a long and unaccompanied english horn solo that emulates the alpine "Ranz des Vaches."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589906952-YA40NONC47YZBPFPTJUT/PROUT-1899-138%2C1-ex114-bassoon-divisi-cellos-accompaniment-solo-voice-doubling-weber.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 138 [Note: (2/2) An example from the Romance in Act 1 of Weber's "Euryanthe" demonstrating a solo tenor voice passage accompanied by two bassoons and two cello parts. For the first four bars of this excerpt, the second bassoon plays the bassline and the first cello doubles the voice at the unison. In the remaining bars, the second cello plays the bassline and the first bassoon doubles the voice at the unison.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634589747262-FK8R5RN74YJ33UEN0H9P/PROUT-1899-136-ex112-bassoon-soprano-voice-strings-haydn.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 136 [Note: An example from Haydn's "Creation" demonstrating the melodic interplay between solo bassoon and solo soprano voice, with a string accompaniment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587792758-PWLKYGMFEKLAVAEYUEY8/PROUT-1899-117%2C2-ex94-oboe-melody-middleregister-strings-accompaniment-mendelssohn.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 117 [Note: (1/2) An example from Mendelssohn's "Psalm 42" demonstrating an oboe melody in the middle register. The subtle string accompaniment contains a mix of repeated and sustained notes, and the double bass is absent for all but a few notes near the end of this excerpt.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634587619240-7C07W1GL1ND6ZSC8184W/PROUT-1899-116%2C1-ex92-oboe-melody-strings-accompaniment-gluck.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 116 [Note: An example from Gluck's "Iphigénie en Aulide" demonstrating a "beautiful and expressive" solo oboe melody with a simple string accompaniment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634590631756-Q09UG2IO7VN6J83XE3RA/PROUT-1899-145%2C2-ex121-contrabassoon-bassline-clarinet-bassoon-melody-doubling-spohr.png Treatises | Figures - Prout | Chapter VII | Figures - Make it stand out Prout, 1899 (vol.I), p. 145 [Note: An example from Spohr's "Notturno" for winds demonstrating a pianissimo bassline played only by the contrabassoon. The melody is doubled in thirds between two clarinets, and both melodic lines are in turn doubled an octave below by two bassoons.] https://timbreandorchestration.org/treatises/figures/prout/volume-1/chapter-vi monthly 0.5 2024-01-11 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631737619993-BGYM6DNN3DY63QM9SMIF/PROUT-1899-93%2C4-flute-middleregister-upperlimit-C%236.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 93 [Note: The note C#6, which is the upper limit of the flute's middle register.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631738959123-6SF298RX4Y4GFKDNGGX4/PROUT-1899-97%2C1-ex78-flute-low-middle-register-melody-pizzicato-accompaniment-auber.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 97 [Note: (2/2) An example from Auber's "L'Enfant Prodigue" demonstrating a dolce melody in the low and middle registers of the flute. This example highlights the quality of this register Prout describes as "sweet" and "slightly reedy." The violins and violas provide a soft and sparse pizzicato accompaniment that doesn't overpower the flute.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634585933959-CX5T8F6KN6J438J1JM2Y/PROUT-1899-108-ex88-piccolo-brass-tutti-beethoven.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 108 [Note: An example from the end of Beethoven's "Egmont" Overture demonstrating a full orchestral tutti texture with prominent interjections of piccolo and brass.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634586303610-HAEDU1UYEVNIFPY01BC3/PROUT-1899-110%2C1-ex90-piccolo-clarinet-two-octave-doubling-auber.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 110 [Note: An example from Auber's "Le cheval de Bronze" demonstrating a melody in the clarinet doubled two octaves above by the piccolo. This produces an effect Prout terms "piquant." The strings provide a simple accompaniment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631740477301-T2FJFLE9BPFU2890SGW5/PROUT-1899-101%2C1-ex83-flute-third-doubling-bassoon-echo-mozart.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 101 [Note: An example from Mozart's "Così fan tutte" demonstrating third doubling between two flutes. This example also demonstrates an "echo" effect when the bassoons repeat the end of each flute phrase an octave below.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631740384986-MSCLODDDBE4UJZ7TLKHI/PROUT-1899-100%2C2-ex82-flute-ornamental-melody-violins-unison-staccato-haydn.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 100 [Note: An example from Haydn's Symphony No. 90 demonstrating an ornamented flute melody, accompanied only by both violin sections in unison. The accompaniment is staccato and pianissimo throughout this excerpt. Editor: The treatise identifies this work as "Symphony in C, No. 60," but it is now known as No. 90.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631737416762-5CHWVUPSQ6JZW901NWMD/PROUT-1899-93%2C1-flute-lowregister-lowerlimit-C4.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 93 [Note: The note C4, which is the lower limit of the flute's low register.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631739005580-L1RMLOPJ04VOM18343IQ/PROUT-1899-97%2C2-ex79-flute-lowregister-melody-strings-timpani-dvorak.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 97 [Note: An example from the Scherzo of Dvořák's Symphony No. 7 demonstrating a melody in the low register of the flute accompanied by soft sustained strings and timpani. Editor: The treatise identifies this work as "2nd Symphony" but it is now known as No. 7.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631738037923-S1NEMPA5WA9PBDRZ5820/PROUT-1899-94%2C2-ex75-flute-agility-arpeggios-leaps-rossini.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 94 [Note: An example from Rossini's "William Tell" Overture demonstrating the agility of the flute in a fast passage containing large leaps.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634585793951-YW9FS5BBGJG3VT5M66E5/PROUT-1899-105-flute-transposing-D5.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 105 [Note: The note D5 in treble clef.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634585540165-Z6OURMPP4LFFC9U07FDK/PROUT-1899-102%2C2-ex85-flute-violin-viola-pizzicato-pianissimo-mendelssohn.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 102 [Note: An example from Mendelssohn's "Heimkehr aus der Fremde," or "Son and Stranger" demonstrating the combination of flutes with pizzicato violins and violas. The flutes play mostly in the low register, and the dynamic of the whole passage is pianissimo.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631737485055-ECOOPE5IKQS7KPP9SROH/PROUT-1899-93%2C2-flute-lowregister-upperlimit-C%235.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 93 [Note: The note C#5, which is the upper limit of the flute's low register.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631737941941-8YLHDAV5GHVOYSZZVQB4/PROUT-1899-93%2C6-flute-highregister-upperlimit-C7.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 93 [Note: The note C7, which is the upper limit of the flute's high register.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634585623510-0VOQTL9I0B0D4B2GVJB5/PROUT-1899-103-ex86-flute-middlevoice-counterpoint-violins-octave-doubling-mendelssohn.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 103 [Note: An example from Mendelssohn's "Italian" Symphony (No. 4) demonstrating the use of two flutes as middle voices, providing a contrapuntal harmonic support to a melody doubled in octaves between the violin sections.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634585476301-2FWK8AUC9WJL9T70RQAO/PROUT-1899-102%2C1-ex84-flute-staccato-strings-pizzicato-auber.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 102 [Note: (2/2) An example from Auber's "Fra Diavolo" demonstrating the combination of staccato flutes and pizzicato strings. The two flute lines alternate between movement in parallel thirds and sixths.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631738210124-M76NPQ053OS57FWGLBLC/PROUT-1899-94%2C3-ex76-flute-trills-avoid.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 94 [Note: An example showing the specific trills on the flute that Prout suggests "should be avoided."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631737365223-U5UZ51G6WE70F8U0TA7O/PROUT-1899-92-flute-wooden-illustration.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 92 [Note: An example showing the appearance of the wooden flute.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634585390995-GBG90LSXKL8DKCHKECHO/PROUT-1899-101%2C2-ex84-flute-staccato-strings-pizzicato-auber.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 101 [Note: (1/2) An example from Auber's "Fra Diavolo" demonstrating the combination of staccato flutes and pizzicato strings. The two flute lines alternate between movement in parallel thirds and sixths.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634585894968-TF1DP34WVRDDICYI6IFK/PROUT-1899-107-piccolo-range-notated-sounding.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 107 [Note: An example showing the range of the piccolo, as notated an octave below sounding pitch, and at sounding pitch.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634586228140-A8ATMCP5W7IZCGAUT6TN/PROUT-1899-109-ex89-piccolo-melody-rhythms-four-horns-auber.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 109 [Note: An example from Auber's "La Muette de Portici" demonstrating a piccolo melody containing a variety of rhythms. The close voicing of the middle harmonies for four horns produces a quality Prout describes as "richness."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634585861670-1MH47MVVWH31XMHM2TIS/PROUT-1899-106%2C2-flute-Eb-transposing-B4.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 106 [Note: The note B4. This is the note that would have to be fingered on a transposing flute in Eb in order to produce a concert pitch of D5.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634585820936-T5N8RL588GMG7CPVMWMH/PROUT-1899-106%2C1-flute-Db-transposing-Db5.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 106 [Note: The note Db5. This is the note that would have to be fingered on a transposing flute in Db in order to produce a concert pitch of D5.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631737993344-OHJKJGT86WC0E3JIYBUJ/PROUT-1899-94%2C1-flute-boehm-illustration.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 94 [Note: An example showing the appearance of the "Boehm" model flute.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631738264658-MSQZHYUCX0OZQF88QF34/PROUT-1899-95-ex77-flute-double-tounging-strings-pizzicato-raff.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 94 [Note: An example from Raff's Symphony No. 3 demonstrating the use of double tounging in a fast passage for flutes with repeated notes. In this example, strings accompany with pizzicato.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631737600213-6LXM9QOYE0ZWNU2IMG00/PROUT-1899-93%2C3-flute-middleregister-lowerlimit-D5.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 93 [Note: The note D5, which is the lower limit of the flute's middle register.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634586354004-DMSDFE3BLFAQOQIKKW2S/PROUT-1899-110%2C2-ex91-piccolo-piano-echo-strings-pianississimo-dvorak.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 110 [Note: An example from Auber's "Le cheval de Bronze" demonstrating a melody in the clarinet doubled two octaves above by the piccolo. This produces an effect Prout terms "piquant." The strings provide a simple accompaniment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631738915904-K6BN606EVHPZ5KNSA0HE/PROUT-1899-96-ex78-flute-low-middle-register-melody-pizzicato-accompaniment-auber.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 96 [Note: (1/2) An example from Auber's "L'Enfant Prodigue" demonstrating a dolce melody in the low and middle registers of the flute. This example highlights the quality of this register Prout describes as "sweet" and "slightly reedy." The violins and violas provide a soft and sparse pizzicato accompaniment that doesn't overpower the flute.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631740324471-A26Y671OQQVD9NUMHSQB/PROUT-1899-100%2C1-ex81-flute-florid-melody-scales-arpeggios-cherubini.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 100 [Note: (2/2) An example from Cherubini's "Médée" demonstrating the kind of fast flute passage Prout describes as "florid," containing many scales and arpeggios. The string accompaniment is soft and sparse, and the cellos and double basses play pizzicato.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634585739322-UVTR0GTXI1RTYMEJRNHX/PROUT-1899-104-ex87-flute-three-accompaniment-voice-octave-doubling-verdi.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 104 [Note: An example from Verdi's Requiem demonstrating the use of three flutes to accompany solo voices. The melody is doubled at the octave between the solo soprano and mezzo-soprano singers.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631737910979-DN9D2Z795KNP3J6CR1J2/PROUT-1899-93%2C5-flute-highregister-lowerlimit-D6.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 93 [Note: The note D6, which is the lower limit of the flute's high register.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631740167332-38FWNGFPA90K8YRMIFNZ/PROUT-1899-99%2C1-ex80-flute-middleregister-melody-gluck.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 99 [Note: (2/2) An example from Gluck's "Alceste" demonstrating a simple flute melody in the middle register. The texture of the accompaniment is comprised of sustained oboe and horn notes, pizzicato first violins, cellos, and double basses, and an arpeggiated figure doubled at the unison by second violins and violas.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631740257755-RC9FEQZXGS5IKK63KXV5/PROUT-1899-99%2C2-ex81-flute-florid-melody-scales-arpeggios-cherubini.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 99 [Note: (1/2) An example from Cherubini's "Médée" demonstrating the kind of fast flute passage Prout describes as "florid," containing many scales and arpeggios. The string accompaniment is soft and sparse, and the cellos and double basses play pizzicato.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1631740092488-JYJV0BN2SYIP06S2LAUL/PROUT-1899-98-ex80-flute-middleregister-melody-gluck.png Treatises | Figures - Prout | Chapter VI | Figures - Make it stand out Prout, 1899 (vol.I), p. 98 [Note: (1/2) An example from Gluck's "Alceste" demonstrating a simple flute melody in the middle register. The texture of the accompaniment is comprised of sustained oboe and horn notes, pizzicato first violins, cellos, and double basses, and an arpeggiated figure doubled at the unison by second violins and violas.] https://timbreandorchestration.org/treatises/figures/prout/volume-1/chapter-v monthly 0.5 2024-01-11 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634742504098-2ILURI9N8GZQH2J3OQQA/PROUT-1899-88%2C3-mandolin-strings-tuning.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 88 [Note: An example showing the tuning of each string on the Neapolitan mandolin.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634699328567-IQ61CDEQQ1ODAH0WVWBU/PROUT-1899-80%2C1-ex64-harp-accompaniment-chords-arpeggios-spohr.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 80 [Note: (2/2) An example from Spohr's "Des Heilands letzte Stunden" or "Calvary" demonstrating a harp accompaniment to a melody in the solo horn, solo violin, and solo cello. The harp chords demonstrate a distribution of notes that creates a close voicing and never uses more than four fingers in each hand. In the third bar, the division of hands for the arpeggio is indicated in the notation.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634698964295-H636Y7ARELRAS8DL5GM3/PROUT-1899-76-ex62-harp-arpeggios-accompaniment-schumann.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 76 [Note: (1/3) An example from Schumann's "Scenes from Goethe's Faust" demonstrating a simple arpeggiated harp accompaniment to an oboe and voice melody. The arpeggiated harmonies are reinforces by muted violins and violas, and the bass notes are doubled in lower octaves by pizzicato cellos and basses.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634699085078-OCX41NYDZHYFHRRU83PV/PROUT-1899-78%2C1-ex62-harp-arpeggios-accompaniment-schumann.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 78 [Note: (3/3) An example from Schumann's "Scenes from Goethe's Faust" demonstrating a simple arpeggiated harp accompaniment to an oboe and voice melody. The arpeggiated harmonies are reinforces by muted violins and violas, and the bass notes are doubled in lower octaves by pizzicato cellos and basses.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634742337306-PW8UAGJVLMEINJY2P3H1/PROUT-1899-87%2C1-ex71-guitar-accompaniment-soprano-melody-weber.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 867[Note: An example from Weber's "Oberon" demonstrating a simple guitar accompaniment to a solo soprano melody.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634738413659-7MOODVHLMZO88EVJ54Q6/PROUT-1899-82%2C3-harp-tuning-chords-diminished-sevenths.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 82 [Note: An example showing the three fully diminished seventh chords that can be produced on the harp by tuning some pairs of strings as enharmonic equivalents (previous example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634742439152-0PS2QWZFB4TZ9S0PI9BB/PROUT-1899-88%2C1-ex72-guitar-voice-melody-strings-accompaniment-auber.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 88 [Note: (2/2) An example from Auber's "Le Duc d'Olonne" demonstrating a vocal melody doubled by the guitar at the sixth with an embellished line. The string accompaniment is light and pianissimo so as not to overpower the guitar.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634698640440-63JM33G1LUOVCGD633R4/PROUT-1899-73-harp-range-Cb1-Fb7.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 73 [Note: The notes Cb1 and Fb7, which represent the limits of the harp range.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634700745266-5FZ8KTOR9GYLK1XMUTRF/PROUT-1899-81%2C1-harp-harmonics-range-Bb2-D5.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 81 [Note: The notes Bb2 and D5. This is the range within which Prout recommends writing harmonics for the harp.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634699420655-XCMBM4FI6PH4GS8XNVXG/PROUT-1899-80%2C2-ex65-harp-chords-pizzicato-strings-mendelssohn.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 80 [Note: An example from Mendelssohn's "Oedipus at Colonus" demonstrating the combination of pizzicato strings and harp chords.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634738825370-4BH44X1UH94YA0BRZRZT/PROUT-1899-86%2C2-guitar-strings-tuning-soundingpitch.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 86 [Note: An example showing the tuning of each string on the guitar, at sounding pitch in bass clef. In practice, guitar music is notated an octave above sounding pitch and in treble clef (next example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634698842664-BUBRPI91TMBT941V5V1L/PROUT-1899-74-ex60-harp-enharmonic-equivalence-flat-keys-prout.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 74 [Note: An example from Prout's "Alfred" demonstrating a situation in which it is advantageous to write the harp part in an enharmonically equivalent key to the rest of the orchestra. In this example, the movement is in F-sharp major but the harp part is notated in G-flat major. The reason for this is that flatter keys require less shortening of the harp strings, producing a better sonority.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634699273580-9E5AL3WQCJFQK64NGAT6/PROUT-1899-79%2C2-ex64-harp-accompaniment-chords-arpeggios-spohr.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 79 [Note: (1/2)An example from Spohr's "Des Heilands letzte Stunden" or "Calvary" demonstrating a harp accompaniment to a melody in the solo horn, solo violin, and solo cello. The harp chords demonstrate a distribution of notes that creates a close voicing and never uses more than four fingers in each hand. In the third bar, the division of hands for the arpeggio is indicated in the notation.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634700896495-OSXASTSCD1IDGGZMJCH8/PROUT-1899-81%2C3-harp-harmonics-notation-sounding-boieldieu.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 81 [Note: An example from Boieldieu's "La Dame Blanche" demonstrating a passage in harmonics on the harp. This example shows the resulting sounding pitches produced by the harmonics, not the notation used (previous example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634700821933-13MGA95A6T6CJC5ZTHYI/PROUT-1899-81%2C2-harp-harmonics-notation-boieldieu.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 81 [Note: An example from Boieldieu's "La Dame Blanche" demonstrating a passage in harmonics on the harp. This example shows the notational practice of notating a "o" over the string to be played, rather than the sounding pitches produced (next example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634738396204-KF9V6EJ6M4YI5MVOYHFJ/PROUT-1899-82%2C2-harp-tuning-chords-diminished-sevenths.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 82 [Note: An example showing the tuning of each string of the harp necessary to produce the three fully diminished seventh chords (next example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634742539789-X4L2JFDPEOFM9D1EOF30/PROUT-1899-89-ex73-mandolin-harp-doubling-pizzicato-accompaniment-handel.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 89 [Note: An example from Handel's "Alexander Balus" demonstrating unison doubling between harp and mandolin. They are accompanied by divisi cellos and double basses playing pizzicato.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634738594315-VXFAI1CTPQY5LJOIOVL7/PROUT-1899-84-ex69-harp-chords-rolled-accompaniment-octave-doubling-meyerbeer.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 84 [Note: An example from Meyerbeer's "Le Prophète" demonstrating a passage for voice accompanied by two harps and timpani. The harps play full rolled chords, and the second harp doubles the first an octave below.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634738486448-27NZX9FQ6I25K7U5BZKD/PROUT-1899-83%2C1-ex68-harp-chords-diminished-sevenths-enharmonic-liszt.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 83 [Note: An example from Liszt's "Dante" Symphony demonstrating a passage in a harp cadenza that uses pairs of enharmonically equivalent notes to tune to a fully diminished seventh chord. The chord cycles through several octaves, at dynamics ranging from pianissimo to fortissimo. The notation in this excerpt indicates the enharmonic equivalence explicitely, but this type of passage is often written with one note name per pair for simplicity (next example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634699045484-4UJN2IZ94REZ4MLNGNZA/PROUT-1899-77-ex62-harp-arpeggios-accompaniment-schumann.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 77 [Note: (2/3) An example from Schumann's "Scenes from Goethe's Faust" demonstrating a simple arpeggiated harp accompaniment to an oboe and voice melody. The arpeggiated harmonies are reinforces by muted violins and violas, and the bass notes are doubled in lower octaves by pizzicato cellos and basses.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634738678617-NCP4QZZ6UKTBOPATXBCP/PROUT-1899-85-ex70-harp-accompaniment-cello-divisi-rossini.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 85 [Note: An example from Rossini's "The Siege of Corinth" demonstrating a cello melody accompanied by two harps. The cello section is divided into two parts, and the harp accompaniment includes both chords and arpeggios.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634742291500-RE8J5FM6J4H90I1VKJ4D/PROUT-1899-86%2C3-guitar-strings-tuning-notated.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 86 [Note: An example showing the tuning of each string on the guitar, with the notation used in practice: an octave above sounding pitch, in treble clef.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634738349648-V5O7WNTKIEKRNR45A9SZ/PROUT-1899-82%2C1-ex67-harp-synonyms-enharmonic-equivalence.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 82 [Note: An example showing all the notes on the harp that can be played as two differently named, enharmonically equivalent notes. Prout also refers to these pair as "synonyms" or "homophones."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634742377956-XXL7DIF45H5G8FLNBUMH/PROUT-1899-87%2C2-ex72-guitar-voice-melody-strings-accompaniment-auber.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 87 [Note: (1/2) An example from Auber's "Le Duc d'Olonne" demonstrating a vocal melody doubled by the guitar at the sixth with an embellished line. The string accompaniment is light and pianissimo so as not to overpower the guitar.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634742572702-U05LWDE3UG330XS403Y7/PROUT-1899-90-ex74-mandolin-pizzicato-violins-low-strings-arco-paisiello.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 90 [Note: An example from Paisiello's "Il Bariere di Siviglia" demonstrating the combination of mandolin with pizzicato first and second violins. Violas, cellos, and double basses play the same arco bassline, doubled in two octaves. The clarinets follow a simplified version of the mandolin melody, helping to sustain the harmony.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634742479991-YZ2TPABPZXKLOV0VB5KA/PROUT-1899-88%2C2-mandolin-illustration.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 88 [Note: An illustration showing the appearance of the Neapolitan mandolin.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634700931742-34NYFTDPXV9J5JUAPXIZ/PROUT-1899-81%2C4-ex66-harp-harmonics-two-harps-dynamics-pppp-berlioz.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 81 [Note: An example from the "Ballet des Sylphes" of Belioz's "Damnation de Faust" demonstrating the use of harmonics with two harps. In this example, the harp harmonics are accompanied by a D pedal in the cello and double bass, interjections in the timpani, and clarinets in the last chord. All instruments play "pppp," or as softly as possible.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634738524280-NM2O1YF0NDLYT1BI6BIW/PROUT-1899-83%2C2-ex68%282%29-harp-chords-diminished-sevenths-enharmonic-liszt.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 83 [Note: An example showing a simplified notation for a passage from a harp cadenza in Liszt's "Dante" Symphony. The passage uses pairs of enharmonically equivalent notes to tune to a fully diminished seventh chord, and the original notation indicates the enharmonic equivalence explicitely (previous example). This example shows only one note per pair, to reflect the actual pitches produced.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634699163389-EPGFY2KIG33B0JYBYIMB/PROUT-1899-78%2C2-ex63-harp-arpeggios-interjections-division-auber.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 78 [Note: (1/2)An example from Auber's "Le Cheval de Bronze" demonstrating a passage with arpeggiated harp interjections. In this example, the division of the arpeggios between the two hands is not notated, and is left to the discretion of the performer.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634738788023-LOHJURO9K6GASRQCB6I2/PROUT-1899-86%2C1-guitar-illustration.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 86 [Note: An illustration showing the appearance of the guitar.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634698907672-4MFS2NJQFKZ4QG7NRIFO/PROUT-1899-75-ex61-harp-pedal-changes-unplayable-wagner.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 75 [Note: An example from the final scene of Wagner's "Die Walküre" demonstrating "how NOT to write for the harp." The necessity of changing two or three pedals on every beat makes this passage nearly unplayable, and according to Prout, "absolutely antagonistic to the nature of the instrument."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634699239303-1OR790ZHK8B2FL46P6VC/PROUT-1899-79%2C1-ex63-harp-arpeggios-interjections-division-auber.png Treatises | Figures - Prout | Chapter V | Figures - Make it stand out Prout, 1899 (vol.I), p. 79 [Note: (2/2)An example from Auber's "Le Cheval de Bronze" demonstrating a passage with arpeggiated harp interjections. In this example, the division of the arpeggios between the two hands is not notated, and is left to the discretion of the performer.] https://timbreandorchestration.org/treatises/figures/prout/volume-1/chapter-xi monthly 0.5 2024-01-11 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634680537875-SNBWCOU0FP6F8YJCTU2K/PROUT-1899-253%2C2-bassdrum-notation-one-line-staff.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 253 [Note: An example from Meyerbeer's "Les Huguenots" demonstrating a method of notating bass drum parts on a one-line staff. The original notation of this example is shown in Ex. 169.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634680648284-7HV3VQXLC1FB6D8JCA4S/PROUT-1899-255-ex199-bassdrum-metric-marking-pianissimo.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 255 [Note: An example from Mendelssohn's "Die erste Walpurgisnacht" demonstrating a pianissimo bass drum part that marks the first beat of each bar.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634680483892-I2EW8YJESFN6TOH008UM/PROUT-1899-253%2C1-bassdrum-notation-staff-percussion-clef.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 253 [Note: An example from Auber's "Marco Spada" demonstrating a method of notating bass drum parts on a five-line staff with a percussion clef.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634677997866-U6382QGP8PD5UBWE2D06/PROUT-1899-246%2C2-ex190-timpani-solo-roll-bach.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 246 [Note: An example from the opening of Bach's "Christmas Oratorio" demonstrating the use of the timpani in a solo role.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634680766190-QAJR43R76KNPOI4HCYHT/PROUT-1899-257%2C2-ex201-bells-bassline-alto-strings-hoffmann.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 257 [Note: (1/2)An example from Hoffmann's Cantata "Schlage doch, gewünschte Stunde" demonstrating an early orchestral use of bells in the context of an alto aria with string accompaniment. The bells are tuned to the tonic and dominant of the key, and take the role of the bassline in the second half of this excerpt. Editor: This work was wrongly attributed to J.S. Bach as BWV 53, and is now known to have been written by Georg Melchior Hoffmann around 1730.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634681002814-LXFU030FRUBA5H9JR5WD/PROUT-1899-259%2C1-ex202-bells-solo-strings-metric-marking-auber.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 259 [Note: (2/2) An example from Auber's "Le Philtre" demonstrating a passage for strings and bell in the context of a stage work. The bell begins unaccompanied and continues marking the first beat of each bar after the entrance of the pianissimo strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634677884308-ZNDMKWU9ILVWRGAST43T/PROUT-1899-245%2C1-ex189-timpani-bassline-key-notation-mozart.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 245 [Note: An example from Mozart's "La clemenza di Tito" demonstrating a passage for two trumpets and timpani. The altered notes in the timpani part are indicated in the instrument name but not in the key signature or as accidentals. The timpani part provides a bassline for the trumpets using very idiomatic figures.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634681382254-RRCJ84C5BXVIP2XNOM0M/PROUT-1899-265-cymbals-bassdrum-condensed-notation-one-staff.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 265 [Note: An example showing a method of notating cymbal and bass drum parts on a single staff with different stem directions.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634680954271-SVEHLY0YH70R5G6Y2GHT/PROUT-1899-258%2C3-ex202-bells-solo-strings-metric-marking-auber.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 258 [Note: (1/2) An example from Auber's "Le Philtre" demonstrating a passage for strings and bell in the context of a stage work. The bell begins unaccompanied and continues marking the first beat of each bar after the entrance of the pianissimo strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634677931026-PQ9Z1UR8E6AK571CQYG9/PROUT-1899-245%2C2-timpani-roll-tremolo-notation.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 245 [Note: An example showing the notation of a roll, or tremolo, on the timpani using fast repeated notes.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634680568917-G67PYWZD72C7F8FOUXOZ/PROUT-1899-253%2C3-ex197-bassdrum-sticks-accents-notation.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 253 [Note: An example from Mozart's "Die Entführung aus dem Serail" demonstrating a method of writing for bass drum in which two different sizes of drumsticks are used. The down-stemmed notes indicate the use of the larger stick, and these notes are naturally accented.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634680841123-2ZSNWBQG74R3S8LECMX4/PROUT-1899-258%2C1-ex201-bells-bassline-alto-strings-hoffmann.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 258 [Note: (2/2)An example from Hoffmann's Cantata "Schlage doch, gewünschte Stunde" demonstrating an early orchestral use of bells in the context of an alto aria with string accompaniment. The bells are tuned to the tonic and dominant of the key, and take the role of the bassline in the second half of this excerpt. Editor: This work was wrongly attributed to J.S. Bach as BWV 53, and is now known to have been written by Georg Melchior Hoffmann around 1730.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634678254653-QOBIN3KNM3TT2RR39Q3P/PROUT-1899-247%2C2-ex191-timpani-horns-trombone-bizet.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 247 [Note: An example from Bizet's "Carmen" demonstrating the addition of timpani to a horn and trombone texture.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634680605447-7BOBR7FEK40CKR8TD4RX/PROUT-1899-254-ex198-bassdrum-metric-marking-ensemble-unison-gluck.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 254 [Note: An example from Gluck's "Iphigénie en Aulide" demonstrating the use of the bass drum to accentuate the first beat of each bar. The rest of the orchestra and the choir have the same unison melody in different octaves.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634681236373-PF63CGAE5SZF215BPRPA/PROUT-1899-262%2C2-ex204-triangle-solo-pizzicato-strings-liszt.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 262 [Note: An example from Liszt's Piano Concerto No. 1 demonstrating an unaccompanied triangle solo in dialogue with pizzicato strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634678465539-M966QOZE80X198KYZQYM/PROUT-1899-251%2C2-ex195-timpani-three-notes-fortissimo-tutti-prout.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 251 [Note: An example from Prout's Symphony No. 3 demonstrating the use of three notes on the timpani. This example features unaccompanied fortissimo timpani interjections between sections for the orchestral tutti. Editor: This engraving is missing C sharps in the bottom staff of bars 1 and 2.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634681341941-HI6AKW2MA3S3NVIOELOB/PROUT-1899-264-ex205-triangle-tutti-flute-clarinet-violin-doubling-auber.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 264 [Note: (2/2) An example from Auber's "Le cheval de bronze" demonstrating the use of the triangle in an orchestral tutti texture. The flute melody is doubled an octave below by one clarinet and first violins. The rest of the winds and strings accompany with long sustained notes and pizzicato arpeggiations.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634678411133-PUTOY3YFV4GYMW0JNGWR/PROUT-1899-251%2C1-ex194-timpani-three-notes-cello-pizzicato-doubling-spohr.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 251 [Note: An example from the Scherzo of Spohr's "Historical Symphony" (No. 6) demonstrating the use of three notes on the timpani. This example begins with unaccompanied timpani, and it is later doubled at the unison by pizzicato cellos.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634677508574-87052T7067750SLAT7R8/PROUT-1899-243-timpani-illustration.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 243 [Note: An example showing the appearance of the timpani, or "kettle-drums."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634681432211-FPWTEP0JXDST1W80X7NF/PROUT-1899-266-ex206-percussion-section-fortissimo-spontini.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 266 [Note: An example from Act 2 of Spontini's "Fernand Cortez" demonstrating the use of several percussion instruments in a fortissimo passage. The snare drum plays without the snare engaged, and the cymbals are dampend, or "étouffés."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634677631254-UUKO9EDGVKH1C6T8F07M/PROUT-1899-244%2C1-timpani-large-range.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 244 [Note: The notes F2 and C3, which are the typical limits of the range of a large timpani.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634678082774-SDORXHU9RZZ0JVZ37M3Z/PROUT-1899-247%2C1-timpani-solo-unaccompanied-beethoven.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 247 [Note: An example from the Scherzo of Beethoven's Symphony No. 9 demonstrating a short, unaccompanied motive for the timpani.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634678358195-3QBUYUU78AN325F35VS3/PROUT-1899-249-ex193-timpani-rhythms-marcato-tuba-section-wagner.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 249 [Note: An example from Wagner's "Die Walküre" demonstrating a marcato and strongly rhythmic timpani passage on one note. It is interspersed with sections for five tubas (tenor, bass, and contrabass) and low strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634680704142-W801FSXZMHOD2RNGOP53/PROUT-1899-257%2C1-ex200-tambourine-percussion-winds-horns-weber.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 257 [Note: An example from Weber's "Preciosa" demonstrating the use of tambourine in conjunction with triangle and snare drum. These instruments form the percussion accompaniment to a texture of clarinets, bassoons, and horns.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634681145371-7RGHJGU2F8A7186DUZ77/PROUT-1899-261-ex203-glockenspiel-piccolo-doubling-strings-col-legno-trumpet-mutes-wagner.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 261 [Note: (2/2) An example from Wagner's "Die Meistersinger" demonstrating unison doubling between piccolo and glockenspiel, and octave doubling between those instruments and oboe, and between oboe and clarinet. The string section chords on each beat are played "col legno," with the wooden part of the bow. The trumpet plays forte, marcato, and with a mute to imitate the sound of a toy trumpet.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634677801778-ZKY926315S5USFEIRGQO/PROUT-1899-244%2C4-timpani-transposing-notation.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 244 [Note: An example showing an archaic method of notating the timpani as a transposing instrument. In this example, the notated C and G are played as D and A as indicated in the instrument name.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634677847432-BF3IPTMW8V40VGRXU5Q6/PROUT-1899-244%2C5-timpani-transposing-notation-octave-choice.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 244 [Note: An example showing the two ways a timpani player might choose to realize a timpani part written "in F, C" as a transposing instrument. This example demonstrates the ambiguity that became one of the shortcomings of this system of timpani notation.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634681063629-7VAPZ07GJKHFSATDBBZV/PROUT-1899-259%2C2-glockenspiel-range-C4-D6.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 259 [Note: The notes C4 and D6, which are the approximate limits of the typical glockenspiel range. Sounding pitch is an octave above notated.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634681097229-E9K1FUJG3A05WX8TEBD3/PROUT-1899-260-ex203-glockenspiel-piccolo-doubling-strings-col-legno-trumpet-mutes-wagner.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 260 [Note: (1/2) An example from Wagner's "Die Meistersinger" demonstrating unison doubling between piccolo and glockenspiel, and octave doubling between those instruments and oboe, and between oboe and clarinet. The string section chords on each beat are played "col legno," with the wooden part of the bow. The trumpet plays forte, marcato, and with a mute to imitate the sound of a toy trumpet.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634680436169-XZBM2F49YEUAPDZVH1M2/PROUT-1899-252-ex196-timpani-two-sets-chords-rolls-berlioz.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 252 [Note: An example from Berlioz's "Symphonie Fantastique" demonstrating the use of two sets of timpani with two players on each set. This excerpt uses rolled timpani chords to represent distant thunder.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634677678694-TFEJF08S16HCZMNOMHVU/PROUT-1899-244%2C2-timpani-small-range.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 244 [Note: The notes Bb2 and F3, which are the typical limits of the range of a small timpani. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634681196600-9T8PB2LLOA09AGEIEJ4U/PROUT-1899-262%2C1-triangle-tremolo-notation.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 262 [Note: An example showing the two ways of notating tremolo on the triangle - either as repeated notes or as a trill.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634678307582-VYIBDTW90X62VQPPSCUE/PROUT-1899-248-ex192-timpani-bassline-winds-horns-schubert.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 248 [Note: An example from the Scherzo of Schubert's "Great C Major" Symphony (No. 9) demonstrating the use of the timpani as the bass voice in a wind and horn texture. Editor: The treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634677964856-B2K5WA2BD9SPOVQHONPV/PROUT-1899-246%2C1-timpani-roll-tremolo-notation-trill.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 246 [Note: An example showing the notation of a roll, or tremolo, on the timpani using the trill symbol.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634677711330-IGKTFHV7LFIBDF2P6BV8/PROUT-1899-244%2C3-timpani-range-octave-choice.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 244 [Note: An example showing the range that would generally be chosen by timpani players in practice, even if the second example is technically possible.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634681281170-UFX8TFNL42J6ECJ3UFSW/PROUT-1899-263-ex205-triangle-tutti-flute-clarinet-violin-doubling-auber.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 263 [Note: (1/2) An example from Auber's "Le cheval de bronze" demonstrating the use of the triangle in an orchestral tutti texture. The flute melody is doubled an octave below by one clarinet and first violins. The rest of the winds and strings accompany with long sustained notes and pizzicato arpeggiations.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634680912365-A0KEYFYWPKA4VZG3GA77/PROUT-1899-258%2C2-ex201%282%29-bells-bassline-notation-soundingpitch-hoffmann.png Treatises | Figures - Prout | Chapter XI | Figures - Make it stand out Prout, 1899 (vol.I), p. 258 [Note: (2/2)An example from Hoffmann's Cantata "Schlage doch, gewünschte Stunde" (previous example) showing the likely sounding pitch intended for the bells.Editor: This work was wrongly attributed to J.S. Bach as BWV 53, and is now known to have been written by Georg Melchior Hoffmann around 1730.] https://timbreandorchestration.org/treatises/figures/prout/volume-1/chapter-x monthly 0.5 2024-01-11 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634676276441-1X7JBJXPMXPA69ZA7EHQ/PROUT-1899-237-ex185-tuba-basstrombone-octave-doubling-strings-dvorak.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 237 [Note: An example from Dvořák's Symphony No. 6 demonstrating octave doubling between bass trombone and tuba. They provide a pedal bassline for the contrapuntal string texture. Editor: The treatise identifies this work as "1st Symphony," but it is now known as No. 6.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675587270-BU0ONMHAGOHI8ROBCYMA/PROUT-1899-227%2C1-ex177-trombone-section-unaccompanied-schubert.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 227 [Note: An example from Schubert's "Des Teufels Lustschloss" demonstrating a passage for three trombones without accompaniment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634668939188-RR134CMHIW9M9SR5XFMI/PROUT-1899-215-cornet-illustration.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 215 [Note: An example showing the appearance of the cornet, or "cornet-à-pistons."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634668980939-TLWA79ZGXVM00YXC070K/PROUT-1899-216-ex169-cornet-melody-brass-percussion-accompaniment-meyerbeer.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 216 [Note: An example from Meyerbeer's "Les Huguenots" demonstrating a solo cornet melody accompanied by other brass instruments of different tone qualities, and percussion. The four horns are "crooked" in three different keys, because this passage was originally intended for natural horns.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675098055-P5OL0WEDO7EQO8LKZBTN/PROUT-1899-222-ex174-trombone-tenor-slide-positions-harmonic-series.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 222 [Note: An example showing the playable notes for each slide position on the tenor trombone, which follow the harmonic series.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634676411565-SSL7G5EN7B1NAHWK8WNZ/PROUT-1899-238%2C2-ex187-tuba-trombones-fourpart-harmony-brass-timpani-schumann.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 238 [Note: An example from Schumann's "Der Königssohn" demonstrating the use of four-part harmony for trombones and tuba within the larger context of a brass and timpani texture.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634668797191-0SPIFWQQQB2V713S83MA/PROUT-1899-214%2C1-cornet-natural-scale-harmonic-series-Bb3.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 214 [Note: An example showing the first 8 notes (except 7) of the harmonic series based on the fundamental note Bb3. These notes form the "natural scale" of the cornet.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675922888-DVIEJ7IVN0NSY2L6ARZY/PROUT-1899-231-ex181-trombone-sustained-pianissimo-spontini.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 231 [Note: An example from Spontini's "La Vestale" demonstrating sustained pianissimo chords for three trombones in the context of a mezzo-soprano aria. This contributes to the character Prout describes as "mystery and terror."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634676065812-LO6ABV70QS9E0AIDPFC6/PROUT-1899-234-trombone-contrabass-range-lowerlimit-E1.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 234 [Note: The note E1, which is the lowest note possible on the rare contrabass trombone.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675135095-NH6OOIDHC0WMWJEQF2K0/PROUT-1899-223%2C1-ex175-trombone-slide-positions-fast-tempo-agility.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 223 [Note: An example demonstrating a figure that would be difficult at a fast tempo on the trombone. The numerals above the staff show the many changes of slide position. This same passage an octave above is much easier (next example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675370443-7UK814Y9XLC1G3LLZAEH/PROUT-1899-224%2C3-trombone-bass-G-range-C%232-G4.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 224 [Note: The notes C#2 and G4, which are the limits of the range of the bass trombone in G.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675632189-MY3UKXO9JBLZ71GVXDBP/PROUT-1899-227%2C2-ex178-trombone-brass-harmony-tenor-chorus-spohr.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 227 [Note: (1/2) An example from Spohr's "Jessonda" demonstrating the use of trombones in a full brass harmony texture to accompany a tenor chorus. Prout explains the effectiveness of this combination by saying that the "rich and sonoruous tone [of the trombones] blends admirably with that of the horns and trumpets."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634674591635-NLZ83DLSFDBL9T2T8UQ9/PROUT-1899-217-ex170-cornet-melody-brass-percussion-strings-accompaniment-gounod.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 217 [Note: An example from the Kermesse Scene of Gounod's "Faust" demonstrating a solo cornet melody. It is accompanied by strings, horns, trombone and snare drum in such a way that is, according to Prout, "so clear as to need no comment.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675335469-A76HG8Y4VV6PORGTKHC2/PROUT-1899-224%2C2-trombone-alto-range-upperlimit-Eb5.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 224 [Note: The note Eb5, which is the upper limit of the alto trombone range.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634676542151-9UNQXWCLZVOZ9I5Z50N0/PROUT-1899-241-ex188-ophicleide-tone-quality-fortissimo-tutti-mendelssohn.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 241 [Note: (2/2) An example from Mendelssohn's "Midsummer Night's Dream" Overture demonstrating the prominence of the ophicleide's tone quality in a loud orchestral tutti.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675675826-BC5G5YK98AJUBRGA66GX/PROUT-1899-228%2C1-ex178-trombone-brass-harmony-tenor-chorus-spohr.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 228 [Note: (2/2) An example from Spohr's "Jessonda" demonstrating the use of trombones in a full brass harmony texture to accompany a tenor chorus. Prout explains the effectiveness of this combination by saying that the "rich and sonoruous tone [of the trombones] blends admirably with that of the horns and trumpets."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634676329418-XDW0C9X5EPM5I3QBBDNO/PROUT-1899-238%2C1-ex186-tuba-trombones-fourpart-harmony-soft-tchaikovsky.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 238 [Note: An example from Tchaikovsky's "Pathétique" Symphony (No. 6) demonstrating a passage in four-part harmony for trombones and tuba. This example also features the use of extremely soft dynamics, going as low as "ppppp."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634676498989-B7HDESWIRCQ9N874R0QI/PROUT-1899-240%2C2-ex188-ophicleide-tone-quality-fortissimo-tutti-mendelssohn.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 240 [Note: (1/2) An example from Mendelssohn's "Midsummer Night's Dream" Overture demonstrating the prominence of the ophicleide's tone quality in a loud orchestral tutti.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634674635764-FX72NEW0NXTK1LHE9YPN/PROUT-1899-218%2C1-ex171-cornet-sustained-melody-meyerbeer.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 218 [Note: An example from Meyerbeer's "Les Huguenots" demonstrating a sustained cornet melody accompanied by low winds, brass, and strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634674975413-IBZ2C3TAZJAP87KY8QRW/PROUT-1899-220-ex173-cornetto-melody-brass-texture-bach.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 220 [Note: (2/2) An example from Bach's motet/cantata "O Jesu Christ, meins Lebens Licht" (No. 118) demonstrating the use of the cornetto as a melodic instrument in combination with trombones and horns. The "litui" was an archaic Roman brass instrument that didn't exist in Bach's time, and those parts were likely intended for horns.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675467431-7L2LOFMNIZKPY7MXK7K7/PROUT-1899-225-trombone-soprano-range-E3-Bb5.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 225 [Note: The notes E3 and Bb5, which are the limits of the soprano trombone range.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634676457268-37H8XHT6342METGOO9NW/PROUT-1899-240%2C1-ophicleide-range-B1-C5.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 240 [Note: The notes B1 and C5, which are the limits of the range of the ophicleide in C.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675014336-KB23XGYT0MEFJF8G3W7G/PROUT-1899-221%2C1-trombone-illustration.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 221 [Note: An example showing the appearance of the trombone.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675439903-RTJLZEL6TL59ITRHIM36/PROUT-1899-224%2C6-trombone-bass-Eb-range-A1-Eb4.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 224 [Note: The notes A1 and Eb4, which are the limits of the range of the bass trombone in Eb.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675817965-OI9152RAZ2WHUT1SLCCZ/PROUT-1899-229%2C2-ex180-trombone-section-unison-accompaniment-contrasts-schubert.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 229 [Note: (1/2) An example from Schubert's "Great C Major" Symphony (No. 9) demonstrating a passage in which the three trombones play in unison. The accompaniment features pizzicato imitation between first violins and double basses, and many "contrasts of colour" in the wind chords. Editor: The treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634659889975-JEJBVUXI9BPJ9CLSIHXN/PROUT-1899-213-brass-natural-scale-harmonic-series.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 213 [Note: An example showing the first 8 notes (except 7) of the harmonic series that forms the "natural scale" of most brass instruments except trumpet and horn.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634668906483-QE531KQZYOMH82FZHAPJ/PROUT-1899-214%2C2-cornet-range-F%233-C6.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 214 [Note: The notes F#3 and C6, which are the limits of the cornet range.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675237883-V6J66O4M26WR2SWM73D4/PROUT-1899-223%2C3-trombone-slide-positions-fast-tempo-arpeggios.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 223 [Note: An example demonstrating an arpeggiated figure that can be played at a fast tempo on the trombone using only one slide position. This is one of the few kinds of rapid figures that are idiomatic to the instrument.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675419436-84TK0KQEJDL7L1DRN49Y/PROUT-1899-224%2C5-trombone-bass-F-range-upperlimit-F4.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 224 [Note: The note F4, which is the upper limit of the range of the bass trombone in F.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634676160749-87U3GC8Q9RFZP1V0KZDW/PROUT-1899-235%2C2-euphonium-range-Bb1-F4.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 235 [Note: The notes Bb1 and F4, which are the limits of the typical orchestral range of the euphonium.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634674923091-3F7G75RMNMUTXS6B4MF9/PROUT-1899-219%2C2-ex173-cornetto-melody-brass-texture-bach.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 219 [Note: (1/2) An example from Bach's motet/cantata "O Jesu Christ, meins Lebens Licht" (No. 118) demonstrating the use of the cornetto as a melodic instrument in combination with trombones and horns. The "litui" was an archaic Roman brass instrument that didn't exist in Bach's time, and those parts were likely intended for horns.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634676222648-OZXQXNI7LMIM0PH16NKP/PROUT-1899-236-ex184-tuba-basstrombone-octave-doubling-bassline-prout.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 236 [Note: An example from Prout's "The Red Cross Knight" demonstrating octave doubling between bass trombone and tuba. They provide the bassline of the brass section texture that accompanies a solo baritone voice.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634676095018-IYRWMT12C0D5KM4SCLL4/PROUT-1899-235%2C1-tuba-illustration.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 235 [Note: An example showing the appearance of the tuba.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634676603407-7B3YFGQYNFQY76FJMGUC/PROUT-1899-242-bass-horn-range-Bb1-G4.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 242 [Note: The notes Bb1 and G4, which are the limits of the bass horn range.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634674758525-29X2DMGTX5I991JV7WI4/PROUT-1899-218%2C2-ex172-cornet-melody-full-brass-texture-meyerbeer.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 218 [Note: (1/2) An example from Meyerbeer's "L'Africaine" demonstrating a full brass texture with the cornet in a melodic role.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675994465-V628P6KDJNAESFDFHOS7/PROUT-1899-233-ex183-trombone-chords-piano-sustained-english-horn-bassoon-doubling-wagner.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 233 [Note: An example from Wagner's "Tristan und Isolde" demonstrating the use of sustained piano and pianissimo chords for three trombones to accompany a melody doubled in unison between english horn and bassoon.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675966878-2QZ31CIC19JDNNXX7G58/PROUT-1899-232-ex182-trombone-staccato-pianissimo-strings-pizzicato-auber.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 232 [Note: An example from Auber's "Gustave III" demonstrating staccato and pianissimo chords for three trombones in combination with string pizzicato chords. Sustained wind chords complete the accompaniment to solo vocal lines.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675714738-NQQJVOJZSXI3SL8N4D9I/PROUT-1899-228%2C2-ex179-trombone-accompaniment-pianissimo-strings-octave-doubling-schubert.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 228 [Note: (1/2) An example from the first Entr'acte of Schubert's "Rosamunde" demonstrating a sustained trombone accompaniment with dynamics ranging from pianissimo to forte. The violin melody is played in unison by both violin sections and doubled an octave below by violas and cellos.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634674892819-3A6GS6Q2S8L3USNY8FXD/PROUT-1899-219%2C1-ex172-cornet-melody-full-brass-texture-meyerbeer.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 219 [Note: (2/2) An example from Meyerbeer's "L'Africaine" demonstrating a full brass texture with the cornet in a melodic role.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675067790-EZMRNR6V6QY307ICOA97/PROUT-1899-221%2C2-trombone-tenor-slide-closed-harmonic-series.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 221 [Note: An example showing the harmonic series of the tenor trombone when the slide is closed.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675295984-783OKQ4NFFF7VYN6GTRM/PROUT-1899-224%2C1-trombone-alto-range-lowerlimit-A2.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 224 [Note: The note A2, which is the lower limit of the alto trombone range.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675562499-ML50E4XPKKV2V23N90CQ/PROUT-1899-226-ex176-trombone-section-ophicleide-voicing-one-staff-rossini.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 226 [Note: An example from Rossini's "The Siege of Corinth" demonstrating a passage for three tenor trombones and ophicleide. This example shows close voicing of the three trombones and the use of a single staff in the score for all four instruments.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675207906-68KGLE2H41XVX12L46WO/PROUT-1899-223%2C2-ex175%282%29-trombone-slide-positions-fast-tempo-agility.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 223 [Note: An example demonstrating a figure that would not be very difficult at a fast tempo on the trombone. The numerals above the staff show the few and close changes of slide position. This same passage an octave lower is much more difficult (previous example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675765045-J6O1AX5QN1U0VG6S77UP/PROUT-1899-229%2C1-ex179-trombone-accompaniment-pianissimo-strings-octave-doubling-schubert.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 229 [Note: (2/2) An example from the first Entr'acte of Schubert's "Rosamunde" demonstrating a sustained trombone accompaniment with dynamics ranging from pianissimo to forte. The violin melody is played in unison by both violin sections and doubled an octave below by violas and cellos.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675263902-R9TQGUHGMP6RVLDGJJI0/PROUT-1899-223%2C4-trombone-chromatic-range-E2-Bb4.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 223 [Note: The notes E2 and Bb4, which are the limits of the range within which all chromatic notes are possible on the tenor trombone. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675390201-TQ41FFAD7G0JTL4TUF89/PROUT-1899-224%2C4-trombone-bass-F-range-lowerlimit-B1.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 224 [Note: The note B1, which is the lower limit of the range of the bass trombone in F.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634676193768-E16SVYBWVHNAODKJDL21/PROUT-1899-235%2C3-tuba-contrabass-range-wagner-D1.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 235 [Note: The note D1, which is the lowest note used by Wagner on the contrabass tuba, or "bombardon in Bb."] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634675872962-1JFRVOMPBQDPTNP0HVDS/PROUT-1899-230-ex180-trombone-section-unison-accompaniment-contrasts-schubert.png Treatises | Figures - Prout | Chapter X | Figures - Make it stand out Prout, 1899 (vol.I), p. 230 [Note: (2/2) An example from Schubert's "Great C Major" Symphony (No. 9) demonstrating a passage in which the three trombones play in unison. The accompaniment features pizzicato imitation between first violins and double basses, and many "contrasts of colour" in the wind chords. Editor: The treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.] https://timbreandorchestration.org/treatises/figures/vincent-figures monthly 0.5 2024-01-11 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222655117-B4ETCMEAXM09WEMRCM2O/VINCENT-1897-44%2C2-viola-strings-tuning.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 44 [Notes: An example showing the tuning of each string on the viola in alto clef.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222823431-EC9YT43PLJK93KZ110Q5/VINCENT-1897-46%2C2-doublebass-4-string-tuning.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 46 [Notes: An example showing the tuning of each string on the four-string double bass.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222435982-XZMRZBUAB8MKJQ36Q89V/VINCENT-1897-42%2C2-violin-chords-triple-quadruple-stops.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 42 [Notes: An example showing a collection of chords that are possible on the violin using three or four strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222174197-16TRUXW1NLY99NXUJMZE/VINCENT-1897-40%2C1-violin-strings-tuning.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 40 [Notes: An example showing the tuning of each string on the violin.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222796400-8123HLLXI6RANILI1HAS/VINCENT-1897-46%2C1-doublebass-3-string-tuning.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 46 [Notes: An example showing the tuning of strings on the older three-string double bass.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222198663-616PLCF40ZRQODBJWFF4/VINCENT-1897-40%2C2-violin-strings-range-G3.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 40 [Notes: The note G3, which is the tuning of the lowest string and the lowest playable note on the violin.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222721098-QOJSSK0UFBT7EB2ZODQR/VINCENT-1897-45%2C2-cello-strings-range-C2.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 45 [Notes: The note C2, which is the tuning of the lowest string and the lowest playable note on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222481206-GMB2SFTPAUZWJ3AVMGNT/VINCENT-1897-42%2C3-violin-chords-arpeggios-bowings.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 42 [Notes: An example showing a pattern and bowing that can be used to arpeggiate chords on the violin.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222547429-XZNQRT2U2VOOAIXEANO1/VINCENT-1897-43%2C1-violin-bowings-fingerings-tremolo.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 43 [Notes: An example showing the notation for two forms of tremolo on the violin or other string instruments.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222358891-UARYG8GQ1GH3RQG32FLV/VINCENT-1897-42%2C1-violin-doublestops.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 42 [Notes: An example showing a collection of double stops that are possible on the violin.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222297445-1O658NDBJEGAA0KRD7HR/VINCENT-1897-41%2C2-violin-strings-doublestops-D4.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 41 [Notes: The note D4. If both notes of a double stop are lower than this note, it is impossible on the violin.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222229690-GEOFYVZTLH19CR72EWB5/VINCENT-1897-40%2C3-violin-range-upperlimit-A6.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 40 [Notes: The note A6, which is recommended by Vincent as a safe upper limit for the range of the violin in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222254495-38L2DI0X9TXYDRZV0PN2/VINCENT-1897-41%2C1-violin-strings-firstposition-fingerings.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 41 [Notes: An example showing the fingerings on each note of the violin in first position. This example also demonstrates that the notes of the three highest open strings can be played on the string directly below it using the fourth finger in first position.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222693021-Y9HORBOCAC0ZEJJ9P1UO/VINCENT-1897-45%2C1-cello-strings-tuning.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 45 [Notes: An example showing the tuning of each string on the cello in bass clef.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222605370-LYE9NAVUDZNCEXLSXYLT/VINCENT-1897-44%2C1-viola-range-C3-G5.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 44 [Notes: The notes C3 and G5. These represent respectively the lowest possible note on the viola and Vincent's suggested upper limit for the viola range.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222761555-9Y3JPYHZRL1W0A6Y3L4V/VINCENT-1897-45%2C3-cello-range-upperlimit-A4.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 45 [Notes: The note A4. This is Vincent's suggested upper limit for the range of the cello in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222853466-PPBUHXJFKN8HU1I73Y7H/VINCENT-1897-46%2C3-doublebass-strings-range-E1.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 46 [Notes: The note E1, which is the tuning of the lowest string and the lowest playable note on the four-string double bass. Sounding pitch is an octave below notated.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222319273-OGHD20YMS89UOPDNXVUA/VINCENT-1897-41%2C3-violin-doublestops-F5.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 41 [Notes: The note F5. Vincent advises against writing double stops on the violin in which both the notes involved are above this note.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222586903-3YXQW66NAF19JHYMMJRB/VINCENT-1897-43%2C2-violin-naturalharmonics-A5.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 43 [Notes: The note A5. This example shows the notation for a natural harmonic, which for this note on the violin is played by lightly touching the A string at the same place that note would sound if fully stopped.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622222878710-ORZA8LFDU86A91EIJAW2/VINCENT-1897-46%2C4-doublebass-range-upperlimit-G3.png Treatises | Figures - Vincent | Figures - Make it stand out Vincent, 1897, p. 46 [Notes: The note G3. This is Vincent's suggested upper limit for the range of the double bass in an orchestral context. Sounding pitch is an octave below notated.] https://timbreandorchestration.org/treatises/figures/widor monthly 0.5 2024-01-11 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217698057-ZJ5WN42K5OUX7FNP7NNO/WIDOR-1906-180%2C4-cello-chords-dominantsevenths.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play dominant seventh chords as triple stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217755328-DIEGXQGBLGQV6HOL5L3M/WIDOR-1906-180%2C7-cello-chords-quadruplestops.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 180 [Notes: (1/2) A series of examples showing the patterns and ranges used to play different types of chords as quadruple stops on the cello: triads, their first and second inversions, augmented fifths, their first inversions, dominant sevenths, minor-minor sevenths, and dominant ninths.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217930514-64QLN5I34CPRZJ77WVHB/WIDOR-1906-183%2C1-cello-bassline-strings-pianissimo-sulponticello-tremolo-wagner.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 183 [Notes: An example from Wagner's "Meistersinger" demonstrating a pianissimo string texture without double bass. In this example, the cello is the bass voice, and the string parts are played "sul ponticello" and tremolo.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217636947-VPJI6JZ5FBL7NA602AKE/WIDOR-1906-180%2C1-cello-chords-augmentedfifths-firstinversion.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play first inversion augmented fifth chords as triple stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217171863-0J4KJJ6QLH61P8K9U1DL/WIDOR-1906-177%2C6-violin-pizzicato-descending-arpeggio.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 177 [Notes: An example showing the descending version of an arpeggiated pizzicato figure which is impossible to play on the violin in this direction but idiomatic in the ascending form (previous example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217559715-XXM8T7QOIS8AQ3VBX6M6/WIDOR-1906-179%2C7-cello-chords-augmentedfifths.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 179 [Notes: An example showing the pattern and range used to play augmented fifth chords as triple stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217652943-SIQH1ZFMBY2OWUXTTDI6/WIDOR-1906-180%2C2-cello-chords-diminished-triads.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play diminished triads as triple stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217218021-CNMDR0OD9SANS07O9SMH/WIDOR-1906-178%2C1-cello-pizzicato-arpeggio-ascending-descending.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 178 [Notes: An example showing an arpeggiated pizzicato figure. On the cello, unlike on the violin, this figure is equally playable in both its ascending and descending forms.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217402766-1RBJK5THBV0XHCZQ5V1T/WIDOR-1906-179%2C1-cello-doublestops-fifths.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 179 [Notes: An example showing the range within which double stops of a perfect fifths are recommended for use on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217734757-W200E62SJHOS9K5GE6HL/WIDOR-1906-180%2C6-cello-chords-diminishedsevenths.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play diminished seventh chords as triple stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217961736-DD3K9TMD7QK0AH1B4JRA/WIDOR-1906-183%2C2-cello-bassline-harmonics-borodin.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 183 [Notes: An example from Borodin's Symphony No. 3 demonstrating a soft string texture without double bass. In this example, the cello supplies the bass note with a high A harmonic.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217290054-XVJEOTOC6HBMGA6C04HT/WIDOR-1906-178%2C3-cello-doublestops-thirds.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 178 [Notes: A series of examples showing some of the thirds that are possible on each string of the cello as double stops.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622216945969-WF6VTXFCOG1FNRPV2P53/WIDOR-1906-176%2C1-cello-fingerings-B4.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 176 [Notes: The note B4. This is the highest note on the cello for which the regular fingering method is used. Above this note, thumb positions are typically employed.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217781767-94COQ2YJEN0CL61ONSRK/WIDOR-1906-181%2C1-cello-chords-quadruplestops.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 181 [Notes: (contined 2/2) A series of examples showing the patterns and ranges used to play different types of chords as quadruple stops on the cello: triads, their first and second inversions, augmented fifths, their first inversions, dominant sevenths, minor-minor sevenths, and dominant ninths.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217826184-ZI62NPUP2HERIZ6I618V/WIDOR-1906-181%2C3-cello-strings-naturalharmonics.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 181 [Notes: An example showing the natural harmonics available on each string of the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217879153-5OFJUJDMT1I6PQ9SP3L7/WIDOR-1906-182%2C2-cello-harmonics-C4-A5.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 182 [Notes: An example showing that on the cello, any note from Middle C (C4) to A5 is possible as a harmonic.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622216866569-ZHT24SD4HOEBZNPBQMEC/WIDOR-1906-175%2C2-cello-solo-range-concerto-widor.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 175 [Notes: An example from Widor's Cello Concerto demonstrating the possibility of writing solo cello lines much higher than the recommended upper limit for orchestral writing, in this case up to an E6.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217114359-1DYYWWSQCCDD5C49UN33/WIDOR-1906-177%2C4-cello-pizzicato-upperlimit-openAstring.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 177 [Notes: An example demonstrating a pizzicato figure on the cello that alternates between the open A string and the octave above. The higher A (A4) is around Widor's suggested upper limit for pizzicato on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217608114-25T37YPMRZ6GP5TL23SK/WIDOR-1906-179%2C8-cello-chords-diminishedfifths.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 179 [Notes: An example showing the pattern and range used to play major chords with diminished fifths as triple stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217369833-GRZFGJ6SOPVFTWIFF2FW/WIDOR-1906-178%2C5-cello-doublestops-fourths.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 178 [Notes: An example showing perfect and augmented fourths that are possible on the cello as double stops.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217470426-5UJGM7ZRCP3555XC0ZW7/WIDOR-1906-179%2C4-cello-chords-major-minor-triads.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 179 [Notes: An example showing the pattern and range used to play major and minor triads as triple stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217419770-GRR41QGL9M6EGCI4RHZZ/WIDOR-1906-179%2C2-cello-doublestops-sixths.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 179 [Notes: An example showing the range within which double stops of a major or minor sixth are recommended for use on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217501027-F2ICANN91V4E35XY9ZVS/WIDOR-1906-179%2C5-cello-chords-triads-firstinversion.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 179 [Notes: An example showing the pattern and range used to play first inversion triads as triple stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217066759-1TQDQ56NKSQY0ZWBNJKJ/WIDOR-1906-177%2C2-viola-fingerings-positions-perfectfourth.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 177 [Notes: An example showing a perfect fourth in first position on the C string of the viola. This is the largest interval possible within one hand position on a single string of the viola.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217089318-X631T9Y05NC1MY6VBNPR/WIDOR-1906-177%2C3-cello-fingerings-positions-majorthird.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 177 [Notes: An example showing major thirds in first position on the C and D strings of the cello. This is the largest interval possible within one hand position on a single string of the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217002270-LM4K86G4TP6BJWUDKL3L/WIDOR-1906-176%2C3-cello-Gstring-tonequality.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 176 [Notes: An example showing four notes on the G string of the cello which, according to Widor, are invariably "bad," with a "rough, harsh, incongruous, and uncertain" tone.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622216840546-ZBXEKA5A5PXH93BU1HA6/WIDOR-1906-175%2C1-cello-range-C2-E5.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 175 [Notes: The notes C2 and E5. These are respectively the lowest note possible on the cello, and the highest note recommended by Widor for use in an orchestral context.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217674595-O6QLEJKS9MDKIYY6QLFV/WIDOR-1906-180%2C3-cello-chords-diminished-triads-firstinversion.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play diminished triads in first inversion as triple stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217804258-1OUS2NL626Z5S6GIIPR0/WIDOR-1906-181%2C2-cello-bowings-chords-upbow.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 181 [Notes: An example showing a bowing figure idiomatic to the cello whereby an up-bow is used to move from a lower string to a strong chord on several higher strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217440310-ZAK8EYCDJMH24OLPD8AO/WIDOR-1906-179%2C3-cello-doublestops-sevenths.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 179 [Notes: An example showing the range within which double stops of a minor seventh are possible on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217531503-44TVR151CY39J11J84AJ/WIDOR-1906-179%2C6-cello-chords-triads-secondinversion.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 179 [Notes: An example showing the pattern and range used to play second inversion triads as triple stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217025524-3GG8KS3ZK1AFW4UIIH55/WIDOR-1906-177%2C1-violin-fingerings-positions-augmentedfourth.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 177 [Notes: An example showing an augmented fourth in third position on the G string of the violin. This is the largest interval possible within one hand position on a single string of the violin.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622216889236-GF5QRJD5YP7KCDOZHMLV/WIDOR-1906-175%2C3-cello-fingerings-C2-A4.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 175 [Notes: The notes C2 and A4. Within this range, each semitone is assigned a separate finger on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622216964781-RMW1WYA8E0U4ID8UHNMP/WIDOR-1906-176%2C2-cello-fingerings-thumbposition-octaves.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 176 [Notes: An example showing the notation for octaves using thumb position on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217711885-1OI3YQKMI15SYOL16SDS/WIDOR-1906-180%2C5-cello-chords-leadingsevenths-root-secondinversion.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 180 [Notes: An example showing the pattern and range used to play root position and second inversion "leading seventh" or minor-minor seventh chords as triple stops on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217859536-PNVPPZS5XXUQKH2JB9KF/WIDOR-1906-182%2C1-cello-artificialharmonics-range.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 182 [Notes: An example showing the range within which artificial harmonics are recommended for practical use on the cello.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217241162-XAE4L3IXA0UNMTYD00QM/WIDOR-1906-178%2C2-cello-doublestops-seconds-openstrings.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 178 [Notes: An example showing several double stop intervals of a second that include open strings.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217338736-1ALR1ZDXJ7EHMG6NVBRA/WIDOR-1906-178%2C4-cello-doublestops-thirds-fortissimo.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 178 [Notes: An example showing thirds that are possible on the cello as double stops, but that are difficult in an orchestral context. Widor recommends that they be used only in fortissimo passages.] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622217132397-5DTXZ9MLVT74X3FO7P16/WIDOR-1906-177%2C5-violin-pizzicato-ascending-arpeggio.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 177 [Notes: An example showing the ascending version of an arpeggiated pizzicato figure which is idiomatic to the violin in this direction but impossible to play in the descending form (following example).] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622216929899-QSV7EV1TGR7DL9HI5YGE/WIDOR-1906-175%2C4-cello-chromaticfingerings.png Treatises | Figures - Widor | Figures - Make it stand out Widor, 1906, p. 175 [Notes: An example showing cello fingerings for chromatic scales in first position.] https://timbreandorchestration.org/treatises/figures/category/Fidler monthly 0.5 https://timbreandorchestration.org/treatises/figures/tag/Compass+Charts monthly 0.5 https://timbreandorchestration.org/treatises/figures/tag/Ben%27s+Unique+Tag monthly 0.5 https://timbreandorchestration.org/treatises/figures/tag/Figures monthly 0.5 https://timbreandorchestration.org/profiles daily 0.75 2024-06-26 https://timbreandorchestration.org/profiles/carmine-cella monthly 0.5 2024-06-26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3e0cbca9-8e16-487f-b575-4fe052736541/Carmine_CellaKiev_2017.jpg Profiles - Cella, Carmine-Emanuele - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/profiles/jonas-regnier monthly 0.5 2024-06-26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/bf42bdf1-e02d-4404-80b7-570b70a3f9b8/JonasRegnier_Headshot.jpg Profiles - Regnier, Jonas - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/profiles/anqi-liu monthly 0.5 2024-06-26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/eee42353-9fc3-4387-9069-c6b9d1a002ae/AnqiLiu_Headshot.JPG Profiles - Liu, Anqi - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/profiles/charles-eric-fontaine monthly 0.5 2024-06-26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3f936cc0-b54d-481c-a1ba-a5c58644e4e3/Charles-EricFontaine_Headshot.jpg Profiles - Fontaine, Charles-Eric - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/profiles/jack-adler-mckean monthly 0.5 2024-06-26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1a5858fa-791c-434c-9d6b-e5c980e2b2ed/Jack+AdlerMcKean.jpeg Profiles - Adler-McKean, Jack - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/profiles/david-cutler monthly 0.5 2022-09-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8e8b4191-1c35-4fd3-89fa-d4982cb74a00/cutler_david255.jpeg Profiles - Cutler, David - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/profiles/don-freund monthly 0.5 2024-03-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c03ab87e-07c9-4cff-99c8-ce92cb9f683f/Don_Freund_476779_actual.jpeg Profiles - Freund, Don - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/profiles/jeanne-cote monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e472c529-438a-46d8-8a4d-f7ef4c3bc3fc/Jeanne+crop.jpg Profiles - Côté, Jeanne Jeanne Côté is a violinist based in Montreal. She is a founding member of Quatuor Andara. The string quartet was in residence for the 21st century program at Banff Centre in 2019 and is currently in residence at Université de Montréal. She co-founded Apprentis de la Musique Improvisée an organisation that gives improvisation workshops for kids. https://timbreandorchestration.org/profiles/iab/roger-dannenberg monthly 0.5 2022-10-26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2ce4446e-4dcd-42dc-a011-ada93119757d/Dannenberg_Roger_800x800-min.jpeg Profiles - Dannenberg, Roger - Roger Dannenberg Photo credit: Maarit Kytöharju https://timbreandorchestration.org/profiles/iab/jonathan-darlington monthly 0.5 2022-10-26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8b6f478f-efaf-4333-a05b-9b474435d1c2/Michael-Lidvac.jpeg Profiles - Darlington, Jonathan - Jonathan Darlington Photo credit: Maarit Kytöharju https://timbreandorchestration.org/profiles/martha-de-francisco monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dcfa8a9f-3dcf-49f1-b15b-0c731d983e34/marttha_220x220.png Profiles - de Francisco, Martha - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/profiles/pedram-diba monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/89c777f4-46d2-4e05-9997-0f01d15f1eed/Head+Shot.jpg Profiles - Diba, Pedram Pedram Diba (b.1993) is an Iranian-American composer of acoustic and mixed music. Since 2019 Diba has been an active member of the Analysis Creation and Teaching of Orchestration (ACTOR) Project. Diba earned his master's degree in composition at McGill University where he studied with Philippe Leroux. Previously he completed a bachelor's degree in composition at the University of Oregon, where he studied with Robert Kyr and David Crumb. Diba's music is published by Babel Scores. https://timbreandorchestration.org/profiles/ben-duinker monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d30e68a5-72fa-4ccf-93dc-5278354881cb/ben_duinker_architek28.jpeg Profiles - Duinker, Ben - Ben Duinker Ben Duinker is a music theorist, percussionist, educator, and choral singer. He began post-secondary studies in Civil Engineering but switched to music full time at age 21. Duinker holds a PhD in Music Theory and a MMus in Percussion Performance from McGill University and is currently a postdoc with the ACTOR (Analysis, Creation, and Teaching of Orchestration) Project. He also performs and tours with the Montreal-based quartet Architek Percussion. https://timbreandorchestration.org/profiles/florian-grond monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/62c4f03b-968f-4339-a8c9-17dd283c1ba6/portrait_FlorianGrond.jpg Profiles - Grond, Florian Dr. Florian Grond is an interdisciplinary artist and scholar with a special interest in the intersections of sound art, disability and participatory design. He developed in collaboration with Dr. Piet Devos the concept of sonic boundary objects as an ethnographic form of inquiry and qualitative data collection. https://timbreandorchestration.org/profiles/andres-gutierrez-martinez monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5062231f-8487-4617-9e9c-dd719f4b7051/Andres+G.jpeg Profiles - Gutierrez Martinez, Andres - Andres Gutierrez Martinez Born in Guanajuato, Mexico in 1984. Andrés Gutiérrez is a composer as well as an electronic music performer. His music has been performed by international ensembles such as Divertimento Ensemble, Neue Vokalsolisten Stuttgart, Schallfeld Ensemble, Platypus Ensemble, Ensemble Intercontemporain, Low Frequency Trio, and Line upon Line Percussion in Mexico, Europe, The US, and South Corea, in festivals and Workshops such as Festival Internacional Cervantino, Foro Internacional de Música Nueva Manuel Enríquez, Voix Nouvelles in Royaumont, Impuls Festival and Academy, International Summer Courses at Darmstadt, ManiFeste, Encontre International de Compositors, and Daegu Festival for Contemporary Music. He’s a founding member of Schallfeld, an ensemble devoted to the performance of contemporary music in Graz. https://timbreandorchestration.org/profiles/robert-hasegawa monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619201152684-6FJ0OO0SKD07V9JO3L4F/image-asset.png Profiles - Hasegawa, Robert https://timbreandorchestration.org/profiles/heng-lena monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/16463b79-2243-4b52-895e-95449dd2d13c/IMG_2168_Original-1.jpg Profiles - Heng, Lena - Lena Heng Lena HENG is an interdisciplinary PhD candidate in the Music Perception and Cognition Lab at McGill University Canada, under the supervision of Prof. Stephen McAdams. With a background in both psychology and music from Singapore, their research interests centre around timbre perception, musical meanings, and musical communication. They are especially interested in how prior experiences and knowledge shape the listening experience and understanding of music, and how shared understanding as well as divergent interpretations emerge. This interest began with introspection into their own listening processes and thinking about how their own experience and expertise with classical music and the Chinese music traditions contribute to their understanding of music. Being a performer also ignited their desire in understanding how various aspects of a sound can bring about or highlight certain facets of the music and communicate content to a listener. Lena’s research has dealt with how timbre functions in the communication of affective intentions, and listeners’ continuous perception of affective intentions over the course of a piece of music. They have looked at how listeners with different musical backgrounds respond differently in perceiving musical affect. In addition, they have also worked on analyses of music, focusing predominantly on aural analyses and on performer and listener’s interpretations of music. They are passionate about encouraging an openness to different ways of listening and greatly enjoy talking and writing about Chinese music. While acknowledging that this is but one musical tradition amongst the many around the world, they do hope that this will spark curiosity, and new ways of thinking about and listening to music. https://timbreandorchestration.org/profiles/peter-ko monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b9d98748-d188-458f-9bd9-58ac347c620a/Peter.jpg Profiles - Ko, Peter Peter Ko, cello, has performed in projects across the USA, Mexico, Canada, and Europe. His collaborations with other renowned musical artists include, Mark Fewer, the Dover String Quartet, Steve Schick, Aleck Karis, and Duo Concertante. He has also been the cellist of the Integral String Quartet, performed with UCSD’s Palimpsest Ensemble, Renga, and the soundSCAPE music festival in Italy. https://timbreandorchestration.org/profiles/iab/carol-krumhansl monthly 0.5 2022-10-26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2636e972-fb97-4926-b5f3-b2e1cdb202cc/PhotoCLK.jpg Profiles - Krumhansl, Carol - Carol Krumhansl Photo credit: Maarit Kytöharju https://timbreandorchestration.org/profiles/viktor-lazarov monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dd2f8155-2f72-4ffb-b9e9-759bda6238c1/_DSF8462-Modifier-+WEB.jpg Profiles - Lazarov, Viktor - Make it stand out Viktor Lazarov, Ph.D. candidate, Faculty of Music, University of Montreal https://timbreandorchestration.org/profiles/iab/rebecca-leydon monthly 0.5 2022-10-26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b3ffb4bc-d80f-4133-8090-91740a19a8ae/Rebecca+Leydon%2C+IAB2.jpeg Profiles - Leydon, Rebecca - Rebecca Leydon Photo credit: Maarit Kytöharju https://timbreandorchestration.org/profiles/andre-martins-de-oliveira monthly 0.5 2022-09-07 https://timbreandorchestration.org/profiles/stephen-mcadams monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619201147356-BQWDCN5YHTMYSYYXWVEW/image-asset.jpeg Profiles - McAdams, Stephen https://timbreandorchestration.org/profiles/nestorova-theodora monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9d5b5c0e-6df2-498d-81fa-89e7f8fe639b/Theodora+Nestorova+Headshot+1-min.jpg Profiles - Nestorova, Theodora - Theodora Nestorova Bulgarian-British-American soprano, researcher, and teacher Theodora Ivanova Nestorova loves creating multidisciplinary and cross-cultural musical connections. A vocalist and scholar of diverse interests, Theodora conducts research on Vibrato Variability as well as Slavic Lyric Diction & Repertoire, while working as a voice pedagogue. Theodora is currently pursuing an Interdisciplinary Ph.D. at McGill University’s Schulich School of Music and is a former Fulbright Study/Research Grant Recipient to Vienna, Austria, studying MA Lied/Oratorio at the Universität für Musik und darstellende Kunst Wien and voice science/vocology. Theodora received a MM (Vocal Pedagogy & Music-in-Education Concentration) from the New England Conservatory and a BM (Voice Performance/Musicology) from Oberlin College & Conservatory. Theodora has served as ACTOR's Knowledge Mobilization Committee Student Representative for 2021-22, and is involved in ACTOR's voice workgroup, including several research projects on the "Timbre Semantics of the Singing Voice" and "A Voice in the Orchestration". She also presented research on "Timbre Perceptions of Vocal Vibrato" at ACTOR's Y4 Workshop in Calgary in 2022. For more, visit: theodoranestorova.com https://timbreandorchestration.org/profiles/jason-noble monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619201124676-MCRH0CEU3HPJNX13V08Y/image-asset.jpeg Profiles - Noble, Jason https://timbreandorchestration.org/profiles/lindsey-reymore monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619201159545-CUDQB3DT720CCE1NRZZ9/image-asset.jpeg Profiles - Reymore, Lindsey https://timbreandorchestration.org/profiles/iab/kaija-saariaho monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1662488773779-MB63CMVZAQX8UAS4HDG4/Screen+Shot+2022-01-11+at+5.07.27+PM.png Profiles - Saariaho, Kaija - Kaija Saariaho Photo credit: Maarit Kytöharju https://timbreandorchestration.org/profiles/berk-schneider monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9969dc01-3e2e-466a-9610-74e4d02ab3e0/Berk.jpg Profiles - Schneider, Berk Berk Schneider, trombone, is an avid contemporary musician. He has performed with Schauspiel Frankfurt, Ensemble Zeitfuss, and Ensemble Modern in the Cresc Biennale Frankfurt, Klangspuren Festival Schwaz, the Kurt Weill Festival, Playsonic Festival, Hessischer Rundfunk radio broadcasts, and other international projects. https://timbreandorchestration.org/profiles/kit-soden monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619201168537-L50VZDQA361LPLCWOG6B/image-asset.jpeg Profiles - Soden, Kit Dr. Kit Soden https://timbreandorchestration.org/profiles/sang-song monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/00b4e51e-f377-420d-99d1-9fbd00a467c5/Sang+SONG.jpg Profiles - Song, Sang Sang Song is a Korean-born composer whose music has been performed by Ensemble Musikfabrik (Germany), Argento Chamber Ensemble (USA), Ensemble Mise-En (USA), Ensemble Platypus (Austria), and Ensemble Reconsil (Austria), and Ensemble TIMF (Korea), among others. One of the recipients of the prestigious 2021 Fromm Commission, Sang is currently a Ph.D. candidate at UC San Diego under the guidance of Professor Roger Reynolds. https://timbreandorchestration.org/profiles/wang-mengqi monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/10102bc5-5296-47de-81f5-e62985bc8b89/image0-1.jpeg Profiles - Wang, Mengqi - WANG Mengqi WANG Mengqi obtained her first doctorate degree in musicology in the summer of 2022 at Shanghai Conservatory of Music, with her thesis “A Study on Three contemporary French-speaking Operas”. Currently, she is continuing her doctoral study at the University of Strasbourg under the supervision of Prof. Pierre Michel. Her main research interests include contemporary French-speaking operas, feminism and music, and cross-cultural studies. https://timbreandorchestration.org/profiles/shahrokh-yadegari monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e111d08e-6d9c-4bd6-a029-bda4d9cd5224/shahrokh_yadegari.jpeg Profiles - Yadegari, Shahrokh - Website: http://www.yadegari.org/ https://timbreandorchestration.org/profiles/matt-zeller monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619201163576-LCFXMGB5NFGPXCJL1JL6/image-asset.jpeg Profiles - Zeller, Matt https://timbreandorchestration.org/profiles/tiange-zhou monthly 0.5 2022-09-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7fc5ee95-3120-4044-bada-466d8572f673/Tiange.jpg Profiles - Zhou, Tiange Tiange Zhou is a Chinese-born composer, photographer, designer, and improvisational dancer. She is interested in interactive audiovisual art and other integrated art forms. Her music has been performed by the Mivos Quartet, I.C.E., S.E.M. 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Pages - Orchestration and Re-Orchestration: A study of combinations and contrasts https://timbreandorchestration.org/tor/odessa/geneva-recordings daily 0.75 2024-07-09 https://timbreandorchestration.org/tor/odessa/geneva-recordings/subject-1/ex-27 monthly 0.5 2021-11-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1620871960722-Q62HGE4B0MK6GFWSSSSX/image-asset.png ODESSA Geneva Recordings - Subject 1, Ex. 27 Full Score https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1620871959646-KG1H89QJ5OIOY2UIXQ4J/image-asset.png ODESSA Geneva Recordings - Subject 1, Ex. 27 Orchestral Register https://timbreandorchestration.org/tor/odessa/geneva-recordings/subject-1/ex-26 monthly 0.5 2021-10-10 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1620871963802-14XS5TOZZJY63EUUELVI/image-asset.png ODESSA Geneva Recordings - Subject 1, Ex. 26 Orchestral Register 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https://timbreandorchestration.org/tor/odessa/geneva-recordings/category/Example+23 monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/category/Example+22 monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/category/Example+21 monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/category/Example+20 monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/category/Example+27 monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/category/Example+26 monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/category/Example+25 monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/category/Example+24 monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/category/Example+6 monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/category/Example+7 monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/category/Example+8 monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/category/Example+9 monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/tag/Tutti+Chords monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/tag/fff monthly 0.5 https://timbreandorchestration.org/tor/odessa/geneva-recordings/tag/Rimsky-Korsakov monthly 0.5 https://timbreandorchestration.org/tor/modules/core/ucsd daily 0.75 2024-05-30 https://timbreandorchestration.org/tor/modules/core/ucsd/round-1/report monthly 0.5 2022-01-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623724186922-K7TYX675IOG7HHCCDOK7/Screen+Shot+2021-06-14+at+10.29.21+PM.png CORE — UCSD - CORE — UCSD, Round 1 — Report - Score: Etude https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623722844223-JM3TKIWWBEPBBYF4NRIO/Screen+Shot+2021-06-14+at+10.06.54+PM.png CORE — UCSD - CORE — UCSD, Round 1 — Report - Score: Etude for Echoes https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623724049307-M5I4BZOT1M71W941HINY/Screen+Shot+2021-06-14+at+10.27.18+PM.png CORE — UCSD - CORE — UCSD, Round 1 — Report - Score: Stendhal Etudes https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623723825490-GVWAFKR10Z65T8JY9HLE/Screen+Shot+2021-06-14+at+10.23.35+PM.png CORE — UCSD - CORE — UCSD, Round 1 — Report - Score: Actor Project https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623724361013-27R57329S5C8OI6IBMHK/Screen+Shot+2021-06-14+at+10.32.09+PM.png CORE — UCSD - CORE — UCSD, Round 1 — Report - Score: Per mutare https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623719628581-GYZMU6OZUCA809SBJ49N/Screen+Shot+2021-06-14+at+9.07.57+PM.png CORE — UCSD - CORE — UCSD, Round 1 — Report - Score: timbre etude 1 Score: timbre etude 2 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https://timbreandorchestration.org/tor/modules/core/ucsd/round-1/syllabus monthly 0.5 2024-05-29 https://timbreandorchestration.org/tor/modules/core/ucsd/round-1/participants monthly 0.5 2022-01-12 https://timbreandorchestration.org/tor/modules/core/ucsd/round-1/final-scores monthly 0.5 2022-01-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623724186922-K7TYX675IOG7HHCCDOK7/Screen+Shot+2021-06-14+at+10.29.21+PM.png CORE — UCSD - Final Scores - Score: Etude https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623722844223-JM3TKIWWBEPBBYF4NRIO/Screen+Shot+2021-06-14+at+10.06.54+PM.png CORE — UCSD - Final Scores - Score: Etude for Echoes https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623724049307-M5I4BZOT1M71W941HINY/Screen+Shot+2021-06-14+at+10.27.18+PM.png CORE — UCSD - Final Scores - Score: Stendhal Etudes 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junctions https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623724417525-2N165A242Y5HZ1D9VYNT/Screen+Shot+2021-06-14+at+10.33.23+PM.png CORE — UCSD - Final Scores - Score: Scenarios https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623719484913-HYEF9IK6MA2Q20D0ODWD/Screen+Shot+2021-06-14+at+8.57.05+PM.png CORE — UCSD - Final Scores - Score: timbre etude https://timbreandorchestration.org/tor/modules/core/ucsd/round-1/recording-session monthly 0.5 2022-01-12 https://timbreandorchestration.org/tor/modules/core/ucsd/reports monthly 0.5 2022-01-12 https://timbreandorchestration.org/tor/modules/core/ucsd/round-1/questions monthly 0.5 2022-01-17 https://timbreandorchestration.org/tor/modules/core/ucsd/round-1/appendix-a monthly 0.5 2022-01-12 https://timbreandorchestration.org/tor/modules/core/ucsd/round-1/appendix-b monthly 0.5 2022-01-12 https://timbreandorchestration.org/tor/modules/core/ucsd/round-1/appendix-c monthly 0.5 2022-01-12 https://timbreandorchestration.org/tor/modules/core/ucsd/category/Syllabi monthly 0.5 https://timbreandorchestration.org/tor/modules/core/ucsd/category/UCSD monthly 0.5 https://timbreandorchestration.org/tor/modules/core/ucsd/category/round+1 monthly 0.5 https://timbreandorchestration.org/tor/modules/core/ucsd/tag/CORE+syllabi monthly 0.5 https://timbreandorchestration.org/tor/modules/core/ucsd/tag/Sidebar monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee daily 0.75 2023-11-10 https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/more-articulation-colors-vibrato/example-1 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632258501443-FIKH7NO2ZU5KGTW93537/Alto+flute+-+Articulation+Colors-+staccato1a+-+ISFEE_2.png ISFEE — Repository - Alto Flute: More Articulation Colors &amp; Vibrato — Ex. 1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632258500888-X7PD6XWU0PKTUQ0F0U5I/Alto+flute+-+Articulation+Colors-+staccato1b+-+ISFEE_2.png ISFEE — Repository - Alto Flute: More Articulation Colors &amp; Vibrato — Ex. 1 https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/more-articulation-colors-vibrato/example-2 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632258772389-ZCUNDC33AS702EL85UAS/Alto+flute+-+Articulation+Colors-+triple+tonguing+-+ISFEE_2.png ISFEE — Repository - Alto Flute: More Articulation Colors &amp; Vibrato — Ex. 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/more-articulation-colors-vibrato/example-3 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632258937364-BSAOUK2MQRRFMRN62DZO/Alto+flute+-+Articulation+Colors-+flutter-tonguing+-+ISFEE_2.png ISFEE — Repository - Alto Flute: More Articulation Colors &amp; Vibrato — Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/more-articulation-colors-vibrato/example-4 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632259111243-118HDRPLEQS5UFR8C4YY/Alto+flute+-+Articulation+Colors-+vibrato+-+ISFEE_2.png ISFEE — Repository - Alto Flute: More Articulation Colors &amp; Vibrato — Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/more-articulation-colors-vibrato/example-5 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632259279335-Y8RLBJLBJ97JJRBUMFI1/Alto+flute+-+Articulation+Colors-++pitch+bend+-+ISFEE_2.png ISFEE — Repository - Alto Flute: More Articulation Colors &amp; Vibrato — Ex. 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/passages-articulation-colors/example-1 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632256760936-9HZO0XO2C595HZUH3Y2X/Alto+flute+-+Passages+-+Articulation+Colors-+slurred+-+ISFEE_2.png ISFEE — Repository - Alto Flute: Passages &amp; Articulation Colors — Ex. 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/passages-articulation-colors/example-2 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632256992525-4XNJQLTDLKEFFFVX4Y8K/Alto+flute+-+Passages+-+Articulation+Colors-+slurred2+-+ISFEE_2.png ISFEE — Repository - Alto Flute: Passages &amp; Articulation Colors — Example 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/passages-articulation-colors/example-3 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632257179945-0R6WAD5FRON5W1ZBTS72/Alto+flute+-+Passages+-+Articulation+Colors-+slur-two-tongued-two++-+ISFEE_2.png ISFEE — Repository - Alto Flute: Passages &amp; Articulation Colors — Example 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/passages-articulation-colors/example-4 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632257419060-1D9VYMNQI4GAPLG75MBT/Alto+flute+-+Passages+-+Articulation+Colors-+single+tonguing+-+ISFEE_2.png ISFEE — Repository - Alto Flute: Passages &amp; Articulation Colors — Example 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/passages-articulation-colors/example-5 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632258154272-JFNF91IRO31603CSASVA/Alto+flute+-+Passages+-+Articulation+Colors-+double+tonguing+-+ISFEE_2.png ISFEE — Repository - Alto Flute: Passages &amp; Articulation Colors — Example 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/range-and-registers/example-1 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632024935399-J54W4E0KS7GI04OO0IVU/Alto+flute+-+Range+and+Registers+-+low+to+high+-+ISFEE.png ISFEE — Repository - Alto Flute: Range &amp; Registers — Example 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/range-and-registers/example-2 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632025362525-4K8L86845MQ3606CMCTO/Alto+flute+-+Range+and+Registers+-+low+range+-+ISFEE.png ISFEE — Repository - Alto Flute: Range &amp; Registers — Example 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/range-and-registers/example-3 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632025789103-KR2Q3EUKYGZH1JQRA9MZ/Alto+flute+-+Range+and+Registers+-+high+range+-+ISFEE.png ISFEE — Repository - Alto Flute: Range &amp; Registers — Example 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/register-colors/example-1 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632026366292-SMK6EWIUHK6Z2GFAVTJ8/Alto+flute+-+Register+colors+-+lowhrange+-+articulation+-+ISFEE.png ISFEE — Repository - Alto Flute: Register Colors — Example 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/register-colors/example-2 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632251437307-0MGUO9R5DNY4GQVE3JGF/Alto+flute+-+Register+colors+-+mid+range+-+articulation+-+ISFEE.png ISFEE — Repository - Alto Flute: Register Colors — Example 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/register-colors/example-3 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632255278448-UU32B1TB08THD7A7RSRF/Alto+flute+-+Register+colors+-+mid-high+range+-+articulation+-+ISFEE.png ISFEE — Repository - Alto Flute: Register Colors — Example 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/alto-flute/register-colors/example-4 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632255468671-8LQ5CN0DBZU4CVLPYH0Q/Alto+flute+-+Register+colors+-+high+range+-+articulation+-+ISFEE.png ISFEE — Repository - Alto Flute: Register Colors — Example 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/artificial-harmonics/example-1 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6432c9c0-afb6-4314-8a19-6fcf7dd735ea/Screen+Shot+2021-11-01+at+11.32.52+PM.png ISFEE — Repository - Cello: Artificial Harmonics — Ex. 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/artificial-harmonics/example-2 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/aae2bb78-d466-46bb-9562-27305db20483/Screen+Shot+2021-11-01+at+11.41.17+PM.png ISFEE — Repository - Cello: Artificial Harmonics — Ex. 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6ebc0e41-e2ba-4fcb-a48c-8bcb950f4316/Screen+Shot+2021-11-01+at+11.41.11+PM.png ISFEE — Repository - Cello: Artificial Harmonics — Ex. 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/artificial-harmonics/example-3 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/245ea9d3-d2dc-424c-98c9-36be4f6c7e05/Screen+Shot+2021-11-02+at+10.45.34+AM.png ISFEE — Repository - Cello: Artificial Harmonics — Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/bow-directions-speed-and-pressure/example-1 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/15eb4137-77a6-4103-a39a-6ba699b56a1c/Screen+Shot+2021-11-02+at+9.15.56+PM.png ISFEE — Repository - Cello: Bow Directions, Speed and Pressures — Ex. 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/bow-directions-speed-and-pressure/example-2 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/04a58ab7-d70b-43a7-838b-30ee397d0c4d/Screen+Shot+2021-11-02+at+9.27.59+PM.png ISFEE — Repository - Cello: Bow Directions, Speed and Pressures — Ex. 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/bow-directions-speed-and-pressure/example-3 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2f217977-d100-42af-af9c-6e54ec0532aa/Screen+Shot+2021-11-02+at+10.47.03+PM.png ISFEE — Repository - Cello: Bow Directions, Speed and Pressure — Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/bow-directions-speed-and-pressure/example-4 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5b645d8f-1e69-47f6-b09f-5b27480f9fe8/Screen+Shot+2021-11-02+at+11.09.41+PM.png ISFEE — Repository - Cello: Bow Directions, Speed and Pressure— Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/left-hand-inflections/example-1 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2b4d79dd-863b-4aa4-91ad-0caa590dc5bb/Screen+Shot+2021-11-02+at+5.09.29+PM.png ISFEE — Repository - Cello: Left Hand Inflections — Ex. 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/left-hand-inflections/example-2 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/35dcda94-055a-4d6b-9a4a-98b4228a2567/Screen+Shot+2021-11-02+at+5.21.44+PM.png ISFEE — Repository - Cello: Left Hand Inflections — Ex. 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/left-hand-inflections/example-3 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c6b729ff-f16c-4679-ada3-b2b9c03a6c01/Screen+Shot+2021-11-02+at+5.29.24+PM.png ISFEE — Repository - Cello: Left Hand Inflections — Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/left-hand-inflections/example-4 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/512ed682-591a-4c97-b12a-2a032db7e646/Screen+Shot+2021-11-02+at+5.34.17+PM.png ISFEE — Repository - Cello: Left Hand Inflections — Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/left-hand-inflections/example-5 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/17d6957b-68b4-41cb-b2c0-c0a0bf1ee675/Screen+Shot+2021-11-02+at+5.35.20+PM.png ISFEE — Repository - Cello: Left Hand Inflections — Ex. 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/more-bow-colors/example-1 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a965cf34-f50f-4018-b0d0-fba6e5a63908/Screen+Shot+2021-11-02+at+11.15.35+PM.png ISFEE — Repository - Cello: More Bow Colors — Ex. 1, Arco normale - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/more-bow-colors/example-2 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4cecf97a-d964-47e1-8b1d-86e41cea267f/Screen+Shot+2021-11-02+at+11.20.58+PM.png ISFEE — Repository - Cello: More Bow Colors — Ex. 2, Sul ponticello - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/more-bow-colors/example-3 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fc9a33c9-d61d-4df5-9832-ea70b794e858/Screen+Shot+2021-11-02+at+11.27.12+PM.png ISFEE — Repository - Cello: More Bow Colors — Ex. 3, Sul tasto - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/more-bow-colors/example-4 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b9d536bd-807c-4e17-ba85-f1f84467552e/Screen+Shot+2021-11-02+at+11.30.44+PM.png ISFEE — Repository - Cello: More Bow Colors — Ex. 4, Col legno - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/more-bow-colors/example-5 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/acba0bed-4ec3-4ed4-9da8-67bf9b614f9c/Screen+Shot+2021-11-02+at+11.31.03+PM.png ISFEE — Repository - Cello: More Bow Colors — Ex. 5, Col legno tratto - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/multiple-stops/example-1 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1a825695-90dd-41c9-afe3-58b761b072b8/Screen+Shot+2021-11-02+at+4.40.06+PM.png ISFEE — Repository - Cello: Multiple Stops — Ex. 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/multiple-stops/example-2 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/888d4641-1635-4591-8307-c97b428f6514/Screen+Shot+2021-11-02+at+4.47.51+PM.png ISFEE — Repository - Cello: Multiple Stops — Ex. 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/multiple-stops/example-3 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5aff5de2-67c5-4117-a12a-fa4a408035b5/Screen+Shot+2021-11-02+at+4.56.33+PM.png ISFEE — Repository - Cello: Multiple Stops — Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/multiple-stops/example-4 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c0e0e96e-7769-41d8-9f05-72809c1286a3/Screen+Shot+2021-11-02+at+4.58.49+PM.png ISFEE — Repository - Cello: Multiple Stops— Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/natural-harmonics/example-1 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634847228102-QKPQW4R566V6P63FCW00/Screen+Shot+2021-10-21+at+4.13.31+PM.png ISFEE — Repository - Cello: Natural Harmonics — Ex. 1, Dividing the String in Half - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/natural-harmonics/example-2 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634851655080-HQG686RE6XO8FVB9RB4N/Screen+Shot+2021-10-21+at+5.26.28+PM.png ISFEE — Repository - Cello: Natural Harmonics — Ex. 2, Dividing the String in Thirds - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/natural-harmonics/example-3 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634852131773-HBTN8DNQ8R9VC65HWMUR/Screen+Shot+2021-10-21+at+5.34.16+PM.png ISFEE — Repository - Cello: Natural Harmonics — Ex. 3, Dividing the String in Quarters - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/natural-harmonics/example-4 monthly 0.5 2021-11-04 https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/natural-harmonics/example-5 monthly 0.5 2021-11-04 https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/pizzicato/example-1 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/93825c38-65b2-411b-8995-1b5a7c4e6ba8/Screen+Shot+2021-11-02+at+11.42.38+PM.png ISFEE — Repository - Cello: Pizzicato — Ex. 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/pizzicato/example-2 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d94848a5-2416-4d77-ae89-a6fcbed8cf7a/Screen+Shot+2021-11-02+at+11.46.38+PM.png ISFEE — Repository - Cello: Pizzicato — Ex. 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/pizzicato/example-3 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/247ef26b-c8cb-45b9-bae1-5adc81448caf/Screen+Shot+2021-11-02+at+11.54.29+PM.png ISFEE — Repository - Cello: Pizzicato — Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/pizzicato/example-4 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7f2ff0f8-b3b8-4557-82b1-1c3cb096c2bd/Screen+Shot+2021-11-03+at+12.02.10+AM.png ISFEE — Repository - Cello: Pizzicato — Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/pizzicato/example-5 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2093b0df-af51-46b3-ad87-792863eabbd1/Screen+Shot+2021-11-03+at+12.05.08+AM.png ISFEE — Repository - Cello: Pizzicato — Ex. 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/pizzicato/example-6 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/274295b6-d731-41dc-bd7f-b35efe70948c/Screen+Shot+2021-11-03+at+12.08.20+AM.png ISFEE — Repository - Cello: Pizzicato — Ex. 6 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/right-hand-inflections/example-4 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c9172d14-b92b-485a-adc2-ba7c28c1b0a2/Screen+Shot+2021-11-02+at+9.05.58+PM.png ISFEE — Repository - Cello: Right Hand Inflections, Arpeggiated multiple stops — Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/right-hand-inflections/example-3 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dd91f975-6bd0-40f2-bf4b-49b4df6d380b/Screen+Shot+2021-11-02+at+9.04.05+PM.png ISFEE — Repository - Cello: Right Hand Inflections, Unmeasured tremolo — Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/right-hand-inflections/example-1 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8ab78fe6-a80f-48fb-9163-4fa6587ce5ab/Screen+Shot+2021-11-02+at+5.42.12+PM.png ISFEE — Repository - Cello: Right Hand Inflections — Ex. 1, Staccato &amp; Spiccato - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/right-hand-inflections/example-2 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1604aa6b-2948-48ae-8634-840235c22cd3/Screen+Shot+2021-11-02+at+8.59.26+PM.png ISFEE — Repository - Cello: Right Hand Inflections — Ex. 2, Saltando - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/right-hand-inflections/example-5 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0b229122-10a2-40b9-b8d4-b3c41666cb4c/Screen+Shot+2021-11-02+at+9.11.06+PM.png ISFEE — Repository - Cello: Right Hand Inflections — Ex. 5, Arpeggiated multiple stops, repeated notes - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/scale-fingering/example-1 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634838490939-TICUTWUANJNNGI64D2M2/Screen+Shot+2021-10-21+at+1.46.48+PM.png ISFEE — Repository - Cello: Scale Fingering — Ex. 1, Open Strings - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/scale-fingering/example-2 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634839979328-IHM977SQC47LU9A6QNI8/Screen+Shot+2021-10-21+at+2.11.37+PM.png ISFEE — Repository - Cello: Scale Fingering — Ex. 2, First Position - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/scale-fingering/example-3 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634839670174-Z2QV92VJ9O47M7YUILHR/Screen+Shot+2021-10-21+at+2.07.35+PM.png ISFEE — Repository - Cello: Scale Fingering — Ex. 3, Thumb Position - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/cello/scale-fingering/example-4 monthly 0.5 2021-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634840515740-CULDXXJS827HMG5LKW8O/Screen+Shot+2021-10-21+at+2.21.41+PM.png ISFEE — Repository - Cello: Scale Fingering — Ex. 4, Four Octaves - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/flute/ranges-and-registers-and-tremolos/example-1 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634151603730-G30QBIEOGCH8ZHWLES3A/Screen+Shot+2021-09-23+at+10.39.21+PM.png ISFEE — Repository - Flute: Ranges, Registers, &amp; Tremolos — Example 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/flute/ranges-and-registers-and-tremolos/example-2 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1632452932013-IXH8QQZNHK8SALQNOGHB/Screen+Shot+2021-09-23+at+10.39.28+PM.png ISFEE — Repository - Flute: Ranges, Registers, &amp; Tremolos — Example 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/flute/ranges-and-registers-and-tremolos/example-3 monthly 0.5 2021-11-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1634151863788-XXA1180WXEEM7RP4KWYZ/Screen+Shot+2021-10-13+at+3.01.52+PM.png ISFEE — Repository - Flute: Ranges, Registers, &amp; Tremolos — Example 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/instruments/isfee/harmonics monthly 0.5 2021-11-04 https://timbreandorchestration.org/tor/modules/instruments/isfee/instrument-index monthly 0.5 2021-11-04 https://timbreandorchestration.org/tor/modules/instruments/isfee/technique-index monthly 0.5 2021-11-04 https://timbreandorchestration.org/tor/modules/instruments/isfee/ranges-and-registers monthly 0.5 2021-11-03 https://timbreandorchestration.org/tor/modules/instruments/isfee/category/Cello monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/category/Woodwinds monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/category/Flute monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/category/Strings monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/category/Alto+Flute monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Fingerings monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Dividing+the+String+in+Sixths monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Vibrato monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Scales monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Registers monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Dividing+the+String+in+Fifths monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Multiple+Stops monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Right+Hand+Inflections monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Pizzicato monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Open+Strings monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Register+Colors monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Passages monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Thumb+position monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Dividing+the+String+in+Half monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/First+Position monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Artificial++Harmonics monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Natural+Harmonics monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Range+and+Registers monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Pitch+Bend monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Left+Hand+Inflections monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Range monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Bow+Directions%2C+Speed+and+Pressure monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Articulation monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Four+Octaves monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/More+Bow+Colors monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Passages+%26+Articulation+Colors monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Tremolos monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Colors monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Ranges+%26+Registers+%26+Tremolos monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Dividing+the+String+in+Thirds monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/More+Articulation+Colors+%26+Vibrato monthly 0.5 https://timbreandorchestration.org/tor/modules/instruments/isfee/tag/Dividing+the+String+in+Quarters monthly 0.5 https://timbreandorchestration.org/tor/modules/isfee/all-instruments daily 0.75 2022-04-28 https://timbreandorchestration.org/tor/modules/isfee/all-instruments/cello monthly 0.5 2022-04-28 https://timbreandorchestration.org/tor/modules/isfee/all-instruments/alto-flute monthly 0.5 2021-11-04 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso daily 0.75 2024-06-26 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/all-analyses monthly 0.5 2022-12-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655930660901-MDCDQVVG5MRFTOOZ7S3D/IMSLP299664-PMLP04225-Miroirs-Alborada-page.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655932139385-4OW3T627AMSH342YM8ED/IMSLP299664-PMLP04225-Miroirs-Alborada-page33.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/13c85456-44bb-4a25-b517-427c5b7aecb0/Fig2.1+RavelPlan.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655932368915-B74XHIM1S9BMX5QYRU6Z/IMSLP299664-PMLP04225-Miroirs-Alborada-page37.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655932368859-WC7IXJYKD0X1K7L3MQOB/IMSLP299664-PMLP04225-Miroirs-Alborada-page36.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655931105065-Y1ZBS8SNQKXLOR5V8Y0S/Maurice+Ravel_Alborada_del_Gracioso+published-page10.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655931104427-KF69E93K2TIELU12U0CE/Maurice+Ravel_Alborada_del_Gracioso+published-page11.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655931104140-4JR1HPKPJPR7FZRWBOQK/Maurice+Ravel_Alborada_del_Gracioso+published-page12.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655931103623-UJH4B8M6BFRGW2OKPUDE/Maurice+Ravel_Alborada_del_Gracioso+published-page13.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655931102690-BOKAPMMJRWDILYD60174/Maurice+Ravel_Alborada_del_Gracioso+published-page14.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655931102694-UFKOGM3CC8XBI4BZIDKL/Maurice+Ravel_Alborada_del_Gracioso+published-page9.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655930791434-HG44910WN5JWQS4O93MT/IMSLP299664-PMLP04225-Miroirs-Alborada-page34.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655930791625-4XATJM9CDEHC15CMVIVP/IMSLP299664-PMLP04225-Miroirs-Alborada-page35.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655930357790-PGAOGA070XMORLF9CQS3/Maurice+Ravel_Alborada_del_Gracioso+published-page3.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655930357782-WXJ3LZX81ZIV19FYZK4E/Maurice+Ravel_Alborada_del_Gracioso+published-page4.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655932061139-1V12UUAVZTAGSZQT7JXP/Maurice+Ravel_Alborada_del_Gracioso+published-page5.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655932061970-RX1HGTYKBYCFS335T6JH/Maurice+Ravel_Alborada_del_Gracioso+published-page6.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655932061256-SWKULVX3P7T826BV01SQ/Maurice+Ravel_Alborada_del_Gracioso+published-page7.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655932288708-G2SD6EI3NLLU054IBLC8/Maurice+Ravel_Alborada_del_Gracioso+published-page16.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655932290660-1BDVWTJGFHNV6H38T4T4/Maurice+Ravel_Alborada_del_Gracioso+published-page17.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655932289935-J8ZA5OO5OB92FSBQC6YU/Maurice+Ravel_Alborada_del_Gracioso+published-page18.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655932289857-S9FYQ19G0LXU46WFXWQC/Maurice+Ravel_Alborada_del_Gracioso+published-page19.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1655932288810-833PAL4V14Z8CIHAGCYP/Maurice+Ravel_Alborada_del_Gracioso+published-page20.jpg Alborada del gracioso | Taxonomy | Analysis - Analytical Visualizations: Alborada del gracioso https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/the-taxonomy-of-orchestral-grouping-effects monthly 0.5 2024-03-22 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/a-short-analysis-of-ravels-alborada-del-gracioso-with-the-concepts-of-functional-orchestration monthly 0.5 2024-03-22 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/building-an-imaginary-guitar monthly 0.5 2024-03-22 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-72-103-timbral-juxtaposition monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656820374180-WSD7XJLJRSDMU13VDJ7N/Screen+Shot+2022-07-02+at+11.51.45+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 72-103. Timbral juxtaposition https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656820375948-79NZTYLTTAVLY8VIXACD/Screen+Shot+2022-07-02+at+11.51.55+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 72-103. Timbral juxtaposition https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656820406588-9SKKWBKDC106247KHBAF/Screen+Shot+2022-07-02+at+11.52.03+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 72-103. Timbral juxtaposition https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656820409265-F6HD3WO3CHA6TDDN81F3/Screen+Shot+2022-07-02+at+11.52.12+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 72-103. Timbral juxtaposition https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-98-104-stable-stratification monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656820036253-GC0NB7PBZMUKZ94O5JKH/Screen+Shot+2022-07-02+at+11.41.16+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 98-104. Stable stratification https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-89-92-stable-stratification monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656819931127-W6D33GZNFM5CNH2QZQ8O/Screen+Shot+2022-07-02+at+11.40.51+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 89-92. Stable stratification https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-83-86-stable-stratification monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656819722815-2HC8PZFO2VKWFIPN8EGB/Screen+Shot+2022-07-02+at+11.40.20+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 83-86. Stable stratification https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-76-80-stable-stratification monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656818274187-C34O20DKORQLF2MLNFIN/Screen+Shot+2022-07-02+at+11.16.58+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 76-80. Stable stratification https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656818274695-P4GH3MAGQNU1HYFK6WME/Screen+Shot+2022-07-02+at+11.17.07+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 76-80. Stable stratification https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-106-108-stable-sustained-emergence monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656817526412-TSJAAKQESFNTSB1LHXSQ/Screen+Shot+2022-07-02+at+11.04.27+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 106-108. Stable, sustained emergence https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-98-103-stable-timbral-heterogeneity monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656817265718-EWF1KGD3VLECMCEC8ZZP/Screen+Shot+2022-07-02+at+10.56.36+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 98-103. Stable, timbral heterogeneity https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-98-103-transforming-sustained-augmentation monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656817109151-X9VSQCW7VOHH79A24KTV/Screen+Shot+2022-07-02+at+10.56.20+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 98-103. Transforming, sustained augmentation https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-98-104-stable-sustained-timbral-emergence monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656816836440-3OM61ROR19KXLU761L44/Screen+Shot+2022-07-02+at+10.53.14+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 98-104 . Stable, sustained timbral emergence https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-90-92-stable-timbral-heterogeneity monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656815899555-PPER3HRU2VW9VWV2MXBL/Screen+Shot+2022-07-02+at+10.37.32+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 90-92. Stable, timbral heterogeneity https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-90-92-stable-sustained-emergence monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656816245575-VVOYHK6ORYHC5XVSPZO1/Screen+Shot+2022-07-02+at+10.37.16+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 90-92. Stable, sustained emergence https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-90-92-stable-sustained-timbral-emergence monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656816032923-VZ5VLYJNS05PE0561H5S/Screen+Shot+2022-07-02+at+10.37.01+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 90-92 . Stable, sustained timbral emergence https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656816068801-7FE2BMJVYSYJENLEVS2F/Screen+Shot+2022-07-02+at+10.37.01+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 90-92 . Stable, sustained timbral emergence https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-83-86-stable-sustained-emergence monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656815230341-3DY64UH5I4NBSZCG7MQ5/Screen+Shot+2022-07-02+at+10.23.18+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 83-86. Stable, sustained emergence https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-83-86-stable-sustained-timbral-emergence monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656815040207-SR26ON22E2B57ADCFJU7/Screen+Shot+2022-07-02+at+10.23.09+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 83-86 . Stable, sustained timbral emergence https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-83-86-stable-timbral-heterogeneity monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656814602491-GSH9DQZU0IA7P3TPXEWM/Screen+Shot+2022-07-02+at+10.16.11+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 83-86. Stable, timbral heterogeneity https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-76-80-stable-timbral-heterogeneity monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656813787682-ROGJI1Q7VZUM5C2P33DR/Screen+Shot+2022-07-02+at+10.01.48+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 76-80. Stable, timbral heterogeneity https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656813788100-Q5OWJSWLLGW2WKR4QSWH/Screen+Shot+2022-07-02+at+10.02.01+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 76-80. Stable, timbral heterogeneity https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-76-80-stable-sustained-emergence monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656813310252-AWLWZIU4UOK7AD5PCMDY/Screen+Shot+2022-07-02+at+9.54.13+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 76-80. Stable, sustained emergence https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656813310553-69PCQJ795IPHJWCEZT0V/Screen+Shot+2022-07-02+at+9.54.23+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 76-80. Stable, sustained emergence https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-76-79-stable-sustained-timbral-emergence monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656812661859-PQ3RK2DNCXGWWO93CHL7/Screen+Shot+2022-07-02+at+9.43.47+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 76-79 . Stable, sustained timbral emergence https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-47-50-orchestral-gesture-gradual-addition monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656786861290-C9TKVN02X80JZO6WCVJF/Screen+Shot+2022-07-02+at+2.33.57+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 47-50. Orchestral gesture (gradual addition) https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-44-58-timbral-juxtaposition monthly 0.5 2022-07-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656786457001-RT7NBMUCRSIA640ZK9KQ/Screen+Shot+2022-07-02+at+2.26.21+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 44-58. Timbral juxtaposition https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656786470768-ERP6LPUU83FLPF56ST88/Screen+Shot+2022-07-02+at+2.26.34+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 44-58. Timbral juxtaposition https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656786482827-FBABFCA0ADWFB26RQ84P/Screen+Shot+2022-07-02+at+2.26.43+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 44-58. Timbral juxtaposition https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656786495461-WOHSW76B8JP1M1WG2VEV/Screen+Shot+2022-07-02+at+2.26.52+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 44-58. Timbral juxtaposition https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-44-48-antiphonal-contrast monthly 0.5 2022-07-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656786027120-G84O36PTSPRFLK3LRA2S/Screen+Shot+2022-07-02+at+2.19.29+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 44-48. Antiphonal contrast https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656786027019-NHNTGJE7A1JDO4LCWO0Q/Screen+Shot+2022-07-02+at+2.19.40+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 44-48. Antiphonal contrast https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-53-58-transforming-stratification monthly 0.5 2022-07-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656727645677-M0MI4TCRYES1RA9IIJJA/Screen+Shot+2022-07-01+at+10.06.23+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 53-58. Transforming stratification https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656727645954-2LXBO9JN9N5JN0X72PG9/Screen+Shot+2022-07-01+at+10.06.33+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 53-58. Transforming stratification https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-48-53-transforming-stream-integration monthly 0.5 2022-07-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656727410734-CSFFRI29107XF4BUDMXR/Screen+Shot+2022-07-01+at+10.01.45+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 48-53. Transforming stream integration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656727409157-XE93YRTMA8JFMJXB24TL/Screen+Shot+2022-07-01+at+10.01.58+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 48-53. Transforming stream integration https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-44-53-transforming-stratification monthly 0.5 2022-07-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656726429231-5Z9PW5T9MB7CQ6B7QSC5/Screen+Shot+2022-07-01+at+9.45.08+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 44-53. Transforming stratification https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656726400963-9AJ897IPY9BS171UISL1/Screen+Shot+2022-07-01+at+9.45.19+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 44-53. Transforming stratification https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656726399725-S9EA7YOOWI2RU8JU8GB0/Screen+Shot+2022-07-01+at+9.45.27+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 44-53. Transforming stratification https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-53-59-stable-sustained-emergent-blend monthly 0.5 2022-07-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656725987171-J2D4732VL64KTWJ86AWE/Screen+Shot+2022-07-01+at+9.38.38+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 53-59. Stable, sustained emergent blend https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656725988779-GXKFW8GOJOYQAXUVX08J/Screen+Shot+2022-07-01+at+9.38.47+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 53-59. Stable, sustained emergent blend https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-53-59-stable-sustained-augmentation monthly 0.5 2022-07-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656724479254-0K94A6XUOL74BKKIB4DB/Screen+Shot+2022-07-01+at+9.13.06+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 53-59. Stable, sustained augmentation https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656724494181-UECK70EAQEZXDWW2LCRK/Screen+Shot+2022-07-01+at+9.13.23+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 53-59. Stable, sustained augmentation https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656724482363-B027SOLXDLXM1ZC6HKRV/Screen+Shot+2022-07-01+at+9.13.45+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 53-59. Stable, sustained augmentation https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-50-51-stable-sustained-augmentation monthly 0.5 2022-07-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656724172529-T6O6ZODV83ZN3OW1Z97E/Screen+Shot+2022-07-01+at+9.07.28+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 50-51. Stable, sustained augmentation https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656724171231-51CS7KX9YQ1IAO4TW58F/Screen+Shot+2022-07-01+at+9.07.43+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 50-51. Stable, sustained augmentation https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-47-48-stable-sustained-emergence monthly 0.5 2022-07-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/80afbecb-9f7f-4f97-a6c2-c490f0c0ec12/Screen+Shot+2022-07-02+at+9.10.01+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 47-48. Stable, sustained emergence - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-47-48-stable-sustained-augmentation monthly 0.5 2022-07-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fbc67d69-355c-4d40-ac50-a207580100f7/Screen+Shot+2022-07-01+at+8.40.41+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 47-48. Stable, sustained augmentation - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-45-46-stable-sustained-emergence monthly 0.5 2022-07-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/82e13748-5c85-45df-93da-f20027ad2262/Screen+Shot+2022-07-01+at+8.35.49+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 45-46. Stable, sustained emergence - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-45-46-stable-sustained-augmentation monthly 0.5 2022-06-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/10245b09-8908-4688-87db-ba217f654ee9/Screen+Shot+2022-06-29+at+9.35.40+AM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 45-46. Stable, sustained augmentation - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-44-51-transforming-sustained-emergent-blend monthly 0.5 2022-07-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656721845986-U00KCCJHYYZMEEMJVHL0/Screen+Shot+2022-07-01+at+8.29.06+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 44-51. Transforming, sustained emergent blend https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656721832771-PE7Y71P8AFBF09RVHK9Z/Screen+Shot+2022-07-01+at+8.29.21+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 44-51. Transforming, sustained emergent blend https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656721831468-PURLQV327EKX77HWPS1D/Screen+Shot+2022-07-01+at+8.29.34+PM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 44-51. Transforming, sustained emergent blend https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-6-9-transforming-stratification monthly 0.5 2022-06-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656497862802-A2KJQ0DDMSR8LFM6OXKP/Screen+Shot+2022-06-29+at+5.49.52+AM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 6-9, Transforming stratification https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656497862933-T7VYSL7ZBX3U3INP3NJ0/Screen+Shot+2022-06-29+at+5.50.09+AM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 6-9, Transforming stratification https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-1-11-transforming-rhythmic-textural-integration monthly 0.5 2022-06-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656497224884-DSXF8ZXKV9DJD2FBWTWW/Screen+Shot+2022-06-29+at+5.49.01+AM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 1-11, Transforming rhythmic textural integration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656497225072-O7A3NCLX0KQKCNH651CI/Screen+Shot+2022-06-29+at+5.49.17+AM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 1-11, Transforming rhythmic textural integration https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/mm-6-9-stable-sustained-timbral-augmentation monthly 0.5 2022-06-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656496640164-4A0UDN57ZBI0HV4X8I2Y/Screen+Shot+2022-06-29+at+5.51.35+AM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 6-9. Stable, sustained timbral augmentation https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656496640224-9CZ324FHMQ3LX0I66XVK/Screen+Shot+2022-06-29+at+5.51.50+AM.png Alborada del gracioso | Taxonomy | Analysis - TOGE — mm. 6-9. Stable, sustained timbral augmentation https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/figure-3 monthly 0.5 2022-06-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c3b732bc-9e25-4598-b564-2ad391242214/TOGE_Ravel_Figure3.jpeg Alborada del gracioso | Taxonomy | Analysis - TOGE — Figure 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/figure-2 monthly 0.5 2022-06-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/121ebe1e-8933-4a99-a455-fc52bd483c63/TOGE_Ravel_Figure2.jpeg Alborada del gracioso | Taxonomy | Analysis - TOGE — Figure 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/toge/figure-1 monthly 0.5 2022-06-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/07c10277-386d-4e8e-b569-5307a7cfc9a7/TOGE_Ravel_Figure1.jpeg Alborada del gracioso | Taxonomy | Analysis - TOGE — Figure 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-2-10 monthly 0.5 2022-06-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4fa21b0e-3f94-431a-aa7c-12c51765a3ac/Fig2.10PartB.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 2.10 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-2-9 monthly 0.5 2022-06-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/53253f33-801a-41ec-834c-d0cdd54a1296/Fig2.9Crescfinal.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 2.9 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-2-8 monthly 0.5 2022-06-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/10ba4cee-9403-4ff0-bf14-8b30d4858f71/Fig2.8DesinenceTpHrn.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 2.8 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-2-7 monthly 0.5 2022-06-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e34059c2-9ff4-4464-9220-8ec06d9e0c89/Fig2.7RepNotes.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 2.7 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-2-6 monthly 0.5 2022-06-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/541d28e4-ba66-4216-ab33-02726fd0d6bc/Fig2.6EpisodA3Piano.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 2.6 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-2-5 monthly 0.5 2022-06-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/18b38c21-dac8-4bcd-8b79-f1068da2e793/Fig2.5Motif1.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 2.5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-2-4 monthly 0.5 2022-06-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/93017a5c-4f68-41b9-94e0-d03b76fdf159/Fig2.4ThumbGuitarDecres.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 2.4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-2-3 monthly 0.5 2022-06-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fadc8eb9-a226-41c8-9ba2-34960f6fc1c3/Fig2.3ThumbGuitar.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 2.3 - Make it stand out The very beginning of the introduction is an imitation of a flamenco guitar, already sketched in the piano version. Note how Ravel contrasts the rounder sound that would be played by the thumb on a guitar versus what would be played by the four other fingers of the hand. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-2-2 monthly 0.5 2022-06-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/052527d5-c4db-467f-b2e0-13f81f7160b5/Fig2.2EpisodA.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 2.2 - Make it stand out The first episode A1 (mm.1-29): It can be separated into three sub-episodes -an introduction (meas.1), a first motif (meas. 11) that is orchestrated in a contrasting manner, and a conclusion/transition (meas.22, rehears. mark 2) using the same material as in the introduction. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b0f23b25-3a84-44ed-a372-d42595e5258d/Fig2.2EpisodA2.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 2.2 - Make it stand out The first episode A1 (mm.1-29): It can be separated into three sub-episodes -an introduction (meas.1), a first motif (meas. 11) that is orchestrated in a contrasting manner, and a conclusion/transition (meas.22, rehears. mark 2) using the same material as in the introduction. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-2-1 monthly 0.5 2022-06-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/13c85456-44bb-4a25-b517-427c5b7aecb0/Fig2.1+RavelPlan.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 2.1 - Make it stand out Alborada del Gracioso is composed in a simple ternary form: [A vif / B lent (rehears. mark 9) / A’ vif (mark 23)]. Each part is divided into episodes, often imitating the sound of a dance, or a character, or instruments related to Spanish folkloric music (guitar, castanets, rasgueado, etc.). https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-1-5 monthly 0.5 2022-06-13 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2c5d4b74-8513-4439-b2b3-e1a5dd839169/Fig1.4TreeLogic.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 1.5 - Make it stand out Note that in most cases (with some notable exceptions, like the rhizomatic-type instrumentation by Beethoven), the tree-logic principle is respected, even unconsciously: orchestration contrasts at higher levels are stronger than orchestration contrasts at lower levels, so that the meaning of the construction is always perceived. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-1-4 monthly 0.5 2022-06-13 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/bd1e12b6-8ad3-400b-9e3c-29813ae80c0c/Fig1.3.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 1.4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-1-3 monthly 0.5 2022-06-13 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3f552b0c-af1f-4fd5-874a-808a21638ae2/Fig1.2MainFunctions.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 1.3 - Make it stand out Instrumentation has three main families of functions: i. Functions that apply on musical elements that aim to be perceived as one entity. ii. Functions that apply on musical elements that aim to create a perceptual separation [segregation] of entities, either 2a.: vertically (separation of layers, hierarchization of layers such as foreground and background, etc.), or 2b.: horizontally (contrasts, transitions, ‘tree-logic’, etc.) iii. Functions that apply on musical elements that aim to create Sound-Engineering-like effects. We will call these Sound mastering functions. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-1-2 monthly 0.5 2022-06-10 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9120713d-e39e-4da1-8db7-a48f355d49ab/IMSLP108893-PMLP03653-NBE_-_Symphonie_Fantastique_-_V._Songe_d%27une_Nuit_du_Sabbat2.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 1.2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f9a1672e-0e4f-453d-a6ce-1fb38172b242/IMSLP108893-PMLP03653-NBE_-_Symphonie_Fantastique_-_V._Songe_d%27une_Nuit_du_Sabbat.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 1.2 - Make it stand out Figure 1.1: Joseph Haydn, Symphony Nr. 98, 4th Mvt., mm. 15-23, © Dover edition. The functional operation crescendo is here mostly obtained by higher pitches (overtones) on the natural horns and trumpets. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/functional/figure-1-1 monthly 0.5 2022-08-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/06912f75-26d7-4c18-936b-5a3339d79c2d/Fig1.1Haydn-Symph98-IV-crescHorns.jpg Alborada del gracioso | Taxonomy | Analysis - Functional — Figure 1.1 - Make it stand out Figure 1.1: Joseph Haydn, Symphony Nr. 98, 4th Mvt., mm. 15-23, © Dover edition. The functional operation crescendo is here mostly obtained by higher pitches (overtones) on the natural horns and trumpets. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-1 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/56b45cad-13a7-4ab9-9399-54f7e4b68cc2/Slide1.jpeg Alborada del gracioso | Taxonomy | Analysis - MT1 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-2 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650402833507-IFGJLYTCB752II9JKHJ7/Slide2.jpeg Alborada del gracioso | Taxonomy | Analysis - MT2 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-3 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8f0774e5-a3a6-46f1-bbf2-efa4792cc759/Slide3.jpeg Alborada del gracioso | Taxonomy | Analysis - MT3 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-4 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fef8069a-4e78-4c1f-86bc-cd946f559bef/Slide4.jpeg Alborada del gracioso | Taxonomy | Analysis - MT4 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-5 monthly 0.5 2022-04-20 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-6 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619748398067-MI0X49WKVDQJF60H7MNR/cello_hand-bow_2500-shutterstock_1105605557.jpg Alborada del gracioso | Taxonomy | Analysis - MT6 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643984999943-6K0WCKFWDSVMV2Q1612J/flute-shutterstock_105204899-min.jpg Alborada del gracioso | Taxonomy | Analysis - MT6 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f11903f0-fd56-4d4e-97fa-97ba2e6186b9/clarinet_shutterstock_515975704-min.jpg Alborada del gracioso | Taxonomy | Analysis - MT6 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1ee24124-bae7-43a4-8c6a-bab4881d1c8e/bassoon-shutterstock_1360500701-min.jpg Alborada del gracioso | Taxonomy | Analysis - MT6 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-7 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c42cd467-c8b2-4725-a1b7-287697434c31/Slide7.jpeg Alborada del gracioso | Taxonomy | Analysis - MT7 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-8 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a0b213cc-5f84-4427-bf8a-ddae2b091668/Slide8.jpg Alborada del gracioso | Taxonomy | Analysis - MT8 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-9 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/12a97bdc-95ad-493a-b18b-dbebcbba2d2b/Slide9.jpeg Alborada del gracioso | Taxonomy | Analysis - MT9 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-10 monthly 0.5 2022-06-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f85ad827-fc72-44b3-9129-a9578ac3a049/contrabass-shutterstock_314082842-min.jpg Alborada del gracioso | Taxonomy | Analysis - MT10 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650417236108-P5Y7OVCP8VVSDAERVZ30/unsplash-image-1J9dYe4wkEI.jpg Alborada del gracioso | Taxonomy | Analysis - MT10 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/785eabb9-9314-4a0c-8c07-a86a6d54eb39/timpani-shutterstock_273100178-min.jpg Alborada del gracioso | Taxonomy | Analysis - MT10 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-11 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0caff047-bf7a-4524-a4cf-6fae582d4933/Slide11.jpeg Alborada del gracioso | Taxonomy | Analysis - MT11 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-12 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650418040615-YM5LW1IWS4IIR70HTX83/Screen+Shot+2022-04-19+at+9.24.46+PM.png Alborada del gracioso | Taxonomy | Analysis - MT12 — A Metatimbral Analysis https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650418040066-3HW0M3B9V29F5QGOAXA8/Screen+Shot+2022-04-19+at+9.23.55+PM.png Alborada del gracioso | Taxonomy | Analysis - MT12 — A Metatimbral Analysis https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650418041510-BJUREFK41FW0VMW4VGPX/Screen+Shot+2022-04-19+at+9.23.41+PM.png Alborada del gracioso | Taxonomy | Analysis - MT12 — A Metatimbral Analysis https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-13 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650418420093-YS3TH7JM6RD11UJTES85/Screen+Shot+2022-04-19+at+9.32.45+PM.png Alborada del gracioso | Taxonomy | Analysis - MT13 — A Metatimbral Analysis https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650418418969-RB2411X20BOZWAN1991C/Screen+Shot+2022-04-19+at+9.33.02+PM.png Alborada del gracioso | Taxonomy | Analysis - MT13 — A Metatimbral Analysis https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650418418945-PGUJKAJ5GQCM0I30UIA3/Screen+Shot+2022-04-19+at+9.32.53+PM.png Alborada del gracioso | Taxonomy | Analysis - MT13 — A Metatimbral Analysis https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-14 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f8913a74-d7a4-4be8-b26f-92f2c81f7c0f/AlboradaMetatimbre23.jpg Alborada del gracioso | Taxonomy | Analysis - MT14 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-15 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d86bb5be-d1bd-4cc6-beaa-bf5a1957f0af/Slide15.jpeg Alborada del gracioso | Taxonomy | Analysis - MT15 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-16 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/519f5379-1880-4c5f-b944-4a4e4f695cc1/Slide16.jpeg Alborada del gracioso | Taxonomy | Analysis - MT16 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-17 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f7eba23d-781a-4d2d-9e7f-e246eb2c6553/Slide17.jpeg Alborada del gracioso | Taxonomy | Analysis - MT17 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-18 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/645e7a08-9f09-47b0-9a91-1595b5ab54ea/Slide18.jpeg Alborada del gracioso | Taxonomy | Analysis - MT18 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-19 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/42916ca2-e72d-4131-8e16-ea55e22776d0/Slide19.jpeg Alborada del gracioso | Taxonomy | Analysis - MT19 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-20 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/337791bc-9a93-4134-b356-343d5d829b04/Slide20.jpeg Alborada del gracioso | Taxonomy | Analysis - MT20 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-21 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2a42e5c0-0c28-4ea9-b89a-0da7cb45e28b/Slide21.jpeg Alborada del gracioso | Taxonomy | Analysis - MT21 — A Metatimbral Analysis - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-22 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/35227905-ac1e-48dd-9618-8fc8d88a0b4f/Screen+Shot+2021-11-19+at+4.10.04+PM.jpg Alborada del gracioso | Taxonomy | Analysis - MT22 — Building an Imaginary Guitar - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-23 monthly 0.5 2022-06-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/52bde807-34ae-40fb-87a6-fce30253a438/Screen+Shot+2021-11-19+at+4.18.28+PM.png Alborada del gracioso | Taxonomy | Analysis - MT23 — Timbre materials - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-24 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/aa41d419-5bd9-4269-a3c5-0ef73f7509bd/Screen+Shot+2021-11-19+at+4.21.08+PM.png Alborada del gracioso | Taxonomy | Analysis - MT24 — Building a “Metaguitar” - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-25 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1637357411442-OW2CIZ0BS2SHQE7FEVO8/Screen+Shot+2021-11-19+at+4.28.36+PM.png Alborada del gracioso | Taxonomy | Analysis - MT25 &amp; 26 — The plucked-strings’ metatimbre’s range https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1637357411054-XMQ9MEII1S576DHX0PV4/Screen+Shot+2021-11-19+at+4.28.42+PM.png Alborada del gracioso | Taxonomy | Analysis - MT25 &amp; 26 — The plucked-strings’ metatimbre’s range https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-27 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1650421127594-NL6RHOVU8X2P4PX7F9WO/Slide27.jpeg Alborada del gracioso | Taxonomy | Analysis - MT27 — Orchestration-based Questions - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-28 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3f8b7b4e-0767-4d2e-8d2c-a46a92decf84/Slide28.jpeg Alborada del gracioso | Taxonomy | Analysis - MT28 — Orchestration-based Questions - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-29 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f4ec4747-640f-428f-9e76-9564ecef8421/Screen+Shot+2021-11-19+at+4.35.29+PM.png Alborada del gracioso | Taxonomy | Analysis - MT29 — I. Ravel’s version (only strings) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-30 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ad369590-aa94-4d60-bc6b-a3e7c7a98bed/Screen+Shot+2021-11-19+at+5.19.04+PM.png Alborada del gracioso | Taxonomy | Analysis - MT30 — II. Only Harp - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-31 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/77e47de2-1e16-40db-82e8-dc1f14eb2368/Screen+Shot+2021-11-19+at+5.22.16+PM.png Alborada del gracioso | Taxonomy | Analysis - MT31 — III. Strings, Harps, Bassoon - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-32 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5bcbc1af-c692-4a4f-b0d9-ac1087aac4e0/Screen+Shot+2021-11-19+at+5.24.58+PM.png Alborada del gracioso | Taxonomy | Analysis - MT32 — IV. Segmentation 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-33 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cf509a54-531d-4564-b175-ef44038a8f4c/Screen+Shot+2021-11-19+at+5.29.25+PM.png Alborada del gracioso | Taxonomy | Analysis - MT33 — V. Segmentation 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-34 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2bab381a-6639-4bfb-95fd-13bdf6b7b8d9/Screen+Shot+2021-11-19+at+5.34.23+PM.png Alborada del gracioso | Taxonomy | Analysis - MT34 — Ravel’s Complete Version - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-36 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b851b05b-02a5-4e46-ab8d-6498ba90a659/Slide36.jpeg Alborada del gracioso | Taxonomy | Analysis - MT36 — Timbral Variation I - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-37 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/aacf402a-f03b-420c-84d2-b1c32d9f66ee/Slide37.jpeg Alborada del gracioso | Taxonomy | Analysis - MT37 — Timbral Variation II - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-38 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6c234ecf-9410-49aa-b999-d68e0f1b1d5a/Slide38.jpeg Alborada del gracioso | Taxonomy | Analysis - MT38 — Timbral Variation III - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-39 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a491fcbb-df49-4a6f-83bc-e2e0af27ea32/Slide39.jpeg Alborada del gracioso | Taxonomy | Analysis - MT39 — Building a “Metaguitar” II - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-40 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9082ee5f-c70d-4acb-a86d-ea9fb82b5024/Slide40.jpeg Alborada del gracioso | Taxonomy | Analysis - MT40 — The Plucked-Strings Metatimbre’s Range - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-41 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d3856b69-6214-4b22-ad96-43b860e6ae69/Slide41.jpeg Alborada del gracioso | Taxonomy | Analysis - MT41 — The Plucked-Strings Metatimbre’s Range, Alborada - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-45 monthly 0.5 2022-04-21 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ae0830c8-b676-4740-b503-9445a5e03318/Slide45.jpg Alborada del gracioso | Taxonomy | Analysis - MT45 — The Last Metatimbral Statement - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/cordero/metatimbral-analysis/slide-sup1 monthly 0.5 2022-05-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7463d74b-795d-4264-9282-c2789a1bcae2/Chabrier-EspanaHARPS+%281%29.jpg Alborada del gracioso | Taxonomy | Analysis - MTSup1 — Chabrier’s España - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/76e8cadd-6b29-4cbc-8171-e154f463256a/Chabrier-EspanaHARPS+%281%292.jpg Alborada del gracioso | Taxonomy | Analysis - MTSup1 — Chabrier’s España - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/analysis-sidebar monthly 0.5 2022-07-03 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/index monthly 0.5 2022-11-11 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/all-examples monthly 0.5 2024-03-22 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/category/Victor+Cordero monthly 0.5 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/category/Metatimbre monthly 0.5 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/category/Text monthly 0.5 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/category/Fabien+L%C3%A9vy monthly 0.5 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/category/Visualizations monthly 0.5 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/category/TOGE monthly 0.5 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/category/Functional+Orchestration monthly 0.5 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/category/All+Examples monthly 0.5 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/tag/Victor+Cordero monthly 0.5 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/tag/Slide monthly 0.5 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/tag/Taxonomy+of+Orchestral+Grouping+Effects monthly 0.5 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/tag/Building+an+Imaginary+Guitar monthly 0.5 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/tag/Metatimbre monthly 0.5 https://timbreandorchestration.org/tor/modules/taxonomy/analysis/alborada-del-gracioso/tag/Figure monthly 0.5 https://timbreandorchestration.org/en/about daily 0.75 2025-06-13 https://timbreandorchestration.org/en/about/how-to-cite monthly 0.5 2025-06-13 https://timbreandorchestration.org/en/about/contribute monthly 0.5 2024-08-23 https://timbreandorchestration.org/en/about/publications/writings/zenodo monthly 0.5 2023-06-18 https://timbreandorchestration.org/en/about/publications/writings monthly 0.5 2023-06-18 https://timbreandorchestration.org/en/about/broken-link-form monthly 0.5 2022-09-27 https://timbreandorchestration.org/en/about/subscriptions/timbre-stories monthly 0.5 2022-09-27 https://timbreandorchestration.org/en/about/copyright-statement monthly 0.5 2022-09-27 https://timbreandorchestration.org/en/about/publications/tor-submission-guidelines monthly 0.5 2024-01-21 https://timbreandorchestration.org/en/about/category/Zenodo monthly 0.5 https://timbreandorchestration.org/en/about/category/Publications monthly 0.5 https://timbreandorchestration.org/en/about/category/Funding monthly 0.5 https://timbreandorchestration.org/en/about/category/Timbre+and+Orchestration+Writings monthly 0.5 https://timbreandorchestration.org/en/about/category/Committees monthly 0.5 https://timbreandorchestration.org/tor/modules/learn-about-timbre daily 0.75 2021-12-23 https://timbreandorchestration.org/tor/modules/learn-about-timbre/audio-examples monthly 0.5 2021-12-23 https://timbreandorchestration.org/tor/modules/learn-about-timbre/introduction-to-timbre monthly 0.5 2021-12-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6f82ff39-d035-4ca4-921f-81f29b8d7e86/Screen+Shot+2021-12-21+at+6.42.05+PM.png Learn about Timbre - Introduction to Timbre - Make it stand out Source: Music Perception and Cognition Lab, McGill University, December 2nd, 2021 https://timbreandorchestration.org/tor/supplemental-materials daily 0.75 2025-08-05 https://timbreandorchestration.org/tor/supplemental-materials/project-reports/orchestration-saxophone-quartet-gutierrez-score-and-recording monthly 0.5 2025-06-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750617361053-BWY5KKVZM3RTVHO2BVO1/Ebb%26Flow-AndresGutierrezM-1.jpg Supplemental Materials - Writing for the Saxophone Quartet: Gutierrez — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750617361436-5JJWI29M0ENKFR58K2I1/Ebb%26Flow-AndresGutierrezM-2.jpg Supplemental Materials - Writing for the Saxophone Quartet: Gutierrez — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750617363767-U9D7PU5C2L0T0L4K6V0J/Ebb%26Flow-AndresGutierrezM-3.jpg Supplemental Materials - Writing for the Saxophone Quartet: Gutierrez — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750617364173-YIV9PQZUD2466I6PGTTS/Ebb%26Flow-AndresGutierrezM-4.jpg Supplemental Materials - Writing for the Saxophone Quartet: Gutierrez — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750617365716-FMX48QLOX7MCACM997S3/Ebb%26Flow-AndresGutierrezM-5.jpg Supplemental Materials - Writing for the Saxophone Quartet: Gutierrez — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750617366453-SO23IY556SSXCFHINIXV/Ebb%26Flow-AndresGutierrezM-6.jpg Supplemental Materials - Writing for the Saxophone Quartet: Gutierrez — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750617367599-THMSYX2INFT6E6IX05RD/Ebb%26Flow-AndresGutierrezM-7.jpg Supplemental Materials - Writing for the Saxophone Quartet: Gutierrez — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750617368484-X35LK82VW9A921OUHREE/Ebb%26Flow-AndresGutierrezM-8.jpg Supplemental Materials - Writing for the Saxophone Quartet: Gutierrez — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750617369438-3NDK25GU6HM5D1ZWVDBG/Ebb%26Flow-AndresGutierrezM-9.jpg Supplemental Materials - Writing for the Saxophone Quartet: Gutierrez — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750617370385-7LGDVJWXJ47ZKYKYZ2I0/Ebb%26Flow-AndresGutierrezM-10.jpg Supplemental Materials - Writing for the Saxophone Quartet: Gutierrez — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750617371482-AU5I5CR97DYJ9VSXZC0F/Ebb%26Flow-AndresGutierrezM-11.jpg Supplemental Materials - Writing for the Saxophone Quartet: Gutierrez — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750617372388-8E81NGIE90USO79QWJ8F/Ebb%26Flow-AndresGutierrezM-12.jpg Supplemental Materials - Writing for the Saxophone Quartet: Gutierrez — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750617373344-MFUTXUH3OMZ296YRNK0J/Ebb%26Flow-AndresGutierrezM-13.jpg Supplemental Materials - Writing for the Saxophone Quartet: Gutierrez — Scores and Recordings https://timbreandorchestration.org/tor/supplemental-materials/project-reports/quasar-project/gutierrez monthly 0.5 2025-07-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/06d7f784-adf9-4dd2-a316-7d419b73f181/sonsNuage_zoom.png Supplemental Materials - Instances of Proximity in Ebb and Flow for Saxophone Quartet - Make it stand out Figure 7 Timbre space of entire collection (left) and zoom in of region with sons nuages (right). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a23da266-fcb6-4f64-938e-152c8e14f284/centroidXpitch_plot.png Supplemental Materials - Instances of Proximity in Ebb and Flow for Saxophone Quartet - Make it stand out Figure 2. Plot of spectral brightness (using the linear centroid value along the horizontal axis), and pitch (using a logarithmic scale along the vertical axis). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9887bb55-cce8-4089-8197-6c725aeff933/ebbNFlow_opening.png Supplemental Materials - Instances of Proximity in Ebb and Flow for Saxophone Quartet - Make it stand out Figure 5. Beginning of the piece Bars 1 – 5. Presentation of initial sonority using only sons nuages. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d7b17a7e-ac0b-4e33-b197-b5219c7f0217/openingpassage.png Supplemental Materials - Instances of Proximity in Ebb and Flow for Saxophone Quartet - Make it stand out Figure 6. Graph representation of opening section (bars 1 - 11). The color scheme for each saxophone is kept and overlapped. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/566656df-356c-4f73-8fe8-63edeebbfb15/multiphonic_pitchChart.png Supplemental Materials - Instances of Proximity in Ebb and Flow for Saxophone Quartet - Make it stand out Figure 3. Chart of selected multiphonics with their salient frequency components. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ef4651e7-cbf0-448f-8798-46e5c7245130/projection_bar96.png Supplemental Materials - Instances of Proximity in Ebb and Flow for Saxophone Quartet - Make it stand out Figure 10 Timbral echo using ordinario tones to extend the sonority of a multiphonic sound. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b96c9bde-b236-4a6a-8e99-a402629648a5/coverPic.png Supplemental Materials - Instances of Proximity in Ebb and Flow for Saxophone Quartet - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cd240904-4547-43eb-a147-e9878368fc40/figure8_fingeringProximity.png Supplemental Materials - Instances of Proximity in Ebb and Flow for Saxophone Quartet - Make it stand out Figure 8 Comparative chart with multiphonic variations through slight changes in fingering from the Weiss & Netti book of extended techniques for the saxophone. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d8deac9a-6ec1-47b4-8ecb-e7d8e4bbe011/figure9_choral+progressions.png Supplemental Materials - Instances of Proximity in Ebb and Flow for Saxophone Quartet - Make it stand out Figure 9 Vertical concatenation of similar sounding multiphonics following the rule adjacent partials. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2635adc6-d3ef-4120-a502-2db10657bbda/instrumental_resynthesis.png Supplemental Materials - Instances of Proximity in Ebb and Flow for Saxophone Quartet - Make it stand out Figure 11 Graphic representation of bars 95-105. Red: soprano saxophone; Green: alto saxophone; Blue: tenor saxophone; Black: baritone saxophone. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/88ddbfd3-aeb5-4734-a494-d70d47f0b4f5/multiphonic_MFCCS_XY_ZY.png Supplemental Materials - Instances of Proximity in Ebb and Flow for Saxophone Quartet - Make it stand out Figure 1. Plot of mutliphonic collection distinguished by instrument: red = soprano; green = alto; blue = tenor; black = baritone. Dimensions 1 (horizontal axis) and 2 (vertical axis) on the left, and dimension 3 (horizontal axis), and 2 (vertical axis) on the right. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1d853700-7f86-422d-a64e-62f95f6abb24/sonsNuages_chart.png Supplemental Materials - Instances of Proximity in Ebb and Flow for Saxophone Quartet - Make it stand out Figure 4. Table of sons nuages with approximate pitches and fingering (below). https://timbreandorchestration.org/tor/supplemental-materials/project-reports/quasar-project/tougas monthly 0.5 2025-07-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/59d28acd-1561-4906-b1fe-0faff9cc5448/fig1_noFig.png Supplemental Materials - Five Miniatures for Saxophone Quartet (Copy) (Copy) - Make it stand out Figure 1: Sound object #1, “cloud-sounds” (sons nuages) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0c23a1f2-b2f8-4df6-895c-a14ec6a1c317/fig2.1_noFig.png Supplemental Materials - Five Miniatures for Saxophone Quartet (Copy) (Copy) - Make it stand out Figure 2.1: Sound object #2, repeated notes with slap tongue https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2eb0866a-a633-4b78-9c85-3f862d4916e7/fig.2.2_noFig.png Supplemental Materials - Five Miniatures for Saxophone Quartet (Copy) (Copy) - Make it stand out Figure 2.2: Sound object #2 with varied amplitude profile https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/80369639-f330-442a-858c-20b3e58bed40/fig.3.2_noFig.png Supplemental Materials - Five Miniatures for Saxophone Quartet (Copy) (Copy) - Make it stand out Figure 3.2: Compounding of basic sound objects (III, mm. 4–7) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b5409aef-603d-45be-9ead-7da79b75939f/Screen+Shot+2025-06-11+at+5.57.53+PM.png Supplemental Materials - Five Miniatures for Saxophone Quartet (Copy) (Copy) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/95043043-0033-4844-8464-057c35f7bc42/fig.3.1_noFig.png Supplemental Materials - Five Miniatures for Saxophone Quartet (Copy) (Copy) - Make it stand out Figure 3.1: Compounding of basic sound objects (III, mm. 1–3) https://timbreandorchestration.org/tor/supplemental-materials/project-reports/quasar-project/pari monthly 0.5 2025-07-29 https://timbreandorchestration.org/tor/supplemental-materials/project-reports/quasar-project/regnier monthly 0.5 2025-07-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7bde6dad-c596-4d15-a045-79cebb8994de/EnSeffacant-ScoreExcerpt07.png Supplemental Materials - En s’effaçant Jonas Regnier - Make it stand out Figure 7: Multiphonic textural and timbral augmentation in Section 3 (mm. 102–103) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9090d088-8cd7-4068-b924-baa38225d9f2/EnSeffacant-ScoreExcerpt10.png Supplemental Materials - En s’effaçant Jonas Regnier - Make it stand out Figure 10: Closing bards of the piece (mm. 185-187) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e93cdfa7-aa5c-48f3-9131-da9730833af4/EnSeffacant-ScoreExcerpt08.png Supplemental Materials - En s’effaçant Jonas Regnier - Make it stand out Figure 8: Grainy multiphonic attack followed by microtonal descending scales in Section 4 (mm. 136–138) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e06b3146-e765-468e-82ce-ef930373be63/EnSeffacant-ScoreExcerpt01.png Supplemental Materials - En s’effaçant Jonas Regnier - Make it stand out Figure 1: Opening of the piece, using a grainy small and close space (space #1): mm. 1–4 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b791dea7-2c4f-4799-9be0-e4dec95c9fba/EnSeffacant-ScoreExcerpt05.png Supplemental Materials - En s’effaçant Jonas Regnier - Make it stand out Figure 5: Multiphonic tremolo in Section 3 (mm. 106–108) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a0eae523-eb6f-486a-bb65-46ee7ad23439/EnSeffacant-ScoreExcerpt09.png Supplemental Materials - En s’effaçant Jonas Regnier - Make it stand out Figure 9: Multiphonics beatings progressively slowing down at the end of Section 5 (mm. 168–170). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0600a6ab-f0c9-4fc5-9bff-c370d8946418/EnSeffacant-ScoreExcerpt02.png Supplemental Materials - En s’effaçant Jonas Regnier - Make it stand out Figure 2: Quiet and large distant space (space #2): mm. 14–18 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5abc247f-7b9c-4a76-98d2-3bcc41400579/EnSeffacant-ScoreExcerpt04.png Supplemental Materials - En s’effaçant Jonas Regnier - Make it stand out Figure 4: Section 2 main material in its simplest form (mm. 85–88) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750642281737-62NN43U1HY5HB30CIVSY/regnier_annex1.jpg Supplemental Materials - En s’effaçant Jonas Regnier https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750092725558-25JVU6XRGN4MQPFHMG4F/regnier_annex2.jpg Supplemental Materials - En s’effaçant Jonas Regnier https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750092726495-V7FUZ5PA3MMNNDD4GE29/regnier_annex3.jpg Supplemental Materials - En s’effaçant Jonas Regnier https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750092726711-32Z9UYU02AKAV07V5B1L/regnier_annex4.jpg Supplemental Materials - En s’effaçant Jonas Regnier https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750092727625-UAHY3FD1KIDI8ATOS8W8/regnier_annex5.jpg Supplemental Materials - En s’effaçant Jonas Regnier https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1750092727829-2W93T4XWKNT53E67SJNB/regnier_annex6.jpg Supplemental Materials - En s’effaçant Jonas Regnier https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b6a529d6-c1bc-4024-b853-48a4641bfc8e/EnSeffacant-ScoreExcerpt03.png Supplemental Materials - En s’effaçant Jonas Regnier - Make it stand out Figure 3: Spatial articulations and dynamic incrustations in Section 2 (mm. 61–62) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/721b0963-47b4-4437-9350-7969dccf7534/EnSeffacant-ScoreExcerpt06.png Supplemental Materials - En s’effaçant Jonas Regnier - Make it stand out Figure 6: Multiphonic timbral blend in Section 3 (mm. 117–120) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/bcd58a7a-0a3c-4eef-8e3c-9b6d6f5cff96/En+s%27effac%CC%A7ant.jpg Supplemental Materials - En s’effaçant Jonas Regnier - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/project-reports/quasar-project/quillin monthly 0.5 2025-07-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1ffba084-8cf9-4fb6-871b-8bdb1931f996/picture3.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 3. Alto Multiphonic # 6 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f9a7a447-fe5e-4ce6-9f13-74cd3a624e10/picture4.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 4. Baritone Multiphonic # 30 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cd2c242a-e5ea-4e69-863f-7eb510b8149b/picture7.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 7. Motivic cell of B Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d8eef5a5-235d-4ea8-bfe9-519a06918f1e/picture2.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 2. Tenor Multiphonic # 20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/901942a6-f55b-4aaa-b058-4a13cb9aa5e5/picture6.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 6. Soprano Multiphonic # 16 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c1d5d2b9-77a4-47c5-a5e7-75eedd41cb69/picture15.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 15. Example of notated vibrato https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c708b2c5-3aad-45c4-a4bd-b1c9c08a449f/picture16.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 16. Example of development of motivic cells in Domenico Scarlatti’s Sonata in C Mayor. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ce058367-80fc-491d-90b4-063c72fb1528/picture10.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 10. Direct Stacked Explosion - measures 85-86 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a150f4fe-c36a-45bd-aa01-9619d1a6f616/picture1.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 1. Soprano Multiphonic # 15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/089bd459-f6a5-40ba-bc3d-d3a2d187242e/picture20.jpg Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 20. Graphical transcription from the score for Evryali (1973)” (Harley) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/92a1d2e0-5873-4a95-a7d6-e228aa0dccf9/picture11.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5da36b6e-94d5-4de4-8517-53a0d410b4c7/picture17.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 17. Rhythmic Progression used in measures 1-42 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9a6d55f5-898c-4d51-a807-619268a13269/picture18.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 18. Wave form of Alto Multiphnonic # 6. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/96f1ab1f-cfcb-408f-8397-09dd5ccd26cb/picture19.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 19. Full Statement of A + B Material https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/178e9748-a06e-4acb-92fb-6959549401ad/picture22.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 22. Multiphonic arborescence in measures 168-170 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fa042661-e355-4a36-9b1b-14147a5e51fe/picture8.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 8. Chart containing the collection of multiphonics used in mm. 26-85. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/07378b4b-2885-409b-9a0b-72fd6d9d1914/picture21.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 21. B-Material arborescence in measures 165-167 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6b69aa16-3b30-4c5f-aee5-b2724f6dcefb/picture9.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 9. Example of Stretto - measures 25-27 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9ac14cd4-bf27-481b-9ab8-501c446a1145/picture14.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 14. Example of Rhythmic Development https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e68f7743-f3f3-4c95-a140-ad824b25c79a/Picture12.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 12. Alto Multiphonic # 2, arriving in measure 26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/74f29254-68a2-4aa0-95d5-89e72c29827a/Picture13.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 13. Example of Rhythmic Development https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5b8fc35f-705a-40ca-b820-12799850abea/picture5.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 5. Alto Multiphonic # 3 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fade3158-28d0-4b65-88c0-9ba1cb35825b/picture11.png Supplemental Materials - Amortisseur Harmonique - Make it stand out Figure 11. Collection of polar pitches of measures 1-46 https://timbreandorchestration.org/tor/supplemental-materials/project-reports/quasar-project/komschlies monthly 0.5 2025-07-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/52a87a83-849d-4206-87a5-c657acb62e4a/Image+20+Powerplant.png Supplemental Materials - Beneath the Old Power Plant - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/da5561be-d69a-480c-840a-a067d40b1970/Image+5+-+Rural-Romania-Traditions-Trumpet-Playing-3.jpg Supplemental Materials - Beneath the Old Power Plant - Make it stand out https://peasantartcraft.com/rural-romanian-lifestyle/romanian-countryside-sheepfold/ https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d6e77bc8-a8b7-4ef8-bde6-a4bc442b22d1/Image+4+-+Tulnice.jpg Supplemental Materials - Beneath the Old Power Plant - Make it stand out Spiridon Ion Cepleanu, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Tulnice.jpg https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dc23790f-d2ec-4831-8b44-6c5c65b03088/Image+0+-+caffeinated_birb_floor_is_covered_in_tangled_nests_of_red_nerve_552d4b2d-7799-48b5-99f6-cd9a294c0611.png Supplemental Materials - 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Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749744961110-8LZ2645Z0KS2W3WS096D/BTOPP+Gallery+11.jpg Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749744867886-BIHGMDCK8GUVMB9Y8GV5/BTOPP+Gallery+7.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749744896878-OYSKOGD7I3WW0JQ2DM81/BTOPP+Gallery+8.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749744887234-I73TZZQUN6RS5KM5XCEC/BTOPP+Gallery+9.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749744896084-NC8GW5WB9QQ12HIZ6Y87/BTOPP+Gallery+10.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749744916052-9F5BBI5J10DEZVL0M1LK/BTOPP+Gallery+12.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749744504248-284TKQGRCKI351YHXLVN/Image+1+-+Screenshot+of+Mechinarium+by+Amanita+Designs.jpg Supplemental Materials - Beneath the Old Power Plant - https://store.steampowered.com/app/40700/Machinarium/ https://store.steampowered.com/app/40700/Machinarium/ https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749744504469-PR7Q9RXQZ6U4BUBESDAD/Image+2+-+Scene+from+Samorost+3+by+Amanita+Designs.jpg Supplemental Materials - Beneath the Old Power Plant - https://store.steampowered.com/app/421120/Samorost_3/ https://store.steampowered.com/app/421120/Samorost_3/ https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749744509801-F4HKCIYJP53URM83K2NV/Image+3+-+Screenshot+of+The+Day+the+World+Broke+by+Houghton+Mifflin.png Supplemental Materials - Beneath the Old Power Plant - Screenshot from The Day the World Broke (1997) by Houghton Mifflin Interactive Screenshot from The Day the World Broke (1997) by Houghton Mifflin Interactive https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/68ed5c86-b564-4d1d-859f-a43e466cd17c/Image+17.png Supplemental Materials - Beneath the Old Power Plant - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/21f41f0b-d616-4050-b5af-f1a062075ca3/Image+19+Powerplant.png Supplemental Materials - Beneath the Old Power Plant - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749828598434-VSZDWV1VLAU9GP7H8P7Z/Image+6+-+Gumby1-TV.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749828598656-PJGVTQ0BH4YBUWSP9OWL/Image+7+-+Gumby2-CactusSandpit.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749828600825-AFIIAGFP4W429G1JF6RT/Image+8+-+Gumby3-CandylandPath.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749828617205-5S4J8GTHIA6JZ72AR9EK/Image+9+-+Moreau1.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749828617038-L3KIRUG3V7OLTBNVQMDA/Image+10+-+Moreau2-moon-harp.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749828619417-ZX950OHPHRQC1HFHCD0X/Image+11+-+Moreau3-lakeguys.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749834184213-9AUC3EWJJAUTS6Q1FWSW/Image+13+-+Moreau-Gumby-Synth1%3DG2%2BM3.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749834182884-V5LLU1CL27HZLSV82IJZ/Image+14+-+Moreau-Gumby-Synth2%3DG3%2BM4.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1749834187528-NGM9CS7SOOFW91FXLH7J/Image+15+-+Moreau-Gumby-Synth3%3DG3%2BM2.png Supplemental Materials - Beneath the Old Power Plant https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8f358cdd-ccd1-4d53-a1ae-e2f7c9be3142/Image+18+-+Walking.png Supplemental Materials - Beneath the Old Power Plant - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/project-reports/the-line monthly 0.5 2025-05-20 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747836512780-VZHKI226Y11CN89FPAU9/The+Line+-+cover+page.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753148739-U9W06Q2IAG5U9WOOGOR9/TheLine_JB_Score_1.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753149171-DEW8J08TAVUFKQGR0086/TheLine_JB_Score_2.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753150469-2SIM4DSGTIH03ZLHOMRG/TheLine_JB_Score_3.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753150857-IV3OU3N1NKRWU2FIR6X7/TheLine_JB_Score_4.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753152304-8WI9M2EQD2Q83B8N14VA/TheLine_JB_Score_5.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753152390-YS0HUOLTY3LJCXQGYFL2/TheLine_JB_Score_6.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753154044-U0JCF5UQB2QZ79LBYL9V/TheLine_JB_Score_7.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753154393-5HL1Q3NTF44QKKUKWHCL/TheLine_JB_Score_8.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753155639-ZUQBMAWPJIY5UASA0VT8/TheLine_JB_Score_9.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753156044-UHT0W4HOUKATC6W8ZLXP/TheLine_JB_Score_10.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753156932-YQSTPGKTNX0Q7EJUNR2T/TheLine_JB_Score_11.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753157478-9QFCX93F82ZFGH5SZYUI/TheLine_JB_Score_12.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753158344-FH7UDPO0YG7T3YG2SWPU/TheLine_JB_Score_13.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753158973-ADFSO7XGQCVWZHOF92TH/TheLine_JB_Score_14.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1747753159579-IWN40GN1TIQ1W6B8CH4T/TheLine_JB_Score_15.jpg Supplemental Materials - The Line: an etude of juxtaposed stylistic timbral approaches https://timbreandorchestration.org/tor/supplemental-materials/rosner-example-1 monthly 0.5 2025-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f46db055-90e5-49a8-ad99-cfc8c14e7283/Example1.png Supplemental Materials - Rosner Example 1 - Make it stand out Example 1: Core-Horizon Structure from Ihde (2007) https://timbreandorchestration.org/tor/supplemental-materials/rosner-example-2 monthly 0.5 2025-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/225e5217-1564-4974-b48d-bb3864160c45/Example2.png Supplemental Materials - Rosner Example 2 - Make it stand out Example 2: Types of sonorities in Molly’s Song 3 - Shades of Crimson. https://timbreandorchestration.org/tor/supplemental-materials/rosner-example-3 monthly 0.5 2025-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2d727608-70b3-4708-8a10-3b638fc7537d/Example3.png Supplemental Materials - Rosner Example 3 - Make it stand out Example 3: Score-based pitch analysis of Molly’s Song 3 - Shades of Crimson. https://timbreandorchestration.org/tor/supplemental-materials/rosner-example-4 monthly 0.5 2025-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0889b386-57c1-4054-9544-99dc309eb95d/Example4.png Supplemental Materials - Rosner Example 4 - Make it stand out Example 4. Visual Analysis of Musicfabrik’s recording of Molly’s Song 3 - Shades of Crimson The visual analysis demonstrates how my segmentation of the piece into sections. The diagram depicts time (in seconds) and amplitude (via the waveform). focal cores (above the waveform), and segmentation down to the subsection level. The final sonority appears as it does in the score (from top to bottom: viola, alto flute notated in concert, steel-string guitar). https://timbreandorchestration.org/tor/supplemental-materials/rosner-example-5 monthly 0.5 2025-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f5eb32dc-6e78-4ffd-9bc8-4acd70df71f6/Example5.png Supplemental Materials - Rosner Example 5 - Make it stand out Example 5: Silences in Musikfabrik’s (1996) recording of Molly’s Song 3 - Shades of Crimson. https://timbreandorchestration.org/tor/supplemental-materials/rosner-example-6 monthly 0.5 2025-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b89cc06c-df7f-45dd-8205-9e24f0f25ee5/Example6.png Supplemental Materials - Rosner Example 6 - Make it stand out Example 6: Viola playing techniques and timbres of Molly’s Song 3 - Shades of Crimson. https://timbreandorchestration.org/tor/supplemental-materials/rosner-example-7 monthly 0.5 2025-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0b3f6752-67c7-4524-8c63-8ff9dce78b7c/Example7.png Supplemental Materials - Rosner Example 7 - Make it stand out Example 7. (0:16-0:24) Measures 9-12 from Molly’s Song 3 - Shades of Crimson by Rebecca Saunders (1996). Published by Edition Peters. https://timbreandorchestration.org/tor/supplemental-materials/rosner-example-8 monthly 0.5 2025-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e9ee7d18-cc8d-44f5-8371-6ee4554bf0cf/Example8.png Supplemental Materials - Rosner Example 8 - Make it stand out Example 8. (1:16.5-1:22) Measures 40-41 from Molly’s Song 3 - Shades of Crimson by Rebecca Saunders (1996). Published by Edition Peters. https://timbreandorchestration.org/tor/supplemental-materials/rosner-example-9 monthly 0.5 2025-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/269b803d-a6c1-4702-a45a-9ae2dc248ff2/Example9.png Supplemental Materials - Rosner Example 9 - Make it stand out Example 9: Overview of Sections of Molly’s Song 3. https://timbreandorchestration.org/tor/supplemental-materials/mcgartland-lutyens-amit-8 monthly 0.5 2025-04-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4c563e39-9875-46e5-96aa-a11b71356b70/8.png Supplemental Materials - McGartland Lutyens AMiT 8 - Make it stand out Example 8. Brass counterpoint of mm. 10-17 (p. 14) https://timbreandorchestration.org/tor/supplemental-materials/mcgartland-lutyens-amit-7 monthly 0.5 2025-04-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ddddf302-18ae-4629-a542-4af9a4fb844c/7.png Supplemental Materials - McGartland Lutyens AMiT 7 - Make it stand out Example 7. Brass chorale (p. 14) https://timbreandorchestration.org/tor/supplemental-materials/mcgartland-lutyens-amit-6 monthly 0.5 2025-04-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2ac989b0-23c1-42c6-b560-a44e6c9b3c05/6a.png Supplemental Materials - McGartland Lutyens AMiT 6 - Make it stand out Example 6a. Opening of Ritornello 2 (p. 13) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f18b644e-edfb-45e4-a70d-b2886474d2f0/6b.png Supplemental Materials - McGartland Lutyens AMiT 6 - Make it stand out Example 6b. Retrograde symmetry of Ritornello 2 (each bracket indicating an R transformation) https://timbreandorchestration.org/tor/supplemental-materials/mcgartland-lutyens-amit-5 monthly 0.5 2025-04-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/36ed57d7-02d7-4f70-92da-7b085490027f/5a.png Supplemental Materials - McGartland Lutyens AMiT 5 - Make it stand out Example 5a. Opening ritornello 1 (p. 1), echoes shown by brackets around row order numbers https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d3e2c946-b8d7-4cd5-a871-332e0241f3f0/5b.png Supplemental Materials - McGartland Lutyens AMiT 5 - Make it stand out Example 5b. RICH https://timbreandorchestration.org/tor/supplemental-materials/mcgartland-lutyens-amit-4 monthly 0.5 2025-04-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/77d951c9-efc1-4900-8143-c18997ac7ff2/4.png Supplemental Materials - McGartland Lutyens AMiT 4 - Make it stand out Example 4. Tenor solo in section 4 (p. 26) https://timbreandorchestration.org/tor/supplemental-materials/mcgartland-lutyens-amit-3 monthly 0.5 2025-04-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9855c1a8-94ff-40a4-b2ad-edae3c8f56f6/3.png Supplemental Materials - McGartland Lutyens AMiT 3 - Make it stand out Example 3. Form of entire work with color-coded instrument groups (slash indicates overlapping rows and brackets indicate row fragments) https://timbreandorchestration.org/tor/supplemental-materials/mcgartland-lutyens-amit-2 monthly 0.5 2025-04-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c7561537-138b-450f-abaf-25f22cf9cde0/2.png Supplemental Materials - McGartland Lutyens AMiT 2 - Make it stand out Example 2. Instrument groups https://timbreandorchestration.org/tor/supplemental-materials/mcgartland-lutyens-amit-1 monthly 0.5 2025-04-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/da9d4724-808a-4ab5-91eb-93f7fec99b70/1.png Supplemental Materials - McGartland Lutyens AMiT 1 - Make it stand out Example 1. The row of the entire work https://timbreandorchestration.org/tor/supplemental-materials/experimentation-in-music-composition monthly 0.5 2025-02-12 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b632dc3d-e354-490c-8675-dff958d75ed7/Picture7.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 7. Fixed position for the right hand. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/09fb7ee5-8160-42a4-a67c-a56a59ed0423/Picture18.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 18. Sonogram of the digital export. Extract from Study N1, measures 1 to 7 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/738f69c6-162f-47ef-b36e-26459fe879fb/Picture20.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 20. The bass-shaker transducer on the skin of a bass drum (left) and the comparison between its size and the size of a hand (right). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b37a75a2-e95a-4d61-85c2-1f367c7db769/Picture5.jpg Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 5. Prototype 4 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0b2092a6-9f37-447c-a84c-d9baac6a35ec/Picture30.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 30. I can no longer… Sequence of performance gestures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/07a3459a-c079-4bfc-bd62-bb0a67033fa3/Picture1.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 1. Transducer on drum head https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ac0bc0d7-269f-4232-9422-74d085e0628a/Picture9.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 9. N1, work description p. 2 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ac63fbdf-d745-4aa6-8104-833c51ef01ef/Picture32.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 31. No maps for these territories. Pictures in order from left to right: waterphone, thunder sheet, snare drum and bass drum https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9f9b52e8-35c4-48b3-9448-fedb2e982936/Picture28.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 28. I can no longer…, Notation examples of several actions https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/198f1ba5-1088-45ca-99a3-b45a876a1a95/Picture22.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 22. Test of Prototype. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7291382e-410d-41f0-89c2-0b531edd2371/Picture23.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 23. Part of score to renounce to body. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/33affe4e-48fe-4db8-a11d-dc629bcc314c/Picture17.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 17. N1, Score excerpt, mesures 1 to 7 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/afa64ee7-6feb-4565-9020-e257725fffa0/Picture16.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 16. Sonogram of the clock gesture https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f21dcdcd-8c06-42de-80ff-8e0ed8a7a109/Picture35.jpg Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 34, Transducer fixed on piano strings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e5c32f2a-488d-4d6a-8e85-1b4cf7c446d5/Picture39.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 38, Stage setup for Oil Rainbow https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f5d2fb4c-1670-4f29-aa0b-1a6cdd4b39c1/Picture15.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 15. N1 , work description p. 2 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8c2e27bd-97ec-4886-9783-3e14ba2934fb/Picture3.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 3. Prototype 2 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1b52a912-c131-4615-ab0e-cd2dcf0ff92b/Picture12.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 12. Notation of complete action https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/57c744aa-d94d-4fe7-92a2-64bbec56c22b/Picture11.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 11. N1 , work description p. 2. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a6043465-9bb8-4b41-814d-81fb3919b72d/Picture38.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 36, Excerpt of the score Oil Rainbow, mesures 44-47, flûte and clarinette https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/939c937a-296d-417a-8816-15850388704f/Picture33.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 32. No maps for these territories. Performance notes. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b0546450-c7fd-4bca-85be-0463b7e48543/Picture8.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out 1) Stick on the rim 2) Fingertips on the skin Figure 8. N1, work description p. 2 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/559f088d-4a68-4092-97a1-f6b800c122c4/Picture2.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 2. Prototype 1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7734b77c-3dbf-4724-bb29-a66592735103/Picture13.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 13. Spectrogram and waveform of excerpts from the electronic component of the "magnetic" gesture https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/231be227-9371-4c0d-bd98-bfdb587a27e0/Picture29.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 29. I can no longer…, score excerpt https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/678081b8-8445-4f08-b885-edba66725757/Picture26.jpg Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 26, Photograph of the device during the dress rehearsal https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/245717c6-2792-44e3-b82f-b5d888624618/Picture29_2.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Fig. 37. Excerpt from Oil Rainbow, mesures 109-113 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/751a85c9-eddb-4f03-b50a-eb235d1efd11/Picture6.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 6. Performing with the glove https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ff3ad475-0ae5-45ed-a335-73f9911c6d08/Picture10.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 10. Diagram of the magnetic gesture https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1776862d-70ed-4e56-a19a-8af2430b75a7/Picture25.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 25. Excerpt from to renounce the body, mesures 9-12 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/27a590b6-2357-4c5b-9206-d20aa7d4a686/Picture31.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6ce13de2-be15-44d6-baa3-eb5a71b75067/Picture24.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 24. Additional indications for the performer https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/70ea3850-cf8c-48d4-bc39-af05095a91a9/Picture4.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 4. Prototype 3 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/72d02e89-dfc2-4263-854b-312d6931677b/Picture34.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 33. No maps for these territories. Score excerpt. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9c9adb1f-ff1f-44e7-ab0a-e514a556e6df/Picture19_bis.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 19. Sonogram of the filtered digital export by the snare drum. Extract from Study N1, measures 1 to 7 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2da8f7a3-e2ce-413f-8ae4-9f3f571de7fb/Picture21.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 21. Prototype Bass-shaker https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7773db8f-2a43-4ffa-9fb8-7fb7b70d2ad7/Picture27.jpg Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 27. Photo of the studio work for the composition of the piece https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/06b05275-fa0e-48da-9d00-0f532e3927e6/Picture14.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 14. Diagram of the clock gesture https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a60297b8-86e6-4630-9f82-f3e895e89c84/Picture37.png Supplemental Materials - Experimentation as a Central Element in Music Composition (Copy) - Make it stand out Figure 35, Ayako Okubo (flutist) sympathetic vibration on the snare drum https://timbreandorchestration.org/tor/supplemental-materials/amit-across-the-skies-example8 monthly 0.5 2024-12-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7b9964b6-5621-4834-8b8f-7b61378e73ef/Eg-8.jpg Supplemental Materials - Across the Skies - Wenchen Qin - Example 8 - Make it stand out Example 8: Miscellaneous textural layers of the string instruments near the end of the piece. The top two staffs belong to the pipa. Headphones are recommended for listening to the audio example. https://timbreandorchestration.org/tor/supplemental-materials/amit-across-the-skies-example7 monthly 0.5 2024-12-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f0edafb2-e795-4b12-8fbd-19c58ed3d900/Eg-7.png Supplemental Materials - Across the Skies - Wenchen Qin - Example 7 - Make it stand out Example 7: Return of the diatonic texture at the beginning of the final section. https://timbreandorchestration.org/tor/supplemental-materials/amit-across-the-skies-example6 monthly 0.5 2024-12-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ff276724-570d-4ea3-bcfd-c8aca786d759/Eg-6.png Supplemental Materials - Across the Skies - Wenchen Qin - Example 6 - Make it stand out Example 6: Juxtaposition of the three sonic materials evolving from stacked perfect fifths to the chromatic cluster. https://timbreandorchestration.org/tor/supplemental-materials/amit-across-the-skies-example5 monthly 0.5 2024-12-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/213faa61-e6ca-4bd9-a6ad-204847f72cba/Eg-5.png Supplemental Materials - Across the Skies - Wenchen Qin - Example 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/amit-across-the-skies-example4 monthly 0.5 2024-11-28 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8e77be30-15b1-485a-acc9-2a09c17b8719/Eg-4.png Supplemental Materials - Across the Skies - Wenchen Qin - Example 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/amit-across-the-skies-example3 monthly 0.5 2024-11-28 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0882382d-b7e1-47fd-bffb-8a0c763e7e22/Eg-3.png Supplemental Materials - Across the Skies - Wenchen Qin - Example 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/amit-across-the-skies-example2 monthly 0.5 2024-11-28 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7cd5fe38-015b-41de-8018-b7c42c86fa55/Eg-2.png Supplemental Materials - Across the Skies - Wenchen Qin - Example 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/amit-across-the-skies-example1 monthly 0.5 2024-12-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3b28ddd0-77d7-421e-8557-3c7698380ab1/Eg-1.png Supplemental Materials - Across the Skies - Wenchen Qin - Example 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/project-reports/orchestration-saxophone-quartet-tougas-score-and-recording monthly 0.5 2025-06-16 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732136488053-D06CXQ4IWXD8QU1ZY8HC/LMTougas_Cinq_miniatures_1.jpg Supplemental Materials - Writing for the Saxophone Quartet: Tougas — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732136488235-GD1VEFSS8XDK6YE32ISQ/LMTougas_Cinq_miniatures_2.jpg Supplemental Materials - 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Writing for the Saxophone Quartet: Tougas — Scores and Recordings https://timbreandorchestration.org/tor/supplemental-materials/project-reports/orchestration-saxophone-quartet-regnier-score-and-recording monthly 0.5 2025-06-16 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135995849-DNLQTPE86NPQOESKEX9I/En_seffacant-Jonas_Regnier_1.jpg Supplemental Materials - Writing for the Saxophone Quartet: Regnier — Scores and Recordings (Copy) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135995935-9R2K9O84J7YQ7TR446XU/En_seffacant-Jonas_Regnier_2.jpg Supplemental Materials - Writing for the Saxophone Quartet: Regnier — Scores and Recordings (Copy) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135996772-WXUY5IDRO21M9I7KLU7U/En_seffacant-Jonas_Regnier_3.jpg Supplemental Materials - Writing for the Saxophone Quartet: Regnier — Scores and Recordings (Copy) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135997042-ICX4EO2CCHB7C308YGTB/En_seffacant-Jonas_Regnier_4.jpg Supplemental Materials - 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Writing for the Saxophone Quartet: Regnier — Scores and Recordings (Copy) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732136010832-03D0XUKDLDHVHXHUAUD1/En_seffacant-Jonas_Regnier_35.jpg Supplemental Materials - Writing for the Saxophone Quartet: Regnier — Scores and Recordings (Copy) https://timbreandorchestration.org/tor/supplemental-materials/project-reports/orchestration-saxophone-quartet-komschlies-score-and-recording monthly 0.5 2025-06-16 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135580034-T5G6CWL85LWDV7OMIVXL/Komschlies-1.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135580171-QH1QKJ28BEYV68HP1BQG/Komschlies-2.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135583066-DBOV8UT9TMQLF3ZA8SHJ/Komschlies-3.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135582848-YP78AXVFXSTFE8WQDGLO/Komschlies-4.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135584757-8M4LOUARTOH1NX6IJQMC/Komschlies-5.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135585297-IB691CODQDGRMW8IWVXN/Komschlies-6.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135586829-TUTN7LKKA86CGW058IFH/Komschlies-7.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135587410-X8K8XC7802WLXFGHTJGI/Komschlies-8.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135588575-N1329K8927XXL5A96OJT/Komschlies-9.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135589522-2VUPPWA8HHP5UAVNCE2P/Komschlies-10.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135590564-3V55537LINMU3RHLYY65/Komschlies-11.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135591391-N5IDGMUDMRQKKW8Q7HF0/Komschlies-12.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135592135-VJI8VLOWPYHBHIWSXS7S/Komschlies-13.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135592754-KFKRU1UBHMUGSL4PH96Y/Komschlies-14.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135593745-RL5Y3NLM4NTXJU1RW9KR/Komschlies-15.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135594692-PKVKNN2L26F2ZMXY07CQ/Komschlies-16.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135595622-2UOPHKDEZKV2D1BJNY1I/Komschlies-17.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135596676-6XS1MOR3F3LSQUX7YT6I/Komschlies-18.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135597528-2BUGQUL12KDD65YQO3EP/Komschlies-19.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135598376-ETXH2AAZCNAH4ZV57TDX/Komschlies-20.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135599361-VR5SVQQW8VWOKMD4ZCLU/Komschlies-21.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135600052-VW2WRKJRGBS264193ZI0/Komschlies-22.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135600983-HXOFWO1WAEB22WLOX3JU/Komschlies-23.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135601958-IMPWV3TF81HYMTIRTWEC/Komschlies-24.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135602875-97NFBJFZEW8V6V6VS7A4/Komschlies-25.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135603762-80ILXFDVPFOH4CRGQM3X/Komschlies-26.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135604695-9QVXRCG7JNVCZXOE634F/Komschlies-27.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135605693-UGYPNRBMS1221IBC7511/Komschlies-28.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135606384-TTULKQ23VW6N0L76DJVG/Komschlies-29.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135607357-NPRSWGQH75T3RQCFVJJR/Komschlies-30.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135608214-MRWYVUIAYX73GID45SDW/Komschlies-31.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135609068-871Q0NUK5G8NNZCRTMR5/Komschlies-32.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135609967-KHWOZJYA2KKKN8H0ANM1/Komschlies-33.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135610644-258L067CITUULVMJN9E9/Komschlies-34.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135611495-6YDFLQM1ZNCOJ9KZAQ2R/Komschlies-35.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135612401-KXTQN2N41RWE08RF2D97/Komschlies-36.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135613265-RNKFGRZ82P7MHD7SAPLQ/Komschlies-37.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135614077-JGF7LDRN81WZU8EJQAA1/Komschlies-38.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135614779-QER1PFYQWFWKS5BO2ZPS/Komschlies-39.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135615735-O13V5MQGJ1DOUGTAI8ON/Komschlies-40.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135616574-M5LKSXE4D17I2JNQ53C8/Komschlies-41.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135618446-7ZXOM2TSQQGV4ELP2ZFK/Komschlies-42.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732135619660-JIHBIZ66QJOSMOOOTF3E/Komschlies-43.jpg Supplemental Materials - Writing for the Saxophone Quartet: Komschlies — Scores and Recordings https://timbreandorchestration.org/tor/supplemental-materials/project-reports/orchestration-saxophone-quartet-pari-score-and-recording monthly 0.5 2025-06-16 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126919237-Q9YUY6503VAT1TF8OH88/A+Flickering+Glow+Transposed+Score_1.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126919430-F9GOBI53QAHPGIPX476X/A+Flickering+Glow+Transposed+Score_2.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126920241-F59XJ1LTBYFGBR33KFP8/A+Flickering+Glow+Transposed+Score_3.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126920846-E0S6SXM5IJXTU8WGMC5K/A+Flickering+Glow+Transposed+Score_4.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126921684-OVQR941TU6YC3NGCOKT6/A+Flickering+Glow+Transposed+Score_5.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126922131-4EQUXDIFXZRYL5GA1XAS/A+Flickering+Glow+Transposed+Score_6.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126922993-260BIIZT7W80WYP1K7L5/A+Flickering+Glow+Transposed+Score_7.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126923610-GR15C5ISSMRG3F9X9SAC/A+Flickering+Glow+Transposed+Score_8.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126924434-MKEXO0QFTJLQ2AX2M8H5/A+Flickering+Glow+Transposed+Score_9.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126925089-60FMB2SDGMZKI3FDS0QV/A+Flickering+Glow+Transposed+Score_10.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126925683-93R7NTGC8NE7C3VE1ERP/A+Flickering+Glow+Transposed+Score_11.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126926569-4YJ8JDC5FJF8VJA2KVXP/A+Flickering+Glow+Transposed+Score_12.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126927340-UOIDDM7RO6OXTI9AVK5I/A+Flickering+Glow+Transposed+Score_13.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126927935-JQWUOFH8AYP0D6RNH5VZ/A+Flickering+Glow+Transposed+Score_14.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126928772-OMDAGBQFBU0P511WH2FO/A+Flickering+Glow+Transposed+Score_15.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126929465-V048YOXWLW6K28PAHWG8/A+Flickering+Glow+Transposed+Score_16.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126930040-CA1K4W1NDUQ3FMBAJDOP/A+Flickering+Glow+Transposed+Score_17.jpg Supplemental Materials - Writing for the Saxophone Quartet: Pari — Scores and Recordings https://timbreandorchestration.org/tor/supplemental-materials/project-reports/orchestration-saxophone-quartet-quillin-score-and-recording monthly 0.5 2025-06-16 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732125996735-HE0G67PRWZJYGYYKJGGV/Amortisseur+Harmonique_1.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732125996694-1Y495XWP8Z6FWK8H47JP/Amortisseur+Harmonique_2.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732125998825-NZXJZI9CFRMFE7WEEUEA/Amortisseur+Harmonique_3.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732125999471-58Y2UCBFUSPBFP4I1MZ0/Amortisseur+Harmonique_4.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126000959-NKJ4LJAUGGXNZV6XDHLD/Amortisseur+Harmonique_5.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126001582-BHOD9XJL2R0MC5BC7MD5/Amortisseur+Harmonique_6.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126002722-PNMCRZ6PF04A3H92R3RR/Amortisseur+Harmonique_7.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126003452-SFTTVP7WBTRDWGD57VWF/Amortisseur+Harmonique_8.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126004473-NTMHA5KGXK6HYXAGOHEW/Amortisseur+Harmonique_9.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126005452-FIMBB6JPEC1PAA1SBCN1/Amortisseur+Harmonique_10.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126006157-JLTK23Q1DTM5J7FDQL8L/Amortisseur+Harmonique_11.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126007109-2G0RF2MZBGKZ1LHC5LE5/Amortisseur+Harmonique_12.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126008251-KHRC87DO3CIY24LFGQR3/Amortisseur+Harmonique_13.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126009254-0A8A1P621WAUPZ31QMYH/Amortisseur+Harmonique_14.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126009989-PKZ2LCXH06QG08IXG1ER/Amortisseur+Harmonique_15.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126011011-FRE2ACZTAVZE19ZS5SYX/Amortisseur+Harmonique_16.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126012402-18WY6D2O0V1943107O2W/Amortisseur+Harmonique_17.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126012840-WQ059UC6X17ZS05BZ8M1/Amortisseur+Harmonique_18.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126013958-TWPFWIHZ7B8XO83A573J/Amortisseur+Harmonique_19.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126014702-CQC3HNAVF2T3V9JIVLH0/Amortisseur+Harmonique_20.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126015599-MK28IZRZQ2BYBSUYSNMZ/Amortisseur+Harmonique_21.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126016823-221X9VM5IFX27XV4T8U9/Amortisseur+Harmonique_22.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126017638-9K3M3K65UY36FICZRBA1/Amortisseur+Harmonique_23.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126018692-IY7Q3ERDORCIXZ3IQ1B5/Amortisseur+Harmonique_24.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126019233-VOA4LQIQ3SVFPTDKFCQD/Amortisseur+Harmonique_25.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126020376-IBY9Z2WY3BEGPJSRKXUF/Amortisseur+Harmonique_26.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1732126021178-UDP1FSYOU49YD379Q7VD/Amortisseur+Harmonique_27.jpg Supplemental Materials - Writing for the Saxophone Quartet: Quillin — Scores and Recordings https://timbreandorchestration.org/tor/supplemental-materials/project-reports/orchestration-string-quartet-buron-score-and-recording monthly 0.5 2024-11-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730398614791-WNOSP5AZMXAW4NCG1Y3X/Buron%2C+Marilou_Amas+d%27air_20220307_1.jpg Supplemental Materials - Orchestrating for the String Quartet: Buron — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730398614953-DIKFUMEISPLNZNT3XLR6/Buron%2C+Marilou_Amas+d%27air_20220307_2.jpg Supplemental Materials - Orchestrating for the String Quartet: Buron — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730398615622-YU13YNPT8JK8N2W0NCGF/Buron%2C+Marilou_Amas+d%27air_20220307_3.jpg Supplemental Materials - 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Orchestrating for the String Quartet: Sabatino — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730399861451-DDM6B2I0NOYECXIFWU8G/Sabatino%2C+Miko_Quatuor+a%CC%80+cordes+No.+1+20220719_15.jpg Supplemental Materials - Orchestrating for the String Quartet: Sabatino — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730399861713-OXPT7M6SDPD92ZXHHE22/Sabatino%2C+Miko_Quatuor+a%CC%80+cordes+No.+1+20220719_16.jpg Supplemental Materials - Orchestrating for the String Quartet: Sabatino — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730399862386-9FOAOVKW3D3WAFP1X0R1/Sabatino%2C+Miko_Quatuor+a%CC%80+cordes+No.+1+20220719_17.jpg Supplemental Materials - Orchestrating for the String Quartet: Sabatino — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730399862523-GK579K1WD3JHAPVS4XTQ/Sabatino%2C+Miko_Quatuor+a%CC%80+cordes+No.+1+20220719_18.jpg Supplemental Materials - Orchestrating for the String Quartet: Sabatino — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730399863248-BLYHPOTTR5DYEE8LAOGY/Sabatino%2C+Miko_Quatuor+a%CC%80+cordes+No.+1+20220719_19.jpg Supplemental Materials - Orchestrating for the String Quartet: Sabatino — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730399863326-8MM48VWE1OOJZIMJRUQ2/Sabatino%2C+Miko_Quatuor+a%CC%80+cordes+No.+1+20220719_20.jpg Supplemental Materials - Orchestrating for the String Quartet: Sabatino — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730399864221-E31R3JHRV3F3Z9B9W52W/Sabatino%2C+Miko_Quatuor+a%CC%80+cordes+No.+1+20220719_21.jpg Supplemental Materials - Orchestrating for the String Quartet: Sabatino — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730399864278-JANUQ7JYKS918HD6EZRD/Sabatino%2C+Miko_Quatuor+a%CC%80+cordes+No.+1+20220719_22.jpg Supplemental Materials - Orchestrating for the String Quartet: Sabatino — Scores and Recordings https://timbreandorchestration.org/tor/supplemental-materials/project-reports/orchestration-string-quartet-tavakol-score-and-recording monthly 0.5 2024-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400366272-R3444KDNN49MN9DWNV5X/Tavakol%2C+Showan_Kereshmeh+20220303_1.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400366409-6AGRK05TOVMD8FI8KGOI/Tavakol%2C+Showan_Kereshmeh+20220303_2.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400367525-526OE9CBXCBTXHE5W759/Tavakol%2C+Showan_Kereshmeh+20220303_3.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400367526-6J7GMNTLHP7BI9083JJA/Tavakol%2C+Showan_Kereshmeh+20220303_4.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400368766-PNOWOBTRD7C78KPCYTU9/Tavakol%2C+Showan_Kereshmeh+20220303_5.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400368919-QMEOHSQC4SPRSE4EVDPN/Tavakol%2C+Showan_Kereshmeh+20220303_6.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400370135-HTJZH0EO1S52UKKSYO4U/Tavakol%2C+Showan_Kereshmeh+20220303_7.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400370159-HT5FNHSYEFKTTZHW9I3L/Tavakol%2C+Showan_Kereshmeh+20220303_8.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400371172-3HEYUX34NI8ZB61XOLFL/Tavakol%2C+Showan_Kereshmeh+20220303_9.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400371414-XBHZUZF1D1U7C1MWDX8B/Tavakol%2C+Showan_Kereshmeh+20220303_10.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400372102-1EZ4GIF13HOTT4SSJW9M/Tavakol%2C+Showan_Kereshmeh+20220303_11.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400372406-IX8XQ10TMQWRWHBXAG0Y/Tavakol%2C+Showan_Kereshmeh+20220303_12.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400373065-7P98JHTTKMXPKVAHRM4G/Tavakol%2C+Showan_Kereshmeh+20220303_13.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400374035-PO36D7QIE1VWWQQUX6JU/Tavakol%2C+Showan_Kereshmeh+20220303_14.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400375200-H00QOS2VGTU2HL17R2JW/Tavakol%2C+Showan_Kereshmeh+20220303_15.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400376585-QOF7JQRU2LPZFH6E2R4L/Tavakol%2C+Showan_Kereshmeh+20220303_16.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400376939-OKO07YKZPTYH4DJHFZF4/Tavakol%2C+Showan_Kereshmeh+20220303_17.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400377498-T95RT7QKCPO9AVVS6KC0/Tavakol%2C+Showan_Kereshmeh+20220303_18.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400377921-EM3COUXA9TF8D0R9VBWR/Tavakol%2C+Showan_Kereshmeh+20220303_19.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400378587-AX34M6S47PI81REBDOAX/Tavakol%2C+Showan_Kereshmeh+20220303_20.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400378946-A4D3617HB17MNV8BJHO0/Tavakol%2C+Showan_Kereshmeh+20220303_21.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400379542-WNR02T1FDHTL8S0UPK8I/Tavakol%2C+Showan_Kereshmeh+20220303_22.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400379892-N1VK50T8K0X0PZ48AEH4/Tavakol%2C+Showan_Kereshmeh+20220303_23.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400380473-M16YG5GKV6XEASOCQK5L/Tavakol%2C+Showan_Kereshmeh+20220303_24.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400381806-SI5QZOQOS2JKOMVK3FIM/Tavakol%2C+Showan_Kereshmeh+20220303_25.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1730400381793-X08CJL07AWKQ0Z2YP03V/Tavakol%2C+Showan_Kereshmeh+20220303_26.jpg Supplemental Materials - Orchestrating for the String Quartet: Tavakol — Scores and Recordings https://timbreandorchestration.org/tor/supplemental-materials/project-reports/timbrenauts monthly 0.5 2024-07-10 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cb0886b6-1e6d-4fe5-94f0-143af1577447/2024_05_20_CTN.png Supplemental Materials - Supplemental materials Timbrenauts - Make it stand out Figure 3: A network graph showing connections between Closest Timbral Neighbors (CTN) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0eb8db73-502a-4137-8b43-e93e7d435275/2024_05_20_GTD.png Supplemental Materials - Supplemental materials Timbrenauts - Make it stand out Figure 4: A network graph showing connections for Greatest Timbral Diversity https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e7763b61-8968-44c0-8f7b-7292ca44d60e/2024_05_23_highlightedCTN01.png Supplemental Materials - Supplemental materials Timbrenauts - Make it stand out Figure 5: The CTN network graph, with the highlighted area where new airy, noisy, flute-like sounds are conjectured to belong. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/857a6edc-c375-4e1e-8790-fa2b1c537cdc/TimbrenautsExperimentScreenShot.png Supplemental Materials - Supplemental materials Timbrenauts - Make it stand out Figure 1: Example interface for the similarity judgment trials. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a0830835-532f-443b-bbad-6670d62de25b/2024_05_28_highlightedCTN02.png Supplemental Materials - Supplemental materials Timbrenauts - Make it stand out Figure 6: The CTN network graph, with the highlighted area where new distorted pitched sounds are conjectured to belong. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e611c0e5-cedc-448d-8567-2ff170d2597e/2024_05_28_highlightedCTN04.png Supplemental Materials - Supplemental materials Timbrenauts - Make it stand out Figure 7: The CTN network graph, with the highlighted area where new pitched sounds with variable mutes applied are conjectured to belong. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/366c0291-ff24-4697-9347-87f9d6bb13f2/2024_05_20_MSS.png Supplemental Materials - Supplemental materials Timbrenauts - Make it stand out Figure 2: A plot showing one view of the Multidimensional Similarity Space (MSS) model. https://timbreandorchestration.org/tor/supplemental-materials/professor-bad-trip-fig-3 monthly 0.5 2024-06-26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a359d5e8-bd6e-4a30-8734-55e55b232c17/AMiT-Romitelli-Figure3.png Supplemental Materials - Professor Bad Trip fig 3 - Make it stand out Figure 3: Annotated score excerpt of Professor Bad Trip – Lesson 3, mm. 6–8 https://timbreandorchestration.org/tor/supplemental-materials/professor-bad-trip-fig-2 monthly 0.5 2024-06-26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6882784d-aa42-4c89-bb0e-6d0fe5927319/AMiT-Romitelli-Figure2.png Supplemental Materials - Professor Bad Trip fig 2 - Make it stand out Figure 2: Annotated score excerpt of Professor Bad Trip – Lesson 3, mm. 1–5 https://timbreandorchestration.org/tor/supplemental-materials/professor-bad-trip-fig-1 monthly 0.5 2024-06-26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7e9882ed-76fd-4a56-8854-ad618ee0d632/AMiT-Romitelli-Figure1.jpeg Supplemental Materials - Professor Bad Trip fig 1 - Make it stand out Figure 1: Francis Bacon, Three Studies for Self-Portrait, oil on canvas (1976) https://timbreandorchestration.org/tor/supplemental-materials/ulezo-supplemental-materials monthly 0.5 2024-06-26 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/676cf364-15dc-4798-9ac6-a4bc6139198c/Fig4.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Figure 4: Spectral roll-off https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5df8e3e6-7120-40d3-ab5b-2f5e9b91924a/Image_3_Heat.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Image 3: Heating the drums by fire in Mongu, Zambia on 25 March 2022; (L-R) Kashewa Kapalu, Chinyama Kasanga, Kasanga Nsamba https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/58857ded-c346-4883-978b-7d49e834f39b/Figure_1_Spectrum.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Figure 1: The Luvale drum timbre descriptor spectrum with English translation and instructions on achieving these timbres https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7c7ac175-1917-402d-bb8f-a683db0521f3/Fig6.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Figure 6: Zero-crossing rate https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0fdca6c5-607f-456b-9456-0b9e077b6423/Image_4_Ulezo.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Image 4: Ulezo made by Kapalu Lizambo in Zambezi, Zambia in 2022 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c036ad79-354c-44e5-b708-42886131ee20/Fig11.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Figure 11: Box plot showing zero-crossing rate values for each tuning stage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b39973f9-1b16-472a-bf26-ff9bb4977a03/Fig3.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Figure 3: Spectral decrease https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c0dd5a48-922b-4d32-9a3c-9157b2b87594/Fig10.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Figure 10: Box plot showing temporal centroid values for each tuning stage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e0377618-5d01-4218-bbfe-2e91d8033f22/Figure_12_Summary.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Figure 12: Timbral change of open strokes in the acoustic and perceptual domains https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f70d3f15-6794-454b-b506-1b70475c6448/Fig9.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Figure 9: Box plot showing spectral roll-off values for each tuning stage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/99f63906-cd28-4c19-a096-1765a88cc734/Fig2.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Figure 2: Spectral centroid https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cc150bed-df59-42b6-a288-b5191bdee92e/Fig7.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Figure 7: Box plot showing spectral centroid values for each tuning stage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b833eeb5-a848-489d-a5ea-266ebb0eab43/Image_2_Pegs.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Image 2: Ngoma pegs during (L) and after (center) head attachment compared to the large protruding pegs of the Ga kpanlogo (R) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9217d248-5b96-4739-a451-befea20c647e/Image_5_Ulezo_Drums.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Image 5: Members of Lenga Navo applying ulezo in Zambezi, Zambia on 12 June 2022; (L-R) Kapalu Lizambo on shina, Musumale Chijika on ngoma yahakachi, Vocia Kahilu Kapalu on ngoma yakusongo, Innocent Kapepa on ngoma yakasumbi https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4ff5720b-86da-4dbc-a400-f24010012be4/Fig8.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Figure 8: Box plot showing spectral decrease values for each tuning stage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/47d8fc8d-faa7-49d4-9db3-83dc234138c6/Image_1_Instrumentation.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Image 1: Common instrumentation for recreational (L) and ceremonial (R) settings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/61d6fefc-d906-4064-b33d-f68f69e2a06e/Fig5.png Supplemental Materials - Ulezo Supplemental Materials - Make it stand out Figure 5: Temporal centroid, from Elliot et al., (2013, p. 396) https://timbreandorchestration.org/tor/supplemental-materials/project-reports/space-as-timbre-liu-score-and-recording monthly 0.5 2024-06-21 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006557338-X4WAEK3J149JS5QDBPDY/Liu_Score1.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006557325-WAFVAKO6FFYLOFLF0HQA/Liu_Score2.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006558659-J1W0W4FWWCVY1YQ3W38H/Liu_Score3.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006558687-S97TF0XR95OJ2E0J3JBM/Liu_Score4.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006559738-2YL7M0V6R379DVXJMTUY/Liu_Score5.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006560002-HIYZ1Z90UQTU0320AEOH/Liu_Score6.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006560874-415QRRRBX1KNH5ZRKSOM/Liu_Score7.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006561190-4JOLFW8Z4XUTBLXXXT7S/Liu_Score8.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006561722-SAQR8ZPQZH3G6U0II8U8/Liu_Score9.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006561968-SSCNRHZTFU8FKKZVI1YJ/Liu_Score10.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006562668-JSL1KCUD9VXBZVJK1IOD/Liu_Score11.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006563027-9S32F7CIT5Q2PTT5QGSP/Liu_Score12.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006563643-DKAONQ8FBTCY8CKJZZCZ/Liu_Score13.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006563879-V4C0O7B4BCDVYTXO1WXI/Liu_Score14.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006564536-FSFQ0JAEVQZASFNKUWXP/Liu_Score15.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006564850-3CJMX3LZR7WQ3EHC1KL6/Liu_Score16.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006565506-R2OLC70A7Z7PQAUI0T9J/Liu_Score17.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006565707-UV6WR7HLLF8VLZU625Q7/Liu_Score18.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006566449-WKXZ3CVLYG1SRF7R3XR8/Liu_Score19.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006566636-0Y8ZIURNUISLJL0ODIYW/Liu_Score20.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006567187-OSTZPDMVGOR2W8ZTCI9G/Liu_Score21.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006567608-PEI9LBI4N5RAFVDR6UG4/Liu_Score22.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006568083-LFCLVBS2FZHJTA1RN73Q/Liu_Score23.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006568646-2HJVHH8TBA4SA6T4U15D/Liu_Score24.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006568896-FALVDKIQ2S4QTO8H1BMY/Liu_Score25.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006569650-9OZODC324M89K2EDAYBX/Liu_Score26.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006569807-W69Q2AMFVK5ATTUTQV3Z/Liu_Score27.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006570605-Z8IG0KXDOT3RSJ8B8FF5/Liu_Score28.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006570851-2408VOEVV1HC026PPETB/Liu_Score29.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006571798-THOCIKE52VU1RKFN1B5I/Liu_Score30.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006571989-BYDR9RIYEUAGH4OWXLP6/Liu_Score31.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006572564-VJAXF5KMF8GMMJBKFBPA/Liu_Score32.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006572937-HYHD3QOATS2LOUJRT42M/Liu_Score33.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006573624-N0LX6E07COT33I3TR0ZP/Liu_Score34.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006573834-SJTK3AIXZCB2UZY16Q5A/Liu_Score35.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006574465-JL05DF2NPR9RHLJLS1GA/Liu_Score36.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006574905-UK3SAX887ILVO2BTINKR/Liu_Score37.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006575532-LXUO78G2G90O7CFGKN7U/Liu_Score38.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006575743-5CEXHY1SC1UEYD79ZBK1/Liu_Score39.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006576721-FJG4MGFS2I1IE9HNPBU1/Liu_Score40.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006576711-BQSLAEQ12YADOXOGRVXV/Liu_Score41.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006577703-BWIP3AOSFLIPUAZK8K75/Liu_Score42.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006577866-WO1LIMPDR4YQAUKLO5ZA/Liu_Score43.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006578732-63NO46OZNQ87MUQWW31B/Liu_Score44.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006578914-SQ7QU5QECW2AMR78R8LO/Liu_Score45.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006579838-GR84I1TWJYHJO03E3QIT/Liu_Score46.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006580672-4SBYDPVAJHYETG5B2DJ5/Liu_Score47.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006580847-Y3YO5DGNKPC5EDKBXWNA/Liu_Score48.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006581774-9UVO615A3M51R8K1JJGK/Liu_Score49.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006581953-J38LPKAZEBVWFV8NVS0P/Liu_Score50.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006582800-8KL7YHMH6XPZVQZN9EM2/Liu_Score51.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006582993-20Q42TONYQMUIANMY8S0/Liu_Score52.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006583751-THFNXDQSCDLYA4J2CP7W/Liu_Score53.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719006584036-EEYF1UUKJ02XA7NSA9J0/Liu_Score54.jpg Supplemental Materials - SAT-Liu — Scores and Recordings https://timbreandorchestration.org/tor/supplemental-materials/project-reports/space-as-timbre-regnier-score-and-recording monthly 0.5 2024-06-21 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003849244-LL2NP24HQZE99N4450P1/JonasRegnier-SATPiece1.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003849155-ZAVU0KRTM74XK10VXK65/JonasRegnier-SATPiece2.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003850354-W3O1DFXMDPVM73ZDTXX5/JonasRegnier-SATPiece3.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003850193-DPINALATAPQMM7WW9H02/JonasRegnier-SATPiece4.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003851794-YW7ZDI5B3GJ942MV8G61/JonasRegnier-SATPiece5.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003851898-IQDV4VUYEHEJSTZKQVZN/JonasRegnier-SATPiece6.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003852862-9SAF7BZZAVVL3XDY3OBB/JonasRegnier-SATPiece7.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003853299-SHXTTCYZLH5L07PNCBMH/JonasRegnier-SATPiece8.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003854093-V8CB9QK06FQY8DDTJ07P/JonasRegnier-SATPiece9.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003854588-54RNLUDJJ67OBGHBARBW/JonasRegnier-SATPiece10.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003855643-AM84JC33S6RN269U06BK/JonasRegnier-SATPiece11.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003855905-LTVPIGIUGJAGQFK8QS25/JonasRegnier-SATPiece12.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003857133-WDRYYIC0V489U40WWB87/JonasRegnier-SATPiece13.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003857413-W34RPTZOPIAS61FBJ150/JonasRegnier-SATPiece14.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003858289-RSQII56OXA63MC9IHIQ9/JonasRegnier-SATPiece15.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003858887-1HB8MBK28RP7Y3PFA6Z3/JonasRegnier-SATPiece16.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003859694-XF1K6NR4BWB4GCAFCMKK/JonasRegnier-SATPiece17.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003860085-E1M2CMBZWJBSNMU4NPC2/JonasRegnier-SATPiece18.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003860715-7OCUVUUFO63I19PAGUQR/JonasRegnier-SATPiece19.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719003861243-IXUQROZC8YEQC4VZ2GYH/JonasRegnier-SATPiece20.jpg Supplemental Materials - SAT-Regnier — Scores and Recordings https://timbreandorchestration.org/tor/supplemental-materials/project-reports/space-as-timbre-diba-score-and-recording monthly 0.5 2024-06-21 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002484925-I0NNJ4OLH9B7STJI9O9C/Different+Same1.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002485093-OZWI926IEGJWA1TA5F92/Different+Same2.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002486026-FFW1XKYTYUZ4Y26CFP8Z/Different+Same3.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002486081-EXT2E83S7I94XD28FGGZ/Different+Same4.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002487067-82OOG2PFSU4WONIEY0GR/Different+Same5.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002487104-EZMKAI6AT3UCP5B2JKRI/Different+Same6.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002488548-2M6G9508X6CNOKV2C1C6/Different+Same7.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002488535-0EW42OR60L6I7RQZ8PF6/Different+Same8.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002489712-OULGXBGYQOP4ISMQ1NT1/Different+Same9.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002489987-QE329QW04PK36I3QD5R8/Different+Same10.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002491340-H8ZP893DZAXHYZHHOT0O/Different+Same11.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002491409-PVMMRK7GSLUU2IQUYEV9/Different+Same12.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002492729-RZPLHL0WO7O36DRE5DVT/Different+Same13.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002492812-SMAGN8EVWI0T5IQIZ1ZP/Different+Same14.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002494073-0CAFV708JR0R5AS0I4EE/Different+Same15.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002494217-PVCOWDO1XD29ROOJ7RAC/Different+Same16.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002495470-SNK8WVWVBJEA1S0UC9PG/Different+Same17.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002495657-8G143DS5FGHC3CHNRXD0/Different+Same18.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002497055-UOGXG76D4BHKQ62009HA/Different+Same19.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002497394-HU1U64063LU1A6IT9FRN/Different+Same20.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002498348-A32D804VZQ1RM28BQBL5/Different+Same21.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002498794-93DZVFROV3MIS9W2M543/Different+Same22.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002499603-QSPT38NJ1JQFCV62PWKW/Different+Same23.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002500107-88CZJW2KMYN1PWNWIUWK/Different+Same24.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002500905-GI73CT30NAF92P959ODV/Different+Same25.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002501563-021X5NM4N5JKS0UNOHYD/Different+Same26.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002502240-3IC6C77OOVC2WXABTZSL/Different+Same27.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1719002502928-D78XZXRIP172LLZT5AAP/Different+Same28.jpg Supplemental Materials - SAT-Diba — Scores and Recordings https://timbreandorchestration.org/tor/supplemental-materials/ulezo-supplemental-materials/audio monthly 0.5 2024-06-27 https://timbreandorchestration.org/tor/supplemental-materials/space-as-timbre/example3 monthly 0.5 2024-06-20 https://timbreandorchestration.org/tor/supplemental-materials/space-as-timbre/example4 monthly 0.5 2024-06-20 https://timbreandorchestration.org/tor/supplemental-materials/space-as-timbre/example1 monthly 0.5 2024-06-20 https://timbreandorchestration.org/tor/supplemental-materials/space-as-timbre/example2 monthly 0.5 2024-06-20 https://timbreandorchestration.org/tor/supplemental-materials/space-as-timbre/example5 monthly 0.5 2024-06-20 https://timbreandorchestration.org/tor/supplemental-materials/space-as-timbre/example6 monthly 0.5 2024-06-20 https://timbreandorchestration.org/tor/supplemental-materials/space-as-timbre/example7 monthly 0.5 2024-06-20 https://timbreandorchestration.org/tor/supplemental-materials/space-as-timbre/example8 monthly 0.5 2024-06-20 https://timbreandorchestration.org/tor/supplemental-materials/project-reports/space-as-timbre-liu monthly 0.5 2024-06-28 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e3f8f0fb-04b0-4066-b4f7-8dc6afa2f4bf/fig3.png Supplemental Materials - An evolving ecology— a conceptual approach to “space as timbre” - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6d8fa51a-697b-4e47-b156-cb5d739156f7/fig2.png Supplemental Materials - An evolving ecology— a conceptual approach to “space as timbre” - Make it stand out Fig. 2 Anqi Liu’s notation based on Orchidea suggestion. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f740fcce-571c-4b16-a78b-0a266ee3e59f/fig1.png Supplemental Materials - An evolving ecology— a conceptual approach to “space as timbre” - Make it stand out Fig. 1 Suggested orchestration by Orchidea https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a282a747-c125-4ec4-bf6e-966df454874f/fig4.png Supplemental Materials - An evolving ecology— a conceptual approach to “space as timbre” - Make it stand out Fig 3, Anqi Liu, While Snow Buries…, pp. 2-3 https://timbreandorchestration.org/tor/supplemental-materials/project-reports/space-as-timbre-regnier monthly 0.5 2024-06-28 https://timbreandorchestration.org/tor/supplemental-materials/project-reports/space-as-timbre-diba monthly 0.5 2024-08-06 https://timbreandorchestration.org/tor/supplemental-materials/renaissance-polyphony/example5 monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/af49b10c-1486-4e28-82b6-00b4cf14093d/Example5.png Supplemental Materials - Orchestration of Renaissance Polyphony - Example 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/renaissance-polyphony/example4b monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/320d0aff-3447-4f1d-b84c-c01efc1fc5b0/Example4b.png Supplemental Materials - Orchestration of Renaissance Polyphony - Example 4b - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/renaissance-polyphony/example4a monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0bde7809-c3c2-443b-b060-bfe28738f386/Example4a.png Supplemental Materials - Orchestration of Renaissance Polyphony - Example 4a - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/renaissance-polyphony/example3 monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/96d08212-547f-42b7-920e-82dbfc7a3d81/Example3.png Supplemental Materials - Orchestration of Renaissance Polyphony - Example 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/edufilms monthly 0.5 2024-03-14 https://timbreandorchestration.org/tor/supplemental-materials/the-history-and-future-of-the-tuba-family monthly 0.5 2024-03-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8985956e-657c-40fc-b155-42e0297857c5/Fig.+05.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 5: Bass Horn (Chromatic). Anon (possibly J. H. G. Streitwolf, Göttingen), ca. 1830. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/045ab086-a273-4c59-98fb-2854981aecd2/Fig.+02.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 2: Serpent. P. Ribo, Brussels, 2018. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4883ef84-03ad-4976-9a88-e88577e1f50b/Fig.+09.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 9: Typical modern bass tuba. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d6f03328-4f33-4b8c-b1e2-622a07347ead/Fig.+03.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 3: Bass horn (Cimbasso). N. Perry, London, 1998. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6345611b-5fee-45d4-b4e8-984526da4cf2/Fig.+04.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 4: Bass horn (English). Griesling & Schlott, Berlin, ca. 1820. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1c6ef863-e019-407e-9f3b-d47a5db50d4f/Fig.+13.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 13: Modified fourth valve tuning slide with screw fitting; piezoelectric screw-on microphone. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0c863648-20f1-49f7-8f0d-b09e83fd142c/Fig.+14.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 14: Multi-direction speaker with 3D-printed mount. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/eac31c51-3445-471e-855b-e2f6bb0346c2/Fig.+07.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 7: Bass tuba (Berliner). Wieprecht and Moritz, 1835, Appendix I. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6284f417-2693-41c8-9f88-6f3b30456a64/Fig.+10.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 10: Typical modern contrabass tuba. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1582e441-68ce-4ed5-a2cb-a41f7dd15f9f/Fig.+12.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 12: Helmut Lachenmann, Concertini (2005), b. 373–376. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7792bf95-5ee5-46e3-87e8-f86c97756d18/Fig.+06.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 6: Bass horn (Ophicleide). J. M. Labbaye, Paris, 1837. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/179d726d-ec98-446c-bbd3-aff1f645c60e/Fig.+11.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 11: Lowest pitches of valved low-pitch labrosone according to literature published 1837–2022. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c998011e-2d7f-4987-99eb-6e460638b305/Fig.+01.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 1: Serpent. Mersenne, 1637, p. 279. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6362b1ad-e2e9-4bc9-9d51-7d7badf58538/Fig.+08.jpg Supplemental Materials - The History and Future of the Tuba Family - Make it stand out Figure 8: Bass tuba (Wiener). A. Kley, Berlin, ca. 1918. https://timbreandorchestration.org/tor/supplemental-materials/path-of-miracles/surround monthly 0.5 2024-04-29 https://timbreandorchestration.org/tor/supplemental-materials/path-of-miracles/height monthly 0.5 2024-04-29 https://timbreandorchestration.org/tor/supplemental-materials/path-of-miracles/outrigger monthly 0.5 2024-04-29 https://timbreandorchestration.org/tor/supplemental-materials/path-of-miracles/decca monthly 0.5 2024-04-29 https://timbreandorchestration.org/tor/supplemental-materials/path-of-miracles/spots monthly 0.5 2024-04-29 https://timbreandorchestration.org/tor/supplemental-materials/harp monthly 0.5 2025-02-05 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1fc8e0b3-8038-4c38-9a4c-685a99c58dca/Screenshot+2024-02-02+144255.png Supplemental Materials - Harp - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/79bf51fd-f9c4-49fd-8978-91d52b0044b5/Screenshot+2024-02-08+171450.png Supplemental Materials - Harp - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1d0a08e1-6bb5-4b0c-89f8-37e640414843/Screenshot+2024-02-08+171321.png Supplemental Materials - Harp - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/835a2c53-eaf8-4586-8326-82894491bc54/Screenshot+2024-02-02+144228.png Supplemental Materials - Harp - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/ttt-download-page-3 monthly 0.5 2024-01-09 https://timbreandorchestration.org/tor/supplemental-materials/ttt-download-page-2 monthly 0.5 2023-12-18 https://timbreandorchestration.org/tor/supplemental-materials/quick-start-guide monthly 0.5 2023-11-29 https://timbreandorchestration.org/tor/supplemental-materials/online-guide-to-room-acoustics-for-musicians monthly 0.5 2023-10-18 https://timbreandorchestration.org/tor/supplemental-materials/path-of-miracles/rear-height monthly 0.5 2024-04-29 https://timbreandorchestration.org/tor/supplemental-materials/blend monthly 0.5 2023-10-13 https://timbreandorchestration.org/tor/supplemental-materials/spectrogram monthly 0.5 2023-10-12 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/01a342f3-fff2-4bf0-86cd-f783d8cd077d/Huards_log_EN.jpg Supplemental Materials - Spectrogram - Make it stand out Figure 2: Spectrogram of the same loon calls, but in logarithmic view. Notice the unequal spacing of the harmonics (horizontal yellow strata) when shown on a logarithmic scale. This display makes it possible to see more harmonics simultaneously without sacrificing detail in how the lowest partials are represented. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fbea6a56-9026-4faa-a139-3797cf529dd8/Huards_EN.jpg Supplemental Materials - Spectrogram - Make it stand out Figure 1: Spectrogram of common loon calls. We can see how the partials (horizontal strata created by the changes in intensity of the yellow hues) are equally spaced, indicating that these calls are harmonic. The lowest stratum (in the most intense yellow) roughly corresponds to the fundamental frequencies of these calls—the pitches at which we perceive them sounding. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/bc085363-b2ed-498a-a020-11bd43aa2714/Huards_8192_EN.jpg Supplemental Materials - Spectrogram - Make it stand out Figure 4: With a larger window size (8192 samples), the temporal resolution of the loon calls beginning at six seconds is greatly reduced, however, the frequencies of their components are rendered more precisely. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/830976e3-b171-4855-9b91-f75c3971093f/Huards_512_EN.jpg Supplemental Materials - Spectrogram - Make it stand out Figure 3: With a smaller window size (512 samples), the oscillating pattern of the loon calls, which begin at six seconds in the figure, are rendered in higher temporal resolution. The frequency values of these calls, again as seen in the yellow strata, are imprecise because of the relatively few samples within each window where they are averaged. https://timbreandorchestration.org/tor/supplemental-materials/spectral-envelope monthly 0.5 2023-10-13 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/15658367-ffcf-44ac-aaad-2edbbee54293/spectral_slope_Cuidado.png Supplemental Materials - Spectral Envelope - Make it stand out Figure 5: Amplitude spectrum with a regression line (in black). The spectral slope corresponds to the gradient of the line (from [1], p.14). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f8a71ebc-190c-4bf6-9f93-f6d8e5741c1d/spectral_spread_EN.jpg Supplemental Materials - Spectral Envelope - Make it stand out Figure 2: Comparison of spectral spreads for a crash cymbal (left) and clarinet (right). The frequency spectrum extracted from the sound of two crash cymbals (on the left) is characterized by a higher spectral spread value than that of a clarinet sound (on the right) as shown by the width of its spectral envelope. This means that the sound components are generally more distant from the spectral centroid value (red line) in the case of crash cymbals. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5bab5f69-8629-42cc-9ec6-cd32724d58b5/spectral_rolloff_Cuidado.png Supplemental Materials - Spectral Envelope - Make it stand out Figure 6: Frequency spectrum with a red vertical line indicating the spectral rolloff point (from [1], p.15). The red line marks the point under which 95% of the energy is stored. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/af95c710-2611-4d96-918e-19db38c23cc4/spectral_skewness_EN.jpg Supplemental Materials - Spectral Envelope - Make it stand out Figure 3: Comparison of spectral skewness curves for pink noise (left side) and blue noise (right side). The spectral skewness of pink noise (on the left of figure 3) is positive due to the presence of higher energy below the spectral centroid (red vertical line). Notice how its energy has been condensed to the left, creating a longer “tail” to the right of the spectral centroid. The spectral skewness of blue noise, on the other hand, shows a slight negative tendency due to the presence of energy above the spectral centroid (on the right) . https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2188c781-296e-4090-b5eb-c2b0837cd7a0/spectral_envelopes_EN.jpg Supplemental Materials - Spectral Envelope - Make it stand out Figure 1: Comparison of the spectral envelopes of the oboe and the clarinet. We can see from these spectral envelopes (blue curves) that the oboe’s spectrum has more energy in the higher harmonics than the clarinet. This correlates with a higher spectral centroid for the oboe. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dbd242ce-289e-4c31-a2d2-23de9480aea0/spectral_kurtosis_EN.jpg Supplemental Materials - Spectral Envelope - Make it stand out Figure 4: Comparative representation of different spectral kurtosis values of filtered crash cymbals. Both plots present the amplitude spectra and spectral envelopes of filtered crash cymbals, which were processed in a way that the spectral spread remains constant with different spectral kurtosis values. See how the left spectrum is “flatter” (lower kurtosis) while the right picture shows a more “pointed” distribution, with thicker tails on the sides (higher kurtosis). In both cases, the energy is distributed following essentially the same average frequency distance from the spectral centroid, which is why the spectral spread values are identical. https://timbreandorchestration.org/tor/supplemental-materials/klangfarbenmelodie monthly 0.5 2023-10-12 https://timbreandorchestration.org/tor/supplemental-materials/masking monthly 0.5 2023-10-12 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9fa13881-894b-491f-a286-3ced73431228/MaskingAsymmetry.png Supplemental Materials - Masking - Make it stand out Figure 3: This diagram shows the relation between the basilar membrane excitation pattern for a sine wave signal (S) and a narrow-band noise masker (B) at different frequency and level relations between the two. It demonstrates that lower-frequency maskers have more of a masking effect than do higher-frequency maskers. The overlap between the two excitation patterns is shown by the hashed region. Notice that a masking noise at a lower frequency masks the signal more at higher levels than does a masker at a higher frequency than the signal. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0b1c62d3-6420-456f-9649-0e2abe9c9857/Capture+d%E2%80%99e%CC%81cran%2C+le+2023-07-25+a%CC%80+23.58.42.png Supplemental Materials - Masking - Make it stand out Figure 2: Unrolled basilar membrane, with the frequency values (in Hertz) aligned with the corresponding distances from the oval window. Notice how the range of frequencies covered by an identical small segment of basilar membrane near the oval window (e.g., from 6000 to 8000 Hz) is much bigger than it is near the helicotrema (e.g., from 150 to 200 Hz) [7]. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/95139465-7a86-4e71-a485-248b03ee9203/nidcd-ear-illustration-2000x1479_9-27-22.jpeg Supplemental Materials - Masking - Make it stand out Figure 1: Sound propagates into the ear canal (outer ear) before transmitting the vibration to the eardrum and ossicles of the middle ear (malleus, incus and stapes). The oval window (touching the other tip of the stapes) then receives and sends the oscillations to the cochlea (inner ear) [4]. https://timbreandorchestration.org/tor/supplemental-materials/timbre-space monthly 0.5 2023-10-12 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f888637a-bda0-4e6a-899f-ab95307f51bc/Fig1_300ppi.png Supplemental Materials - Timbre Space - Make it stand out Figure 1: Overview of MDS process. Participants compare the sound events with each other (in pairs) to map their perceptual relations (distances) which are displayed in a perceptual dissimilarity matrix. The MDS program then creates a geometric configuration for the samples with respect to the dissimilarity ratings, using a lower number of dimensions. The obtained map is interpreted by the experimenter to find the best acoustic descriptors which correlate with the dimension axes [1]. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1abb8bd3-3e30-4e9b-a2ed-6524bbd3661f/Fig2_300ppi.png Supplemental Materials - Timbre Space - Make it stand out Figure 2: Example of a timbre space [1]. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2f177ba3-0a08-4e56-9842-574b15ee2092/chart.png Supplemental Materials - Timbre Space - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/dance-and-timbral-exploration-date monthly 0.5 2023-10-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/571c2f58-c704-4e24-ac72-2b97d6001089/figure6_WIND_fl%2BcelloCombo_withAnn.jpg Supplemental Materials - Dance and Timbral Exploration (DaTE) - Make it stand out Example 6: The flute (above) and cello (below) parts for WIND page 3 of 4. Annotations made during the rehearsal process indicate the relationship between the score and the audio processing. For page 3 specifically, the blue and yellow shaded areas represent the major and minor harmonizer effects, respectively. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0334df16-a9fc-46f7-a7b4-ef8690e5f779/figure5_nodes.png Supplemental Materials - Dance and Timbral Exploration (DaTE) - Make it stand out Example 5: Nodes object in Max/MSP/Jitter used in WIND. Top triangles indicate blind spots for the Kinect camera. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cbda7381-ca2a-49b1-b6c8-9466f72c9d3d/figure1_KiCASSDancer1ControlD.jpg Supplemental Materials - Dance and Timbral Exploration (DaTE) - Make it stand out Example 1: KiCASS target point selection. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cb1c76e4-393a-4b4d-9170-9536c30ab873/figure3_pluginsScreenshot.png Supplemental Materials - Dance and Timbral Exploration (DaTE) - Make it stand out Example 3: Some of the plugins used in WIND. Screenshot is taken from a Max/MSP/Jitter patcher for the piece. The red receives were from dancer generated KiCASS data. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/750b008c-550d-4ea3-b37d-108522d0ad70/figure4_InteractionDev.png Supplemental Materials - Dance and Timbral Exploration (DaTE) - Make it stand out Example 4: Developing the interaction. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3276be44-c13b-420e-bb72-45be3a41d712/figure7_AbletonScreenshot.png Supplemental Materials - Dance and Timbral Exploration (DaTE) - Make it stand out Example 7: Screenshot of Ableton Live Session View used to test out effects plugins with extended technique samples. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dd14e318-3f7b-4619-ad0d-0921795f9457/figure2_KiCASSServerClient.jpg Supplemental Materials - Dance and Timbral Exploration (DaTE) - Make it stand out Example 2: KiCASS broadcast setup. https://timbreandorchestration.org/tor/supplemental-materials/the-timbre-in-popular-song-tips-corpus monthly 0.5 2023-10-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/da508fab-1435-4d65-b83c-4ac251413a18/Ex3.jpeg Supplemental Materials - The Timbre in Popular Song (TiPS) Corpus - Make it stand out Example 3: Timbre and texture variables encoded in the TiPS corpus. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/be697c3e-ca92-4a77-9884-57449883c49b/Ex4.jpeg Supplemental Materials - The Timbre in Popular Song (TiPS) Corpus - Make it stand out Example 4: Sample annotation for Janet Jackson, “That’s the Way Love Goes” (1993). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/622b48be-d585-407f-a6bc-69686b9d227b/Ex1.jpeg Supplemental Materials - The Timbre in Popular Song (TiPS) Corpus - Make it stand out Example 1: A schematization of the Anti-Discriminatory Alignment System. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0286ee10-a426-4cc9-8c6f-eed6ca9c5df5/Ex2.jpeg Supplemental Materials - The Timbre in Popular Song (TiPS) Corpus - Make it stand out Example 2: Proportions of marginalized artists in parent and child corpora compared to proportions in the U.S. population for 1990-1999 based on census data (horizontal line). https://timbreandorchestration.org/tor/supplemental-materials/speech-as-timbre-models-for-orchestration-a-comparative-approach-between-cantonese-and-quebecois-french monthly 0.5 2023-06-28 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/541872d3-885d-4f57-b4ed-3617f8dae516/cuir_recording.png Supplemental Materials - Speech as timbre models for orchestration | Supplemental materials - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5ae14078-5dfe-4789-acb8-56545b455dc1/ng+%E6%81%AD%28Gung1%29.png Supplemental Materials - Speech as timbre models for orchestration | Supplemental materials - Make it stand out Figure: ng 恭(Gung1) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/430c5353-78b6-4ccd-8e2f-71cfa174d0ed/un+%E6%81%AD%28Gung1%29.png Supplemental Materials - Speech as timbre models for orchestration | Supplemental materials - Make it stand out Figure: un 恭(Gung1) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cf1f16e9-77e6-4f9e-9283-2965f1354c67/ng+%E6%81%AD%28Gung1%29.png Supplemental Materials - Speech as timbre models for orchestration | Supplemental materials - Make it stand out Figure: “ng” from 康 hong1 (身體健康) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/da80267d-05b2-4474-a927-842d2015be19/piano_syllable.png Supplemental Materials - Speech as timbre models for orchestration | Supplemental materials - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c0b1b553-21a7-4489-9cb1-8037bc0a0d13/Spear+2+%E8%BA%AB%E9%AB%94%E5%81%A5%E5%BA%B7+san+tai+gin+hong.png Supplemental Materials - Speech as timbre models for orchestration | Supplemental materials - Make it stand out Figure: Spear analysis of 身體健康san1 tai2 gin6 hong1 (in good health) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c7622c9f-5df2-4e26-a6c9-eac9c03b5dc3/cuir_spectrogram.png Supplemental Materials - Speech as timbre models for orchestration | Supplemental materials - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/27f3d052-ce3f-40ed-a2e5-9fdf517ed7ac/Spear+1+%E6%81%AD%E5%96%9C%E7%99%BC%E8%B2%A1+Gong+Hay+Faat+Choy.png Supplemental Materials - Speech as timbre models for orchestration | Supplemental materials - Make it stand out Figure: Spear 1 恭喜發財 Gong Hay Faat Choy https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3a22eded-ace0-4328-a560-ff6d745c43ba/G+%E6%81%AD%28Gung1%29.png Supplemental Materials - Speech as timbre models for orchestration | Supplemental materials - Make it stand out Figure: G 恭(Gung1) https://timbreandorchestration.org/tor/supplemental-materials/the-music-of-dialect monthly 0.5 2023-06-27 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f8be7e3a-6ffb-439f-96d2-db49edfe01c5/Graphic1_NBexcerpt.png Supplemental Materials - The music of dialect - Make it stand out Figure 1: Excerpt from No Barriers (Jason Noble, 2022) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/53eb6d1c-f5b7-4652-ad0b-5b14c47b368b/Screenshot+2023-06-20+at+6.54.53+PM.png Supplemental Materials - The music of dialect - Make it stand out Figure 14: Our system of pluck positions and corresponding vowel timbres, adapted from Traube. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0acbad59-c6a1-47ab-9886-d8cb8ca9ce45/Screenshot+2023-06-20+at+10.11.15+PM.png Supplemental Materials - The music of dialect - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1f6ed687-60b2-4c71-9496-29c6cb936b1e/Screenshot+2023-05-23+at+5.23.03+PM.png Supplemental Materials - The music of dialect - Make it stand out Figure 4: spectrographs of three vowels (I, a, u; male voice). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e66e5809-dd79-4d22-a702-1bacd1464984/figure5a.png Supplemental Materials - The music of dialect - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/217a3b69-8bf8-4787-9500-2bc692244b17/Flat_vs_Vowels_example.jpg Supplemental Materials - The music of dialect - Make it stand out Figure 15: Two guitar performances of the same speech transcription: A. FLAT with no position changes, and B. VOWELS with position changes. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9cbdcb4e-0899-4e3f-ad69-99362cf65a95/Screenshot+2023-06-20+at+10.19.44+PM.png Supplemental Materials - The music of dialect - Make it stand out Figure 24: Excerpt of score and recording of Take Me Back. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d2a21b34-31b6-40df-beee-ae25f9e58385/Figure_13.png Supplemental Materials - The music of dialect - Make it stand out Figure 13: Traube’s diagram of correspondences between pluck positions and vowel timbres. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dccbe985-a710-494c-8551-7627d3e68866/figure5b.png Supplemental Materials - The music of dialect - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5c19a0e0-6183-4ccd-bf82-a739dcef7a51/Maureen_EverySaturdayNight_pitch.png Supplemental Materials - The music of dialect - Make it stand out Figure 8: Sonic Visualizer fundamental frequency tracking of speech melody. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0b7f8399-08ea-446f-a64e-927dd4f2da6c/NB_example.jpg Supplemental Materials - The music of dialect - Make it stand out Figure 10a: Examples of rhythmic notation in Gone For All Night. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6e52cf24-0a06-461d-8fba-460a5e0147da/Shabby_Genteel_lyrics.jpg Supplemental Materials - The music of dialect - Make it stand out Figure 20: Lyrics and recitation of The Shabby Genteel. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c19dd3a9-25e9-4fb3-9f96-ce9d00a644bb/Figure+9.jpg Supplemental Materials - The music of dialect - Make it stand out Figure 9: Three possible pitch transcriptions of the speech example from Figure 8. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/09087265-6b87-414e-8e82-f585c0f26732/Clarke_diagram.png Supplemental Materials - The music of dialect - Make it stand out Figure 6: Example of a table from Clarke (2010) using IPA symbols to compare three major dialect families of Newfoundland English. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/941cabec-9561-413b-90d4-784580874dde/Screenshot+2023-06-20+at+10.19.19+PM.png Supplemental Materials - The music of dialect - Make it stand out Figure 23: Excerpt of score and recording of One Foot in the Past. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/570414ae-1550-4155-afc7-aacaca2d9f3a/Screenshot+2023-05-23+at+5.20.32+PM.png Supplemental Materials - The music of dialect - Make it stand out Figure 3: Spectrographs of three guitar pluck positions (1cm, 16cm, and 32cm from the bridge) on open string III (G3). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e55b2814-9658-4e29-9c76-17f253401d64/Figure12_metricalexamples.png Supplemental Materials - The music of dialect - Make it stand out Figure 12: Examples of recordings and transcriptions of clear metres emerging locally in speech. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7ef25bba-5f63-44c4-8f31-c3e828d85eeb/Fig2_Wallin+copy.jpg Supplemental Materials - The music of dialect - Make it stand out Figure 2: Excerpt and spectrographic sketches from Concerning King (Rolph Wallin, 2006) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/30c8449f-a1d1-4de2-b1f2-5d34aed8ca56/Figure+11.jpg Supplemental Materials - The music of dialect - Make it stand out Figure 11: The same rhythm (durational pattern) notated in four different metres. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8db24adf-6d67-4a33-8a5a-7cb7c177ca4f/GFAN_example.jpg Supplemental Materials - The music of dialect - Make it stand out Figure 10: Examples of rhythmic notation in (a) Gone For All Night and (b) No Barriers. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6c4c35fe-598b-45f3-bde6-e6e5d4280279/Figure_17.png Supplemental Materials - The music of dialect - Make it stand out Figure 17: A speech clip and a resynthesized version created by concatenating a library of guitar sounds. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7c51f3f3-58f8-4b34-a538-8b6b88bcabe1/Screenshot+2023-06-20+at+10.14.24+PM.png Supplemental Materials - The music of dialect - Make it stand out Figure 22: Excerpt of score and recording of we never told nobody. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1551334e-315b-4491-a8f9-4df07907feb3/Figure_7.jpg Supplemental Materials - The music of dialect - Make it stand out Figure 7: Map of Newfoundland identifying communities we visited on our tour, with dialectal influences and photos. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ce015f78-8230-4bd0-ab44-d79c4fd6acb4/Figure_18.png Supplemental Materials - The music of dialect - Make it stand out Figure 18: A speech clip and a resynthesized version created by extracting and time-stretching selected partials. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/77c87b63-2e79-4f29-8f8d-6bb60ea0aebe/Figure_16.jpg Supplemental Materials - The music of dialect - Make it stand out Figure 16: Timbral transcription, with pluck positions indicated by IPA vowel symbols over the guitar notes. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/940e9347-d884-402d-8e71-2c3519af9126/Figure_19.png Supplemental Materials - The music of dialect - Make it stand out Figure 19: A speech clip and three processed versions. https://timbreandorchestration.org/tor/supplemental-materials/amazing-moments-in-timbre/icicle monthly 0.5 2023-05-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1908d758-f96a-44bb-957c-ddb098caa0e2/Lussier_AMiT+Icicle_Figure-5.png Supplemental Materials - Icicle | AMiT - Make it stand out Figure 5: Annotated spectrogram of Audio Example 5 (Icicle motive 2) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/163bb834-1d63-4a3b-a182-48d0a51da9f3/Lussier_AMiT+Icicle_Figure-3.png Supplemental Materials - Icicle | AMiT - Make it stand out Figure 3: Icicle mm. 31­–37 with annotations, visualizing Audio Example 3. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8cb69de5-232c-465b-8087-dfd3d8a8d65c/Lussier_AMiT+Icicle_Figure-7.png Supplemental Materials - Icicle | AMiT - Make it stand out Figure 7: Annotated spectrogram of icicle motive 2 played with standard flute technique (closed thumb key, Audio example 7). Compare with Figure 5. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cdf71a56-51f3-4575-9b07-75964c78b1f7/Lussier_AMiT+Icicle_Figure-1c.png Supplemental Materials - Icicle | AMiT - Make it stand out Figure 1c: mm. 35–37—flutter tonguing https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/647f6450-25b8-4240-a670-898f02a0fa2d/Lussier_AMiT+Icicle_Figure-6.png Supplemental Materials - Icicle | AMiT - Make it stand out Figure 6: Annotated spectrogram of icicle motive 1 played with normal flute technique (closed thumb key, Audio Example 6). Compare with Figure 4. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c8e0a70f-9ed8-492c-86ec-0bee8f4aa10d/Lussier_AMiT+Icicle_Figure-1d.png Supplemental Materials - Icicle | AMiT - Make it stand out Figure 1d: mm. 70–71—multiphonics https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b14d722c-4aad-45af-8c34-e5d70dc370a8/Lussier_AMiT+Icicle_Figure-4.png Supplemental Materials - Icicle | AMiT - Make it stand out Figure 4: Annotated spectrogram of Audio Example 4 (Icicle motive 1) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3aa59ed3-dfdd-4443-b489-6f6cb828ba04/Lussier_AMiT+Icicle_Figure-2.png Supplemental Materials - Icicle | AMiT - Make it stand out Figure 2: Annotated score of Icicle (1977) showing versions 1 and 2 of the icicle motive with its coloured trill technique, audible in Audio Example 2. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f6376951-46e0-452b-b29d-2b55089ec59b/Lussier_AMiT+Icicle_Figure-1a.png Supplemental Materials - Icicle | AMiT - Make it stand out Figure 1a: m. 5—timbral trill with pitch bend https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4fd255af-14b4-4698-9f0b-9c47dd84c7eb/Lussier_AMiT+Icicle_Figure-1b.png Supplemental Materials - Icicle | AMiT - Make it stand out Figure 1b: m. 31–33—pitch gliss. with timbral trill https://timbreandorchestration.org/tor/supplemental-materials/tension-and-the-cello monthly 0.5 2023-04-21 https://timbreandorchestration.org/tor/supplemental-materials/stones/burkhard-beins monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/steve-heather/joys-of-camping monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/rosalind-hall/echo-mic monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/tony-buck/cog monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/jim-denley/membrane monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/marta-zapparoli/magnetic-matter monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/james-welburn/innocent-pipe monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/andrea-neumann/fork monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/clayton-thomas/i-should-have-given-it-a-name monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/ignaz-schick/object-attachment monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/andrea-parkins/hot-pink-post-it-notes monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/benoit-delbecq/martoche monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/ute-wassermann/palate-whistle monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/johannes-bergmark/sound-objects-and-me monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/dave-brown/foraging-for-streetsweeper-blades-for-magda-mayas monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/gino-robair/one-of-my-favorite-things monthly 0.5 2023-03-18 https://timbreandorchestration.org/tor/supplemental-materials/orchestrating-timbre monthly 0.5 2024-03-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/99751481-5707-4738-bae1-f4ccb504078a/Ebows-min.jpeg Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out E-bows https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8654385b-7e67-4907-9ddc-bb5b9c1ab2ef/slate+2-min.JPG Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out A plate that is made of slate https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/73714d2b-7374-4e6b-bd7a-72edf59cba63/fork+2-min.JPG Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Forks https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7664750e-1d38-47e7-b440-31b5835c13a8/piranha+bow+2-min.JPG Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Piranha bow https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8a921799-3a32-4673-a531-0454ebb97221/f38c7f71caec395846ed4141915d2c98.gif Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Hand https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/28d2ea65-57b5-4973-82a4-d468278ae526/stone+ball-min.JPG Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Jade Qi Gong balls https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a839f11e-830d-408b-8c03-122944bd91a4/magnets-min.jpeg Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Magnets https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9284c7bf-6928-4137-8551-ba84e3183e6b/small+magnetic+bowl-min.JPG Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Small metal bowls https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1a3accc3-eca8-424b-8db3-49960cf3f5a4/Gaffer+1-min.JPG Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Masking tape or other sticky tape https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ad7c91b1-3f8b-4cf5-9f14-27c38bd1302c/50aff34a8cd21fa62ad86a62414dbcdd.gif Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0623d0f8-4e57-4c56-8912-7d06d4e31be6/9a7c727ef1f4854e004355d96ca729f6.gif Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/180c5345-6189-4ec5-bf07-7f12836e767f/bec5ea74eebe7937e5aaca0ab63f96fb.gif Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Magnets of different sizes, strengths, and shapes https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/39ed29a0-dad0-4a48-b68b-d64e2c3d22e3/bebe7540269cd60d7effa5ea70798b94.gif Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ea9bc330-fffa-4da5-af9a-93edab188a95/Skewers-min.jpeg Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Bamboo skewers of different thicknesses and lengths https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/329115df-b3a3-40f1-9ece-74435bfe8dd7/chopstick+1-min.JPG Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out A chopstick https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3743c10d-f9a9-4b17-be39-4b3125f80ddb/rosin+3-min.JPG Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Rosin of different kinds (powdered and solid) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/06099663-ba2e-4dd3-9188-cb297763e9cc/whisk+2-min.jpg Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out A metal whisk https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2d5200fb-0686-4694-8f82-7b5b4fca3eea/plasticine+1-min.JPG Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Plasticine https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/93b24d9c-aa07-4ad0-8bf8-f8153ff4c55f/magnetic+bowl-min.JPG Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Magnetic bowl https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0c5ebc58-c5b5-4837-97bc-5c7736086d8a/metal+balls-min.JPG Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Metal balls https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/52cfbca1-8897-4b53-971a-9844804f4e85/d02f3a00ac35b4a8062229ba9d61adf4.gif Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Fishing line and nylon thread of different brands, colors, and thicknesses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4edbf39f-2ff3-4b49-a1cf-afcc82ad48b1/mallet+big-min.JPG Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out A rubber mallet https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6df75450-8c86-47b5-84bf-6d3b7a05a4ca/8258af5eccbec116f7b49b44b859cc72.gif Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/eea61297-e157-4bfa-8dff-edc654560e14/fd136a0ef62504b36f5904a9c7e13ee0.gif Supplemental Materials - Orchestrating Timbre | All Examples - Make it stand out Metal and Jade Qi Gong balls https://timbreandorchestration.org/tor/supplemental-materials/death-sex-and-the-semitone monthly 0.5 2023-02-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1675421357351-YDYFU0NROICA9Z06UQVY/Figure+3-+Simplified+illustration+of+Sensory+Dissonance.png Supplemental Materials - Death, Sex, and the Semitone — Supplemental Material - Make it stand out Figure 4: Simplified illustration of Sensory Dissonance, showing overlapping regions on the Basilar Membrane which vibrate in response to frequencies a semitone apart. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fbdd067d-0ca6-4368-a3d9-27c557c45a16/Figure+1-+word+painting.png Supplemental Materials - Death, Sex, and the Semitone — Supplemental Material - Make it stand out Figure 1: word painting on “pur t’annodo” – I enchain you https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/544f73ae-4f4e-4304-a263-6f598c5a65cc/Figure+3-+Poppea+enters+on+a+B4.png Supplemental Materials - Death, Sex, and the Semitone — Supplemental Material - Make it stand out Figure 3: Poppea enters on a B4, followed shortly by Nero’s entrance, a minor second above her, on a C5. This creates musical and sensory dissonance. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a0ab5ad1-9f4d-4365-b538-0e42c8cb8641/Screen+Shot+2023-02-03+at+12.12.49+PM.png Supplemental Materials - Death, Sex, and the Semitone — Supplemental Material - Make it stand out Figure 2: Spectral image of the beginning of recording 2, Poppea’s “pur ti stringo” over Nerone’s “pur t’annodo”. The annotation indicates where Poppea holds the tone straight and then allows vibrato into the sound. https://timbreandorchestration.org/tor/supplemental-materials/passaggio-and-register-in-the-singing-voice monthly 0.5 2023-02-03 https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-1 monthly 0.5 2024-03-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2279a1c8-226b-45c2-97ff-8583803f1e10/Ex1.png Supplemental Materials - TOGE | MTO — Example 1 - Make it stand out Example 1. Auditory grouping gives rise to events from which perceptual properties are extracted, which then acquire musical functions within a given sonic context https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-2 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cfc472b7-0e78-45d8-a617-3dfbf697fb61/Ex2.png Supplemental Materials - TOGE | MTO — Example 2 - Make it stand out Example 2. Auditory grouping processes and the resulting perceptual qualities and corresponding orchestral effects. [Adapted from Goodchild and McAdams 2021, Fig. 1] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-3 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ead4b550-d044-4455-b27d-710566cd4edc/Ex3.png Supplemental Materials - TOGE | MTO — Example 3 - Make it stand out Example 3. Taxonomy of concurrent auditory grouping phenomena https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-4 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2dce4dd9-f4d1-4af2-97bd-1dba30041890/Ex4.png Supplemental Materials - TOGE | MTO — Example 4 - Make it stand out Example 4. Timbral augmentation (sustained, stable): Debussy, La Mer, i, mm. 122–31 Audio example 1a is the English horn alone, 1b adds the two solo celli, and 1c is the full context [simulation from OrchPlayMusic Library] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-5 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/840002fb-2afc-4f48-b3d7-85d1d263bfe1/Ex5.jpg Supplemental Materials - TOGE | MTO — Example 5 - Make it stand out Example 5. Timbral augmentation (sustained, transforming): Wagner, Parsifal, Overture, mm. 20–25 https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-6 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2b5fa9c3-6688-431f-9294-984af2be0d29/Ex6.png Supplemental Materials - TOGE | MTO — Example 6 - Make it stand out Example 6. Timbral augmentation (punctuated): Sibelius, Symphony no. 5, op. 82, iii, mm. 474–482 Audio example 3 [recording of Berliner Philharmoniker conducted by Herbert von Karajan, Deutsche Grammophon] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-7 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/65d2ceaf-ae2b-4466-9541-b4423d426cb6/Ex7.jpg Supplemental Materials - TOGE | MTO — Example 7 - Make it stand out Example 7. Timbral emergence (sustained, stable): Debussy, La Mer, i, mm. 6–17 Audio example 4a presents the blend of English horn plus muted trumpet and 4b adds the full musical context [simulation from OrchPlayMusic Library] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-8 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d0ba6044-2e26-40c2-9de1-7f12d1d344fd/Ex8.jpg Supplemental Materials - TOGE | MTO — Example 8 - Make it stand out Example 8. Timbral emergence (sustained, transforming): Schoenberg, Five Pieces for Orchestra op. 16, iii, mm. 1–11 Audio example 5 [recording of BBC Symphony conducted by Pierre Boulez, CBS Masterworks] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-9 monthly 0.5 2024-02-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0743293b-b8b0-4339-9c10-fcf285c93181/Ex9.png Supplemental Materials - TOGE | MTO — Example 9 - Make it stand out Example 9. Timbral emergence (punctuated): Berlioz, Symphonie fantastique, iv, m. 17 Audio example 6 [simulation from OrchPlayMusic Library] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-10 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/03c8301c-16fe-4ce1-8dbe-afd5793de1c0/Ex10.png Supplemental Materials - TOGE | MTO — Example 10 - Make it stand out Example 10. Timbral heterogeneity (sustained, stable): Debussy, La Mer, iii, mm. 183–186. Note that the glockenspiel sounds two octaves higher than written. The rest of the orchestra is not shown. Audio example 7a is English horn, 7b adds the horn, 7c adds the glockenspiel, and 7d has the full context [simulation from OrchPlayMusic Library] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-11 monthly 0.5 2023-05-28 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/330490f1-f74d-42b1-a268-eb21ba167700/Ex11.png Supplemental Materials - TOGE | MTO — Example 11 - Make it stand out Example 11. Timbral heterogeneity (punctuated): Tchaikovsky, Nutcracker Suite, op. 71a, i, mm. 181–182 Audio example 8 [recording of the Wiener Philharmoniker conducted by Hans Knappertsbusch, Decca] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-12 monthly 0.5 2023-05-28 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c75db06b-4ed2-4dcc-906a-18f33e6efb60/Ex12.png Supplemental Materials - TOGE | MTO — Example 12 - Make it stand out Example 12. Taxonomy of sequential auditory grouping phenomena https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-13 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b20a4151-1aa0-4903-9995-fa6af3370e6d/Ravel+-+Samuel+and+Schmuyle.png Supplemental Materials - TOGE | MTO — Example 13 - Make it stand out Example 10. Stream integration (transforming): Reynolds, The Angel of Death, S section, mm. 364–373. https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-14 monthly 0.5 2023-05-28 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b3c3d93b-a39f-4aa1-8ebd-2e5f6d1b2557/Ex14.jpg Supplemental Materials - TOGE | MTO — Example 14 - Make it stand out Example 14. Stream integration (transforming): Reynolds, The Angel of Death, S section, mm. 364–373; [From Touizrar and McAdams 2019] Audio example 10a is the piano version; 10b is the ensemble version shown in the score [recording of Ensemble Court-circuit conducted by Pierre-André Valade, Jean-Marie Cottet, piano. Ircam-Centre Pompidou] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-15 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fb4c4b79-f9df-421e-b6ef-08e4a50cbad1/Ex15.png Supplemental Materials - TOGE | MTO — Example 15 - Make it stand out Example 15. Surface texture (stable): Smetana, Die Moldau, mm. 185–194 Audio example 11a presents flutes and clarinets and 11b has the full musical context [simulation from OrchPlayMusic Library] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-16 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8bb746e5-e352-4e1b-834f-50c0e9233cf6/Ex16.png Supplemental Materials - TOGE | MTO — Example 16 - Make it stand out Example 16. Surface texture (transforming): Smetana, The Bartered Bride, Overture, mm. 89–99 Audio example 12 [recording of Vienna Radio Symphony Orchestra conducted by Alfred Scholz, ASIN] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-17 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f0d31a52-273e-4f95-a3be-6cc9e2f75e48/Ex17.png Supplemental Materials - TOGE | MTO — Example 17 - Make it stand out Example 17. Stream segregation (stable) of co-equal single-instrument lines: Vaughan Williams, The Lark Ascending, mm. 88–94 Audio example 13a has the oboe and solo violin; 13b is the full musical context with the string background [simulation from OrchPlayMusic Library] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-18 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c23d203e-56c0-4bc4-a50d-03d080228f2c/Ex18.png Supplemental Materials - TOGE | MTO — Example 18 - Make it stand out Example 18. Stream segregation (stable) of blended streams: Borodin, In the Steppes of Central Asia, mm. 210–218 Audio example 14 [recording by USSR Symphony Orchestra conducted by Evgeny Svetlanov, Melodiya/Angel] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-19 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/391a4297-b82e-4d84-a12d-5c513731aee2/Ex19.png Supplemental Materials - TOGE | MTO — Example 19 - Make it stand out Example 19. Stream segregation (transforming) of blended streams: Stravinsky, Quatre Etudes, iv (Madrid), mm. 93–94 Audio example 15 [recording by Chicago Symphony Orchestra conducted by Pierre Boulez, Deutsche Grammophon] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-20 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/25a66449-5417-45bf-9ea3-be6bb3d93d09/Ex20.png Supplemental Materials - TOGE | MTO — Example 20 - Make it stand out Example 20. Stratification (stable) with three layers: Mahler, Symphony no. 1, ii, mm. 26–31 Audio example 16 [recording by the Bavarian Radio Orchestra conducted by Rafael Kubelik, Deutsche Grammophon] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-21 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9378f158-a8a6-4c80-82cd-8843d0b8cde4/Ex21.png Supplemental Materials - TOGE | MTO — Example 21 - Make it stand out Example 21. Stratification (transforming) in three layers: Borodin, In the Steppes of Central Asia, mm. 27–42] Audio example 17 [recording by USSR Symphony Orchestra conducted by Evgeny Svetlanov, Melodiya/Angel https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-22 monthly 0.5 2022-11-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/eb1299a4-16ae-4a97-bc98-92271545bce6/Ex22.png Supplemental Materials - TOGE | MTO — Example 22 - Make it stand out Example 22. Taxonomy of segmental auditory grouping phenomena https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-23 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/48526b10-da03-48ef-a4d1-d5bb17eb0e14/Ex23.png Supplemental Materials - TOGE | MTO — Example 23 - Make it stand out Example 23. Timbral shifts: Schubert, Symphony no. 9 in C major, i, mm. 594–602] Audio example 18 [recording by Berliner Philharmoniker conducted by Herbert von Karajan, EMI https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-24 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d9a5405e-0d8f-4596-9026-68da7eb10107/Ex24.png Supplemental Materials - TOGE | MTO — Example 24 - Make it stand out Example 24. Timbral echo: Sibelius, Symphony no. 2 in D major, ii, mm. 120–128 Audio example 19 [recording by London Symphony Orchestra conducted by Sir Colin Davis, LSO Live] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-25 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/eb39a679-99ea-4fa6-987a-7aaa8446a68a/Ex25.png Supplemental Materials - TOGE | MTO — Example 25 - Make it stand out Example 25. Antiphonal contrast: Haydn, Symphony no. 100 in G major (Military), ii, mm. 61–64 Audio example 20 [simulation from OrchPlayMusic Library] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-26 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/44d0eca2-153f-4c30-b7a2-359c70b55fde/Ex26.png Supplemental Materials - TOGE | MTO — Example 26 - Make it stand out Example 26. Timbral juxtapositions: Sibelius, Symphony no. 2, ii, mm. 67–75 Audio example 21 [recording from London Symphony Orchestra conducted by Sir Colin Davis, LSO Live] https://timbreandorchestration.org/tor/supplemental-materials/toge-ex-27 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/633748f1-7563-4192-ac3d-d119b5264be2/Ex27.png Supplemental Materials - TOGE | MTO — Example 27 - Make it stand out Example 27. Sectional boundaries: Dolan’s (2013b) orchestral graph of Haydn, Symphony no. 100, ii. Colors represent different instruments and the line thickness corresponds to notated dynamics. The instruments are arranged with strings at the bottom followed by woodwinds, brass, and percussion. The horizontal bracket over the second panel indicates the measures included in Audio example 22 (mm. 49–70) (from Dolan 2013b, used with permission) [simulation from OrchPlayMusic Library] https://timbreandorchestration.org/tor/supplemental-materials/toge-mto-all-examples monthly 0.5 2024-05-17 https://timbreandorchestration.org/tor/supplemental-materials/extreme-orchestration/about monthly 0.5 2022-09-21 https://timbreandorchestration.org/tor/supplemental-materials/ttt-download-page monthly 0.5 2023-11-23 https://timbreandorchestration.org/tor/supplemental-materials/masque-de-fer/gallery monthly 0.5 2023-03-09 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383121171-LM386558W7M7BJERXK0F/15juin20211.jpg Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383121131-JVX2P0TVK3Y5IID7SSYW/15juin20212.jpg Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383122256-9P1122WHLX6IUDFJO53Z/15juin20213.jpg Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383122315-3LZQ4E1VU2TKCJI0BWAW/15juin20214.jpg Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383123265-X5FAPHDJVKGHCCBUYZJI/15juin20215.jpg Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383123483-X2D6LXC7BBQ4D8CN0TWQ/15juin20216.jpg Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383124231-00BALSU4GDW8U6NVXTWO/4361C060-BDB9-494A-B1CE-CD9F9DF926D6.jpg Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383124430-9MOGAT0EJK9NMVLXMS6E/Drum-Kit_tools.jpg Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383125691-9UJBT4TOBHT2AUV40U5Y/IMG_0082.JPG Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383125646-576K6VT4HWQ2UN0JUG44/IMG_0083.JPG Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383127091-ADWSKSSBZ3J1DQNKKFI6/IMG_0084.JPG Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383127028-VSWLD4TUNKY6LX3S6MX1/IMG_0085.JPG Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383127994-AB2N2MGI14Y7N10W5SK3/IMG_0086.JPG Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383128629-N562WXE132CKTN7XJI7N/IMG_0087.JPG Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383129270-5X9N9BT7C4CY0GM02OTF/IMG_0088.JPG Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383130063-9N2T33CZPK80KDBQG4I6/IMG_0089.JPG Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383130699-KPZCFVVX6HABC7GL9R8X/IMG_0090.JPG Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383131485-RCJ9Q2LTDFOVPAGVBB3M/IMG_0091.JPG Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383132049-I20Y70US6C1Y5DHS9C1P/IMG_0092.JPG Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383133001-17GYSDVZHI44A6WWAGFU/IMG_0093.JPG Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383133575-XIXHQG91HLPPFLXOMG71/IMG_0094.JPG Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383133897-AUCIDO6I31X24WBIVRFJ/Setup_2.jpg Supplemental Materials - Masque de fer — Gallery https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1678383134584-VIDDPOJRFY5J7PW0GPN1/Setup.jpg Supplemental Materials - Masque de fer — Gallery https://timbreandorchestration.org/tor/supplemental-materials/project-reports/masque-de-fer monthly 0.5 2024-03-22 https://timbreandorchestration.org/tor/supplemental-materials/the-many-facets-of-musical-listening monthly 0.5 2022-06-30 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6a17f42f-47a7-4206-9feb-59108850e1ce/fig2.png Supplemental Materials - The many facets of musical listening - Make it stand out Figure 2. Analysis of dizi solo (mm. 12–35), showing the melodic motive, and annotated with letter names indicating local pitch centres and Arabic numerals indicating the scale degrees https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a8c21857-c49b-46a8-8669-5c7e671e8e6d/fig1.png Supplemental Materials - The many facets of musical listening - Make it stand out Figure 1. mm. 3–4, DZ. https://timbreandorchestration.org/tor/supplemental-materials/index/simplicity-out-of-complexity-out-of-simplicity monthly 0.5 2022-03-03 https://timbreandorchestration.org/tor/supplemental-materials/amazing-moments-in-timbre/lovin-you monthly 0.5 2022-03-01 https://timbreandorchestration.org/tor/supplemental-materials/extreme-orchestration/flute-family/ex-7 monthly 0.5 2022-11-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/057c13ea-7d81-4185-b20c-e8df75271ed0/Tchaikovsky-+Symphony+No.+4%2C+3rd+Movement%2C+m.+194-197.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 7 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/extreme-orchestration/flute-family/ex-6 monthly 0.5 2022-11-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8211e1b5-2c8e-4b84-b087-c0603fd1d6e4/Screen+Shot+2022-02-07+at+10.12.28+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 6 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2b02d4c7-0fb5-46c9-984e-7eb666354623/Screen+Shot+2022-02-07+at+10.12.37+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 6 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d54c9962-e0dc-4d9d-992b-956ac464d4e0/Saint-Sae%CC%88ns-+Carnival+of+the+Animals%2C+No.+10%2C+Volie%CC%80re.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 6 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/extreme-orchestration/flute-family/ex-5 monthly 0.5 2022-11-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f1fad025-21d3-42af-92af-5ecfb6faf84f/Screen+Shot+2022-02-07+at+9.51.38+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/aa9385b5-08fc-4925-8806-35606b605070/Rimsky-Korsakov-+Russian+Easter+Overture%2C+rehearsal+letter+C.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f62d841a-daba-41ae-a0f5-98f2473ed0a8/Screen+Shot+2022-02-07+at+9.51.32+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5c1919e0-ccda-413f-b0e8-3466118d6f33/Screen+Shot+2022-02-07+at+9.51.53+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/extreme-orchestration/flute-family/ex-4 monthly 0.5 2022-11-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/297114df-afd4-4667-8cfb-191c6e5b7d08/Screen+Shot+2022-02-07+at+6.49.23+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d662370c-f46f-4514-8a23-7ee4d89b053f/Screen+Shot+2022-02-07+at+6.49.40+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b478fb51-3eb5-4afb-bbe8-605840a69159/Screen+Shot+2022-02-07+at+6.49.48+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1e731caf-6315-43f3-ad06-2aa1a8c34c37/Rossini-+William+Tell+Overture%2C+m.+209-212.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/extreme-orchestration/flute-family/ex-3 monthly 0.5 2022-11-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b7993ca7-bf35-4975-915f-7dd27f1913cd/Screen+Shot+2022-02-03+at+6.02.14+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3c21e39c-e5fb-4e07-8c45-a96bf4399225/Screen+Shot+2022-02-03+at+6.02.24+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7121ebe7-b090-4de7-abcb-c5eddd7096fb/Debussy-+Pre%CC%81lude+a%CC%80+l%E2%80%99apre%CC%80s-midi+d%E2%80%99un+faune%2C+m.+21-30.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/414ace43-456e-4efa-88b5-adb1b7731516/Screen+Shot+2022-02-03+at+6.04.16+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5b4ed119-3a6c-4f14-8fb8-07617f6a22a0/Screen+Shot+2022-02-03+at+6.02.42+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/tor/supplemental-materials/extreme-orchestration/flute-family/ex-2 monthly 0.5 2022-11-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9cc006fe-bc99-46f9-a9c3-efd0cb437ada/-Brahms-+Symphony+No.+4%2C+4th+movement%2C+m.+89-105.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643928100047-8XTIF8FFAJ6QFYCDI0G7/Screen+Shot+2022-01-21+at+5.30.39+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 2 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643927734400-DSMXX2I52O0TTUF4H1ZQ/Screen+Shot+2022-02-03+at+5.35.10+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 2 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643927734446-J403LW4Z7AHAYGDP2QQF/Screen+Shot+2022-02-03+at+5.35.19+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 2 https://timbreandorchestration.org/tor/supplemental-materials/extreme-orchestration/flute-family/ex-1 monthly 0.5 2025-08-05 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643921808236-DXNDNIX7LY6QOHWOKIB8/Screen+Shot+2022-02-03+at+3.55.47+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643921807326-NCLAR6VI56XECPEH9P7L/Screen+Shot+2022-02-03+at+3.55.55+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643921807367-ZITV0XJ657V1BVYPII6N/Screen+Shot+2022-02-03+at+3.56.07+PM.png Supplemental Materials - Ext. Orch. | Flute Family, Ex. 1 https://timbreandorchestration.org/tor/supplemental-materials/category/Extreme+Orchestration monthly 0.5 https://timbreandorchestration.org/tor/supplemental-materials/category/Amazing+Moments+in+Timbre monthly 0.5 https://timbreandorchestration.org/tor/supplemental-materials/category/Composition monthly 0.5 https://timbreandorchestration.org/tor/supplemental-materials/category/Research-Creation monthly 0.5 https://timbreandorchestration.org/tor/supplemental-materials/category/Object+Stories monthly 0.5 https://timbreandorchestration.org/tor/supplemental-materials/category/Supplemental+Material monthly 0.5 https://timbreandorchestration.org/tor/supplemental-materials/category/Project+Reports monthly 0.5 https://timbreandorchestration.org/tor/supplemental-materials/category/TOGE monthly 0.5 https://timbreandorchestration.org/tor/supplemental-materials/tag/Segregation monthly 0.5 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All Instruments | Effective Instrumental Writing - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/229b9469-2275-4fc3-8f79-d91f4377e841/Screen+Shot+2022-01-13+at+10.31.53+PM.png Extreme Orchestration — ISFEE - All Instruments | Effective Instrumental Writing - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/20b6f1ee-4d64-425a-989c-8f7808a53290/Screen+Shot+2022-01-13+at+10.32.10+PM.png Extreme Orchestration — ISFEE - All Instruments | Effective Instrumental Writing - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2b2eefb7-cb93-4a87-a787-192803ee4494/Screen+Shot+2022-01-13+at+10.35.49+PM.png Extreme Orchestration — ISFEE - All Instruments | Effective Instrumental Writing - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3bfa5bb2-9c58-412d-b97d-852bcc948db2/Screen+Shot+2022-01-13+at+10.27.30+PM.png Extreme Orchestration — ISFEE - All Instruments | Effective Instrumental Writing - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/isfee/extreme-orchestration/notation-score-parts monthly 0.5 2024-09-01 https://timbreandorchestration.org/isfee/extreme-orchestration/woodwinds monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c7f4af88-34e6-4ba1-97da-309d1bf96f78/Screen+Shot+2022-01-13+at+11.48.47+PM.png Extreme Orchestration — ISFEE - Woodwinds | Introduction - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/isfee/extreme-orchestration/woodwinds/scoring-excerpts monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b90c370f-0cad-4f04-ac55-1f92d5de647b/Screen+Shot+2022-02-03+at+10.42.18+PM.png Extreme Orchestration — ISFEE - Woodwinds | Scoring Excerpts - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c4706737-75dd-4bf2-b02d-0030c924e250/Screen+Shot+2022-02-03+at+10.42.36+PM.png Extreme Orchestration — ISFEE - Woodwinds | Scoring Excerpts - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b28a8686-806f-4abc-94da-8145fde1630b/Screen+Shot+2022-02-03+at+10.35.31+PM.png Extreme Orchestration — ISFEE - Woodwinds | Scoring Excerpts - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/aaa1db10-ee99-445f-bec1-45e303f76dee/Screen+Shot+2022-02-03+at+10.38.36+PM.png Extreme Orchestration — ISFEE - Woodwinds | Scoring Excerpts - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6230d32a-7688-4fbe-8636-61f8645fb038/Screen+Shot+2022-02-03+at+10.42.26+PM.png Extreme Orchestration — ISFEE - Woodwinds | Scoring Excerpts - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6a57bca9-e713-4d53-b1df-4328f3b5ab20/Screen+Shot+2022-02-03+at+10.38.44+PM.png Extreme Orchestration — ISFEE - Woodwinds | Scoring Excerpts - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2bf8860b-db12-4c5c-bb65-8137e0db4a20/Screen+Shot+2022-02-03+at+10.35.40+PM.png Extreme Orchestration — ISFEE - Woodwinds | Scoring Excerpts - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/isfee/extreme-orchestration/woodwinds/flute-family monthly 0.5 2025-08-05 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7f5c9726-69e8-4c4e-8fe3-cb19214959f8/Saint-Sae%CC%88ns-+Carnival+of+the+Animals%2C+No.+10%2C+Volie%CC%80re.png Extreme Orchestration — ISFEE - Woodwinds | The Flute Family - Make it stand out Example 5.6 — Saint-Saëns: Carnival of the Animals, No. 10, Volière (Aviary), m. 6-15 (rehearsal number 1) [click for score and audio] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fbd20a10-df33-42a1-ad72-0261d4fd4035/Rimsky-Korsakov-+Russian+Easter+Overture%2C+rehearsal+letter+C.png Extreme Orchestration — ISFEE - Woodwinds | The Flute Family - Make it stand out Example 5.5 — Rimsky-Korsakov: Russian Easter Overture, rehearsal letter C [click for score and audio] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3292f116-0f44-420e-a99b-8c21b9292b1f/-Brahms-+Symphony+No.+4%2C+4th+movement%2C+m.+89-105.png Extreme Orchestration — ISFEE - Woodwinds | The Flute Family - Make it stand out Example 5.2 — Brahms: Symphony No. 4, 4th movement, m. 89-105 [click for score and audio] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a14bdfe5-c4e4-4c4e-9985-b2c7568f8153/Debussy-+Pre%CC%81lude+a%CC%80+l%E2%80%99apre%CC%80s-midi+d%E2%80%99un+faune%2C+m.+21-30.png Extreme Orchestration — ISFEE - Woodwinds | The Flute Family - Make it stand out Example 5.3 — Debussy: Prélude à l’après-midi d’un faune, m. 21-30 (rehearsal number 2-3) [click for score and audio] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e2b41a81-6d79-4bc9-9c25-357374642d00/Alto_Flute_MET_DP158085.jpeg Extreme Orchestration — ISFEE - Woodwinds | The Flute Family - Make it stand out Alto Flute (Metropolitan Museum of Art, CC0, via Wikimedia Commons) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/61fd67dc-219b-40c8-bf4a-031491b637c9/Screen+Shot+2022-02-03+at+9.15.37+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Flute Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ba5b7008-cc3d-40b4-99d1-0def3f694e31/flute-shutterstock_636597665-min.jpg Extreme Orchestration — ISFEE - Woodwinds | The Flute Family - Make it stand out Flute https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1e731caf-6315-43f3-ad06-2aa1a8c34c37/Rossini-+William+Tell+Overture%2C+m.+209-212.png Extreme Orchestration — ISFEE - Woodwinds | The Flute Family - Make it stand out Example 5.4 — Rossini: William Tell Overture, m. 209-212 (rehearsal letter G) [click for score and audio] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c93cdf27-76db-4b90-a08a-5adef782332b/Screen+Shot+2022-02-03+at+9.17.18+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Flute Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/86906a8a-c805-4fb4-bf6b-23733bec8b17/Screen+Shot+2022-02-03+at+9.17.47+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Flute Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7e418025-a712-4b08-9de7-1e0f3a10cc8c/Screen+Shot+2022-01-14+at+12.11.57+AM.jpg Extreme Orchestration — ISFEE - Woodwinds | The Flute Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b669b8c5-31bb-48ac-999e-fe39f773671d/shutterstock_31563715.jpg Extreme Orchestration — ISFEE - Woodwinds | The Flute Family - Make it stand out Piccolo Flute https://timbreandorchestration.org/isfee/extreme-orchestration/woodwinds/oboe-family monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fe733f68-c742-462a-b656-f42870ee98c6/oboe-shutterstock_791993161-min.jpg Extreme Orchestration — ISFEE - Woodwinds | The Oboe Family - Make it stand out The Oboe https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5a2ad8fc-4419-4015-ae2a-f0226d72aff4/English+horn-shutterstock_727377700.jpg Extreme Orchestration — ISFEE - Woodwinds | The Oboe Family - Make it stand out The English horn https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7e10af6a-1bb1-461c-a4a6-3dd95e0e43c3/Screen+Shot+2022-01-30+at+11.15.18+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Oboe Family - Make it stand out Debussy: La Mer, 2nd Movement, rehearsal number 17 Click for score and audio (9:11) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/332c5c4a-25e7-4645-b890-201fc289ad79/Screen+Shot+2022-01-30+at+11.15.38+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Oboe Family - Make it stand out Ravel: Le Tombeau de Couperin, Prelude, m. 1-14 Click for score and audio (0:00) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/12b44be3-1442-4505-aff1-e11b3e4a2c94/Screen+Shot+2022-01-30+at+11.05.11+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Oboe Family - Make it stand out Schubert: Symphony No. 9 in C, “The Great,” 2nd Movement, m. 8-29 Click for score and audio (14:37) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5abf3cb3-d001-4fb0-9fc6-86e031060053/Screen+Shot+2022-01-30+at+10.50.03+PM.jpg Extreme Orchestration — ISFEE - Woodwinds | The Oboe Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5973fad4-354c-48a6-b182-d3e7f1e3eaa0/Screen+Shot+2022-01-30+at+11.05.20+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Oboe Family - Make it stand out Prokofiev: Peter and the Wolf, rehearsal number 6 Click for score and audio (2:28) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d692f8fe-87e2-4195-940a-8867dffc57b0/Screen+Shot+2022-01-30+at+11.20.14+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Oboe Family - Make it stand out Dvorak: Symphony No. 9, “From the New World,” 2nd Movement, m.7-18 Click for score and audio (10:20) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a6dcb73b-22eb-4cc3-b9b3-1f7bfebdab13/Screen+Shot+2022-01-30+at+11.04.58+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Oboe Family - Make it stand out Brahms: Symphony No. 1, 2nd Movement, m. 38-43 Click for score and audio (16:44) https://timbreandorchestration.org/isfee/extreme-orchestration/woodwinds/clarinet-family monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5ada1dbe-6847-414e-9c22-cc4fc405b003/bass-clarinet_shutterstock_1028308174-min.jpg Extreme Orchestration — ISFEE - Woodwinds | The Clarinet Family - Make it stand out The Bass Clarinet https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/de7efc9d-73bd-438c-956d-5c9e59cc4c90/Screen+Shot+2022-01-30+at+11.24.36+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Clarinet Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0917834d-ec45-48da-a016-b48bda5a40fa/Screen+Shot+2022-01-31+at+12.05.35+AM.png Extreme Orchestration — ISFEE - Woodwinds | The Clarinet Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6a9ce57b-a8b5-41a3-a0f0-cc25f3fda6f2/Screen+Shot+2022-01-31+at+12.05.24+AM.png Extreme Orchestration — ISFEE - Woodwinds | The Clarinet Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4118d54b-e6f6-4c0b-af2a-e9697f093607/clarinet_shutterstock_790320007-min.jpg Extreme Orchestration — ISFEE - Woodwinds | The Clarinet Family - Make it stand out The Clarinet https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d9098352-dde2-4206-92f6-197a3c6beb76/Screen+Shot+2022-01-30+at+11.24.28+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Clarinet Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/770d29ea-9bd1-49eb-981f-5b362ad94fb5/Screen+Shot+2022-01-31+at+12.05.53+AM.png Extreme Orchestration — ISFEE - Woodwinds | The Clarinet Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/521bf35f-4cc8-4c81-a10f-6b23921a634a/Screen+Shot+2022-02-03+at+9.26.05+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Clarinet Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d2c3d9ca-8c6b-498e-82a4-8cc6f1e4f26e/Screen+Shot+2022-02-03+at+9.28.57+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Clarinet Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/isfee/extreme-orchestration/woodwinds/saxophone-family monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/03b470f7-8fdb-4728-a660-9abfc2a1e816/Screen+Shot+2022-02-03+at+9.47.53+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Saxophone Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/418da197-2d96-427b-b455-f539a5337535/Screen+Shot+2022-02-03+at+9.30.08+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Saxophone Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9096817d-f72a-4856-a570-602197161942/Screen+Shot+2022-02-03+at+9.48.10+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Saxophone Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a8ea5abf-4022-4f4f-ad2e-3f198327e71a/Screen+Shot+2022-02-03+at+9.29.54+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Saxophone Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fd5f9bbe-9235-4846-9386-0c1712990f84/Saxophone-shutterstock_312229046-min.jpg Extreme Orchestration — ISFEE - Woodwinds | The Saxophone Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c9fed5a1-b97e-49ae-8226-0323cfd35acc/Saxophone-shutterstock_251868019-min.jpg Extreme Orchestration — ISFEE - Woodwinds | The Saxophone Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/93cecb89-de30-43c6-822d-4fa5a4f6248f/Screen+Shot+2022-02-03+at+9.48.23+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Saxophone Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/54ad038e-d6e4-49a0-a1be-0527293134c2/Saxophone-shutterstock_520595017-min.jpg Extreme Orchestration — ISFEE - Woodwinds | The Saxophone Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/isfee/extreme-orchestration/woodwinds/bassoon-family monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fcc6df49-5f91-4ad6-b92a-19c0bb2a2264/contrabassoon-2-shutterstock_1689817096-min.jpg Extreme Orchestration — ISFEE - Woodwinds | The Bassoon Family - Make it stand out Contrabassoon https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/862f67db-31e4-4639-a246-6824b08953b4/Screen+Shot+2022-02-03+at+10.19.50+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Bassoon Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e4e85de9-7fc1-4069-b5ae-e335826ed392/Screen+Shot+2022-02-03+at+10.20.51+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Bassoon Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/61354c2e-8f2e-494e-81cc-56be29aa130e/Screen+Shot+2022-02-03+at+10.05.57+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Bassoon Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2c21550d-0440-40c5-b407-fddd80f7ca8b/Screen+Shot+2022-02-03+at+10.21.00+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Bassoon Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7f2a361c-aa42-4e30-84ec-8f0b387b1a30/Screen+Shot+2022-02-03+at+10.28.00+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Bassoon Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4930a214-6050-45e6-b0bb-ff80ce472630/Screen+Shot+2022-02-03+at+10.21.10+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Bassoon Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/bbdd5272-f4e4-455e-b98f-ea0e4c34338f/Screen+Shot+2022-02-03+at+10.28.07+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Bassoon Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/77cdd67d-2705-4bee-8d43-a520d0ef4419/Screen+Shot+2022-02-03+at+10.26.41+PM.png Extreme Orchestration — ISFEE - Woodwinds | The Bassoon Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1ee24124-bae7-43a4-8c6a-bab4881d1c8e/bassoon-shutterstock_1360500701-min.jpg Extreme Orchestration — ISFEE - Woodwinds | The Bassoon Family - Make it stand out Bassoon https://timbreandorchestration.org/isfee/extreme-orchestration/brass/introduction monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/34745f07-8b4b-4db4-a048-b4b477c06dcd/Screenshot+2023-11-10+125105.png Extreme Orchestration — ISFEE - Brass | Introduction - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e3d91bf9-fb71-46c4-81f3-a8bc2fabcd7b/Screenshot+2023-11-10+130709.png Extreme Orchestration — ISFEE - Brass | Introduction - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/06442be0-1ece-419d-bc9f-86587073fc67/Screenshot+2023-11-10+124221.png Extreme Orchestration — ISFEE - Brass | Introduction - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dcff51cb-8e82-4360-8d76-22ef25bc957f/Screenshot+2023-11-10+122442.png Extreme Orchestration — ISFEE - Brass | Introduction - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/isfee/extreme-orchestration/brass/scoring monthly 0.5 2024-08-31 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a450130a-d6dc-493f-851c-e511c2129f81/Screenshot+2024-01-17+115835.png Extreme Orchestration — ISFEE - Brass | Scoring - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/66396ab1-867c-422f-81d1-4a5c437342ba/Screenshot+2024-01-17+120220.png Extreme Orchestration — ISFEE - Brass | Scoring - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dde05be1-1d02-4cd9-b1df-336815c006ee/Screenshot+2024-01-17+120044.png Extreme Orchestration — ISFEE - Brass | Scoring - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/060a1967-8036-4a5b-bc12-48650a3d23d9/Screenshot+2024-01-17+115302.png Extreme Orchestration — ISFEE - Brass | Scoring - Make it stand out Strauss: Till Eulenspiegel, m. 540-573, brass section only. Our notation gives all instruments at concert pitch, and replaces Strauss’s tenor clef with bass clef for the tenor trombones. Strauss’s score calls for F trumpets, written a 4th lower than sounding, but these are virtually extinct, and are replaced by C or Bb trumpets in modern orchestras. https://timbreandorchestration.org/isfee/extreme-orchestration/brass/horn-family monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/53d40630-eaba-42b3-b222-3a49b0b4de5b/Screenshot+2023-11-14+185019.png Extreme Orchestration — ISFEE - Brass | The Horn Family - Make it stand out Score-following video here. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4c425939-b3f8-4468-8adc-fea95b9fb482/Screenshot+2023-11-14+190516.png Extreme Orchestration — ISFEE - Brass | The Horn Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fb323ec1-ab7f-494d-8d5d-a162cef75c3c/Screenshot+2023-11-14+190626.png Extreme Orchestration — ISFEE - Brass | The Horn Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/972e598d-85f2-4509-9597-8e47993d34cb/Screenshot+2023-11-14+190833.png Extreme Orchestration — ISFEE - Brass | The Horn Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/baa06d35-4af1-4c90-809c-44a8a9bd1864/Screenshot+2023-11-14+184018.png Extreme Orchestration — ISFEE - Brass | The Horn Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b05582f9-b01e-44e5-925b-f7ae46559e5a/Screenshot+2023-11-13+135241.png Extreme Orchestration — ISFEE - Brass | The Horn Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/62af0a3d-d3fe-4b40-92f3-a19babffa2d6/Screenshot+2023-11-13+131801.png Extreme Orchestration — ISFEE - Brass | The Horn Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1cdf5a8b-c0b7-4714-81be-3e9ac3e2cb95/Screenshot+2023-11-13+141207.png Extreme Orchestration — ISFEE - Brass | The Horn Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6b5af4ed-8d41-4cb1-8c9e-c70ec887105f/Screenshot+2023-11-14+185826.png Extreme Orchestration — ISFEE - Brass | The Horn Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/141b3c0f-f49c-4bdb-9216-4ae345117106/Screenshot+2024-05-02+at+9.21.40+AM.png Extreme Orchestration — ISFEE - Brass | The Horn Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1699636168613-2ATMH3PK46DP5U60G6GZ/image-asset.jpeg Extreme Orchestration — ISFEE - Brass | The Horn Family - Make it stand out French Horn https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0dea5ded-18c0-4fba-8be9-25b2e2dc6dbc/Screenshot+2023-11-14+190350.png Extreme Orchestration — ISFEE - Brass | The Horn Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/isfee/extreme-orchestration/brass/trumpet monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3405896c-5c0e-4938-b354-b779db462a3f/Screenshot+2023-11-17+115045.png Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Mahler: Symphony No. 5, 1st movement, mm. 1-26 Click here for the score-following video https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/df09325e-09ea-43cc-94d0-1cc6cfe90107/Screenshot+2023-11-17+121207.png Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Tippett: Symphony No.3, Part Two, rehearsal number 189 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a29b944e-7d8f-4982-a5b6-8f5842226cbf/Screenshot+2023-11-17+115405.png Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Mahler: Symphony No. 5, 1st movement mm. 155-172 (rehearsal number 7-8) Click here for the score-following video https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1700109854866-Q7TCSPRW32EQ66KJT1BQ/image-asset.jpeg Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Bb Trumpet https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c3ed74b7-6951-44d0-9bb3-776b275b1262/Trumpet+essentials+clef+fix.png Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1fdb6b8b-114a-4282-a041-3bf60b22ac49/Screenshot+2023-11-17+120016.png Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Respighi: The Pines of Rome, 1st movement, “Pines of the Villa Borghese,” rehearsal number 7 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1700109772578-M55WPMP9K5H8Y0287HD4/image-asset.jpeg Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Trumpet https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9d211d4b-02ae-4fb8-97c8-a5e9307ca106/Screenshot+2023-11-16+000046.png Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1700109984910-WB4YR3XHKDW9961OID5S/image-asset.jpeg Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Flugelhorn https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/31c4034a-fa0e-4c7b-8b28-7416b67f3270/Screenshot+2023-11-17+115536.png Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Stravinsky: Petrushka (1947 version), Third Tableau, rehearsal number 135-139 (corresponds to rehearsal number 69-70 in the 1911 version) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/29a31d7e-4b78-4d1e-9be3-8bb04b3973ed/Screenshot+2023-11-17+120429.png Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Bach: Magnificat in D, m. 18-31 (notated at concert pitch) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2b415c05-b43b-40ad-8b16-da4ec770aae4/Screenshot+2023-11-17+115756.png Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Bartok: Concerto for Orchestra, 5th movement, m. 233-245 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a6691d51-3209-47da-bb2e-5997f6b85e38/Screenshot+2023-12-02+at+10.26.56+PM.png Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Ralph Vaughan Williams - Symphony No. 9 in E Minor, Andante Sostenuto, flugelhorn example https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/bbc4261b-c7be-4bed-9abe-21d87618ddef/Screenshot+2023-11-15+235757.png Extreme Orchestration — ISFEE - Brass | The Trumpet Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/isfee/extreme-orchestration/brass/trombone monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ffac5ba3-4065-4b8f-ae5e-a17825ea90e8/Screenshot+2024-01-10+102530.png Extreme Orchestration — ISFEE - Brass | The Trombone Family - Make it stand out Kodaly: Hary Janos Suite, 4th movement, “The Battle and Defeat of Napoleon,” rehearsal number 5 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/83bf2d2d-2567-4127-a793-63766a34d498/Screenshot+2024-05-02+at+9.19.51+AM.png Extreme Orchestration — ISFEE - Brass | The Trombone Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1700505475262-ZJ09JW4ZOVZDO9BWHZZY/image-asset.jpeg Extreme Orchestration — ISFEE - Brass | The Trombone Family - Make it stand out Tenor Trombone https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e8ec3a6b-6899-47b4-b06e-0b769a3a05ca/Screenshot+2024-01-10+102859.png Extreme Orchestration — ISFEE - Brass | The Trombone Family - Make it stand out Brahms: Symphony No. 1, rehearsal letter C (m. 47-50) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8a97dc3c-8cc0-4ac8-bb27-5de3f994a1c8/Screenshot+2024-01-10+101208.png Extreme Orchestration — ISFEE - Brass | The Trombone Family - Make it stand out Mozart: Requiem, Tuba mirum, m. 1-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8361ac22-b417-4f67-9ff6-01ae924b48a4/Screenshot+2024-01-10+101638.png Extreme Orchestration — ISFEE - Brass | The Trombone Family - Make it stand out Wagner: Die Walküre, The Ride of the Valkyries, rehearsal number 11. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d645e42d-471c-4a65-857b-aa5a4d780e62/Screenshot+2023-11-20+140508.png Extreme Orchestration — ISFEE - Brass | The Trombone Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/26f433d2-b015-43fe-bfb3-d0b8be66619e/Screenshot+2024-01-10+102215.png Extreme Orchestration — ISFEE - Brass | The Trombone Family - Make it stand out Mahler: Symphony No. 3, 1st movement, rehearsal number 58-62 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1704901632221-18K9TGTU3MD2VDYWIVI1/image-asset.jpeg Extreme Orchestration — ISFEE - Brass | The Trombone Family - Make it stand out Alto Trombone https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1700507550847-82R6T7G5BGILU6ZIWS50/image-asset.jpeg Extreme Orchestration — ISFEE - Brass | The Trombone Family - Make it stand out Bass Trombone https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c8df3687-c4e7-4e19-8c57-5f730d948ce4/Screenshot+2024-01-10+102719.png Extreme Orchestration — ISFEE - Brass | The Trombone Family - Make it stand out Britten: Four Sea Interludes from “Peter Grimes,” Interlude No. 4 (“Storm”) rehearsal letters 3 and 5 https://timbreandorchestration.org/isfee/extreme-orchestration/brass/tuba monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/772cb8d0-add9-4e54-807a-1e8491dd3511/Screenshot+2024-01-16+180755.png Extreme Orchestration — ISFEE - Brass | The Tuba Family - Make it stand out Wagner, Prelude to Die Meistersinger, measures 166-172 (score-following at 6:43) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2ef9c3df-1ae5-4fc4-ae3e-b19e6c1bef49/Screenshot+2024-01-16+181003.png Extreme Orchestration — ISFEE - Brass | The Tuba Family - Make it stand out Mussorgsky/Ravel: Pictures at an Exhibition, Bydlo (score-following) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/874adbc7-0fdb-4183-84e7-b82087f2313f/Screenshot+2024-01-16+181823.png Extreme Orchestration — ISFEE - Brass | The Tuba Family - Make it stand out Strauss: Don Quixote, measures 32-37, 140-142, 159-160. (score-following 2:26) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2f09184d-c9b1-4136-b0b8-60e03e0f7e2d/Screenshot+2024-01-16+180242.png Extreme Orchestration — ISFEE - Brass | The Tuba Family - Make it stand out Hindemith: Symphonic Metamorphoses, Turandot Scherzo, 4 before rehearsal letter Y to the end (score-following) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/730bb613-7a55-44c8-80ce-6f0ccaa298fd/Screenshot+2024-01-16+173220.png Extreme Orchestration — ISFEE - Brass | The Tuba Family - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/440f2f53-a2fb-49dc-ba60-4758d41693e7/Screenshot+2024-01-16+180525.png Extreme Orchestration — ISFEE - Brass | The Tuba Family - Make it stand out Wagner, Die Walküre, Ride of the Valkyries, rehearsal number 11 (score-following at 2:42:42) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ca71b554-b777-4d99-87dd-270c209cd904/Screenshot+2024-01-17+113432.png Extreme Orchestration — ISFEE - Brass | The Tuba Family - Make it stand out Holst: The Planets, Mars, the Bringer of War, measures 84-94 (score-following) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9a2c4731-5fe9-4b96-999e-74eb88583709/Screenshot+2024-01-16+181121.png Extreme Orchestration — ISFEE - Brass | The Tuba Family - Make it stand out Stravinsky: Petrushka, Fourth Tableau, rehearsal number 189 (1947 revision)/r.n.100 (1911 version) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c6c6e487-5230-4a93-9b87-60e555703d59/58180e323a8a4a5a9a0a228a4946bcf1_12073_1025x1833_74895bb356f40d4490fcae5f31f95673.jpg Extreme Orchestration — ISFEE - Brass | The Tuba Family - Make it stand out Euphonium https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d898c0e6-c363-46a4-ac05-2fb421ba884b/Screenshot+2024-01-16+175808.png Extreme Orchestration — ISFEE - Brass | The Tuba Family - Make it stand out Berlioz: Symphonie Fantastique, V, 5 measures before rehearsal number 85 to the end (score-following) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a3f2591b-a885-4dfb-982d-49c0b89f1d8d/s-l1200.jpg Extreme Orchestration — ISFEE - Brass | The Tuba Family - Make it stand out Tuba https://timbreandorchestration.org/isfee/extreme-orchestration/percussion/introduction monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a9b2cf36-aa01-43b8-a82c-1a344495028f/Screenshot+2024-01-18+190630.png Extreme Orchestration — ISFEE - Percussion | Introduction - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/815946e5-ad8f-43ae-ae26-383c241092ce/Screenshot+2024-01-18+190846.png Extreme Orchestration — ISFEE - Percussion | Introduction - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/isfee/extreme-orchestration/percussion/scoring monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/412a66cd-f0be-482c-ab5d-e79a86a9a09a/Screenshot+2024-01-18+194125.jpg Extreme Orchestration — ISFEE - Percussion | Scoring - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d6f6fa2c-4f2f-463e-8d2f-61a6df1cc31b/Screenshot+2024-01-18+194556.png Extreme Orchestration — ISFEE - Percussion | Scoring - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6ae7bb4b-a77b-4fa7-9479-92ef5cc708bf/Screenshot+2024-01-18+194707.png Extreme Orchestration — ISFEE - Percussion | Scoring - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a2828d14-bdcd-4848-a764-b95f522bc427/Screenshot+2024-01-18+193707.png Extreme Orchestration — ISFEE - Percussion | Scoring - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f24efe53-b315-4a75-ae77-cbcc2104adc6/Screenshot+2024-01-18+194353.png Extreme Orchestration — ISFEE - 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Keyboard | Piano Essentials - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b548fab3-dbbd-423d-92e4-2db9d7f124a8/Screenshot+2024-01-30+185924.png Extreme Orchestration — ISFEE - Keyboard | Piano Essentials - Make it stand out Lutoslawski: Concerto for Orchestra. 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https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3b16fcd5-6427-4965-bbd6-ac2594da7d45/Screenshot+2024-02-01+181656.jpg Extreme Orchestration — ISFEE - Harp | Introduction - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4ad0224d-c542-41d3-9737-b93e664a6e61/Screenshot+2024-02-01+183046.png Extreme Orchestration — ISFEE - Harp | Introduction - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/08950049-7d56-4dd4-a035-b2b42bba3fcc/Screenshot+2024-02-01+182204.png Extreme Orchestration — ISFEE - Harp | Introduction - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a0720164-7683-4103-9dba-6a72754eaaa8/Screenshot+2024-02-01+182301.png Extreme Orchestration — ISFEE - Harp | Introduction - Make it stand out These strings are not affected by pedal changes, and must be tuned to the proper accidental before beginning. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/be4122f6-22e6-44c7-b9fe-66aa2cc34064/Screenshot+2024-02-01+181258.png Extreme Orchestration — ISFEE - Harp | Introduction - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1725070172520-H939XZGB4FMGLUD8GD02/unsplash-image-KlgPfP3BJCU.jpg Extreme Orchestration — ISFEE - Harp | Introduction - Make it stand out Harp https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/826ab084-15d2-4632-baff-e0d96bac72c5/Screenshot+2024-02-01+172903.png Extreme Orchestration — ISFEE - Harp | Introduction - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/isfee/extreme-orchestration/harp/scoring monthly 0.5 2024-09-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/bf434644-55b5-4a2a-b724-1faa9d9f2880/Screenshot+2024-02-02+143239.png Extreme Orchestration — ISFEE - Harp | Scoring - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5c67279f-9367-4467-97b5-37f720035eec/Screenshot+2024-02-02+142616.png Extreme Orchestration — ISFEE - Harp | Scoring - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/be4122f6-22e6-44c7-b9fe-66aa2cc34064/Screenshot+2024-02-01+181258.png Extreme Orchestration — ISFEE - Harp | Scoring - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/isfee/extreme-orchestration/bowed-strings/string-basics monthly 0.5 2025-01-13 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cb496d9b-307e-4732-84d4-c6f1c9db61d1/Screen+Shot+2022-11-29+at+2.33.52+PM.png Extreme Orchestration — ISFEE - Bowed Strings | String Basics - Make it stand out Figure 1: Ravel’s Alborada del gracioso, m. 76. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/370cc965-3393-4641-8d6f-1586402b08a8/Screen+Shot+2022-03-09+at+8.49.59+PM.png Extreme Orchestration — ISFEE - Bowed Strings | String Basics - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/04f0590d-03c8-4518-894a-975e40bf7c41/Screen+Shot+2022-03-09+at+8.50.49+PM.png Extreme Orchestration — ISFEE - Bowed Strings | String Basics - 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https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6b94cf5c-1ea1-4e8f-84a0-57e14275ddd1/Screen+Shot+2022-03-09+at+10.00.47+PM.png Extreme Orchestration — ISFEE - Bowed Strings | Right Hand Techniques - Make it stand out Table 1: Bow strokes often do not use the full length of the bow. https://timbreandorchestration.org/isfee/extreme-orchestration/bowed-strings/alternative-timbres monthly 0.5 2025-01-13 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0e702310-ff4a-44b4-91ab-863ff921f0e1/Screenshot+2024-08-16+at+3.07.04+PM.png Extreme Orchestration — ISFEE - Bowed Strings | Alternative Timbres - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3dbb1b01-9c0a-4653-9fb2-26a66647dd6c/Screenshot+2024-08-16+at+11.11.49+PM.png Extreme Orchestration — ISFEE - Bowed Strings | Alternative Timbres - Make it stand out Whatever it is, the 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https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Other+Considerations monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Saxophone+Family monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Alto+Flute monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Rubbed+Percussion monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Touch+and+Sensitivity monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Contrabassoon monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Bassoon+Family monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Cello monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Cymbals monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Bowed+Strings+%7C+Cello monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Characteristics monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Bowed+Strings+%7C+Contrabass monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Anvils monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Glissando monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Idiomatic+Scoring+for+the+Harp monthly 0.5 https://timbreandorchestration.org/isfee/extreme-orchestration/tag/Baritone+Saxophone monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects daily 0.75 2024-05-24 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-1/introduction monthly 0.5 2024-05-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427259719-ZY2BT2KX6I7CGP81OJV2/S4_ViolinI-1.jpg ODESSA Montreal - Introduction | Subject 1 | ODESSA I - Subject 1 | All Examples https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-1/practicalities monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-1/in-depth monthly 0.5 2024-05-24 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-1/in-depth-old monthly 0.5 2024-05-24 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-1/orchestration monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-2/introduction monthly 0.5 2024-05-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427408470-BFWJXXW41N34N6QI8LB1/S5+A_Strings-1.jpg ODESSA Montreal - Introduction | Subject 2 | ODESSA I - Subject 2 | Example A thematic and motivic counterpoint https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427408551-8KSWJ2OWDQH8SHHSA3VY/S5+B_WindsBrass_InC-1.jpg ODESSA Montreal - Introduction | Subject 2 | ODESSA I - Subject 2 | Example B Winds and brass only https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427409397-5ZMZNU7YZ3CAAYFDSVFP/S5C_Tutti_InC-1.jpg ODESSA Montreal - Introduction | Subject 2 | ODESSA I - Subject 2 | Example C1 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427409477-YCH3P3P5I26J5P2M7B85/S5C_Tutti_InC-2.jpg ODESSA Montreal - Introduction | Subject 2 | ODESSA I - Subject 2 | Example C2 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427410310-R78YT2UL2X20YR6UGOU0/S5C_Tutti_InC-3.jpg ODESSA Montreal - Introduction | Subject 2 | ODESSA I - Subject 2 | Example C3 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427410420-2I3QFBQAOYUNBMMGT9S0/S5C_Tutti_InC-4.jpg ODESSA Montreal - Introduction | Subject 2 | ODESSA I - Subject 2 | Example C4 Full orchestration https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-2/practicalities monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-2/in-depth monthly 0.5 2024-05-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/292668dd-5776-40c8-b934-6965f61a38e5/TOR+-+score+and+audio+-+simple.jpg ODESSA Montreal - SUBJECT 2 | In-depth - Subject 5 Woodwinds and Brass only Woodwinds and Brass https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/292668dd-5776-40c8-b934-6965f61a38e5/TOR+-+score+and+audio+-+simple.jpg ODESSA Montreal - SUBJECT 2 | In-depth - Subject 5 Full Orchestration Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/292668dd-5776-40c8-b934-6965f61a38e5/TOR+-+score+and+audio+-+simple.jpg ODESSA Montreal - SUBJECT 2 | In-depth - Subject 5 Strings only Strings only https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-2/orchestration monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-3/introduction monthly 0.5 2024-05-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658502732692-8QHJG902PWXO6LTQ1IWH/S6+1_InC-1.jpg ODESSA Montreal - Introduction | Subject 3 | ODESSA I - Subject 3 | Example A harmony+ counter-subject https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658502732467-ZKMVVT27YI821L6FVX7M/S6+2-1.jpg ODESSA Montreal - Introduction | Subject 3 | ODESSA I - Subject 3 | Example B melody alone https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658502733172-ZF9JVCLILB29O9WGH9BP/S6C_Tutti_InC-1.jpg ODESSA Montreal - Introduction | Subject 3 | ODESSA I - Subject 3 | Example C1 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658502733350-5OB8MUZ2PUI83MEPTVTQ/S6C_Tutti_InC-2.jpg ODESSA Montreal - Introduction | Subject 3 | ODESSA I - Subject 3 | Example C2 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658502733791-WXWIYT7RLHY8DAA48JRU/S6C_Tutti_InC-3.jpg ODESSA Montreal - Introduction | Subject 3 | ODESSA I - Subject 3 | Example C3 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658502734050-YHE5GBJEG5T2SPWTC40K/S6D_Tutti_InC-1.jpg ODESSA Montreal - Introduction | Subject 3 | ODESSA I - Subject 3 | Example D1 Full orchestration, extended section https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658502734741-BT3W6NNDVRQB0NIQZXBV/S6D_Tutti_InC-2.jpg ODESSA Montreal - Introduction | Subject 3 | ODESSA I - Subject 3 | Example D2 Full orchestration, extended section https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658502734891-Y0GU3JTW8EB3N8QNMIL1/S6D_Tutti_InC-3.jpg ODESSA Montreal - Introduction | Subject 3 | ODESSA I - Subject 3 | Example D3 Full orchestration, extended section https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658502735404-WN44IFDZO7RAGRRIJ9RQ/S6D_Tutti_InC-4.jpg ODESSA Montreal - Introduction | Subject 3 | ODESSA I - Subject 3 | Example D4 Full orchestration, extended section https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658502735563-HZ2V38VA0ED7XAUOBHPP/S6D_Tutti_InC-5.jpg ODESSA Montreal - Introduction | Subject 3 | ODESSA I - Subject 3| Example D5 Full orchestration, extended section https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658502736068-VZUMP9RHZCP3WTCOS441/S6D_Tutti_InC-6.jpg ODESSA Montreal - Introduction | Subject 3 | ODESSA I - Subject 3 | Example D6 Full orchestration, extended section https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-3/practicalities monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-3/in-depth monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-3/orchestration monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-4-1/introduction monthly 0.5 2024-05-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658422072795-FUACWX0FYQI1IKYDJ2AV/S3+1_InC-1.jpg ODESSA Montreal - Introduction | Subject 4.1 | ODESSA I - Subject 4.1 | Example A Harmony only https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658422072311-YS40O4MY2I8G3RYS8R60/S3+2_InC-1.jpg ODESSA Montreal - Introduction | Subject 4.1 | ODESSA I - Subject 4.1 | Example B Contrechant only https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658422073037-TBHQ60GFQ030RZHTC5S1/S3+3_InC-1.jpg ODESSA Montreal - Introduction | Subject 4.1 | ODESSA I - Subject 4.1 | Example C Melody only https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658422073622-THH21XYD6FAYQMEY0QGB/S3_Tutti_InC-1.jpg ODESSA Montreal - Introduction | Subject 4.1 | ODESSA I - Subject 4.1 | Example D1 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658422074147-ZMQQPN93SDJ5Z1IP47ZT/S3_Tutti_InC-2.jpg ODESSA Montreal - Introduction | Subject 4.1 | ODESSA I - Subject 4.1 | Example D2 Full orchestration https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-4-1/practicalities monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-4-1/in-depth monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-4-1/orchestration monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-4-2/introduction monthly 0.5 2024-05-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/054323b1-2e5e-474f-81a1-d2ec8ed5ddd7/S2_InC-1.jpg ODESSA Montreal - Introduction | Subject 4.2 | ODESSA I - Subject 4.2 | Examples A and B Example A, Tutti playing normal. Example B, tutti playing like a “Bridge of Ice” https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-4-2/practicalities monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-4-2/in-depth monthly 0.5 2024-05-10 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-4-2/orchestration monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-5/introduction monthly 0.5 2024-05-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455269791-79JGNR7I0W404VALJ1OT/S9_Tutti_InC-01.jpg ODESSA Montreal - Introduction | Subject 5 | ODESSA I - Subject 5 | Example A1 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455270018-1EQLOADDTQLRRVAV6TDC/S9_Tutti_InC-02.jpg ODESSA Montreal - Introduction | Subject 5 | ODESSA I - Subject 5 | Example A2 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455270854-G99HECLCFKPZMO5UAXAX/S9_Tutti_InC-03.jpg ODESSA Montreal - Introduction | Subject 5 | ODESSA I - Subject 5 | Example A3 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455271086-I261NUATLGP3AZY6ZDKD/S9_Tutti_InC-04.jpg ODESSA Montreal - Introduction | Subject 5 | ODESSA I - Subject 5 | Example A4 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455271611-1S969AHEQ6PJJPM39CZ2/S9_Tutti_InC-05.jpg ODESSA Montreal - Introduction | Subject 5 | ODESSA I - Subject 5 | Example A5 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455271916-MUWA4R4A5UQN7ADMSVW2/S9_Tutti_InC-06.jpg ODESSA Montreal - Introduction | Subject 5 | ODESSA I - Subject 5 | Example A6 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455272357-DJM05T4SKSNELM4XBE0P/S9_Tutti_InC-07.jpg ODESSA Montreal - Introduction | Subject 5 | ODESSA I - Subject 5 | Example A7 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455272708-XDTP1ZM5R7JMWQL0RKVA/S9_Tutti_InC-08.jpg ODESSA Montreal - Introduction | Subject 5 | ODESSA I - Subject 5 | Example A8 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455273108-MGQ0ZAZO54BVQIAQNYJB/S9_Tutti_InC-09.jpg ODESSA Montreal - Introduction | Subject 5 | ODESSA I - Subject 9 | Example A9 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455273479-BYZ84WVVSR0KTNJL02T3/S9_Tutti_InC-10.jpg ODESSA Montreal - Introduction | Subject 5 | ODESSA I - Subject 5 | Example A10 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455273972-M00DKEJMJSA05TC50DTJ/S9_Tutti_InC-11.jpg ODESSA Montreal - Introduction | Subject 5 | ODESSA I - Subject 5 | Example A11 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455274384-DJPLHM2RP86Z940Q0BGH/S9_Tutti_InC-12.jpg ODESSA Montreal - Introduction | Subject 5 | ODESSA I - Subject 5 | Example A12 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455274817-D9BAHHM6B1Z58KYQU0DF/S9_Tutti_InC-13.jpg ODESSA Montreal - Introduction | Subject 5 | ODESSA I - Subject 5 | Example A13 Full orchestration. Score in C. https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-5/practicalities monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-5/in-depth monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-5/orchestration monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-6/introduction monthly 0.5 2024-05-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455423972-JBD82VCUTNOX0RZ079U9/S10_A-1.jpg ODESSA Montreal - Introduction | Subject 6 | ODESSA I - Subject 6 | Example A Strings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455424169-9LPPX36II1ZX1N9026K3/S10_B_InC-1.jpg ODESSA Montreal - Introduction | Subject 6 | ODESSA I - Subject 6 | Example B Woodwinds. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455424866-KPT68H65CNIPD8TQIKVO/S10_C_InC-1.jpg ODESSA Montreal - Introduction | Subject 6 | ODESSA I - Subject 6 | Example C Full orchestration. Score in C. https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-6/practicalities monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-6/in-depth monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-6/orchestration monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-7/introduction monthly 0.5 2024-05-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658454845082-18MC70U3GFMPQ43N89FQ/S8_1-1.jpg ODESSA Montreal - Introduction | Subject 7 | ODESSA I - Subject 7 | Example A Percussion https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658454846805-2ITUJWILDQVMTH5ZVVCS/S8_2_InC-1.jpg ODESSA Montreal - Introduction | Subject 7 | ODESSA I - Subject 7 | Example B Percussion and Brass. Score in C https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658454847361-AIHJF4V662O1632GLPEL/S8_3_InC-1.jpg ODESSA Montreal - Introduction | Subject 7 | ODESSA I - Subject 7 | Example C Woodwinds and Strings. Score in C https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658504439524-97RK0JITWLYV17XBMM3R/S8_Tutti_InC-1.jpg ODESSA Montreal - Introduction | Subject 7 | ODESSA I - Subject 7 | Example D1 Full orchestration. Score in C https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658504439507-7I3HKDWVQ04KQR0JCJDQ/S8_Tutti_InC-2.jpg ODESSA Montreal - Introduction | Subject 7 | ODESSA I - Subject 7 | Example D2 Full orchestration. Score in C https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658504440552-808N82MDL7G6UZHAA1Z5/S8_Tutti_InC-3.jpg ODESSA Montreal - Introduction | Subject 7 | ODESSA I - Subject 7 | Example D3 Full orchestration. Score in C https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658504440643-NCXVX5QBV1SXK3J3OEJ7/S8_Tutti_InC-4.jpg ODESSA Montreal - Introduction | Subject 7 | ODESSA I - Subject 7 | Example D4 Full orchestration. Score in C https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-7/practicalities monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-7/in-depth monthly 0.5 2024-05-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/292668dd-5776-40c8-b934-6965f61a38e5/TOR+-+score+and+audio+-+simple.jpg ODESSA Montreal - SUBJECT 7 | In-depth - Subject 8 Timpani, Bass Drum, and Brass Timpani, Bass Drum, and Brass https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/292668dd-5776-40c8-b934-6965f61a38e5/TOR+-+score+and+audio+-+simple.jpg ODESSA Montreal - SUBJECT 7 | In-depth - Subject 8 Full Orchestration Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/292668dd-5776-40c8-b934-6965f61a38e5/TOR+-+score+and+audio+-+simple.jpg ODESSA Montreal - SUBJECT 7 | In-depth - Subject 8 Timpani and Bass Drum Timpani and Bass Drum https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/292668dd-5776-40c8-b934-6965f61a38e5/TOR+-+score+and+audio+-+simple.jpg ODESSA Montreal - SUBJECT 7 | In-depth - Subject 8 Woodwinds and Strings Woodwinds and Strings https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-7/orchestration monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-8-1/introduction monthly 0.5 2024-05-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455646987-XSJAAY231X7U2IO4WHTV/S12_A_InC-1.jpg ODESSA Montreal - Introduction | Subject 8.1 | ODESSA I - Subject 8.1 | Example A Woodwinds only. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455647592-NRQ5ICE8AV36GYS3A1LX/S12_B_InC-1.jpg ODESSA Montreal - Introduction | Subject 8.1 | ODESSA I - Subject 8.1 | Example B Full orchestration. Score in C. https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-8-1/practicalities monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-8-1/in-depth monthly 0.5 2024-05-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d001a6b7-4aaf-4fcb-aeba-9f76445c1e72/S12_A_InC-1.jpg ODESSA Montreal - SUBJECT 8.1 | In-Depth - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/24a0c60e-5079-4d51-8745-60df6e777f5c/S12_B_InC-1.jpg ODESSA Montreal - SUBJECT 8.1 | In-Depth - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-8-1/orchestration monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-8-2/introduction monthly 0.5 2024-05-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455526135-L7G1K96XE9GGPFEX5P7S/S11_A-1.jpg ODESSA Montreal - Introduction | Subject 8.2 | ODESSA I - Subject 8.2 | Example A Violin II https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455526163-LQ8T5TB9OC5EHBQQRFOF/S11_B-1.jpg ODESSA Montreal - Introduction | Subject 8.2 | ODESSA I - Subject 8.2 | Example B Violin. I https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455526593-XN2YI5GW4C1ZI7GSOOEW/S11_C_D-1.jpg ODESSA Montreal - Introduction | Subject 8.2 | ODESSA I - Subject 8.2| Examples C &amp; D Ex. C: Violins I&II: violin II leads Ex. D: Violins I&II: Even https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455526705-8FX987EQSL1KVAL00KUV/S11_E-1.jpg ODESSA Montreal - Introduction | Subject 8.2 | ODESSA I - Subject 8.2 | Example E Full string section https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-8-2/practicalities monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-8-2/in-depth monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/subject-8-2/orchestration monthly 0.5 2024-05-06 https://timbreandorchestration.org/odessa/montreal/all-subjects/category/Subject+3 monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/category/Subject+8.2 monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/category/Subject+2 monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/category/Introduction monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/category/Subject+1 monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/category/Subject+4.2 monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/category/Subject+7 monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/category/Subject+6 monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/category/Subject+5 monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/category/Subject+8.1 monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/category/Subject+4.1 monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/tag/Orchestration monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/tag/In-depth monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/tag/Introduction monthly 0.5 https://timbreandorchestration.org/odessa/montreal/all-subjects/tag/Practicalities monthly 0.5 https://timbreandorchestration.org/instruments/repertoire daily 0.75 2024-10-10 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1648475552901-KI9MA79SR3PAWH636WM4/image-asset.jpeg Repertoire List - Instruments of the Orchestra https://timbreandorchestration.org/instruments/repertoire/violin-carola-bauckholt-doppelbelichtung-2016 monthly 0.5 2024-10-10 https://timbreandorchestration.org/instruments/repertoire/english-horn-elliott-carter-pastoral-for-english-horn-marimba-and-string-orchestra monthly 0.5 2024-10-09 https://timbreandorchestration.org/instruments/repertoire/cello/dmitri-kabalevsky-cello-concerto-no-2 monthly 0.5 2024-09-13 https://timbreandorchestration.org/instruments/repertoire/cello/gubaidulina-ten-cello-preludes monthly 0.5 2024-10-09 https://timbreandorchestration.org/instruments/repertoire/cello/mario-davidovsky-synchronisms-no-3-for-cello-and-electronic-sounds monthly 0.5 2024-09-13 https://timbreandorchestration.org/instruments/repertoire/english-horn-jacqueline-leclair-music-for-english-horn-alone monthly 0.5 2024-10-09 https://timbreandorchestration.org/instruments/repertoire/english-horn-katherine-needleman-kinnah-for-english-horn-2021 monthly 0.5 2024-10-09 https://timbreandorchestration.org/instruments/repertoire/brian-ferneyhough-time-and-motion-study-1-for-bass-clarinet-1977 monthly 0.5 2024-09-13 https://timbreandorchestration.org/instruments/repertoire/paul-dukas/the-sorcerers-apprentice-1897 monthly 0.5 2024-08-22 https://timbreandorchestration.org/instruments/repertoire/bassoon-henri-dutilleux-sarabande-et-cortge-2011 monthly 0.5 2024-08-22 https://timbreandorchestration.org/instruments/repertoire/john-weinzweig/swing-out-1995 monthly 0.5 2024-08-22 https://timbreandorchestration.org/instruments/repertoire/brass-chamber-ensemble-elliott-carter-call-2003 monthly 0.5 2024-09-13 https://timbreandorchestration.org/instruments/repertoire/brass-chamber-ensemble-eric-ewazen-colchester-fantasy-1987 monthly 0.5 2024-10-09 https://timbreandorchestration.org/instruments/repertoire/brass-chamber-ensemble-viktor-ewald-brass-quintet-no-1-1890 monthly 0.5 2024-09-13 https://timbreandorchestration.org/instruments/repertoire/brass-chamber-ensemble-vincent-persichetti-parable-for-brass-quintet-1968 monthly 0.5 2024-09-13 https://timbreandorchestration.org/instruments/repertoire/brass-chamber-ensemble-witold-lutoslawski-mini-overture-for-brass-quintet-1982 monthly 0.5 2024-10-09 https://timbreandorchestration.org/instruments/repertoire/celesta-bla-bartk-music-for-strings-percussion-and-celesta-1937 monthly 0.5 2024-10-09 https://timbreandorchestration.org/instruments/repertoire/celesta-morton-feldman-crippled-symmetry-1983 monthly 0.5 2024-09-13 https://timbreandorchestration.org/instruments/repertoire/celesta-pyotr-ilich-tchaikovsky-dance-of-the-sugar-plum-fairy-from-nutcracker-suite-1892 monthly 0.5 2024-09-13 https://timbreandorchestration.org/instruments/repertoire/cello-elliot-carter-cello-concerto-2001 monthly 0.5 2024-09-13 https://timbreandorchestration.org/instruments/repertoire/cello-kaija-saariaho-sept-papillons-2000 monthly 0.5 2024-10-09 https://timbreandorchestration.org/instruments/repertoire/cello-luciano-berio-sequenza-xiv-for-cello-2002 monthly 0.5 2025-02-05 https://timbreandorchestration.org/instruments/repertoire/cello-olivier-messiaen-louange-lternit-de-jsus-from-quatuor-pour-la-fin-du-temps-1941 monthly 0.5 2024-09-13 https://timbreandorchestration.org/instruments/repertoire/cello-witold-lutoslawski-cello-concerto-1970 monthly 0.5 2024-10-09 https://timbreandorchestration.org/instruments/repertoire/clarinet/john-adams-gnarly-buttons-clarinet-concerto monthly 0.5 2024-09-13 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https://timbreandorchestration.org/instruments/repertoire/flute-doina-rotaru-concerto-no-1-for-piccolo-alto-flute-flute-and-orchestra-1986 monthly 0.5 2025-02-05 https://timbreandorchestration.org/instruments/repertoire/flute-kaija-saariaho-aile-du-songe-flute-concerto-2001 monthly 0.5 2025-02-05 https://timbreandorchestration.org/instruments/repertoire/flute-luciano-berio-sequenza-i-1958 monthly 0.5 2025-02-05 https://timbreandorchestration.org/instruments/repertoire/flute-toru-takemitsu-i-hear-the-water-dreaming-1987 monthly 0.5 2025-02-05 https://timbreandorchestration.org/instruments/repertoire/flute-toshio-hosokawa-vertical-songs-i-1995 monthly 0.5 2025-02-05 https://timbreandorchestration.org/instruments/repertoire/guitar-joaqun-rodrigo-concierto-di-aranjuez-1939 monthly 0.5 2025-02-05 https://timbreandorchestration.org/instruments/repertoire/guitar-luciano-berio-sequenza-xi-1987 monthly 0.5 2025-02-05 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https://timbreandorchestration.org/instruments/repertoire/horn-peter-maxwell-davies-sea-eagle-1982 monthly 0.5 2025-02-05 https://timbreandorchestration.org/instruments/repertoire/large-brass-ensemble-henri-tomasi-fanfares-liturgiques-1947 monthly 0.5 2025-02-05 https://timbreandorchestration.org/instruments/repertoire/large-brass-ensemble-modest-mussorgsky-pictures-at-an-exhibition-arr-maurice-ravel-1922 monthly 0.5 2025-02-05 https://timbreandorchestration.org/instruments/repertoire/large-brass-ensemble-olivier-messiaen-turangalla-symphony-1948 monthly 0.5 2025-02-05 https://timbreandorchestration.org/instruments/repertoire/large-brass-ensemble-ottorino-respighi-pines-of-rome-1924 monthly 0.5 2025-02-05 https://timbreandorchestration.org/instruments/repertoire/large-brass-ensemble-paul-hindemith-symphonic-metamorphoses-1943 monthly 0.5 2025-02-05 https://timbreandorchestration.org/instruments/repertoire/large-brass-ensemble-richard-wagner-parsifal-overture-1882 monthly 0.5 2025-02-05 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Discanto II, full score, final page https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/46237c1d-5e8b-4d88-934e-539f055d9b2a/picture3.png Timbre and Orchestration Writings - ODESSA IV - Make it stand out Figure 6. A diagram showing the main, surround, height, and soundfield capture systems in the space of the MMR. Circles represent microphones with omnidirectional polar patterns, while the doubled circles represent the dual cardioid microphones used for the back heights. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9ac59d92-a1ae-4cdb-b899-0c3d72935112/picture2-1.jpg Timbre and Orchestration Writings - ODESSA IV - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c613bc2e-8ca4-4de7-b0ee-2a3d6b8c693a/picture5-1.jpg Timbre and Orchestration Writings - ODESSA IV - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/43ff2087-9557-47e0-954b-b28d4762e3f1/picture_1.jpeg Timbre and Orchestration Writings - ODESSA IV - Make it stand out Figure 1. Performance of the violin ensemble, conducted by Pablo Andoni Olabarría https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/55c52318-dcc9-4ae4-a1f0-119f1a235e2c/Picture1_Discanto+II_Pablo+Andoni+Olabarri%CC%81a_Full+score_initial+page.jpg Timbre and Orchestration Writings - ODESSA IV - Make it stand out Figure 4. Discanto II, full score, initial page https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ccfd6e91-f081-4042-8465-c6665f372d83/Screen+Shot+2025-06-26+at+5.06.34+PM.png Timbre and Orchestration Writings - ODESSA IV - Make it stand out Figure 7. Microphone input list https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/bd7c2098-949c-4889-89bf-867fafcffe14/picture2-2.jpg Timbre and Orchestration Writings - ODESSA IV - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b281ca41-671b-4a76-bdb4-d757a844375c/picture5-2.png Timbre and Orchestration Writings - ODESSA IV - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/12e316ee-3499-4254-b3a6-8e01ecccf65f/picture4.jpg Timbre and Orchestration Writings - ODESSA IV - Make it stand out Figure 8. Photo of the vibrato study, showing musicians, conductor, and soprano soloist. Two additional Zylia Higher Order Ambisonics microphones can be seen in the foreground of the shot. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3bc8c33b-64a4-466a-9bd4-bb18223704f2/Picture4_Laudate+dominum+score.jpg Timbre and Orchestration Writings - ODESSA IV - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/project-reports/evaluating-vocality monthly 0.5 2025-06-27 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7be23553-4d1c-4a06-bd3e-f7cfe5c4b79c/Table1.png Timbre and Orchestration Writings - Evaluating Vocality in Orchestrated and Mixed Works - Make it stand out Table 1: Musical excerpts organised along a 3 x 3 design with 2 factors (Table 1): Vocality (Control / Classic/ Contemporary) x Instruments (Mixed ensemble / Piano / Strings). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/20bd0a77-c436-4a34-96e5-d6ad942d3aab/Figure7_Pagannini_Caprice_Spectrograph.jpg Timbre and Orchestration Writings - Evaluating Vocality in Orchestrated and Mixed Works - Make it stand out Figure 7. Paganini Caprice, Spectrogram of excerpt. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b11c483d-0905-45b1-b02f-648d31274250/Figure8_Mendelssohn_AnnotatedScore.jpg Timbre and Orchestration Writings - Evaluating Vocality in Orchestrated and Mixed Works - Make it stand out Figure 8. Mendelssohn Volkslied, Op. 53, No. 5, Annotated Score, numbers represent seconds and not measure numbers. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5b4ed586-9e53-4dba-bec4-fc3e15dafdc0/Figure1_behavioral_with_markers.png Timbre and Orchestration Writings - Evaluating Vocality in Orchestrated and Mixed Works - Make it stand out Figure 1. Behavioral vocality ratings for each musical excerpt. Blue lines represent the mean rating of all the participants. Red dashed lines represent the standard error of the means (SEM). Vertical dashed lines with letters represent marker names (A, B, C, etc.), and are referred to in the Discussion text below. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7787e5e6-0976-4fb1-9e5e-8a5fcacf1f6d/Figure9_Mendelssohn_AnnotatedSpectrograph.jpg Timbre and Orchestration Writings - Evaluating Vocality in Orchestrated and Mixed Works - Make it stand out Figure 9. Mendelssohn Volkslied, Annotated Spectrogram. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3edada32-7039-445e-bddc-1d668d6a7997/Figure3_Bach_Arioso_AnnotatedSpectrograph.jpg Timbre and Orchestration Writings - Evaluating Vocality in Orchestrated and Mixed Works - Make it stand out Figure 3. Bach Arioso, Annotated Spectrogram https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/53540874-952d-4121-bd10-ea92ec84c36f/Figure5_Paganini_Caprice_AnnotatedScore.jpg Timbre and Orchestration Writings - Evaluating Vocality in Orchestrated and Mixed Works - Make it stand out Figure 5. Paganini Caprice, Op. 1, No. 5, Annotated Score, numbers represent seconds and not measure numbers. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/441c38d4-7302-4c53-b7ef-426646177a9a/Figure6_Paganini_Cantabile_Spectrograph.jpg Timbre and Orchestration Writings - Evaluating Vocality in Orchestrated and Mixed Works - Make it stand out Figure 6. Paganini Cantabile, Spectrogram of excerpt. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/35245e06-2297-4069-a436-022d0723c043/Figure2_Bach_Arioso_AnnotatedScore.jpg Timbre and Orchestration Writings - Evaluating Vocality in Orchestrated and Mixed Works - Make it stand out Figure 2. Bach Arioso from Cantata 156,, Annotated Score. Numbers in blue represent seconds, not measure numbers. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5505fbe3-4f21-4b82-8c9b-fd8bc88a6f45/Figure4_Paganini_Cantabile_AnnotatedScore.jpg Timbre and Orchestration Writings - Evaluating Vocality in Orchestrated and Mixed Works - Make it stand out Figure 4. Paganini Cantabile, Op. 19, MS 45, Annotated Score, numbers represent seconds and not measure numbers. https://timbreandorchestration.org/writings/project-reports/quasar-project monthly 0.5 2025-07-19 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/91e6436c-a9d8-448e-a3ab-475cb3502e95/Screen+Shot+2025-06-22+at+3.09.48+PM.png Timbre and Orchestration Writings - Composing with Multiphonics - ACTOR Quasar Research-Creation Project - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/amazing-moments-in-timbre/hearing-form monthly 0.5 2025-07-08 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4f52fcfc-50a1-4dab-b604-b1dbd65800b4/Example8.png Timbre and Orchestration Writings - Hearing Form in Phenomenological Music: An Analysis of Molly’s Song 3 – Shades of Crimson by Rebecca Saunders - Make it stand out Example 8. (1:16.5-1:22) Measures 40-41 from Molly’s Song 3 - Shades of Crimson by Rebecca Saunders (1996). Published by Edition Peters. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a978e0ab-9b75-448b-817c-b478829d2e7e/Example6.png Timbre and Orchestration Writings - Hearing Form in Phenomenological Music: An Analysis of Molly’s Song 3 – Shades of Crimson by Rebecca Saunders - Make it stand out Example 6: Viola playing techniques and timbres of Molly’s Song 3 - Shades of Crimson. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/093e7d53-f7dc-4277-b7d4-20d831da6a2f/Example1.png Timbre and Orchestration Writings - Hearing Form in Phenomenological Music: An Analysis of Molly’s Song 3 – Shades of Crimson by Rebecca Saunders - Make it stand out Example 1: Core-Horizon Structure from Ihde (2007). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/86e1109b-8bb0-4ccb-aaa6-e177e2424161/Example9.png Timbre and Orchestration Writings - Hearing Form in Phenomenological Music: An Analysis of Molly’s Song 3 – Shades of Crimson by Rebecca Saunders - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3a64730b-94c6-42c1-9c95-7e120d7e58f4/Example2.png Timbre and Orchestration Writings - Hearing Form in Phenomenological Music: An Analysis of Molly’s Song 3 – Shades of Crimson by Rebecca Saunders - Make it stand out Example 2: Types of Sonorities in Molly’s Song 3 - Shades of Crimson. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/77a62966-7e19-4391-b4e5-60040fbee348/Example7.png Timbre and Orchestration Writings - Hearing Form in Phenomenological Music: An Analysis of Molly’s Song 3 – Shades of Crimson by Rebecca Saunders - Make it stand out Example 7. (0:16-0:24) Measures 9-12 from Molly’s Song 3 - Shades of Crimson by Rebecca Saunders (1996). Published by Edition Peters. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/545db240-57ff-4894-9f57-32b3ecfbcf81/Example4.png Timbre and Orchestration Writings - Hearing Form in Phenomenological Music: An Analysis of Molly’s Song 3 – Shades of Crimson by Rebecca Saunders - Make it stand out Example 4: Visual analysis of Musicfabrik’s recording of Molly’s Song 3 - Shades of Crimson. The visual analysis demonstrates how my segmentation of the piece into sections. The diagram depicts time (in seconds) and amplitude (via the waveform). focal cores (above the waveform), and segmentation down to the subsection level. The final sonority appears as it does in the score (from top to bottom: viola, alto flute notated in concert, steel-string guitar). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e37b1460-4da9-46d0-b73a-b831af14b1f8/Example3.png Timbre and Orchestration Writings - Hearing Form in Phenomenological Music: An Analysis of Molly’s Song 3 – Shades of Crimson by Rebecca Saunders - Make it stand out Example 3: Score-Based Pitch Analysis of Molly’s Song 3 - Shades of Crimson. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/93681331-5c98-424b-ab0e-b4e5d149e7ee/Example5.png Timbre and Orchestration Writings - Hearing Form in Phenomenological Music: An Analysis of Molly’s Song 3 – Shades of Crimson by Rebecca Saunders - Make it stand out Example 5: Silences in Musikfabrik’s (1996) recording of Molly’s Song 3 - Shades of Crimson. https://timbreandorchestration.org/writings/amazing-moments-in-timbre/mahler-cymbal-crash monthly 0.5 2025-06-16 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a4fc6270-62c9-4d9f-aa4d-e39b5bcfdf78/image1.jpeg Timbre and Orchestration Writings - The Most Momentous Cymbal Crash of Mahler’s 3rd Symphony - Make it stand out Figure 1. Entry of wind instruments following 20:29 to create a textural crescendo. https://timbreandorchestration.org/writings/amazing-moments-in-timbre/im-not-that-girl monthly 0.5 2025-06-16 https://timbreandorchestration.org/writings/project-reports/speech-as-model-for-orchestration monthly 0.5 2025-07-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/da80267d-05b2-4474-a927-842d2015be19/piano_syllable.png Timbre and Orchestration Writings - Speech as a Model for Orchestration - Make it stand out Figure 3. Sonogram representation of motifs modelled after speach https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1687960706298-QBLNIJJU0I69N1YUYWNZ/Screenshot+2023-06-28+at+9.57.49+AM.png Timbre and Orchestration Writings - Speech as a Model for Orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1687960706311-DOGGFD3VTJ336NRQE729/Screenshot+2023-06-28+at+9.57.58+AM.png Timbre and Orchestration Writings - Speech as a Model for Orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1687960707030-N0MKCTCJ0N61ZC3TPXDK/Screenshot+2023-06-28+at+9.58.06+AM.png Timbre and Orchestration Writings - Speech as a Model for Orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5542d4f2-70c6-415f-a14c-095ba25b1e59/Screen+Shot+2025-05-20+at+4.23.19+PM.png Timbre and Orchestration Writings - Speech as a Model for Orchestration - Make it stand out Figure 4. Phonotactiques, mm. 14-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/541872d3-885d-4f57-b4ed-3617f8dae516/cuir_recording.png Timbre and Orchestration Writings - Speech as a Model for Orchestration - Make it stand out Figure 1. Waveform representation of the word “Cuir” in Québecois French. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c7622c9f-5df2-4e26-a6c9-eac9c03b5dc3/cuir_spectrogram.png Timbre and Orchestration Writings - Speech as a Model for Orchestration - Make it stand out Figure 2. Spectral representation of the word “Cuir” in Québecois French. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0d4e7796-160f-4a7e-9646-b3cdc5c9e876/Screen+Shot+2025-05-20+at+4.26.42+PM.png Timbre and Orchestration Writings - Speech as a Model for Orchestration - Make it stand out Table 1. Most frequent syllabic types in French, Spanish, English, and German (Léon 1992) https://timbreandorchestration.org/writings/project-reports/the-line monthly 0.5 2025-05-22 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f68d710d-4c71-4a8a-91a9-9911e2a2ffdf/picture2.png Timbre and Orchestration Writings - The Line: An etude of juxtaposed timbral approaches - Make it stand out Figure 2. Expanded version in three notations https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c2dae2c6-9515-4a29-a2c7-ebda2275849e/picture4.png Timbre and Orchestration Writings - The Line: An etude of juxtaposed timbral approaches - Make it stand out Figure 4. Expansion into Section D of The Line https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cf1d571e-5c8e-4af8-8c04-d80d9e8124d0/picture3.png Timbre and Orchestration Writings - The Line: An etude of juxtaposed timbral approaches - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/91f4a9cc-c2d5-4314-9ebc-2cbb7235fa74/picture1.jpg Timbre and Orchestration Writings - The Line: An etude of juxtaposed timbral approaches - Make it stand out Figure 1. First sketch “Pre-Line”. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/59320a57-0836-4416-9c43-e527d591dd9a/picture5.png Timbre and Orchestration Writings - The Line: An etude of juxtaposed timbral approaches - Make it stand out Figure 5. Section I of The Line: bass melodi in unison https://timbreandorchestration.org/writings/project-reports/petites-pieces-geometriques monthly 0.5 2025-07-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8864c66a-186c-44c5-92ac-be1b411cc86a/usspeaker_auto.JPG Timbre and Orchestration Writings - Petites pièces géométriques - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0ea06148-e34d-44a6-9a7b-a0586c66521d/usspeaker_instalation.JPG Timbre and Orchestration Writings - Petites pièces géométriques - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/85ea72c8-9b7e-4857-9246-dee944ebc036/usspaker_schematics.PNG Timbre and Orchestration Writings - Petites pièces géométriques - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/eeb68dbe-2963-4e80-8602-8c9f03949efe/us-datasheet.png Timbre and Orchestration Writings - Petites pièces géométriques - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/385ef872-8695-4cf1-9910-67b255c71f72/usspeaker_mounting_auto.JPG Timbre and Orchestration Writings - Petites pièces géométriques - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9e1f51c0-226e-4428-93be-65746be54427/museum_descriptif.JPG Timbre and Orchestration Writings - Petites pièces géométriques - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/21fb4700-f719-4b92-bfaa-d026559e3c23/usspeaker_electronics.JPG Timbre and Orchestration Writings - Petites pièces géométriques - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ba502484-ec4d-4967-9838-886d3317dab3/museum_installation.JPG Timbre and Orchestration Writings - Petites pièces géométriques - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/project-reports/erard monthly 0.5 2025-05-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2944f5da-2439-4493-9166-aa169c952ef7/final+WHITE_rev_Diagram_Microphone_Setup+DAY+2_rev_Erard+Project_F.jpg Timbre and Orchestration Writings - Recording and mixing a French sound: The case of Beethoven’s Erard Frères piano - Make it stand out Microphone set-up diagram for an immersive sound recording https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/083ed023-2476-41a9-b02d-055b04e6339e/IMAGE+7_Erard_placing+double+sound+board.jpg Timbre and Orchestration Writings - Recording and mixing a French sound: The case of Beethoven’s Erard Frères piano - Make it stand out Tom Beghin places the second soundboard in the Erard https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a2bbc93b-f622-4829-8c4b-b1e1e23e02b4/IMAGE+9_Tom+at+the+Erard_two+rings.jpg Timbre and Orchestration Writings - Recording and mixing a French sound: The case of Beethoven’s Erard Frères piano - Make it stand out Tom Beghin performs on the Erard in the recording set-up with both rings at 220 cm https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/56f9c5e3-bbba-4615-a2a4-6bc438fce6f3/IMAGE+1_Erard_Project_set-up+Audienzsaal.jpeg Timbre and Orchestration Writings - Recording and mixing a French sound: The case of Beethoven’s Erard Frères piano - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e2ed5abf-7e92-4fc8-ac45-a1d576c69fc6/IMAGE+8_polar+spectrogram+Erard_D+%28take+80%29.jpg Timbre and Orchestration Writings - Recording and mixing a French sound: The case of Beethoven’s Erard Frères piano - Make it stand out Aybar Aydin: “In this example we can see the fundamental and the harmonics of the notes of the chromatic scale performed on this take. The Y- Axis (vertical axis) represents frequencies in Hz from 0Hz to 20 kHz. The colours represent the intensity of those frequencies in dB: from blue/dark blue (lowest intensity) to bright yellow (most intensity). The X-Axis represents the time, from the beginning of the audio sample to the end”. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/27b49c7f-2c12-47b0-8585-2b78cc000d66/IMAGE+3_Erard_placing+double+soundboard.jpg Timbre and Orchestration Writings - Recording and mixing a French sound: The case of Beethoven’s Erard Frères piano - Make it stand out The Erard Frères piano https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3f3e7eaf-e024-4e48-8efb-025d8f76a6cb/IMAGE+2_Walter.jpg Timbre and Orchestration Writings - Recording and mixing a French sound: The case of Beethoven’s Erard Frères piano - Make it stand out The Anton Walter piano https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0dbaec2f-8730-42d6-bcad-1f31d22908e5/IMAGE_5_+new+reduced+master+table+20250502.jpg Timbre and Orchestration Writings - Recording and mixing a French sound: The case of Beethoven’s Erard Frères piano - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7f5772cd-5df2-45d7-b82c-fa37152a25ec/IMAGE+6_laser+scanning+vibrometrie.jpg Timbre and Orchestration Writings - Recording and mixing a French sound: The case of Beethoven’s Erard Frères piano - Make it stand out Malte Kob installs the laser scanning device assisted by Jithin Thilakan https://timbreandorchestration.org/writings/project-reports/experimentation-in-music-composition monthly 0.5 2025-06-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/06b05275-fa0e-48da-9d00-0f532e3927e6/Picture14.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 14. Diagram of the clock gesture. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0b2092a6-9f37-447c-a84c-d9baac6a35ec/Picture30.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 30. I can no longer… Sequence of performance gestures https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/07a3459a-c079-4bfc-bd62-bb0a67033fa3/Picture1.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 1. Transducer on drum head https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/70ea3850-cf8c-48d4-bc39-af05095a91a9/Picture4.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 4. Prototype 3 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7734b77c-3dbf-4724-bb29-a66592735103/Picture13.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 13. Spectrogram and waveform of excerpts from the electronic component of the "magnetic" gesture. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/231be227-9371-4c0d-bd98-bfdb587a27e0/Picture29.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 29. I can no longer…, score excerpt https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/939c937a-296d-417a-8816-15850388704f/Picture33.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 32. No maps for these territories. Performance notes. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/678081b8-8445-4f08-b885-edba66725757/Picture26.jpg Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 26, Photograph of the device during the dress rehearsal https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8c2e27bd-97ec-4886-9783-3e14ba2934fb/Picture3.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 3. Prototype 2 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/afa64ee7-6feb-4565-9020-e257725fffa0/Picture16.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 16. Sonogram of the clock gesture. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ac0bc0d7-269f-4232-9422-74d085e0628a/Picture9.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 9. N1, work description p. 2. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ff3ad475-0ae5-45ed-a335-73f9911c6d08/Picture10.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 10. Diagram of the magnetic gesture https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7291382e-410d-41f0-89c2-0b531edd2371/Picture23.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 23. Part of score to renounce to body. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7773db8f-2a43-4ffa-9fb8-7fb7b70d2ad7/Picture27.jpg Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 19. Photo of the studio work for the composition of the piece https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/751a85c9-eddb-4f03-b50a-eb235d1efd11/Picture6.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 6. Performing with the glove https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b632dc3d-e354-490c-8675-dff958d75ed7/Picture7.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9c9adb1f-ff1f-44e7-ab0a-e514a556e6df/Picture19_bis.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 19. Sonogram of the filtered digital export by the snare drum. Extract from Study N1, measures 1 to 7. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2da8f7a3-e2ce-413f-8ae4-9f3f571de7fb/Picture21.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 21. Prototype Bass-shaker https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a60297b8-86e6-4630-9f82-f3e895e89c84/Picture37.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 35, Ayako Okubo (flutist) sympathetic vibration on the snare drum https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b37a75a2-e95a-4d61-85c2-1f367c7db769/Picture5.jpg Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 5. Prototype 4 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/198f1ba5-1088-45ca-99a3-b45a876a1a95/Picture22.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 22. Test of Prototype. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6ce13de2-be15-44d6-baa3-eb5a71b75067/Picture24.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 24. Additional indications for the performer https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f5d2fb4c-1670-4f29-aa0b-1a6cdd4b39c1/Picture15.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 15. N1 , work description p. 2. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/559f088d-4a68-4092-97a1-f6b800c122c4/Picture2.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 2. Prototype 1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b0546450-c7fd-4bca-85be-0463b7e48543/Picture8.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out 1) Stick on the rim 2) Fingertips on the skin Figure 8. N1, work description p. 2. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1b52a912-c131-4615-ab0e-cd2dcf0ff92b/Picture12.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/33affe4e-48fe-4db8-a11d-dc629bcc314c/Picture17.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 17. N1, Score excerpt, mesures 1 to 7. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9f9b52e8-35c4-48b3-9448-fedb2e982936/Picture28.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 28. I can no longer…, Notation examples of several actions https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a6043465-9bb8-4b41-814d-81fb3919b72d/Picture38.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 36, Excerpt of the score Oil Rainbow, mesures 44-47, flûte and clarinette https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e5c32f2a-488d-4d6a-8e85-1b4cf7c446d5/Picture39.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 38, Stage setup for Oil Rainbow https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/27a590b6-2357-4c5b-9206-d20aa7d4a686/Picture31.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/09fb7ee5-8160-42a4-a67c-a56a59ed0423/Picture18.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 18. Sonogram of the digital export. Extract from Study N1, measures 1 to 7. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/72d02e89-dfc2-4263-854b-312d6931677b/Picture34.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 33. No maps for these territories. Score excerpt. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f21dcdcd-8c06-42de-80ff-8e0ed8a7a109/Picture35.jpg Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1776862d-70ed-4e56-a19a-8af2430b75a7/Picture25.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 25. Excerpt from to renounce the body, mesures 9-12 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ac63fbdf-d745-4aa6-8104-833c51ef01ef/Picture32.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 31. No maps for these territories. Pictures in order from left to right: waterphone, thunder sheet, snare drum and bass drum https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/245717c6-2792-44e3-b82f-b5d888624618/Picture29_2.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Fig. 37. Excerpt from Oil Rainbow, mesures 109-113 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/57c744aa-d94d-4fe7-92a2-64bbec56c22b/Picture11.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 11. N1 , work description p. 2. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/738f69c6-162f-47ef-b36e-26459fe879fb/Picture20.png Timbre and Orchestration Writings - Experimentation as a Central Element in Music Composition - Make it stand out Figure 20. The bass-shaker transducer on the skin of a bass drum (left) and the comparison between its size and the size of a hand (right). https://timbreandorchestration.org/writings/project-reports/tek monthly 0.5 2025-05-13 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/86d8e808-aba6-4a30-9979-24172565bb82/Figure5.png Timbre and Orchestration Writings - TEK: Listening for Meter and Timbre in Chicago Footwork&nbsp; - Make it stand out Figure 5: Skewness calculations for excerpts from DJ Clent, “I Love You,” showing both the real and imaginary axes. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1744727104775-HWEVBPG41A9AQWJL0BN1/Figure4a.png Timbre and Orchestration Writings - TEK: Listening for Meter and Timbre in Chicago Footwork&nbsp; https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1744727104492-KQ7CZ0DPVGY4VHSLSFC8/Figure4b.png Timbre and Orchestration Writings - TEK: Listening for Meter and Timbre in Chicago Footwork&nbsp; https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5e958300-e464-4159-b004-e651da72d31d/Figure6.png Timbre and Orchestration Writings - TEK: Listening for Meter and Timbre in Chicago Footwork&nbsp; - Make it stand out Figure 6: Screenshot of one of the five instances of the Max MSP resynthesis system. PINK: the activation player. The last parameter of the scale object can be used a signal shaper (exp/log curve). The dropdown umenu object at the top chooses the activation. BLUE: the complex plane parameter with a value smoother (for MIDI value jumps) going to the lerp. The list with the 125 by 16 skewness values to be interpolated is stored inside the lerp.js object. YELLOW: unpacks the 16-value list from the lerp. GREEN: the parameter (“1.” here) is akin to a meta “gain” for the control stream, before going into the decoder. The “latent polarity” can be inverted with negative values (ex. -1). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f81a6573-7c0e-44eb-8e4e-203ab87b8fce/Figure6.png Timbre and Orchestration Writings - TEK: Listening for Meter and Timbre in Chicago Footwork&nbsp; - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/948b2f85-19ce-4f8e-a6b5-4134fcc90033/Figure2.png Timbre and Orchestration Writings - TEK: Listening for Meter and Timbre in Chicago Footwork&nbsp; - Make it stand out Figure 2: Visualization of NMF process, showing the de-composition of a given matrix X into its constituent values for A (spectral template/frequency) and B (activations/temporal dimension). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0a1ee97f-dc03-403d-a694-52680c65927c/tek_diagram.png Timbre and Orchestration Writings - TEK: Listening for Meter and Timbre in Chicago Footwork&nbsp; - Make it stand out Figure 1: A diagrammatic metaphor portraying the nexus of meter within Whitehead's dynamic cosmos: actual entities (AE shapes), prehensions (the forming links), nexūs (dotted lines), concrescences (the radiating process from prehension to AE, ad infinitum). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1744727059642-FWVQBUMYIGD3DS5KSMGG/Figure3a.png Timbre and Orchestration Writings - TEK: Listening for Meter and Timbre in Chicago Footwork&nbsp; https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1744727059388-ZVELAZ39GRTKVLA5UOH0/Figure3b.png Timbre and Orchestration Writings - TEK: Listening for Meter and Timbre in Chicago Footwork&nbsp; https://timbreandorchestration.org/writings/reprints/music-of-dialect monthly 0.5 2025-05-13 https://timbreandorchestration.org/writings/project-reports/close-microphone-techniques monthly 0.5 2025-05-13 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8c797c95-2c7e-41ef-be91-6b830c5c5810/Figure+3.jpg Timbre and Orchestration Writings - Close-Microphone Techniques for Capturing Individual Instruments in Ensemble Performances: an Acoustic and Perceptual Perspective&nbsp;&nbsp;&nbsp;&nbsp; - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1743477545401-YNEGU5BEIFRP3XG63KE6/Figure+1a.jpg Timbre and Orchestration Writings - Close-Microphone Techniques for Capturing Individual Instruments in Ensemble Performances: an Acoustic and Perceptual Perspective&nbsp;&nbsp;&nbsp;&nbsp; https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1743477547167-X6NLFNEQUMZ4F05Y1P71/Figure+1b.jpg Timbre and Orchestration Writings - Close-Microphone Techniques for Capturing Individual Instruments in Ensemble Performances: an Acoustic and Perceptual Perspective&nbsp;&nbsp;&nbsp;&nbsp; https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1743477549606-MAC0DT4BFUJRORXSF6E7/Figure+1c.jpg Timbre and Orchestration Writings - Close-Microphone Techniques for Capturing Individual Instruments in Ensemble Performances: an Acoustic and Perceptual Perspective&nbsp;&nbsp;&nbsp;&nbsp; https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fe7d6e2c-4a8c-43f7-919a-562f6290dcd6/Figure+3.jpg Timbre and Orchestration Writings - Close-Microphone Techniques for Capturing Individual Instruments in Ensemble Performances: an Acoustic and Perceptual Perspective&nbsp;&nbsp;&nbsp;&nbsp; - Make it stand out Figure 3: Shaar Hashomayim Choir in rehearsal. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2dd6de3c-a0d4-4e82-8e79-dc8e72902bce/Figure+2.jpg Timbre and Orchestration Writings - Close-Microphone Techniques for Capturing Individual Instruments in Ensemble Performances: an Acoustic and Perceptual Perspective&nbsp;&nbsp;&nbsp;&nbsp; - Make it stand out Figure 2: Close microphone on the Cantor of the Shaar Hashomayim Synagogue Choir. https://timbreandorchestration.org/writings/project-reports/virtual-acoustics monthly 0.5 2025-05-13 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6086f0ad-eece-4e06-b2f8-afd31b6932f6/Figure1b.jpg Timbre and Orchestration Writings - Virtual Acoustics in Joint Performance - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0e59f637-5a49-4bb1-9206-aefdc7a55c1e/Figure1b.jpg Timbre and Orchestration Writings - Virtual Acoustics in Joint Performance - Make it stand out Figure 1b: MMR with passive absorbers lifted and/or retracted, showing custom diffusion panels installed in the space. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8233fceb-14e2-49ed-884f-6f29b7c8f07e/Figure2.jpeg Timbre and Orchestration Writings - Virtual Acoustics in Joint Performance - Make it stand out Figure 2: The Schulich Singers in rehearsal in the MMR. An informal experiment was conducted on their perception of the room response and their preference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7792e850-90c2-4120-9c9f-660dafac05cf/Figure1a.jpg Timbre and Orchestration Writings - Virtual Acoustics in Joint Performance - Make it stand out Figure 1a: The MMR shown with all banners and curtains deployed to limit its reverberation time. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a18b37e2-e013-4c2c-b796-7551e3af3f8c/Fig3_new.png Timbre and Orchestration Writings - Virtual Acoustics in Joint Performance - Make it stand out Figure 3: Acoustic settings ranked by preference and the number of subjects who gave each ranking. https://timbreandorchestration.org/writings/project-reports/choral-blend monthly 0.5 2025-05-13 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9b6c5623-7f68-42de-b798-1d0d22ef5ada/Figure+1b.png Timbre and Orchestration Writings - An Investigation of Choral Blending through Soundfield Capture, Acoustic Evaluation, and Perceptual Analysis Methods&nbsp; - Make it stand out Figure 1b: Screen capture of the camera recording of a performance https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7b1f61ab-a276-420a-93b5-6f354e2da8cd/Figure+2.png Timbre and Orchestration Writings - An Investigation of Choral Blending through Soundfield Capture, Acoustic Evaluation, and Perceptual Analysis Methods&nbsp; - Make it stand out Figure 2: A diagram showing the main, surround, height, and soundfield capture systems in the space of the MMR. Circles represent microphones with omnidirectional polar patterns, while the doubled circles represent the dual cardioid microphones used for the back heights. Please note that this is the same capture system used in the ODESSA IV recordings, which took place concurrently https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ab0c02a8-9f77-4ab8-9cae-33780a4aae46/IMG_20221028_105048.jpg Timbre and Orchestration Writings - An Investigation of Choral Blending through Soundfield Capture, Acoustic Evaluation, and Perceptual Analysis Methods&nbsp; - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/68953d73-8cdb-4ca7-b419-8ae6685ec6e7/Figure+1a.jpg Timbre and Orchestration Writings - An Investigation of Choral Blending through Soundfield Capture, Acoustic Evaluation, and Perceptual Analysis Methods&nbsp; - Make it stand out Figure 1a: The acoustic camera https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/eb0e9b51-b936-4acb-ae85-2adad6e278f0/Figure+3.jpg Timbre and Orchestration Writings - An Investigation of Choral Blending through Soundfield Capture, Acoustic Evaluation, and Perceptual Analysis Methods&nbsp; - Make it stand out Figure 3: Subjects performing an excerpt in mid spacing and the room’s dry acoustic setting (all banners and curtains fully deployed) https://timbreandorchestration.org/writings/amazing-moments-in-timbre/orchestration-form-lutyens monthly 0.5 2025-05-13 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/66b2d54c-c7c9-45a5-ae70-130a2620b3db/1.png Timbre and Orchestration Writings - Orchestration as Form in Elisabeth Lutyens’s And Suddenly It’s Evening (1966)&nbsp; - Make it stand out Example 1. The row of the entire work https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/702267a2-8cea-47ee-80b4-e627ca9309e8/6a.png Timbre and Orchestration Writings - Orchestration as Form in Elisabeth Lutyens’s And Suddenly It’s Evening (1966)&nbsp; - Make it stand out Example 6a. Opening of Ritornello 2 (p. 13) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ca08ba85-a411-4224-a96f-57c56ccc36c0/5a.png Timbre and Orchestration Writings - Orchestration as Form in Elisabeth Lutyens’s And Suddenly It’s Evening (1966)&nbsp; - Make it stand out Example 5a. Opening ritornello 1 (p. 1), echoes shown by brackets around row order numbers. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d4c0903f-b248-409b-a3ee-fc878c933ad8/7.png Timbre and Orchestration Writings - Orchestration as Form in Elisabeth Lutyens’s And Suddenly It’s Evening (1966)&nbsp; - Make it stand out Example 7. Brass chorale (p. 14) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6c471b6a-b9fb-4138-8bf1-b3a733fd7398/3.png Timbre and Orchestration Writings - Orchestration as Form in Elisabeth Lutyens’s And Suddenly It’s Evening (1966)&nbsp; - Make it stand out Example 3. Form of entire work with color-coded instrument groups (slash indicates overlapping rows and brackets indicate row fragments)[viii] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/27adb766-d7f2-4307-b875-65b81bb5c406/5b.png Timbre and Orchestration Writings - Orchestration as Form in Elisabeth Lutyens’s And Suddenly It’s Evening (1966)&nbsp; - Make it stand out Example 5b. RICH https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2455a1bd-4629-4a74-ab67-48ec7c23a221/6b.png Timbre and Orchestration Writings - Orchestration as Form in Elisabeth Lutyens’s And Suddenly It’s Evening (1966)&nbsp; - Make it stand out Example 6b. Retrograde symmetry of Ritornello 2 (each bracket indicating an R transformation) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c92d2608-0635-4200-82b2-af5012b98ceb/2raw.png Timbre and Orchestration Writings - Orchestration as Form in Elisabeth Lutyens’s And Suddenly It’s Evening (1966)&nbsp; - Make it stand out Example 2. Instrument groups[iv] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5ddb909a-3a44-4b09-b026-99e0625b54b0/4.png Timbre and Orchestration Writings - Orchestration as Form in Elisabeth Lutyens’s And Suddenly It’s Evening (1966)&nbsp; - Make it stand out Example 4. Tenor solo in section 4 (p. 26) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/43e5d421-a3d2-423b-a4c4-f00a90e1429a/8.png Timbre and Orchestration Writings - Orchestration as Form in Elisabeth Lutyens’s And Suddenly It’s Evening (1966)&nbsp; - Make it stand out Example 8. Brass counterpoint of mm. 10-17 (p. 14) https://timbreandorchestration.org/writings/project-reports/real-time-timbral-analysis monthly 0.5 2025-05-13 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/023035eb-b300-4853-a0f8-8275352197f5/CoverPicture_Patie_Daigle.png Timbre and Orchestration Writings - Real-time Timbral Analysis for Musical and Visual Augmentation - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/09be4473-e83c-41dd-a7de-86e84f6435a0/Fig6.gif Timbre and Orchestration Writings - Real-time Timbral Analysis for Musical and Visual Augmentation - Make it stand out Figure 6 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/25c4a010-9d3c-411b-869e-78e00634dad2/Fig7_Comp.gif Timbre and Orchestration Writings - Real-time Timbral Analysis for Musical and Visual Augmentation - Make it stand out Figure 7 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2a7cd1cf-9b8c-4947-bdf2-58dab88b78b4/Fig1.jpg Timbre and Orchestration Writings - Real-time Timbral Analysis for Musical and Visual Augmentation - Make it stand out Figure 1: instrumental setup. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/aee1c6b2-7cdf-486e-9853-4e0a870a5c80/Fig4_Comp.gif Timbre and Orchestration Writings - Real-time Timbral Analysis for Musical and Visual Augmentation - Make it stand out Figure 4: Patch 2. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d8009839-c3eb-406d-ab95-aa7259a5714e/Fig2_Comp.gif Timbre and Orchestration Writings - Real-time Timbral Analysis for Musical and Visual Augmentation - Make it stand out Figure 2: Max MSP patch. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7859b54e-3ca6-464c-8b4b-a6550c4e7e20/Fig5_Comp.gif Timbre and Orchestration Writings - Real-time Timbral Analysis for Musical and Visual Augmentation - Make it stand out Figure 5: Patch 3. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fcb44e45-fabd-4b1f-ae7e-c5fba1e76623/Fig3_Comp.gif Timbre and Orchestration Writings - Real-time Timbral Analysis for Musical and Visual Augmentation - Make it stand out Figure 3: Patch 1. https://timbreandorchestration.org/writings/project-reports/timbre-semantic-associations monthly 0.5 2025-02-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1739815138735-TYJ78ESWKWHA8QC4VPJS/violin.png Timbre and Orchestration Writings - Timbre Semantic Associations Vary both Between and Within Instruments - Violin https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1739815136446-TBCE6WI66QOA6MZ0JY3B/bass+clarinet.jpg Timbre and Orchestration Writings - Timbre Semantic Associations Vary both Between and Within Instruments Bass clarinet https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1739815137957-VT8801EWSOBS29MXW2G0/trombone.jpg Timbre and Orchestration Writings - Timbre Semantic Associations Vary both Between and Within Instruments - Trombone https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1739815138689-4RVDS5M1WOSQVC2Q7SSZ/vibraphone.jpeg Timbre and Orchestration Writings - Timbre Semantic Associations Vary both Between and Within Instruments - Vibraphone https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1739815137274-Q3YW7PMM4R4LOFV0XVVK/flute.jpeg Timbre and Orchestration Writings - Timbre Semantic Associations Vary both Between and Within Instruments - Flute https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1739815137354-ZCF7T25PPL7EEZGPZQHK/oboe.jpeg Timbre and Orchestration Writings - Timbre Semantic Associations Vary both Between and Within Instruments - Oboe https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1739815137987-VDOKC3IR4FYDVXHPLQEH/trumpet.jpg Timbre and Orchestration Writings - Timbre Semantic Associations Vary both Between and Within Instruments - Trumpet https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1739815136318-BPU8SZUNKUNN2G10B0S5/cello.png Timbre and Orchestration Writings - Timbre Semantic Associations Vary both Between and Within Instruments - Cello https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/78d9b81a-4a30-4804-aecc-d083a4e2cce5/flbnrange.jpg Timbre and Orchestration Writings - Timbre Semantic Associations Vary both Between and Within Instruments - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/amazing-moments-in-timbre/across-the-skies monthly 0.5 2025-05-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ada64192-8249-4334-94cb-66120355c71c/Eg-4.png Timbre and Orchestration Writings - Across the Skies - Wenchen Qin - Make it stand out Example 4 (Across the Skies, mm. 33–34): Diatonic texture made up of stacked fifths. (Click on the score to enlarge access the audio for this excerpt). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0379deb1-fce6-4257-92c6-92bb6f37ebad/Eg-1.png Timbre and Orchestration Writings - Across the Skies - Wenchen Qin - Make it stand out Example 1 (Across the Skies, mm. 1–3): “Acoustic shadows” formed by the string orchestra highlighting strummed pipa chords at the beginning of the piece. (Click on the score to enlarge access the audio for this excerpt.) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5d9b6e0c-a021-406e-b7b1-794561484882/Eg-3.png Timbre and Orchestration Writings - Across the Skies - Wenchen Qin - Make it stand out Example 3: (Across the Skies, mm. 23–26): Stacked perfect fifths C–G–D–A persisting in the background throughout the opening passage of the music. (Click on the score to enlarge access the audio for this excerpt). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6d8148fa-1b9f-436e-97c3-072db50b4962/Eg-7.png Timbre and Orchestration Writings - Across the Skies - Wenchen Qin - Make it stand out Example 7 (Across the Skies, m. 197): Return of the diatonic texture at the beginning of the final section. (Click on the score to enlarge access the audio for this excerpt). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0222d7bc-0037-4ee8-9030-f9e59df923de/Eg-8.png Timbre and Orchestration Writings - Across the Skies - Wenchen Qin - Make it stand out Example 8 (Across the Skies, mm. 200–203): Miscellaneous textural layers of the string instruments near the end of the piece. The top two staffs belong to the pipa. Headphones are recommended for listening to the audio example. (Click on the score to enlarge access the audio for this excerpt). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d38a97fc-34d7-4959-ba61-b592b9d2cfb7/Fig-1.png Timbre and Orchestration Writings - Across the Skies - Wenchen Qin - Make it stand out Figure 1: Graphic representations of the attack profiles of each of the pipa chords (a) and the string chords (b) in the opening passage. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e27ae3e2-aec5-4683-b440-a60ce33cb750/Eg-5.png Timbre and Orchestration Writings - Across the Skies - Wenchen Qin - Make it stand out Example 5 (Across the Skies, mm. 80–82): Diatonic texture made up of single lines from individual string instruments. (Click on the score to enlarge access the audio for this excerpt). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/196bb8a2-4d29-41ef-a136-a5c7dbb3ed38/Eg-2.png Timbre and Orchestration Writings - Across the Skies - Wenchen Qin - Make it stand out Example 2 (Across the Skies, mm. 60–64): Call-and-response patterns between the pipa and the string orchestra, with the latter amplifying the pitch bend characteristics of the pipa. (Click on the score to enlarge access the audio for this excerpt.) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ac48761f-e8c3-4187-a0e1-adda1c22d409/Eg-6.png Timbre and Orchestration Writings - Across the Skies - Wenchen Qin - Make it stand out Example 6 (Across the Skies, mm. 28–30): Juxtaposition of the three sonic materials evolving from stacked perfect fifths to the chromatic cluster. (Click on the score to enlarge access the audio for this excerpt) https://timbreandorchestration.org/writings/project-reports/orchestration-for-the-string-quartet monthly 0.5 2025-05-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6d06bb8a-18a2-48c4-9738-71d60c568731/IMG_20211201_121348.jpg Timbre and Orchestration Writings - Orchestration for the String Quartet Research-Creation Project Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/project-reports/timbrenauts monthly 0.5 2025-05-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/857a6edc-c375-4e1e-8790-fa2b1c537cdc/TimbrenautsExperimentScreenShot.png Timbre and Orchestration Writings - Timbrenauts: Creative Explorations in Timbre Space - Make it stand out Figure 1: Example interface for the similarity judgment trials. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cb0886b6-1e6d-4fe5-94f0-143af1577447/2024_05_20_CTN.png Timbre and Orchestration Writings - Timbrenauts: Creative Explorations in Timbre Space - Make it stand out Figure 3: A network graph showing connections between Closest Timbral Neighbors (CTN) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0eb8db73-502a-4137-8b43-e93e7d435275/2024_05_20_GTD.png Timbre and Orchestration Writings - Timbrenauts: Creative Explorations in Timbre Space - Make it stand out Figure 4: A network graph showing connections for Greatest Timbral Diversity https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a0830835-532f-443b-bbad-6670d62de25b/2024_05_28_highlightedCTN02.png Timbre and Orchestration Writings - Timbrenauts: Creative Explorations in Timbre Space - Make it stand out Figure 6: The CTN network graph, with the highlighted area where new distorted pitched sounds are conjectured to belong. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/366c0291-ff24-4697-9347-87f9d6bb13f2/2024_05_20_MSS.png Timbre and Orchestration Writings - Timbrenauts: Creative Explorations in Timbre Space - Make it stand out Figure 2: A plot showing one view of the Multidimensional Similarity Space (MSS) model. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/89560f88-05f7-4964-aa17-eb83a6f1ca28/Picture1.png Timbre and Orchestration Writings - Timbrenauts: Creative Explorations in Timbre Space - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e611c0e5-cedc-448d-8567-2ff170d2597e/2024_05_28_highlightedCTN04.png Timbre and Orchestration Writings - Timbrenauts: Creative Explorations in Timbre Space - Make it stand out Figure 7: The CTN network graph, with the highlighted area where new pitched sounds with variable mutes applied are conjectured to belong. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e7763b61-8968-44c0-8f7b-7292ca44d60e/2024_05_23_highlightedCTN01.png Timbre and Orchestration Writings - Timbrenauts: Creative Explorations in Timbre Space - Make it stand out Figure 5: The CTN network graph, with the highlighted area where new airy, noisy, flute-like sounds are conjectured to belong. https://timbreandorchestration.org/writings/project-reports/space-as-timbre monthly 0.5 2024-08-31 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8ee5bdca-1fa0-47a7-8c4c-557cb3690341/fig1.jpg Timbre and Orchestration Writings - Space as Timbre (SAT) Research-Creation Project Report - Make it stand out Figure 1: Example of threshold in bow placement and pressure on the double bass https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/60b4c7fb-30e4-4673-af56-cb8bc8f4ca52/coverImage_SAT_small.png Timbre and Orchestration Writings - Space as Timbre (SAT) Research-Creation Project Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/project-reports/ulezo monthly 0.5 2024-08-18 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9ca6ff66-8f6c-48b3-920d-cda75c1cbd1d/Figure_1_Spectrum.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Figure 1: The Luvale drum timbre descriptor spectrum with English translation and instructions on achieving these timbres https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/76b312b3-5fda-4ebe-8f5b-a31aa80d970a/Image_1_Instrumentation.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Image 1: Common instrumentation for recreational (L) and ceremonial (R) settings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/68a78fee-3dd2-49f4-b2ed-678b0909a529/Fig2.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Figure 2: Spectral centroid https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/37c5ba5d-3324-4a72-a35f-ca4e1ac42840/Fig10.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Figure 10: Box plot showing temporal centroid values for each tuning stage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/231f3a7a-3d14-41f8-a00d-c459c7db5a4e/Fig8.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Figure 8: Box plot showing spectral decrease values for each tuning stage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/826f84a1-e3c1-4090-8d70-7cb9279ca1de/Fig4.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Figure 4: Spectral roll-off https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/db460127-4274-42b2-9db6-a01e875e72b0/Image_3_Heat.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Image 3: Heating the drums by fire in Mongu, Zambia on 25 March 2022; (L-R) Kashewa Kapalu, Chinyama Kasanga, Kasanga Nsamba https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/19867a55-ca80-4a97-977f-8b7961b9be9b/Fig7.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Figure 7: Box plot showing spectral centroid values for each tuning stage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f3c4973f-d67f-460e-9cc7-3d05ad22985b/Fig3.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Figure 3: Spectral decrease https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9bbc2e98-51e5-4e49-b1f3-3e81f14dc883/Fig6.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Figure 6: Zero-crossing rate https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1ba5e463-aebe-4500-acf5-46dcd9675472/Square+Menu+Image.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/92c4ee51-8998-49f1-adda-df01b5772912/Fig5.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Figure 5: Temporal centroid, from Elliot et al., (2013, p. 396) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5f6bb12d-5737-40cc-bd65-5db5cdeaba71/Figure_12_Summary.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Figure 12: Timbral change of open strokes in the acoustic and perceptual domains https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/37d84ef1-a5cd-4d1c-afd6-f9bb37b7c4ff/Image_4_Ulezo.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Image 4: Ulezo made by Kapalu Lizambo in Zambezi, Zambia in 2022 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f2ae6d38-0faa-4b07-aeef-e26ae78723fd/Image_2_Pegs.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Image 2: Ngoma pegs during (L) and after (center) head attachment compared to the large protruding pegs of the Ga kpanlogo (R) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b90dd2af-c861-4f65-af5e-7479c645bed4/Fig11.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Figure 11: Box plot showing zero-crossing rate values for each tuning stage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a6e7443b-786d-4be6-aeb2-8e1cce9fbab5/Image_5_Ulezo_Drums.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Image 5: Members of Lenga Navo applying ulezo in Zambezi, Zambia on 12 June 2022; (L-R) Kapalu Lizambo on shina, Musumale Chijika on ngoma yahakachi, Vocia Kahilu Kapalu on ngoma yakusongo, Innocent Kapepa on ngoma yakasumbi https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/168cf1b7-0aea-4d0e-a749-ffd032936391/Fig9.png Timbre and Orchestration Writings - Ulezo: Mapping Acoustic Attributes to Timbre Descriptors in Zambian Luvale Drum Tuning - Make it stand out Figure 9: Box plot showing spectral roll-off values for each tuning stage https://timbreandorchestration.org/writings/amazing-moments-in-timbre/professor-bad-trip monthly 0.5 2024-07-30 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fe4cd1e1-665c-43ff-a867-9d1c8223fbb4/AMiT-Romitelli-Figure1.jpeg Timbre and Orchestration Writings - Professor Bad Trip: Lesson III — Fausto Romitelli - Make it stand out Figure 1: Francis Bacon, Three Studies for Self-Portrait, oil on canvas (1976) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d6080748-5d1f-4105-a186-62756d71e401/AMiT-Romitelli-Figure2.png Timbre and Orchestration Writings - Professor Bad Trip: Lesson III — Fausto Romitelli - Make it stand out Figure 2: Annotated score excerpt of Professor Bad Trip – Lesson 3 (Milan: Ricordi, 2000), mm. 1–5. (Click on the score to access the audio for this excerpt.) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/397c2333-032c-4b00-a98f-e43b8f08d529/AMiT-Romitelli-Figure3.png Timbre and Orchestration Writings - Professor Bad Trip: Lesson III — Fausto Romitelli - Make it stand out Figure 3: Annotated score excerpt of Professor Bad Trip – Lesson 3 , mm. 6–8. (Click on the score to access the audio for this excerpt.) https://timbreandorchestration.org/writings/dialogues/new monthly 0.5 2024-06-10 https://timbreandorchestration.org/writings/dialogues/lu monthly 0.5 2024-06-10 https://timbreandorchestration.org/writings/dialogues/nagano monthly 0.5 2024-06-10 https://timbreandorchestration.org/writings/reprints/psychological-constraints-on-form-bearing-dimensions-in-music monthly 0.5 2024-05-10 https://timbreandorchestration.org/writings/articles/dallapiccola/composite-timbre monthly 0.5 2024-05-16 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2e6771fa-49fa-4316-8bfd-ecdae04dfcd8/Dallapiccola+13.jpeg Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705438916486-N0IGNNJ8B6RPYN2PA04V/Example_2.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/385a9e08-62d6-4e2a-ae50-98a28d44b5a6/Dallapiccola+Luigi.jpeg Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439894983-PWGUDKI0YIZZ8WFNPM2C/example_8-1.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439896914-IQQFKBD8CRDLHMPLIONF/example_8-2.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0277f12d-d66b-4153-807d-02f42aadb248/table_4.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Table 4 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dc86a550-be26-4c4d-8fb0-4fa47b381f43/Exemple+7.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a93862a5-00a3-4b43-b381-9e721f3aa8a8/table_3.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4c8c24cb-afee-4dac-9f10-f3c441703c3b/table2-1.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8b9f5547-664d-4189-9a8b-a5bd0368d26a/Logo+CREAA+%28rouge%29.jpg Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440325184-JTHSR18WC3HPQSGF87M0/example_15-1.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440327534-8TGI5FNG7XSEHD0V54VQ/example_15-2.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440330303-16RT1GAVKZZX8GSPX1A1/example_15-3.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/98da0d27-5263-4d04-9e1f-910b66ecb632/example_16_fix.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Example 16: Commiato, doublings for the initial chords https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440425076-GAGW2QWZOIVE9Q1KIQUW/example_18-1.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440426925-1EA3RMW9QQNZ6H165LJM/example_18-2.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440428975-I1U5265F5RH085Y2E345/example_18-3.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439565028-2C7U4RDJ4I0O7RK4ZB4V/example_6-1.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439568180-P1OHZOIYBFIQLS9KEJH9/example_6-2.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439571199-3QS7W99IJPUW9A15NYKB/example_6-3.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1706034580055-72VH7Y6KZ6RER8ZQ2JMZ/example_1-1.jpg Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705438741028-D9W9B15DTFWG1OEXXPPE/example_1-2.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705438744015-C87J1XWUD79UH92SB4BF/example_1-3.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440022350-L3E4TYZ682G3DQNJMATD/Example_9a.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440027200-1H1RCZ2BXXPQDUFA9V99/Example_9b.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/35871c61-1b30-467c-bd08-6cc31526f9ac/table2_1.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5f581cf9-276a-4594-bd5c-79af4edff32b/example3_en.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439281810-DQ1CNHTHXMGU8WVJJ9NH/example_4.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439283168-5UM7SGL4XI87U698AUY6/example_4-2.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b233d11a-7095-47e7-beda-b1ce9ef9e6e5/table1.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it sand out Tableau 1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6f9eec47-490d-40c1-8248-f064052b3134/Example_10.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/508b78c4-b0ad-4617-bb26-0b312c9b0254/example_canon_I.1.2.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1c457211-fad9-4946-aabd-9f3f3d7f78be/Example_5.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/18dac474-19fe-468f-8b08-2c0bf3d060fc/table_3-1.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d2178b29-a42f-46be-8180-88524ef1910c/example_12.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Example 12: Commiato : first chords/blocks (without rhythms). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e1effcf7-033a-4f2a-a7a9-688e05164915/example_17.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Example 17: Commiato, first part, B1 section. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440235910-LF1WBFEEV9NMR2Y5MA8G/Example_11-1.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440239849-M0GOP46F804Q5G28H80T/Example_11-2.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e6d5c5b5-d830-497e-9e44-e95f1f72de86/example_18.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Exemple 19: Commiato, B2 Section, reduction. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ae088cd7-990f-4aae-ad37-cd6d417c76f8/table_3-2.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Table 3 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/99fd975b-51c8-4019-b0b7-0ad6b5978b3b/example_14.png Timbre and Orchestration Writings - The Composite Timbre of Luigi Dallapiccola’s Vocal and Instrumental Works Since the Sex Carmina Alcei - Make it stand out Example 14: Commiato (Part I): General form with internal components: https://timbreandorchestration.org/writings/amazing-moments-in-timbre/orchestration-in-renaissance-polyphony monthly 0.5 2024-07-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6f7ae689-eb71-49aa-90c6-df7bf31d9ee5/Example4a.png Timbre and Orchestration Writings - Orchestration of Sonorities in Renaissance Polyphony - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/32280dc1-c6bb-4442-acc1-156a387443ad/Example1.png Timbre and Orchestration Writings - Orchestration of Sonorities in Renaissance Polyphony - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/96546c14-03d3-4436-807f-2d11ca165fb3/Example3.png Timbre and Orchestration Writings - Orchestration of Sonorities in Renaissance Polyphony - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1af7fc08-5536-444c-951f-25ef6232ae00/Example4b.png Timbre and Orchestration Writings - Orchestration of Sonorities in Renaissance Polyphony - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/91b42ea0-027c-4c7b-9c8d-81d2d1c28731/Example5.png Timbre and Orchestration Writings - Orchestration of Sonorities in Renaissance Polyphony - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/dialogues/reynolds monthly 0.5 2024-05-27 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/245baea4-88cb-46f3-864c-7b64965c8f1a/image003.png Timbre and Orchestration Writings - Exploring the Alchemy of Orchestration: A Conversation - Make it stand out Example of atypically heterogeneous instrumentation. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f0224e08-1f96-4f65-a2c6-e1b2b1a7ba92/Reynolds_JaggedRips.jpeg Timbre and Orchestration Writings - Exploring the Alchemy of Orchestration: A Conversation - Make it stand out Sketch from The Angel of Death (Reynolds, 2004), showing verbal characterization of texture. https://timbreandorchestration.org/writings/dialogues/ellis monthly 0.5 2024-05-27 https://timbreandorchestration.org/writings/articles/the-history-and-future-of-the-tuba-family monthly 0.5 2024-06-24 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cd9f8660-eb16-4580-ad10-c7c05947d1f1/Fig.+07.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Figure 7: Bass tuba (Berliner). Wieprecht and Moritz, 1835, Appendix I. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/064b9dfc-e60c-4530-a47b-af3a81fffb7f/Fig.+08.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Figure 8: Bass tuba (Wiener). A. Kley, Berlin, ca. 1918. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5d678b99-fe26-4621-bb28-7c52d97edc81/Fig.+09.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Figure 9: Typical modern bass tuba. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9f736481-2d47-4657-ab69-2eac3e7fdbd0/Fig.+10.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Figure 10: Typical modern contrabass tuba. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1582e441-68ce-4ed5-a2cb-a41f7dd15f9f/Fig.+12.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Make it stand out Figure 12: Helmut Lachenmann, Concertini (2005), b. 373–376. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8985956e-657c-40fc-b155-42e0297857c5/Fig.+05.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Figure 5: Bass Horn (Chromatic). Anon (possibly J. H. G. Streitwolf, Göttingen), ca. 1830. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7792bf95-5ee5-46e3-87e8-f86c97756d18/Fig.+06.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Figure 6: Bass horn (Ophicleide). J. M. Labbaye, Paris, 1837. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cb0a4dea-2d98-4d92-bdd0-ce2206b4fdfa/Fig.+03.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Figure 3: Bass horn (Cimbasso). N. Perry, London, 1998. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ce084c64-38e5-4628-b901-f64dec55068d/Fig.+04.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Figure 4: Bass horn (English). Griesling &amp; Schlott, Berlin, ca. 1820. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1c6ef863-e019-407e-9f3b-d47a5db50d4f/Fig.+13.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Figure 13: Modified fourth valve tuning slide with screw fitting; piezoelectric screw-on microphone. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0c863648-20f1-49f7-8f0d-b09e83fd142c/Fig.+14.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Figure 14: Multi-direction speaker with 3D-printed mount. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c998011e-2d7f-4987-99eb-6e460638b305/Fig.+01.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Figure 1: Serpent. Mersenne, 1637, p. 279. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/045ab086-a273-4c59-98fb-2854981aecd2/Fig.+02.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Figure 2: Serpent. P. Ribo, Brussels, 2018. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ea910d91-911e-4426-9b99-733c50e73817/Fig.+11.jpg Timbre and Orchestration Writings - The History and Future of the Tuba Family: Material-, Resonance-, and Performance-Based Perspectives - Make it stand out Figure 11: Lowest pitches of valved low-pitch labrosone according to literature published 1837–2022. https://timbreandorchestration.org/writings/project-reports/quick-start-guide monthly 0.5 2024-06-24 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1697589196531-CEOD5RPRK8GMJKVO8TP1/11140259_822197664523116_6977107916874403938_n.jpg Timbre and Orchestration Writings - A Quick Start Guide for Combining Electronic and Instrumental Orchestration - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/project-reports/room-acoustics monthly 0.5 2024-06-24 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b1195297-5c7c-41b2-8f11-b2a0ec8693b8/10062402-acoustic-room.jpg Timbre and Orchestration Writings - Online Guide to Room Acoustics for Musicians - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/project-reports/dance-and-timbral-exploration monthly 0.5 2024-05-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1c293807-91fb-43db-a093-d25245acc2eb/figure1_KiCASSDancer1ControlD.jpg Timbre and Orchestration Writings - Dance and Timbral Exploration (DaTE) - Make it stand out Example 1: KiCASS target point selection. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/143a4d35-57e2-415f-a278-79b5dcef5dc1/figure2_KiCASSServerClient.jpg Timbre and Orchestration Writings - Dance and Timbral Exploration (DaTE) - Make it stand out Example 2: KiCASS broadcast setup. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/bd7fe0e6-ae9a-40ec-9dbc-cbf210c85a70/figure6_WIND_fl%2BcelloCombo_withAnn.jpg Timbre and Orchestration Writings - Dance and Timbral Exploration (DaTE) - Make it stand out Example 6: The flute (above) and cello (below) parts for WIND page 3 of 4. Annotations made during the rehearsal process indicate the relationship between the score and the audio processing. For page 3 specifically, the blue and yellow shaded areas represent the major and minor harmonizer effects, respectively. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5501dcb9-0ecf-4605-9782-e08a20a8b219/figure4_InteractionDev.png Timbre and Orchestration Writings - Dance and Timbral Exploration (DaTE) - Make it stand out Example 4: Developing the interaction. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b8eead4d-d8ac-4a88-a4f8-d4a91e8d62b8/figure7_AbletonScreenshot.png Timbre and Orchestration Writings - Dance and Timbral Exploration (DaTE) - Make it stand out Example 7: Screenshot of Ableton Live Session View used to test out effects plugins with extended technique samples. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/81b03748-3789-4a27-b85c-aab928365988/figure1_KiCASSDancer1ControlD.jpg Timbre and Orchestration Writings - Dance and Timbral Exploration (DaTE) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/615146b5-384e-4e59-bc4e-140b5cd3d125/figure5_nodes.png Timbre and Orchestration Writings - Dance and Timbral Exploration (DaTE) - Make it stand out Example 5: Nodes object in Max/MSP/Jitter used in WIND. Top triangles indicate blind spots for the Kinect camera. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e4d7da1e-fe67-4a6c-a5e0-86431f0cf6e9/figure3_pluginsScreenshot.png Timbre and Orchestration Writings - Dance and Timbral Exploration (DaTE) - Make it stand out Example 3: Some of the plugins used in WIND. Screenshot is taken from a Max/MSP/Jitter patcher for the piece. The red receives were from dancer generated KiCASS data. https://timbreandorchestration.org/writings/project-reports/timbre-in-popular-song monthly 0.5 2024-05-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c1c60d57-f703-4993-bb16-adceaf333f09/Ex2.jpeg Timbre and Orchestration Writings - The Timbre in Popular Song (TiPS) Corpus - Make it stand out Example 2: Proportions of marginalized artists in parent and child corpora compared to proportions in the U.S. population for 1990-1999 based on census data (horizontal line). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/918c9da0-d867-4026-8cba-d079bfccd64d/Ex1.jpeg Timbre and Orchestration Writings - The Timbre in Popular Song (TiPS) Corpus - Make it stand out Example 1: A schematization of the Anti-Discriminatory Alignment System. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fedbcf5e-6435-4dec-b3cf-f0c37056e1bd/Ex3.jpeg Timbre and Orchestration Writings - The Timbre in Popular Song (TiPS) Corpus - Make it stand out Example 3: Timbre and texture variables encoded in the TiPS corpus. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c1bf8fd7-fd69-42d9-9ed3-c7f53a031cce/headphones-vector-24470703.png Timbre and Orchestration Writings - The Timbre in Popular Song (TiPS) Corpus - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0f05ce92-73a5-4da3-a1c7-080afd7ef89f/Ex4.jpeg Timbre and Orchestration Writings - The Timbre in Popular Song (TiPS) Corpus - Make it stand out Example 4: Sample annotation for Janet Jackson, “That’s the Way Love Goes” (1993). https://timbreandorchestration.org/writings/timbre-lingo/blend monthly 0.5 2024-06-03 https://timbreandorchestration.org/writings/timbre-lingo/klangfarbenmelodie monthly 0.5 2024-06-03 https://timbreandorchestration.org/writings/timbre-lingo/masking monthly 0.5 2024-06-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4cadc5e9-3a03-4241-8c86-a6476801c975/Capture+d%E2%80%99e%CC%81cran%2C+le+2023-07-25+a%CC%80+23.58.42.png Timbre and Orchestration Writings - Masking - Make it stand out Figure 2: Unrolled basilar membrane, with the frequency values (in Hertz) aligned with the corresponding distances from the oval window. Notice how the range of frequencies covered by an identical small segment of basilar membrane near the oval window (e.g., from 6000 to 8000 Hz) is much bigger than it is near the helicotrema (e.g., from 150 to 200 Hz) [7]. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2578548e-c59c-43e6-af5c-200241fd8dc3/MaskingAsymmetry.png Timbre and Orchestration Writings - Masking - Make it stand out Figure 3: This diagram shows the relation between the basilar membrane excitation pattern for a sine wave signal (S) and a narrow-band noise masker (B) at different frequency and level relations between the two. It demonstrates that lower-frequency maskers have more of a masking effect than do higher-frequency maskers. The overlap between the two excitation patterns is shown by the hashed region. Notice that a masking noise at a lower frequency masks the signal more at higher levels than does a masker at a higher frequency than the signal. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b844e705-8560-4c50-94a3-fedc6c30fdf8/nidcd-ear-illustration-2000x1479_9-27-22.jpeg Timbre and Orchestration Writings - Masking - Make it stand out Figure 1: Sound propagates into the ear canal (outer ear) before transmitting the vibration to the eardrum and ossicles of the middle ear (malleus, incus and stapes). The oval window (touching the other tip of the stapes) then receives and sends the oscillations to the cochlea (inner ear) [4]. https://timbreandorchestration.org/writings/timbre-lingo/spectral-envelope monthly 0.5 2024-06-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9fc21870-0910-4ded-a8a1-96da8bda1358/spectral_kurtosis_EN.jpg Timbre and Orchestration Writings - Spectral Envelope - Make it stand out Figure 4: Comparative representation of different spectral kurtosis values of filtered crash cymbals. Both plots present the amplitude spectra and spectral envelopes of filtered crash cymbals, which were processed in a way that the spectral spread remains constant with different spectral kurtosis values. See how the left spectrum is “flatter” (lower kurtosis) while the right picture shows a more “pointed” distribution, with thicker tails on the sides (higher kurtosis). In both cases, the energy is distributed following essentially the same average frequency distance from the spectral centroid, which is why the spectral spread values are identical. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/06523019-c33d-4eee-b8e8-0787dbf5ba78/spectral_spread_EN.jpg Timbre and Orchestration Writings - Spectral Envelope - Make it stand out Figure 2: Comparison of spectral spreads for a crash cymbal (left) and clarinet (right). The frequency spectrum extracted from the sound of two crash cymbals (on the left) is characterized by a higher spectral spread value than that of a clarinet sound (on the right) as shown by the width of its spectral envelope. This means that the sound components are generally more distant from the spectral centroid value (red line) in the case of crash cymbals. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a76a3d11-45b7-4d51-a235-4d8cbb981122/spectral_envelopes_EN.jpg Timbre and Orchestration Writings - Spectral Envelope - Make it stand out Figure 1: Comparison of the spectral envelopes of the oboe and the clarinet. We can see from these spectral envelopes (blue curves) that the oboe’s spectrum has more energy in the higher harmonics than the clarinet. This correlates with a higher spectral centroid for the oboe. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c6e77ed3-9789-45b0-abb5-2d19cd805553/spectral_slope_Cuidado.png Timbre and Orchestration Writings - Spectral Envelope - Make it stand out Figure 5: Amplitude spectrum with a regression line (in black). The spectral slope corresponds to the gradient of the line (from [1], p.14). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0fbbf85e-ebba-4717-94ce-c6eb584db458/spectral_skewness_EN.jpg Timbre and Orchestration Writings - Spectral Envelope - Make it stand out Figure 3: Comparison of spectral skewness curves for pink noise (left side) and blue noise (right side). The spectral skewness of pink noise (on the left of figure 3) is positive due to the presence of higher energy below the spectral centroid (red vertical line). Notice how its energy has been condensed to the left, creating a longer “tail” to the right of the spectral centroid. The spectral skewness of blue noise, on the other hand, shows a slight negative tendency due to the presence of energy above the spectral centroid (on the right). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4a186e98-20f6-40f4-a210-cdedd50ac2dd/spectral_rolloff_Cuidado.png Timbre and Orchestration Writings - Spectral Envelope - Make it stand out Figure 6: Frequency spectrum with a red vertical line indicating the spectral rolloff point (from [1], p.15). The red line marks the point under which 95% of the energy is stored. https://timbreandorchestration.org/writings/timbre-lingo/spectrogram monthly 0.5 2024-06-03 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0fdd2615-cb15-4b4d-8994-9d19dd207027/Huards_8192_EN.jpg Timbre and Orchestration Writings - Spectrogram - Make it stand out Figure 4: With a larger window size (8192 samples), the temporal resolution of the loon calls beginning at six seconds is greatly reduced, however, the frequencies of their components are rendered more precisely. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b238c0cc-049a-452b-8d24-817c0178a09e/Huards_log_EN.jpg Timbre and Orchestration Writings - Spectrogram - Make it stand out Figure 2: Spectrogram of the same loon calls, but in logarithmic view. Notice the unequal spacing of the harmonics (horizontal yellow strata) when shown on a logarithmic scale. This display makes it possible to see more harmonics simultaneously without sacrificing detail in how the lowest partials are represented. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/512a6f5b-9f57-4248-a7de-db8ad2aee38a/Huards_512_EN.jpg Timbre and Orchestration Writings - Spectrogram - Make it stand out Figure 3: With a smaller window size (512 samples), the oscillating pattern of the loon calls, which begin at six seconds in the figure, are rendered in higher temporal resolution. The frequency values of these calls, again as seen in the yellow strata, are imprecise because of the relatively few samples within each window where they are averaged. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d751cdd3-7652-4ab8-b0d4-d48e33643cf6/Huards_EN.jpg Timbre and Orchestration Writings - Spectrogram - Make it stand out Figure 1: Spectrogram of common loon calls. We can see how the partials (horizontal strata created by the changes in intensity of the yellow hues) are equally spaced, indicating that these calls are harmonic. The lowest stratum (in the most intense yellow) roughly corresponds to the fundamental frequencies of these calls—the pitches at which we perceive them sounding. https://timbreandorchestration.org/writings/timbre-lingo/timbre-space monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4ad85a33-8742-4ab4-8ac9-8339ecf50b21/Fig1_300ppi.png Timbre and Orchestration Writings - Timbre Space - Make it stand out Figure 1: Overview of MDS process. Participants compare the sound events with each other (in pairs) to map their perceptual relations (distances) which are displayed in a perceptual dissimilarity matrix. The MDS program then creates a geometric configuration for the samples with respect to the dissimilarity ratings, using a lower number of dimensions. The obtained map is interpreted by the experimenter to find the best acoustic descriptors which correlate with the dimension axes [1]. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ddfd7752-c3ce-49db-bd4b-1e3e2b5ed722/Fig2_300ppi.png Timbre and Orchestration Writings - Timbre Space - Make it stand out Figure 2: Example of a timbre space [1]. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a9a5dcc1-574a-47b1-ba5b-79511b142c96/chart.png Timbre and Orchestration Writings - Timbre Space - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/project-reports/path-of-miracles monthly 0.5 2024-07-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/00881c45-28be-4752-aefc-6924eb1fe830/MdF__Schematics+of+singers+and+microphone+positions.png Timbre and Orchestration Writings - Path of Miracles - A Multitrack Recording in 3D Audio - Make it stand out Microphone placement schematic for Path of Miracles recording session, September 2022. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1697549790578-AVYZGLQG73NG2J8CEUPH/02_Path+of+Miracles.jpg Timbre and Orchestration Writings - Path of Miracles - A Multitrack Recording in 3D Audio https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1697549789760-LAW39DTGIN43KB4KWLMZ/03_Path+of+Miracles.jpeg Timbre and Orchestration Writings - Path of Miracles - A Multitrack Recording in 3D Audio https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1697549791901-FDZ8E5E33ARC7LXOFE5H/04_Path+of+Miracles.jpg Timbre and Orchestration Writings - Path of Miracles - A Multitrack Recording in 3D Audio https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1697549797779-1YW4DJYBX8KOVW12ZWJJ/05_Path+of+Miracles.jpg Timbre and Orchestration Writings - Path of Miracles - A Multitrack Recording in 3D Audio https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1697549794683-TN4QHH1MXV0R6DHSWT22/Blur+2.jpg Timbre and Orchestration Writings - Path of Miracles - A Multitrack Recording in 3D Audio https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1697549799815-UTBULAZA4N9Z4FPPAT3L/Grand+Seminaire+de+Montreal.jpg Timbre and Orchestration Writings - Path of Miracles - A Multitrack Recording in 3D Audio https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1707857680136-A5KJUUQO4QNCACVJCO4I/IMG_8135_KitSoden.jpg Timbre and Orchestration Writings - Path of Miracles - A Multitrack Recording in 3D Audio https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1707857680110-57X85PN8L4V4CBCKBB2O/IMG_8164_KitSoden.jpg Timbre and Orchestration Writings - Path of Miracles - A Multitrack Recording in 3D Audio https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1707857684890-0NVU60DGO77WIFDXFXI0/IMG_8063_KitSoden.jpg Timbre and Orchestration Writings - Path of Miracles - A Multitrack Recording in 3D Audio https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/487f481a-96ed-409b-bf9b-294b7242ed7e/santiago.jpeg Timbre and Orchestration Writings - Path of Miracles - A Multitrack Recording in 3D Audio - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2023/5/15/icicle monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9d9c2cb3-4ab0-4330-a318-43282ce9e4b6/Lussier_AMiT+Icicle_Figure-4.png Timbre and Orchestration Writings - Icicle — Robert Aitken - Make it stand out Figure 4: Annotated spectrogram of Audio Example 2 (Icicle motive 1) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8b4956b6-78c6-4ee1-841c-3a42928ba3fc/Lussier_AMiT+Icicle_Figure-6.png Timbre and Orchestration Writings - Icicle — Robert Aitken - Make it stand out Figure 6: Annotated spectrogram of icicle motive 1 played with normal flute technique (closed thumb key, Audio Example 6). Compare with Figure 4. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3aa59ed3-dfdd-4443-b489-6f6cb828ba04/Lussier_AMiT+Icicle_Figure-2.png Timbre and Orchestration Writings - Icicle — Robert Aitken - Make it stand out Figure 2: Annotated score of Icicle (1977) showing versions 1 and 2 of the icicle motive with its coloured trill technique, audible in Audio Example 2. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/12113207-0c5e-4cd1-90d3-934b799df461/Lussier_AMiT+Icicle_Figure-5.png Timbre and Orchestration Writings - Icicle — Robert Aitken - Make it stand out Figure 5: Annotated spectrogram of Audio Example 3 (Icicle motive 2) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1684948177850-J56ENJU3W8QX2BY0CZCP/Figure+1a.png Timbre and Orchestration Writings - Icicle — Robert Aitken - Figure 1a, m. 5 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1684948177863-VWNQXJMCANN3FZIXIUG5/Figure+1b.png Timbre and Orchestration Writings - Icicle — Robert Aitken - Figure 1b, mm. 31–33 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1684948180722-DS8V9KL1RYC68ETFX3EP/Figure+1c.png Timbre and Orchestration Writings - Icicle — Robert Aitken - Figure 1c, mm. 35–37 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1684948180875-HYQ8QLY8ASJYWNMWPMKA/Figure+1d.png Timbre and Orchestration Writings - Icicle — Robert Aitken - Figure 1d, mm. 70–71 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6fe87515-ce3f-433a-87f3-ea33fce3d59b/Lussier_AMiT+Icicle_Figure-3.png Timbre and Orchestration Writings - Icicle — Robert Aitken - Make it stand out Figure 3: Icicle mm. 31­–37 with annotations, visualizing Audio Example 3. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8cb69de5-232c-465b-8087-dfd3d8a8d65c/Lussier_AMiT+Icicle_Figure-7.png Timbre and Orchestration Writings - Icicle — Robert Aitken - Make it stand out Figure 7: Annotated spectrogram of icicle motive 2 played with standard flute technique (closed thumb key, Audio example 7). Compare with Figure 5. https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2023/4/26/tension-and-the-cello monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/250ad686-5063-46d6-9bc4-464c2d347667/Fig+2.+Motive+of+Section+B3.png Timbre and Orchestration Writings - Tension and the Cello — Kaija Saariaho’s Petals - Make it stand out Fig 2. Motive of Section B3; TP1: Half-note value and ‘mp’ marking; TP2: 32nd notes and ‘mf’ marking https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d970e27c-38f4-462f-a331-b3c3d2365843/Fig.+1.+Spectrograms+of+the+two+timbral+profiles+in+Petals.png Timbre and Orchestration Writings - Tension and the Cello — Kaija Saariaho’s Petals - Make it stand out Fig. 1. Spectrograms of the two timbral profiles in Petals https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/81ddb4ae-2c6b-4a47-ad44-6ffa00e32677/Table2-Petals.png Timbre and Orchestration Writings - Tension and the Cello — Kaija Saariaho’s Petals - Make it stand out Table 2. Binaries present in the two timbral profiles https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7eecbf15-718e-4a60-ab85-8c7da7cc4118/Table1-Petals.png Timbre and Orchestration Writings - Tension and the Cello — Kaija Saariaho’s Petals - Make it stand out Table 1. Form of Petals https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/63208412-ca91-4ce2-9330-dbaabcaadfff/Fig.+3.+Spectrogram+of+section+B3%2C Timbre and Orchestration Writings - Tension and the Cello — Kaija Saariaho’s Petals - Make it stand out Fig. 3. Spectrogram of section B3; 4:33 – 6:37 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/aeecaefe-03c2-48fd-bd46-350606d17387/Table3-Petals.png Timbre and Orchestration Writings - Tension and the Cello — Kaija Saariaho’s Petals - Make it stand out Table 3. Sound shapes and articulations in TP1 and TP2 https://timbreandorchestration.org/writings/reprints/orchestrating-timbre monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dc12d52d-f77f-4c1c-a7d6-ae08bfb63191/mayas_software-tool.png Timbre and Orchestration Writings - Orchestrating Timbre - Make it stand out Figure 6: Screenshot of the software tool used in Performative Timbre developed by Palle Dahlstedt in collaboration with the author https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/712f1476-85f0-4c7f-8275-52b0ed59c9e4/Figure7.png Timbre and Orchestration Writings - Orchestrating Timbre - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/332497de-e40e-4be9-9e82-8227e4522717/TimbrePlot.jpg Timbre and Orchestration Writings - Orchestrating Timbre - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a7c34d24-ade6-4197-b144-dc34886016ed/Screen+Shot+2023-03-07+at+8.53.33+PM.png Timbre and Orchestration Writings - Orchestrating Timbre - Make it stand out Figure 3: The Object Mind Map https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/59a9cdea-63f4-480d-9121-a3dcfdd76b8f/ObjectPlot.jpg Timbre and Orchestration Writings - Orchestrating Timbre - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/77618f55-b5df-42a7-be07-ee15ee0f65e3/GesturePlot.jpg Timbre and Orchestration Writings - Orchestrating Timbre - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b58c3eaf-994d-495f-8a02-77d141b9ccb4/Screen+Shot+2023-03-07+at+8.55.06+PM.png Timbre and Orchestration Writings - Orchestrating Timbre - Make it stand out Figure 4: The Playing Method Mind Map https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9dfbd5a7-ce7b-4ce9-babd-61e1af3d56ee/recording+sessions+for+Performative+Timbre.png Timbre and Orchestration Writings - Orchestrating Timbre - Make it stand out Figure 5: Setup for recording sessions for Performative Timbre, Berlin, December 2017 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c582a26d-a5fa-452c-a307-fe911b269f8b/MethodPlot.jpg Timbre and Orchestration Writings - Orchestrating Timbre - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2023/2/3/death-sex-and-the-semitone monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a0ab5ad1-9f4d-4365-b538-0e42c8cb8641/Screen+Shot+2023-02-03+at+12.12.49+PM.png Timbre and Orchestration Writings - Death, Sex, and the Semitone in Monteverdi’s “Pur ti miro, pur ti godo” - Make it stand out Figure 2: Spectral image of the beginning of recording 2, Poppea’s “pur ti stringo” over Nerone’s “pur t’annodo”. The annotation indicates where Poppea holds the tone straight and then allows vibrato into the sound. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/544f73ae-4f4e-4304-a263-6f598c5a65cc/Figure+3-+Poppea+enters+on+a+B4.png Timbre and Orchestration Writings - Death, Sex, and the Semitone in Monteverdi’s “Pur ti miro, pur ti godo” - Make it stand out Figure 3: Poppea enters on a B4, followed shortly by Nero’s entrance, a minor second above her, on a C5. This creates musical and sensory dissonance. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/921fa320-d29e-451a-a729-a459f7f5c4b8/Screen+Shot+2023-02-03+at+4.34.12+PM.png Timbre and Orchestration Writings - Death, Sex, and the Semitone in Monteverdi’s “Pur ti miro, pur ti godo” - Make it stand out Recording 1: Score video of the “pur t’annodo” section of “Pur ti miro,” sung by Elin Manahan Thomas and Robin Blaze. [click to open] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fbdd067d-0ca6-4368-a3d9-27c557c45a16/Figure+1-+word+painting.png Timbre and Orchestration Writings - Death, Sex, and the Semitone in Monteverdi’s “Pur ti miro, pur ti godo” - Make it stand out Figure 1: word painting on “pur t’annodo” – I enchain you https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8b144658-66ea-476d-8c49-4631bebbb737/Screen+Shot+2023-02-03+at+4.41.09+PM.png Timbre and Orchestration Writings - Death, Sex, and the Semitone in Monteverdi’s “Pur ti miro, pur ti godo” - Make it stand out Recording 2: Camera XV performing John Dowland’s song, Dowland’s “Come Again, Sweet Love,” starting with the first iteration of the “to die” section. [click to open] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1675421357351-YDYFU0NROICA9Z06UQVY/Figure+3-+Simplified+illustration+of+Sensory+Dissonance.png Timbre and Orchestration Writings - Death, Sex, and the Semitone in Monteverdi’s “Pur ti miro, pur ti godo” - Make it stand out Figure 4: Simplified illustration of Sensory Dissonance, showing overlapping regions on the Basilar Membrane which vibrate in response to frequencies a semitone apart. https://timbreandorchestration.org/writings/timbre-lingo/2023/1/26/passaggio-and-register-in-the-singing-voice monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/10b9c8a0-b7af-4701-8fb4-b06681b177e6/crico-thyroid.jpg Timbre and Orchestration Writings - Passaggio and Register in the Singing Voice - Make it stand out Figure 2: Action of the cricothyroid muscle, which stretches the vocal folds to produce higher pitches. [From: Doscher, Functional Unity of the Singing Voice, Page 40] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b0e51e3a-a03b-4a69-9b8a-bed82e9c85bd/larynx.jpg Timbre and Orchestration Writings - Passaggio and Register in the Singing Voice - Make it stand out Figure 1: View of the intrinsic laryngeal muscles which work antagonistically to help singers produce head voice pitches and chest voice pitches. [Source] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1279f6ce-5e4c-4455-adae-b0cfaf1f3e26/training+soprano+voices.jpg Timbre and Orchestration Writings - Passaggio and Register in the Singing Voice - Make it stand out Figure 3: Richard Miller’s categorization of Soprano, Mezzo-Soprano, and Contralto registers. [from Richard Miller Training Soprano Voices, Page 25] https://timbreandorchestration.org/writings/reprints/a-taxonomy-of-orchestral-grouping-effects-derived-from-principles-of-auditory-perception monthly 0.5 2024-09-18 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/330490f1-f74d-42b1-a268-eb21ba167700/Ex11.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e9328669-7684-41e8-83f0-610f4695241a/Ex2.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 2. Auditory grouping processes and the resulting perceptual qualities and corresponding orchestral effects [click to enlarge] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2b5fa9c3-6688-431f-9294-984af2be0d29/Ex6.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 6. Timbral augmentation (punctuated): Sibelius, Symphony no. 5, op. 82, iii, mm. 474–482 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/03c8301c-16fe-4ce1-8dbe-afd5793de1c0/Ex10.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 10. Timbral heterogeneity (sustained, stable): Debussy, La Mer, iii, mm. 183–186 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8821db63-bec8-4928-8a02-09f3da73adf8/Ex27.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Figure 6. Sectional boundaries: Dolan’s (2013b) orchestral graph of Haydn, Symphony no. 100, ii. Colors represent different instruments and the line thickness corresponds to notated dynamics. The instruments are arranged with strings at the bottom followed by woodwinds, brass, and percussion. The horizontal bracket over the second panel indicates the measures included in Sound example V (from Dolan 2013b, used with permission). [simulation from OrchPlayMusic Library] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/65d2ceaf-ae2b-4466-9541-b4423d426cb6/Ex7.jpg Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 7. Timbral emergence (sustained, stable): Debussy, La Mer, i, mm. 6–17 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b20a4151-1aa0-4903-9995-fa6af3370e6d/Ravel+-+Samuel+and+Schmuyle.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 13. Stream integration (stable). Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition, vi (“Samuel Goldberg and Schmuÿl”), mm. 1–8 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/31206e7b-f2d0-4490-b97d-7b10d5bee23d/Ex3.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 3. Taxonomy of concurrent auditory grouping phenomena [click to enlarge] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2dce4dd9-f4d1-4af2-97bd-1dba30041890/Ex4.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 4. Timbral augmentation (sustained, stable): Debussy, La Mer, i, mm. 122–31 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7c58ceeb-8c0a-498a-8c96-e30615545535/Ex23.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 23. Timbral shifts: Schubert, Symphony no. 9 in C major, i, mm. 594–602] [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4cc49c30-f27f-4776-b75e-2215a03322a6/Ex26.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 26. Timbral juxtapositions: Sibelius, Symphony no. 2, ii, mm. 67–75 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/620de07b-42b6-467b-a987-cdb378bf88dd/Ex18.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 18. Stream segregation (stable) of blended streams: Borodin, In the Steppes of Central Asia, mm. 210–218 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2df26bd9-618d-4632-b6b1-b9fd7ee44a71/Ex21.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3de116fd-13e8-4b98-a855-a40f6e93af32/Ex12.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 12. Taxonomy of sequential auditory grouping phenomena [click to enlarge] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b142fd8b-2fa7-4926-b5d9-79a963c8fd51/Ex22.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 22. Taxonomy of sequential auditory grouping phenomena [click to enlarge] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d0ba6044-2e26-40c2-9de1-7f12d1d344fd/Ex8.jpg Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 8. Timbral emergence (sustained, transforming): Schoenberg, Five Pieces for Orchestra op. 16, iii, mm. 1–11 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e79df8f2-d897-434c-bf15-4961e91693aa/Ex17.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 17. Stream segregation (stable) of co-equal single-instrument lines: Vaughan Williams, The Lark Ascending, mm. 88–94 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e4ade11b-ddd2-4aa2-b40b-5f9900862d49/Ex20.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 16. Stratification (stable) with three layers: Mahler, Symphony no. 1, ii, mm. 26-31. Sound example P [recording by the Bavarian Radio Orchestra conducted by Rafael Kubelik, Deutsche Grammophon] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2279a1c8-226b-45c2-97ff-8583803f1e10/Ex1.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 1. Auditory grouping gives rise to events from which perceptual properties are extracted, which then acquire musical functions within a given sonic context [click to enlarge] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0743293b-b8b0-4339-9c10-fcf285c93181/Ex9.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 6. Timbral emergence (punctuated): Berlioz, Symphonie fantastique, iv, m. 17. Sound example F [simulation from OrchPlayMusic Library] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3a32cf35-d2fb-4206-a23a-aa1417b25d25/Ex19.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 15. Stream segregation (transforming) of blended streams: Stravinsky, Quatre Etudes, iv (Madrid), mm. 93-94. Sound example O [recording by Chicago Symphony Orchestra conducted by Pierre Boulez, Deutsche Grammophon] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/bdb66a34-3e6d-4313-9ecf-0f241474a2a4/Ex14.jpg Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 14. Stream integration (transforming): Reynolds, The Angel of Death, S section, mm. 364–373 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9fe24419-17b5-408a-adc6-2e372866e0c7/Ex15.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 15. Surface texture (stable): Smetana, Die Moldau, mm. 185–194 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b72204e5-f390-4d14-8497-ff76a9a589c2/Ex24.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 24. Timbral echo: Sibelius, Symphony no. 2 in D major, ii, mm. 120–128 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/840002fb-2afc-4f48-b3d7-85d1d263bfe1/Ex5.jpg Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 5. Timbral augmentation (sustained, transforming): Wagner, Parsifal, Overture, mm. 20–25 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/078002fc-417f-4f9f-93c4-0ecb661eb660/Ex25.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 25. Antiphonal contrast: Haydn, Symphony no. 100 in G major (Military), ii, mm. 61–64 [click for audio examples and score] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2bf997b6-4b82-4a0f-ac7d-7c946b875680/Ex16.png Timbre and Orchestration Writings - A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception - Make it stand out Example 16. Surface texture (transforming): Smetana, The Bartered Bride, Overture, mm. 89–99 [click for audio examples and score] https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2022/12/20/the-alchemical-wedding monthly 0.5 2024-06-04 https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2022/10/25/timbral-progression-in-rebecca-saunders-dichroic-seventeen monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a3e75eb9-65e0-49e2-95f8-5233cd154fcc/Figure+3.png Timbre and Orchestration Writings - Timbral Progression in Rebecca Saunders’ dichroic seventeen - Make it stand out Figure 3: Saunders, dichroic seventeen, mm. 32–43. A timbral progression from darker to brighter timbres. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f740b4e6-d644-4212-9c22-404c7d9a9d30/Figure+2-+Dichroic+filters.png Timbre and Orchestration Writings - Timbral Progression in Rebecca Saunders’ dichroic seventeen - Make it stand out Figure 2: Dichroic filters. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/de77b631-22d9-418b-9587-b58a73b39dc2/Figures+1++Dichroic+beads.png Timbre and Orchestration Writings - Timbral Progression in Rebecca Saunders’ dichroic seventeen - Make it stand out Figures 1: Dichroic beads. https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2022/8/2/pour-l-image monthly 0.5 2024-11-19 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cc9c31c4-646b-414c-bd43-a8b24b9fa35d/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example3.png Timbre and Orchestration Writings - Pour l’image — Philippe Hurel - Make it stand out Example 3. Selected examples of how the clarinet cell is progressively orchestrated in different ways during the first transition on a per note basis. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6dc83e5b-e7f7-4e9b-88cf-ddc49e2c418f/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-figure1.png Timbre and Orchestration Writings - Pour l’image — Philippe Hurel - Make it stand out Figure 1. Dynamic evolution of the two pedal lines played by bass trombone and double bass in mm. 22-46. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0961a83f-a77f-4779-aaf1-af13af35f101/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example1.png Timbre and Orchestration Writings - Pour l’image — Philippe Hurel - Make it stand out Example 1. Original forms of the four melodic cells repeated in the four-voice polyphony in mm. 12-21 in Pour l’image. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658866164371-4YZUIMYWZVQFCGEDA08S/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example2a.jpg Timbre and Orchestration Writings - Pour l’image — Philippe Hurel https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658866164369-7UJK1404VXU3RHZ0N1D4/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example2b.jpg Timbre and Orchestration Writings - Pour l’image — Philippe Hurel https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658866164994-ASFS1MR7N7JZFIGHW1BQ/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example2c.jpg Timbre and Orchestration Writings - Pour l’image — Philippe Hurel https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658866165123-YSSCORNIJ9XMLBX8FDD6/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example2d.jpg Timbre and Orchestration Writings - Pour l’image — Philippe Hurel https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658867048868-4LXCX50NYO1KJ39I3RNE/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example4a.png Timbre and Orchestration Writings - Pour l’image — Philippe Hurel https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658867048871-4WKYNJ4LQWL5JOF84KKC/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example4b.png Timbre and Orchestration Writings - Pour l’image — Philippe Hurel https://timbreandorchestration.org/writings/project-reports/musicians-auditory-perception monthly 0.5 2024-05-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/10e6af85-04dd-43d8-baf5-014a82f9d356/Picture1-MAP.jpg Timbre and Orchestration Writings - Musicians Auditory Perception (MAP) Interactive Project Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/10038b3d-825b-4a8f-9612-fa2587a20c80/MAP-Ex2-as-close-as-breath.jpg Timbre and Orchestration Writings - Musicians Auditory Perception (MAP) Interactive Project Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8382bdd2-cb6a-4140-b5b5-fabca0c07533/Picture1-as+close+as+breath.jpg Timbre and Orchestration Writings - Musicians Auditory Perception (MAP) Interactive Project Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b47dc69a-6b5b-4dc2-b305-7e90890d9560/MAP-Ex5-as-close-as-breath.jpg Timbre and Orchestration Writings - Musicians Auditory Perception (MAP) Interactive Project Report - Make it stand out Ex. 5: Anura mm. 64-79 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6c84bac8-8570-4d31-a9ae-0a9e88a1d569/anura-ex4-1.jpg Timbre and Orchestration Writings - Musicians Auditory Perception (MAP) Interactive Project Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1641269365825-G7T686TZ3TBHKUHNWEAG/To_become_-+A+collaborative+composition+for+Solo+Cello++by+Tiange+Zhou+and+Peter+Ko+_page-0002.jpg Timbre and Orchestration Writings - Musicians Auditory Perception (MAP) Interactive Project Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c4fb35e6-ebac-43b7-976d-531a61c0110c/To-become--+A+collaborative+composition+for+Solo+Cello++by+Tiange+Zhou+and+Peter+Ko++%281%29-2.jpg Timbre and Orchestration Writings - Musicians Auditory Perception (MAP) Interactive Project Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/76565caa-492f-4599-91b5-0ededcea2d5e/MAP-Ex4-as-close-as-breath-metronome.png Timbre and Orchestration Writings - Musicians Auditory Perception (MAP) Interactive Project Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/31e9e0f4-c050-4fce-a7ae-df8bc7f519cc/anura-ex4-2.jpg Timbre and Orchestration Writings - Musicians Auditory Perception (MAP) Interactive Project Report - Make it stand out Ex. 6: Anura mm. 112-127 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f1005f70-ecc2-40a7-b0b2-bcc2ce258e4b/0003.jpg Timbre and Orchestration Writings - Musicians Auditory Perception (MAP) Interactive Project Report - Make it stand out Full score (click to view) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1641241726039-W8LCD82LYPA9MLO9TQLW/0007.jpg Timbre and Orchestration Writings - Musicians Auditory Perception (MAP) Interactive Project Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/20265f22-dbed-46b6-8d17-6b0285971697/Screen+Shot+2021-12-14+at+10.43.42+PM.png Timbre and Orchestration Writings - Musicians Auditory Perception (MAP) Interactive Project Report - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/project-reports/masque-de-fer monthly 0.5 2025-05-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cdbdc6d1-534c-4b7e-b9c7-6304d176677e/masquedefer-noteheads.png Timbre and Orchestration Writings - Masque de Fer: Extended Drum Kit Techniques Module - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0b9c71ea-51ce-4dba-a9d6-64e6715c65af/masquedefer-adsr.png Timbre and Orchestration Writings - Masque de Fer: Extended Drum Kit Techniques Module - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/81430e6d-1940-49be-ab67-ec5bbd8d64f6/masquedefer-written-imtprov.png Timbre and Orchestration Writings - Masque de Fer: Extended Drum Kit Techniques Module - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3ec444c1-dad1-4f42-b8c3-65bb3eae7ecf/masquedefer-graphic-score.png Timbre and Orchestration Writings - Masque de Fer: Extended Drum Kit Techniques Module - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1f1c7392-4f0d-49b7-8938-e3959960852c/masquedefer-performance-notes.png Timbre and Orchestration Writings - Masque de Fer: Extended Drum Kit Techniques Module - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/de3039c7-fb13-4d62-95e7-eeb79f59d153/masquedefer-score-directions.png Timbre and Orchestration Writings - Masque de Fer: Extended Drum Kit Techniques Module - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/writings/project-reports/the-many-facets-of-musical-listening monthly 0.5 2025-05-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6a17f42f-47a7-4206-9feb-59108850e1ce/fig2.png Timbre and Orchestration Writings - The many facets of musical listening: Auditory perception mechanisms and learned experiences - Make it stand out Figure 2. Analysis of dizi solo (mm. 12–35), showing the melodic motive, and annotated with letter names indicating local pitch centres and Arabic numerals indicating the scale degrees[2]. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1656527222237-3RSJ2ZFM9M46IRVQOB59/thumbnail.png Timbre and Orchestration Writings - The many facets of musical listening: Auditory perception mechanisms and learned experiences - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a8c21857-c49b-46a8-8669-5c7e671e8e6d/fig1.png Timbre and Orchestration Writings - The many facets of musical listening: Auditory perception mechanisms and learned experiences - Make it stand out Figure 1. mm. 3–4, DZ. https://timbreandorchestration.org/writings/timbre-lingo/2022/6/27/vibrato monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/59f7a81d-b9ab-49d7-9f20-da59a4c85ea7/Nestorova-ideal+synthesized+fundamental+frequency+.png Timbre and Orchestration Writings - Vibrato - Make it stand out Figure 2: A custom-made graphic displaying the components of an ideal synthesized fundamental frequency (fo) over time. This sine wave is perceived as vibrato. Reprinted from Nestorova, T.I. (2021). Does Vibrato Define Genre or Vice Versa?: A Novel Parametric Approach to Complex Vibrato Patterns (thesis). New England Conservatory of Music, Boston, MA. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e69260ea-4693-4e02-9ec0-23dbdec64641/Figure+1-1.jpg Timbre and Orchestration Writings - Vibrato - Make it stand out Figure 1: This spectrographic view serves as a visual representation of what we hear as vibrato (wavy portions) and non-vibrato (straight portions). Reprinted from Michel, C. R., & Ruiz, M. J. (2017). The Physics of Singing Vibrato. Physics Education, 52(4), 045010. https://doi.org/10.1088/1361-6552/aa6d99 https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2022/3/22/timbre-as-an-impassioned-argument monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7028be76-9e2f-45d6-980d-c892418ec647/Figure+4.png Timbre and Orchestration Writings - Timbre as an Impassioned Argument: Maconchy’s String Quartet No. 10 - Make it stand out Figure 4: Measures 317-320. (Download XML here) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1647886742679-AB10MG3WU8XAOK1C6LRY/Elizabeth_Maconchy.png Timbre and Orchestration Writings - Timbre as an Impassioned Argument: Maconchy’s String Quartet No. 10 - Make it stand out Elizabeth Maconchy 1938 by Howard Coster Transferred from Central Office of Information, 1974, via Wikimedia Commons https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9daf0ea1-8b4b-4222-9117-9022298878d5/Figure+2.png Timbre and Orchestration Writings - Timbre as an Impassioned Argument: Maconchy’s String Quartet No. 10 - Make it stand out Figure 2: Measures 308-310. (Download XML here) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/81aa2345-2b92-46be-b560-49b999c185a5/Figure+1.png Timbre and Orchestration Writings - Timbre as an Impassioned Argument: Maconchy’s String Quartet No. 10 - Make it stand out Figure 1: Measure 305 of Maconchy’s String Quartet No. 10. (Download XML here) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f3b293fa-e234-4696-bc9f-7776e332db59/Figure+3.png Timbre and Orchestration Writings - Timbre as an Impassioned Argument: Maconchy’s String Quartet No. 10 - Make it stand out Figure 3: Measures 314-316. (Download XML here) https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2022/3/10/lovin-you monthly 0.5 2024-06-04 https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2022/33/bound-to-you monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fa3ae30a-3dd1-4db5-a7af-26a729ee78b9/bound+to+you+melody+and+spectrogram.png Timbre and Orchestration Writings - Bound to You — Christina Aguilera - Make it stand out Figure 1: Burlesque, from 3:29-3:56. To view the score and spectrogram separately, click here for the score and here for the spectrogram. Click here to download the XML file. https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2022/2/24/cinque-danses-profanes-et-sacrees monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fa2947cf-cbd1-4bb9-afce-caa1b131081d/tomasi.png Timbre and Orchestration Writings - Cinq danses profanes et sacrées — Henri Tomasi - Make it stand out Spectrogram from 0:04–0:08 from Henri Tomasi’s 1963 Cinq danses profanes et sacrées “V. Danse Guerrière: Sauvagement frénétique” https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2022/2/18/cellophane monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/973a2dd1-1fa2-4f1f-bb00-4c9d75964cbc/FKAtwigscellophanespectra.png Timbre and Orchestration Writings - Cellophane — FKA twigs - Make it stand out Spectrogram, from 1:40–1:51 in Cellophane https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2022/2/10/blood-glass-and-a-cannibals-beating-heart monthly 0.5 2024-06-04 https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2022/2/3/subwhistle monthly 0.5 2024-06-04 https://timbreandorchestration.org/writings/dialogues/musical-collaborations-timbre-and-recorded-sound/part-one monthly 0.5 2024-05-27 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f2a5e32a-1afc-4325-960c-109311a92e65/ACTOR_TOR_MdeFrancisco.jpg Timbre and Orchestration Writings - Musical collaborations, timbre, and recorded sound - Make it stand out Photo credit: Tam Lan Truong https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/bbe0d098-61b1-44ed-8767-ea2434b0cfdc/Martha+de+Francisco_Volker+Straus_Alfred+Brendel-1.jpg Timbre and Orchestration Writings - Musical collaborations, timbre, and recorded sound - Make it stand out From left to right: Martha de Francisco, Volker Straus , and Alfred Brendel. London, UK, 1996. Photo credit: Philips Classics https://timbreandorchestration.org/writings/research-creation-series/technology-and-timbre/an-autoethnography-on-the-influence-of-electronics-on-the-composers-orchestration-practice monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835162062-NGTM30JY99IQA69EEQ9M/figure-6-ramos.png Timbre and Orchestration Writings - Technology and Timbre - Make it stand out Figure 6: Disposition of the instruments on stage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622834815715-9D9P5XTHYPX599QK5NRE/figure-5-ramos.png Timbre and Orchestration Writings - Technology and Timbre - Make it stand out Figure 5: Composition and orchestration scheme used for the development of Moving Sources. [Top Arrows] (Composition) Wind chimes → Recording → Spectral Analysis (+ manual frequency to pitch matching) → Score. [Bottom Arrows] (Orchestration) Wind chimes → Behavioural & Site-responsive-informed orchestration → Score https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835428582-K91JSJFNDGPAHTD69I4M/figure-10-ramos.jpg Timbre and Orchestration Writings - Technology and Timbre - Make it stand out Figure 10: Measures 78-87, example of harmonic content "filtering." The use of ‘wah wah’ mutes allows the players to freely shape the emitted sound through changing the filtering of the higher partials. This resembles an low-pass filter. [8] [Camera 2: 4:17 - 4:54] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835525711-8P9C1GT6MPBRT40YX9SH/figure-12-ramos.jpg Timbre and Orchestration Writings - Technology and Timbre - Make it stand out Figure 12: Measure 59-60. The last impulse of the lower woodwinds triggers an impulse in the higher woodwinds. This impulse is progressively delayed and filtered, crossfading from the Piccolo to the English Horn. [Camera 2: 3:26 - 3:33] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622834468676-FHYHY0HX0JBUAAZS9VCL/figure-1-ramos.jpg Timbre and Orchestration Writings - Technology and Timbre - Make it stand out Figure 1: Photograph of the premiere, November 24, 2019 at Pavilhão Centro de Portugal in Coimbra, conducted by Jan Wierzba. © Orquestra Clássica do Centro. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835390063-PFR895NEZ7HA4JITH5XM/figure-9-ramos.jpg Timbre and Orchestration Writings - Technology and Timbre - Make it stand out Figure 9: Measures 51-58, dynamic example of a delay effect. The quintuplet first heard in the Clarinet in Bb is systematically delayed by 1 beat of displacement from the triggering impulse. This, however, is acknowledged both as a repetition in music composition and a texture in traditional orchestration. [Camera 2: 2:57 - 3:26] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835478360-RMGOU3PC95VHG7L99IPZ/figure-11-ramos.jpg Timbre and Orchestration Writings - Technology and Timbre - Make it stand out Figure 11: Measures 12-23, example of ‘pitch bending’ in the Violins. [Camera 2: 0:43 - 1:28] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622834747307-W70LATQUWDQ1MD8X11FP/figure-4-ramos.png Timbre and Orchestration Writings - Technology and Timbre - Make it stand out Figure 4: End result of the spectral analysis process in SPEAR. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835256389-00MUKIBXF1HRF8J9RKFR/figure-7-ramos.jpg Timbre and Orchestration Writings - Technology and Timbre - Make it stand out Figure 7: Measures 35-41 of the string section [Camera 2: 2:04 - 2:24] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835306277-SQE82GBEHK7PLGNPZL9L/figure-8-ramos.jpg Timbre and Orchestration Writings - Technology and Timbre - Make it stand out Figure 8: Measures 59-64, example of the combination between the trumpets and sul ponticello violas and double basses [Camera 2: 3:26 - 3:45] https://timbreandorchestration.org/writings/research-creation-series/exploring-the-virtual-orchestra-through-blood-sweat-and-tears/part-1/creating-a-virtual-orchestration-from-a-pre-existing-score monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1620668630755-F2M8NCOQ6ZRBENCSN56U/image.png Timbre and Orchestration Writings - Exploring the Virtual Orchestra through Blood, Sweat, and Tears. Part I Cubase grid https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1620668681795-GPL25J1LQ5QKMKUHOU8Y/image2.png Timbre and Orchestration Writings - Exploring the Virtual Orchestra through Blood, Sweat, and Tears. Part I Writing a multiple stop in the score vs in Cubase (m. 40, chant militaire) https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2021/2/22/koan-by-james-tenney monthly 0.5 2024-06-04 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062021946-6SBAKQ9GWM6QG15X5NTO/image-asset.png Timbre and Orchestration Writings - Koan — James Tenney Spectrogram of solo viola version in its entirety as performed by Elisabeth Smalt, which can be heard here. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062019990-Q3D9GTCWH04JHRQ1LCDI/image-asset.png Timbre and Orchestration Writings - Koan — James Tenney Formal diagram of difference tones used in the string quartet arrangement of Koan https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062020891-A02ICGO4JJ74NTKA0YPX/image-asset.png Timbre and Orchestration Writings - Koan — James Tenney James Tenney, Koan: for string quartet (Maryland: Smith Publications, 1986). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062023044-HBRQLKN4JBQTNE6FJ9TY/image-asset.png Timbre and Orchestration Writings - Koan — James Tenney Spectrogram of string quartet version in its entirety as performed by Quatuor Bozzini on their 2008 album Arbor Vitae, which can be found here. https://timbreandorchestration.org/writings/research-creation-series/paradoxical-complexity monthly 0.5 2024-05-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/14ee9043-c6f2-4e2c-8e47-6c3095ecf476/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ba6942ab-2a3f-40ba-9777-ed7b0cf109fa/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/547e0916-8b55-4d14-ad30-5b6e28d0247a/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses Spectrograph from Barry Truax’s Riverrun https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/df2827b1-59c9-44e1-97ae-4fcad3fd5467/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses (Lasse Thoresen, and Andreas Hedman, 2015, Emergent Musical Forms) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680882428528-50MK12XQM0VE68UCDVII/image16.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680882482922-M8ZC84Q41NCJKMRI9T6Y/image15.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680882540755-3P2L3UXQCAVDGMPCMI4F/image14.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9bad89fc-fe71-40a0-b3a5-80365effcb06/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680881594917-O4CO0406GOZN2EV8UEU3/image10.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses - Example of Minimalism (Copy) Example of Minimalism https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680881609656-I1VOR1IU5M568DJJCWA5/image11.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses - Example of New Complexity (Copy) Example of New Complexity https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680881658495-2CQD3KPZIEA9EXAOG93X/image9.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses - Example of Sound Mass (Copy) Example of Sound Mass https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f7dbc7d9-1271-4cde-a32e-bdda0d63c54d/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5e3fd24a-b138-43cf-a27d-a4b7ffafc4db/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses The opening system of Shadow Prism https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f0350c00-3b5b-4654-818a-d0e491029f98/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9e191723-76cf-4763-8f84-f23646c0a310/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/db49e81f-9e71-4b7e-9b22-77430e98639b/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4dd7b73b-eca7-44eb-b106-01bea2ec0a09/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses The piece uses only natural harmonics and open strings. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0c442c1d-a32c-4e9f-8d0e-da11bf7598f0/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/749d0b35-930d-410d-9be6-d4f5c2939298/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses Networks of networks https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/39c0d779-c8df-4b94-96fa-632bf9df9edc/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dcdfd579-06d9-40a2-9dcc-632414183fa1/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8679754c-efb6-4745-8fa0-a3e1e95cbf2c/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3ace5128-c73f-45d5-b037-05ca3632b126/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/66cc2ef1-afb0-4501-9c76-cbb80d2d9809/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/53eb47f0-065e-4ce1-a105-7814fe4d72a2/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses “Listeners do not have an unbounded capacity to track multiple concurrent lines of sound” (David Huron, 2001, “Tone and Voice: A Derivation of the Rules of Voice-Leading from Perceptual Principles”) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/742bd63a-c82e-46df-9006-31c8acde5e7c/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ecc9f119-3bca-4415-ac12-a1d1dd71468a/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses György Ligeti, excerpt from Atmosphères (1961) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4a0bfd1d-8c00-423d-af1c-b2962c7a0092/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1c69ff90-fd31-46ac-ab81-6634e6fdc1bd/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/aefc6372-36a7-44ed-bdd4-baf52d227bf9/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/32e4c093-c6f0-47a0-a5b3-505fcde35b8a/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8505944f-be41-4125-88df-c54c21f889ec/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9eaeceb0-8016-4614-a7cd-373921649bf3/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/667a589b-d28b-4e35-a913-a46f7aa453dd/image-asset.jpg Timbre and Orchestration Writings - The "Paradoxical Complexity" of Sound Masses https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2020/11/9/music-for-english-horn-alone/different-forms-of-phosphorus-karola-obermuller monthly 0.5 2024-06-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062029470-3FU6V6CACWBP614ONNV9/image-asset.png Timbre and Orchestration Writings - different forms of phosphorus — Karola Obermüller https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062026973-H2SVZR6M3HCOFQ1AO1VQ/image-asset.jpeg Timbre and Orchestration Writings - different forms of phosphorus — Karola Obermüller Jacqueline Leclair with an English horn. Source: https://classicalpost.com/read/throwing-down-the-gauntlet-music-for-english-horn-alone https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062028085-OJVYHF6908QSD8GNMJRJ/image-asset.png Timbre and Orchestration Writings - different forms of phosphorus — Karola Obermüller https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062030831-NP430REZDWWSKN5IXV8M/pedal121b.png Timbre and Orchestration Writings - different forms of phosphorus — Karola Obermüller - Pedal motive (Copy) a single low, held pitch https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062031560-OYTNTC2MAE0UGDC1GU8K/dripdrop729b.png Timbre and Orchestration Writings - different forms of phosphorus — Karola Obermüller - Dripdrop motive (Copy) a motive characterized by crisp articulations and short durations https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062032952-VS011T5T050104JQ3UTI/whale617b.png Timbre and Orchestration Writings - different forms of phosphorus — Karola Obermüller - Whale motive (Copy) a “lonely sound” and paired with the reverb of the recording mix, reminds the author of a whale song https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062034705-CK07VHBDKFQOXHQ04WKQ/multitrem312b.png Timbre and Orchestration Writings - different forms of phosphorus — Karola Obermüller - Multiphonic motive (Copy) an unusual combinations of fingerings on the English horn that can produce sounds containing several discriminable pitches https://timbreandorchestration.org/writings/timbre-lingo/2020/6/14/instrumental-synthesis monthly 0.5 2024-06-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619061752370-0K5AF5WNDXKEF6L2XLQI/image-asset.png Timbre and Orchestration Writings - Instrumental synthesis https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2020/5/6/schnittke-concerto-grosso-no-1 monthly 0.5 2024-06-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062040199-KGLDLI9ALX108M3RI1F2/image-asset.png Timbre and Orchestration Writings - Schnittke’s Concerto Grosso No. 1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062041675-T3QEGBLX32W6C6VO8UO7/image-asset.png Timbre and Orchestration Writings - Schnittke’s Concerto Grosso No. 1 https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2020/5/1/the-children-of-fire-come-looking-for-fire monthly 0.5 2024-06-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062046827-WNQAZL3Y7JONIXWLXZAS/image-asset.jpeg Timbre and Orchestration Writings - The children of fire come looking for fire — Eric Wubbels “the children of fire come looking for fire” by Eric Wubbels - example 2 (score) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062045830-DVUPT8KO05KJXIYNR9TU/image-asset.jpeg Timbre and Orchestration Writings - The children of fire come looking for fire — Eric Wubbels “the children of fire come looking for fire” by Eric Wubbels - sprectrogram (end of part 1) https://timbreandorchestration.org/writings/timbre-lingo/2020/4/22/brightness-darkness monthly 0.5 2024-06-07 https://timbreandorchestration.org/writings/research-creation-series/seven-beginnings monthly 0.5 2024-06-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062564504-SJZIS2JZLPMZ9JSVNA85/image-asset.png Timbre and Orchestration Writings - Seven Beginnings Score excerpt from Beginning 5 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062565763-948WE3RJH1OUNQZURRBQ/image-asset.png Timbre and Orchestration Writings - Seven Beginnings Spectrograph of spoken text from the Sixth Beginning (mm. 80-82) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062567917-80HMS15PZ647SXN4IS0V/image-asset.png Timbre and Orchestration Writings - Seven Beginnings Score excerpt from Beginning 7 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062558174-FJS2Q7TI5MG9UZKFN7WG/image-asset.png Timbre and Orchestration Writings - Seven Beginnings Spectrograph of sound file from Beginning 1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062563449-4K7MSTYSN85AJIQNRKLC/image-asset.png Timbre and Orchestration Writings - Seven Beginnings Score excerpt from Beginning 4, corresponding to the above spectrograph https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062561835-V0DGT13CP4PFGEVLMLS3/image-asset.png Timbre and Orchestration Writings - Seven Beginnings Spectrograph of infant vocalizations https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062559641-M3HGDKJEAYU7XGF156IW/image-asset.png Timbre and Orchestration Writings - Seven Beginnings First system of the Second Beginning. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062560766-S3PSP7MEYE5HMEXGN1Q0/image-asset.png Timbre and Orchestration Writings - Seven Beginnings Lullaby pitches for improvisation in the Third Beginning https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062566818-WJKEE7YQPA07XGKFBM3B/image-asset.png Timbre and Orchestration Writings - Seven Beginnings Score excerpt from Beginning 6, corresponding to the above spectrograph https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2020/2/29/buzzard-and-kestrel monthly 0.5 2024-06-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062050877-9CZ0NZZGY7XRJSRPZVZX/image-asset.png Timbre and Orchestration Writings - Buzzard and Kestrel — James Blake Figure 2: “Buzzard and Kestrel,” 0:48–0:52. The white haze beneath 16,000Hz marks the reverb of the drums. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062051885-E3ZXWF7CN5UA0SOH4OD4/image-asset.png Timbre and Orchestration Writings - Buzzard and Kestrel — James Blake Figure 3: “Buzzard and Kestrel,” 1:02–1:09. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062049807-AV303OOGRPV8TASYLWEE/image-asset.png Timbre and Orchestration Writings - Buzzard and Kestrel — James Blake Figure 1: Spectrogram of “Buzzard and Kestrel”, 0:00–0:04. https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2020/2/20/the-colour-fresh monthly 0.5 2024-06-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062055853-4RXKXI0IHDHB2XNTZ0IS/image-asset.png Timbre and Orchestration Writings - The Colour “Fresh”: Timbre in Intermezzo no. 1 — Yinam Leef https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062057103-GKEGOH79LEIK1IIO08ST/image-asset.png Timbre and Orchestration Writings - The Colour “Fresh”: Timbre in Intermezzo no. 1 — Yinam Leef Figure 1 – First three “sound fans” of Intermezzo no. 1. Each pitch is assigned a different colour (used with the kind permission of the composer) https://timbreandorchestration.org/writings/timbre-lingo/2019/12/10/the-singers-formant monthly 0.5 2024-06-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619061761326-171WFTB1QBDLGFYZUOM8/image-asset.png Timbre and Orchestration Writings - The Singer’s Formant Energy distribution of an orchestra (black line) compared to that of an orchestra featuring a singing voice (dotted line). The figure comes from Sundberg (p. 123) [1]. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619061762698-845FPIISZNM062N6CR47/image-asset.png Timbre and Orchestration Writings - The Singer’s Formant https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2019/9/12/flourish monthly 0.5 2024-06-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062059786-MWAEJJHBL3KKCMODLGET/image-asset.png Timbre and Orchestration Writings - Flourish — Sarah Hennies Photo: Micke Keysendal https://timbreandorchestration.org/writings/timbre-lingo/2019/4/28/inharmonicity monthly 0.5 2024-06-07 https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2019/4/28/the-unanswered-question monthly 0.5 2024-06-07 https://timbreandorchestration.org/writings/timbre-lingo/2019/3/29/spectral-centroid monthly 0.5 2024-06-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/83ee5431-cb7e-4638-8aca-ad413d4c5a85/banjo_centroid_EN.jpg Timbre and Orchestration Writings - Spectral centroid - Make it stand out Spectral centroid curve of a banjo (right) next to its spectrogram (left). Notice how the centroid value decreases as the sound progresses, which is consistent with the distribution of harmonics (high-frequency partials fade faster) and with the amplitude envelope shape (which demonstrates how sound intensity and spectral centroid are correlated). https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2019/3/28/red-bird monthly 0.5 2024-06-07 https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2019/3/27/menottis-goya-and-the-timbre-of-tinnitus monthly 0.5 2024-06-07 https://timbreandorchestration.org/writings/timbre-lingo/2019/3/12/signal-vs-spectrum monthly 0.5 2024-09-10 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808275473-TUL434BSV1G4NGVVW5CC/image-asset.png Timbre and Orchestration Writings - Signal vs. Spectrum Spectrum - Frequency representation of the same short flute tone https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808277416-FT5V7NNQU8M098M2UOLT/image-asset.png Timbre and Orchestration Writings - Signal vs. Spectrum Signal - Temporal representation of a short flute tone https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2019/2/28/hommage-klaus-nomi monthly 0.5 2024-06-07 https://timbreandorchestration.org/writings/timbre-lingo/2019/2/15/shepard-tone monthly 0.5 2024-06-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619061776343-UIORH146C25558QMDBOC/image-asset.png Timbre and Orchestration Writings - Shepard Tone https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2019/2/13/deus-cantando monthly 0.5 2024-06-07 https://timbreandorchestration.org/writings/timbre-lingo/2019/2/12/auditory-scene-analysis monthly 0.5 2024-06-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619061780694-X4KVZ0X9BQSXLKQ94IQF/image-asset.png Timbre and Orchestration Writings - Auditory Scene Analysis https://timbreandorchestration.org/writings/timbre-lingo/2018/12/13/envelope monthly 0.5 2024-06-07 https://timbreandorchestration.org/writings/timbre-lingo/2018/11/28/noise monthly 0.5 2024-06-07 https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2018/11/30/dripsody monthly 0.5 2024-06-07 https://timbreandorchestration.org/writings/amazing-moments-in-timbre/2018/11/23/atmospheres monthly 0.5 2024-06-07 https://timbreandorchestration.org/writings/timbre-lingo/2018/11/23/partial monthly 0.5 2024-06-07 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619061788339-OT9MOSEEU17QWROMIKF1/image-asset.jpeg Timbre and Orchestration Writings - Partial Excerpt of spectrogram of Barry Truax’s Riverrun (1986). 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monthly 0.5 https://timbreandorchestration.org/writings/tag/Malte+Kob monthly 0.5 https://timbreandorchestration.org/writings/tag/Universit%C3%A9+de+Strasbourg monthly 0.5 https://timbreandorchestration.org/notes-de-bas-de-page daily 0.75 2023-05-30 https://timbreandorchestration.org/notes-de-bas-de-page/sang-sueur-et-larmes-pour-explorer-l-orchestre-virtuel monthly 0.5 2023-01-10 https://timbreandorchestration.org/notes-de-bas-de-page/ramos/technologie-et-timbre monthly 0.5 2022-12-15 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e92e7d2b-5657-404d-8bc0-bb7066c8748d/figure-1-ramos.jpg Notes de bas de page - Technologie et Timbre | Notes de bas de page - Make it stand out Figure 1 : Photographie de la création, le 24 novembre 2019 au Pavilhão Centro de Portugal à Coimbra, sous la direction de Jan Wierzba. © Orquestra Clássica do Centro. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623094636174-QKZI0DAD4W7LAESRNXCU/figure-3-ramos.png Notes de bas de page - Technologie et Timbre | Notes de bas de page - Make it stand out Figure 3 : Resynthèse spectrale des partiels harmoniques restants dans SPEAR. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b9fa29a4-2f22-449f-b54d-1df6fecc6d58/figure-4-ramos.png Notes de bas de page - Technologie et Timbre | Notes de bas de page - Make it stand out Figure 4 : Résultat final du processus d'analyse spectrale dans SPEAR. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623094581097-KDMN0BGEB6QGDRU01ZE3/figure-2-ramos.png Notes de bas de page - Technologie et Timbre | Notes de bas de page - Make it stand out Figure 2 : Analyse spectrale « brute » de l'échantillon initial de carillon éolien dans SPEAR. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d848cae7-787a-44a2-8e3e-ba3cd58e27f2/figure-9-ramos.jpg Notes de bas de page - Technologie et Timbre | Notes de bas de page - Make it stand out Figure 9 : Mesures 51-58, exemple dynamique d'un effet de décalage (écho). Le quintuplet entendu pour la première fois dans la clarinette en si bémol est systématiquement retardé d'un temps de décalage par rapport à l'impulsion de déclenchement. Ceci, cependant, est reconnu à la fois comme une répétition dans la composition musicale et comme une texture dans l'orchestration traditionnelle. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b78b34ac-c553-4b5d-87ff-624c3d9a3bc7/figure-5-ramos.png Notes de bas de page - Technologie et Timbre | Notes de bas de page - Make it stand out Figure 5 : Schéma de composition et d'orchestration utilisé pour le développement de Moving Sources. [Flèches du haut] (Composition) Carillon éolien → Enregistrement → Analyse spectrale (+ correspondance manuelle entre fréquence et hauteur) → Partition. [Flèches du bas] (Orchestration) Carillons éoliens → Orchestration adaptée au comportement et à l'interactivité du site → Partition. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3a8e8709-8aa8-4e82-9254-4770851718da/figure-11-ramos.jpg Notes de bas de page - Technologie et Timbre | Notes de bas de page - Make it stand out Figure 11 : Mesures 12-23, exemple d'« inflection de hauteur » chez les violons. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2c5241c7-b5b0-4504-b8bb-6d0ea09269f1/figure-6-ramos.png Notes de bas de page - Technologie et Timbre | Notes de bas de page - Make it stand out Figure 6 : Disposition des instruments sur la scène https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/14c57e58-3d7e-41ce-a6af-899818a06418/figure-8-ramos.jpg Notes de bas de page - Technologie et Timbre | Notes de bas de page - Make it stand out Figure 8 : Mesures 59-64, exemple de combinaison des trompettes et des altos et contrebasses sul ponticello https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623092277234-CCM21359EH0Q5VO5BUT3/Measures+70-77.jpg Notes de bas de page - Technologie et Timbre | Notes de bas de page - Make it stand out Measures 70–77 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/53ba0c0a-7e02-4d84-9c73-ef974da2d50a/figure-12-ramos.jpg Notes de bas de page - Technologie et Timbre | Notes de bas de page - Make it stand out Figure 12 : Mesure 59-60. La dernière impulsion des bois inférieurs déclenche une impulsion dans les bois supérieurs. Cette impulsion est progressivement retardée et filtrée, en fondu enchaîné du piccolo au cor anglais. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623093074015-VR987JFOC6EWIQINT6RM/Measures+99-118-2.jpg Notes de bas de page - Technologie et Timbre | Notes de bas de page - measures 103-112 String instrument towards achieving a more blended sonority, as seen in measures 103-112 [Bassoon 1, Horn in F 1, Violoncellos] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1623093073954-WBISIONBDC79H5RAJNE9/Measures+99-118-1.jpg Notes de bas de page - Technologie et Timbre | Notes de bas de page https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7123da36-c426-4755-9c60-55fa75558f82/figure-7-ramos.jpg Notes de bas de page - Technologie et Timbre | Notes de bas de page - Make it stand out Figure 7 : Mesures 35 à 41 de la section des cordes https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9e32caf4-50e2-4c07-86a0-604e75719569/figure-10-ramos.jpg Notes de bas de page - Technologie et Timbre | Notes de bas de page - Make it stand out Figure 10 : Mesures 78-87, exemple de « filtrage » du contenu harmonique. L'utilisation de sourdines « wah wah » permet aux musiciens de façonner librement le son émis en modifiant le filtrage des partiels supérieurs. Cela ressemble à un filtre passe-bas. https://timbreandorchestration.org/fr/ecrits daily 0.75 2025-05-22 https://timbreandorchestration.org/fr/ecrits/lexique-timbral/synthese-instrumental monthly 0.5 2024-04-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619061754526-R62KH7Q70Z8RMQQFXXOO/image-asset.png Écrits - Synthèse instrumentale https://timbreandorchestration.org/fr/ecrits/lexique-timbral/vibrato monthly 0.5 2024-04-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807603922-NNYEVL9YEG866KWZH244/Nestorova-ideal+synthesized+fundamental+frequency+.png Écrits - Vibrato - Make it stand out Figure 2 : Graphique personnalisé affichant les composantes d'une fréquence fondamentale (f0) synthétisée optimalement en fonction du temps. Cette onde sinusoïdale est perçue comme un vibrato. Reproduit de Nestorova, T.I. (2021). Does Vibrato Define Genre or Vice Versa?: A Novel Parametric Approach to Complex Vibrato Patterns (thèse). New England Conservatory of Music, Boston, MA. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807602721-J9O1V3DWH0EBQHII3Q2B/Figure+1-1.jpg Écrits - Vibrato - Make it stand out Figure 1 : Cette vue spectrographique sert de représentation visuelle de ce que nous entendons comme vibrato (portions ondulées) et non-vibrato (portions linéaires). Tiré à part de Michel, C. R., & Ruiz, M. J. (2017). The Physics of Singing Vibrato. Physics Education, 52(4), 045010. https://doi.org/10.1088/1361-6552/aa6d99 https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/bound-to-you-par-christina-aguilera monthly 0.5 2024-04-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807796573-W9VKE8FYYY9RZF3GNYIR/bound+to+you+melody+and+spectrogram.png Écrits - Bound to You — Christina Aguilera - Make it stand out Figure 1 : Burlesque, de 3:29 à 3:56. Pour visualiser la partition et le spectrogramme séparément, cliquez ici pour la partition et ici pour le spectrogramme. Cliquez ici pour télécharger le fichier XML. https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/cinq-danses-profanes-et-sacres-de-tomasi monthly 0.5 2024-04-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807799370-43GWHCQYJOD05O0AE27C/tomasi.png Écrits - Cinq danses profanes et sacrées de Tomasi - Make it stand out Spectrogramme de 0:04-0:08 de l'œuvre d'Henri Tomasi de 1963 Cinq danses profanes et sacrées « V. Danse Guerrière: Sauvagement frénétique » https://timbreandorchestration.org/fr/ecrits/lexique-timbral/bruit monthly 0.5 2024-04-24 https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/cellophane-fka-twigs monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807802427-8OV00I7RT7K70G451SJY/FKAtwigscellophanespectra.png Écrits - Cellophane — FKA twigs - Make it stand out Spectrogramme, de 1:40–1:51 dans Cellophane https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/du-sang-du-verre-et-le-coeur-battant-dun-cannibal-brian-reitzell monthly 0.5 2024-04-23 https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/lovin-you-par-minnie-riperton monthly 0.5 2024-04-23 https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/pour-limage-philipe-hurel monthly 0.5 2024-11-19 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807557560-W3FQKO37AZFXREGSC75N/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example3.png Écrits - Pour l’image — Philippe Hurel - Make it stand out Exemple 3. Exemples choisis montrant la manière dont la cellule de la clarinette est progressivement orchestrée de différentes façons au cours de la première transition, par note. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807565257-Z0BIMNH96DWSDG93QRWT/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example4a.png Écrits - Pour l’image — Philippe Hurel https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807566433-E7RN3M1SCMQPEE4STVEI/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example4b.png Écrits - Pour l’image — Philippe Hurel https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807558657-VWR9D50HB5MFZ06EUXJI/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-figure1.png Écrits - Pour l’image — Philippe Hurel - Make it stand out Figure 1. Évolution dynamique des deux lignes de pédales jouées par le trombone basse et la contrebasse dans les mes. 22-46. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807556197-XN06V8KP73922GXF0JRN/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example1.png Écrits - Pour l’image — Philippe Hurel - Make it stand out Exemple 1. Formes originales des quatre cellules mélodiques répétées dans la polyphonie à quatre voix dans les mes. 12-21 de Pour l'image. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807560301-OXOA3GKCHJKKXPVN4D3A/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example2a.jpg Écrits - Pour l’image — Philippe Hurel https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807561449-4Z94U1CERPU9TKLT7BF0/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example2b.jpg Écrits - Pour l’image — Philippe Hurel https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807562693-GEPQ3W8HKQJYJHHQ0BWD/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example2c.jpg Écrits - Pour l’image — Philippe Hurel https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807563843-EAFX2Y2A42Z0U4N2XG1K/Pour+l%E2%80%99image+%E2%80%94+Philippe+Hurel-AMiT-example2d.jpg Écrits - Pour l’image — Philippe Hurel https://timbreandorchestration.org/fr/ecrits/lexique-timbral/passaggio-et-registres monthly 0.5 2024-04-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807460592-ODGU5E43T3OSINMCJNMK/crico-thyroid.jpg Écrits - Passaggio et registres de la voix chantée - Make it stand out Figure 2 : Action du muscle crico-thyroïdien, qui étire les cordes vocales pour produire des sons plus aigus. [D'après : Doscher, Functional Unity of the Singing Voice, Page 40] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807461827-Z88V7GATNM8BT72CRG4O/training+soprano+voices.jpg Écrits - Passaggio et registres de la voix chantée - Make it stand out Figure 3 : Catégorisation par Richard Miller des registres soprano, mezzo-soprano et contralto. [Tiré de Richard Miller Training Soprano Voices, Page 25] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807459275-RUYSNU4T37ZC69PQC545/larynx.jpg Écrits - Passaggio et registres de la voix chantée - Make it stand out Figure 1 : Vue des muscles à l’intérieur du larynx qui travaillent de manière antagoniste pour permettre aux chanteur.euse.s de produire des hauteurs de voix de tête et des hauteurs de voix de poitrine. [Source] https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/music-for-english-horn-alone/different-forms-of-phosphorus-karola-obermuller monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062030831-NP430REZDWWSKN5IXV8M/pedal121b.png Écrits - different forms of phosphorus — Karola Obermüller - Pedal motive (Copy) (Copy) a single low, held pitch https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062031560-OYTNTC2MAE0UGDC1GU8K/dripdrop729b.png Écrits - different forms of phosphorus — Karola Obermüller - Dripdrop motive (Copy) (Copy) a motive characterized by crisp articulations and short durations https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062032952-VS011T5T050104JQ3UTI/whale617b.png Écrits - different forms of phosphorus — Karola Obermüller - Whale motive (Copy) (Copy) a “lonely sound” and paired with the reverb of the recording mix, reminds the author of a whale song https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062034705-CK07VHBDKFQOXHQ04WKQ/multitrem312b.png Écrits - different forms of phosphorus — Karola Obermüller - Multiphonic motive (Copy) (Copy) an unusual combinations of fingerings on the English horn that can produce sounds containing several discriminable pitches https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062026973-H2SVZR6M3HCOFQ1AO1VQ/image-asset.jpeg Écrits - different forms of phosphorus — Karola Obermüller Jacqueline Leclair avec un cor anglais. Source ici https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062029470-3FU6V6CACWBP614ONNV9/image-asset.png Écrits - different forms of phosphorus — Karola Obermüller https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062028085-OJVYHF6908QSD8GNMJRJ/image-asset.png Écrits - different forms of phosphorus — Karola Obermüller https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/the-unanswered-question-charles-ives monthly 0.5 2024-04-23 https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/the-colour-fresh-le-timbre-dans-lintermezzo-no-1-yinam-leef monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808251921-51AZN5VX9Y920AXUJSO1/image-asset.png Écrits - The Colour "Fresh" : Le timbre dans l’Intermezzo no 1 — Yinam Leef https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808253844-7CCCWNYX2Z6T5DNGFEL7/image-asset.png Écrits - The Colour "Fresh" : Le timbre dans l’Intermezzo no 1 — Yinam Leef Figure 1 — Les trois premiers « éventails sonores » de l’Intermezzo no 1. Chaque hauteur est affectée d’une couleur différente (utilisé avec l’aimable autorisation du compositeur). https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/the-children-of-fire-come-looking-for-fire monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808213585-KO9YMMMRCGI85DEUMYEG/image-asset.jpeg Écrits - the children of fire come looking for fire — Eric Wubbels « the children of fire come looking for fire » par Eric Wubbels — exemple 2 (partition) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808211512-UFS9E9QVBXEYHMYUXYGE/image-asset.jpeg Écrits - the children of fire come looking for fire — Eric Wubbels « the children of fire come looking for fire » par Eric Wubbels — spectrogramme (fin de la partie 1) https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/red-bird-trevor-wishart monthly 0.5 2024-04-23 https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/flourish-sarah-hennies monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808263693-XCP8HC2BCDRKQSWY3T60/image-asset.png Écrits - Flourish — Sarah Hennies Photo par: Micke Keysendal https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/concerto-grosso-n1-de-schnittke monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808205415-C7OJU3M00090S7M17P0G/image-asset.png Écrits - Concerto Grosso n° 1 de Schnittke https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808207744-BT9HGEE7KW3YT84QTNJV/image-asset.png Écrits - Concerto Grosso n° 1 de Schnittke https://timbreandorchestration.org/fr/ecrits/lexique-timbral/signal-vs-spectre monthly 0.5 2024-04-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b8328072-8be9-4958-807d-b973d917b9ae/Signal_vs_Spectrum_SIG.jpg Écrits - Signal vs spectre - Make it stand out Signal (représentation temporelle) d'un ton court de flûte (voir ci-dessous). Les valeurs d'amplitude représentées numériquement sont affichées sur une échelle linéaire et relative (de -1 à +1), c'est pourquoi elles n'ont pas d'unité. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1a811688-d018-40d1-bfa9-ba1b1c270b7e/Signal_vs_Spectrum_SPECT.jpg Écrits - Signal vs spectre - Make it stand out Spectre d'amplitude (représentation de fréquence) du même son de flûte courte. Remarquez l'harmonie des partiels (rayures verticales bien définies et équidistantes à gauche) et la présence de bruit (en dessous des rayures et à droite) dans le son de flûte. https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/buzzard-and-kestrel monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808243647-EV3Y4S9X993TCVSV91TA/image-asset.png Écrits - Buzzard and Kestrel — James Blake Figure 1 : Spectrogramme de « Buzzard and Kestrel », 0:00-0:04. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808245820-Y0EOJBHYGRW1UYAPW9QJ/image-asset.png Écrits - Buzzard and Kestrel — James Blake Figure 2 : « Buzzard and Kestrel, » 0:48-0:52. La brume blanche sous 16 000 Hz marque la réverbération de la batterie. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808247749-Z5QBSHDXGPSUOBB87SDD/image-asset.png Écrits - Buzzard and Kestrel — James Blake Figure 3 : « Buzzard and Kestrel, » 1:02-1:09. https://timbreandorchestration.org/fr/ecrits/lexique-timbral/centroide-spectral monthly 0.5 2024-04-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0ba53f2a-c3ea-48e5-8e41-80bb2a08907a/banjo_centroid_FR.jpg Écrits - Le centroïde spectral - Make it stand out Courbe d’évolution du centroïde spectral d’un banjo (à droite) en comparaison avec le spectrogramme (à gauche) issu du même son. On remarque que la valeur du centroïde diminue à mesure que l’on évolue dans le son, ce qui concorde avec la distribution des harmoniques (les partiels aigus s’estompent plus rapidement), ainsi qu’avec la forme de son enveloppe d’amplitude (démontre la corrélation entre intensité et centroïde spectral). https://timbreandorchestration.org/fr/ecrits/lexique-timbral/l-inharmonicite monthly 0.5 2024-04-24 https://timbreandorchestration.org/fr/ecrits/dallapicolla monthly 0.5 2024-05-16 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440325184-JTHSR18WC3HPQSGF87M0/example_15-1.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440327534-8TGI5FNG7XSEHD0V54VQ/example_15-2.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440330303-16RT1GAVKZZX8GSPX1A1/example_15-3.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dc86a550-be26-4c4d-8fb0-4fa47b381f43/Exemple+7.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/81c5f2b2-3b81-4286-a9f8-0dfaeb6aaf10/example_17.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Example 17 : Commiato, partie I, section B1, reduction schématique. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/dbdd702c-7f40-4cf1-aa34-f833eb465a46/Table_1.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it sand out Tableau 1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/aa0bab31-490c-416e-9c69-c53149169562/example_16-corr.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Exemple 16 : Commiato, doublures dans les accords du début. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2721432f-603c-453c-bc61-ddc39cfc5fe6/Table_2.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/385a9e08-62d6-4e2a-ae50-98a28d44b5a6/Dallapiccola+Luigi.jpeg Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1c457211-fad9-4946-aabd-9f3f3d7f78be/Example_5.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1706034580055-72VH7Y6KZ6RER8ZQ2JMZ/example_1-1.jpg Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705438741028-D9W9B15DTFWG1OEXXPPE/example_1-2.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705438744015-C87J1XWUD79UH92SB4BF/example_1-3.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/694af5e8-6444-41b8-b8be-1f6189dcbe27/table_5.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/99fd975b-51c8-4019-b0b7-0ad6b5978b3b/example_14.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Example 14 : Commiato (Partie I) : forme générale avec les composantes internes. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d2178b29-a42f-46be-8180-88524ef1910c/example_12.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Exemple 12 : Commiato : accords/blocs du début, réduits à leurs hauteurs (sans les rythmes). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705438916486-N0IGNNJ8B6RPYN2PA04V/Example_2.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7a97e6a1-d4f7-4d9e-b342-cbef9baca72e/table_6.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Tableau 3 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/441fd48c-3071-4c1d-9234-a1882428e8f5/table_3.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2e6771fa-49fa-4316-8bfd-ecdae04dfcd8/Dallapiccola+13.jpeg Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440425076-GAGW2QWZOIVE9Q1KIQUW/example_18-1.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440426925-1EA3RMW9QQNZ6H165LJM/example_18-2.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440428975-I1U5265F5RH085Y2E345/example_18-3.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440235910-LF1WBFEEV9NMR2Y5MA8G/Example_11-1.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440239849-M0GOP46F804Q5G28H80T/Example_11-2.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4fd5c719-7108-4e43-aae2-68e3addd106a/example_3.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440022350-L3E4TYZ682G3DQNJMATD/Example_9a.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705440027200-1H1RCZ2BXXPQDUFA9V99/Example_9b.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b3a4f7f3-d4bf-49e0-a329-4e8a22b188ea/table_7.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Tableau 4 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8b9f5547-664d-4189-9a8b-a5bd0368d26a/Logo+CREAA+%28rouge%29.jpg Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439281810-DQ1CNHTHXMGU8WVJJ9NH/example_4.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439283168-5UM7SGL4XI87U698AUY6/example_4-2.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/51cd785a-0f1c-47a9-87db-b5578ec94202/example_19.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Exemple 19: Commiato, B2 Section, réduction schématique. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439894983-PWGUDKI0YIZZ8WFNPM2C/example_8-1.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439896914-IQQFKBD8CRDLHMPLIONF/example_8-2.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/508b78c4-b0ad-4617-bb26-0b312c9b0254/example_canon_I.1.2.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e21fc16b-11a3-487f-b278-4abfc212f4f2/table_4-2.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Tableau 2 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6f9eec47-490d-40c1-8248-f064052b3134/Example_10.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439565028-2C7U4RDJ4I0O7RK4ZB4V/example_6-1.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439568180-P1OHZOIYBFIQLS9KEJH9/example_6-2.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1705439571199-3QS7W99IJPUW9A15NYKB/example_6-3.png Écrits - Le timbre composite des œuvres vocales et instrumentales de Luigi Dallapiccola depuis ses Six chants d’Alcée https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/le-timbre-comme-argument-passionne monthly 0.5 2024-04-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807791302-R60KMRHWK7PZBYVD6M34/Elizabeth_Maconchy.png Écrits - Le timbre comme argument passionné : Quatuor à cordes no. 10 de Maconchy - Make it stand out Elizabeth Maconchy 1938 par Howard Coster Transféré du Central Office of Information, 1974, via Wikimedia Commons https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807787331-BCJ5QM2W52FIPJYRBYA6/Figure+2.png Écrits - Le timbre comme argument passionné : Quatuor à cordes no. 10 de Maconchy - Make it stand out Figure 2 : Mesures 308-310. (Télécharger XML ici) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807786010-1CAZGOWC48CGURRFAQSK/Figure+1.png Écrits - Le timbre comme argument passionné : Quatuor à cordes no. 10 de Maconchy - Make it stand out Figure 1 : Mesure 305 du Quatuor à cordes no. 10 de Maconchy.(Télécharge XML ici) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807788793-AALV5841Y42Q9EKUCK0Q/Figure+3.png Écrits - Le timbre comme argument passionné : Quatuor à cordes no. 10 de Maconchy - Make it stand out Figure 3 : Mesures 314-316. (Télécharger XML ici) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807790029-JXXIF8EREYDZCCQVV0PW/Figure+4.png Écrits - Le timbre comme argument passionné : Quatuor à cordes no. 10 de Maconchy - Make it stand out Figure 4 : Mesures 317-320. (Télécharger XML ici) https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/koan-par-james-tenney monthly 0.5 2024-04-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062020891-A02ICGO4JJ74NTKA0YPX/image-asset.png Écrits - Koan — James Tenney James Tenney, Koan : pour quatuor à cordes (Maryland : Smith Publications, 1986). https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062023044-HBRQLKN4JBQTNE6FJ9TY/image-asset.png Écrits - Koan — James Tenney Spectrogramme de la version pour quatuor à cordes dans son intégralité, telle qu’interprétée par le Quatuor Bozzini sur leur album Arbor Vitae de 2008, que l’on peut écouter ici. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062021946-6SBAKQ9GWM6QG15X5NTO/image-asset.png Écrits - Koan — James Tenney Spectrogramme de la version pour alto solo dans son intégralité, telle qu’interprétée par Elisabeth Smalt, que l’on peut écouter ici. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619062019990-Q3D9GTCWH04JHRQ1LCDI/image-asset.png Écrits - Koan — James Tenney Diagramme formel des différences de tonalités utilisées dans l’arrangement de Koan pour quatuor à cordes. https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/hommage-a-klaus-nomi-olga-neuwirth monthly 0.5 2024-04-25 https://timbreandorchestration.org/fr/ecrits/lexique-timbral/enveloppe monthly 0.5 2024-04-24 https://timbreandorchestration.org/fr/ecrits/lexique-timbral/gamme-de-shepard monthly 0.5 2024-04-24 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808282706-DP54BKOUJJ6V2O4FPU0D/image-asset.png Écrits - Gamme de Shepard https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/progression-timbrale monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807550509-O7EG4UQX6OTJX2WCR4JJ/Figures+1++Dichroic+beads.png Écrits - Progression Timbrale dans dichroic seventeen de Rebecca Saunders - Make it stand out Figure 1: Billes dichroïques https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807551871-5KF69366YN4GBJ1B44ZI/Figure+2-+Dichroic+filters.png Écrits - Progression Timbrale dans dichroic seventeen de Rebecca Saunders - Make it stand out Figure 2: Filtres dichroïques https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680807553469-HV02DDUVW36NO75DNY0L/Figure+3.png Écrits - Progression Timbrale dans dichroic seventeen de Rebecca Saunders - Make it stand out Figure 3 : Saunders, dichroic seventeen, mes. 32-43. Une progression timbrale de timbres plus sombres vers des timbres plus brillants. https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/the-alchemical-wedding monthly 0.5 2024-04-25 https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/subwhistle/brian-jacobs monthly 0.5 2024-04-25 https://timbreandorchestration.org/fr/ecrits/lexique-timbral/partiel monthly 0.5 2024-04-24 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808295452-NT1HUPRLO9CQTSQOU2SQ/image-asset.jpeg Écrits - Partiel Extrait du spectrographe du Riverrun de Barry Truax (1986). Les lignes horizontales correspondent aux partiels. https://timbreandorchestration.org/fr/ecrits/lexique-timbral/le-formant-de-la-chanteuse-ou-du-chanteur monthly 0.5 2024-04-24 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808257357-3HDMB2QL32DVLX43BK5T/image-asset.png Écrits - Le Formant de la Chanteuse ou du Chanteur Distribution de l'énergie d'un orchestre (ligne noire) comparée à celle d'un orchestre comprenant une voix chantée (ligne pointillée). La figure est tirée de Sundberg (p. 123) [1]. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808259838-7CJMILRZJ2LCW40Z9IAP/image-asset.png Écrits - Le Formant de la Chanteuse ou du Chanteur https://timbreandorchestration.org/fr/ecrits/lexique-timbral/analyse-de-scene-auditive monthly 0.5 2024-04-24 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808287731-BI9Z1M8LJSXH06ZKG909/image-asset.png Écrits - Analyse de Scène Auditive https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/dripsody-hugh-le-caine monthly 0.5 2024-04-25 https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/goya-de-menotti-et-le-timbre-des-acouphenes monthly 0.5 2024-04-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4918f9cf-8d23-4d4a-8b4c-d299db5afc1d/Screenshot+2024-04-24+at+11.48.11+AM.png Écrits - "Goya" de Menotti et le Timbre des Acouphènes - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/fr/ecrits/lexique-timbral/timbre-brillant-ou-obscure monthly 0.5 2024-04-25 https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/deus-cantando-peter-ablinger monthly 0.5 2024-04-25 https://timbreandorchestration.org/fr/ecrits/moments-incroyables-du-timbre/atmospheres-gyorgy-ligeti monthly 0.5 2024-04-25 https://timbreandorchestration.org/fr/ecrits/serie-recherche-creation/complexite-paradoxale monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680881594917-O4CO0406GOZN2EV8UEU3/image10.jpg Écrits - La « complexité paradoxale » des masses sonores - Example of Minimalism (Copy) Example of Minimalism https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680881609656-I1VOR1IU5M568DJJCWA5/image11.jpg Écrits - La « complexité paradoxale » des masses sonores - Example of New Complexity (Copy) Exemple de nouvelle complexité https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680881658495-2CQD3KPZIEA9EXAOG93X/image9.jpg Écrits - La « complexité paradoxale » des masses sonores - Example of Sound Mass (Copy) Exemple de masse sonore https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ecc9f119-3bca-4415-ac12-a1d1dd71468a/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores György Ligeti, extrait d'Atmosphères (1961) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680882428528-50MK12XQM0VE68UCDVII/image16.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680882482922-M8ZC84Q41NCJKMRI9T6Y/image15.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680882540755-3P2L3UXQCAVDGMPCMI4F/image14.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9bad89fc-fe71-40a0-b3a5-80365effcb06/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/316ce57d-2988-4c3f-b683-0a941004f067/Slide31.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/de70a472-bf90-4de3-94ed-88b99d436e9a/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2d94051b-aa90-4471-b101-666b5b4f0aa4/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/749d0b35-930d-410d-9be6-d4f5c2939298/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores Réseaux de réseaux https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ccd370d7-7690-484e-8e6b-4bb0cae96798/Slide23.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/38186419-3226-429f-a680-f8d91d406253/Slide33.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b0ed4f09-fd00-4ea5-87ed-0858147d285b/Slide27.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4a0bfd1d-8c00-423d-af1c-b2962c7a0092/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4dd7b73b-eca7-44eb-b106-01bea2ec0a09/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores La pièce n'utilise que des harmoniques naturelles et des cordes à vide. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/73d96e5d-9584-4496-a187-4a353b661369/Slide28.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/53eb47f0-065e-4ce1-a105-7814fe4d72a2/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores « Les auditeur.rice.s n'ont pas une capacité illimitée à suivre de multiples lignes sonores simultanées » (David Huron, 2001, «Tone and Voice : A Derivation of the Rules of Voice-Leading from Perceptual Principles ») https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/271a7c82-1daf-4cf9-ae7f-940414ece51b/Slide26.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8aac488d-5975-49c1-9a67-eaf3e1fb5138/Slide32.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f3ae238f-5c59-4284-a19d-640f838497d1/Colloquium_Nov2020-FR-4-2.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8679754c-efb6-4745-8fa0-a3e1e95cbf2c/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/df2827b1-59c9-44e1-97ae-4fcad3fd5467/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores (Lasse Thoresen, et Andreas Hedman, 2015, Emergent Musical Forms) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5e3fd24a-b138-43cf-a27d-a4b7ffafc4db/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores Le premier système de Shadow Prism https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/48b1a58c-b00e-424a-9deb-e2b5ff6ed08d/Slide29.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/aa73778e-d43b-462a-b100-a70ced2c8b99/Colloquium_Nov2020-FR.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8505944f-be41-4125-88df-c54c21f889ec/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/af7c23ef-83cc-4c9d-b2a0-4772b7af5cf0/Slide35.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/667a589b-d28b-4e35-a913-a46f7aa453dd/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7bd4a162-f7be-4de4-83d8-8792b23657f8/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cc553c2a-dbc7-4a7a-919d-60c82c3819bd/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/547e0916-8b55-4d14-ad30-5b6e28d0247a/image-asset.jpg Écrits - La « complexité paradoxale » des masses sonores Spectrogramme de Riverrun de Barry Truax https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/eda85be1-d1b0-4ed1-9079-79d56e482861/Slide36.jpg Écrits - La « complexité paradoxale » des masses sonores https://timbreandorchestration.org/fr/ecrits/sang-sueur-et-larmes-pour-explorer-l-orchestre-virtuel/partie-1 monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1620668681795-GPL25J1LQ5QKMKUHOU8Y/image2.png Écrits - Sang, sueur et larmes pour explorer l’orchestre virtuel Écriture de jeu sur cordes multiples dans la partition vs dans Cubase (m. 40, chant militaire) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1620668630755-F2M8NCOQ6ZRBENCSN56U/image.png Écrits - Sang, sueur et larmes pour explorer l’orchestre virtuel Grille Cubase https://timbreandorchestration.org/fr/ecrits/technologie-et-timbre/une-auto-ethnographie-sur-l-influence-de-l-electronique-sur-la-pratique-de-l-orchestration-en-composition monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835162062-NGTM30JY99IQA69EEQ9M/figure-6-ramos.png Écrits - Technologie et Timbre - Make it stand out Figure 6 : Disposition des instruments sur la scène https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835306277-SQE82GBEHK7PLGNPZL9L/figure-8-ramos.jpg Écrits - Technologie et Timbre - Make it stand out Figure 8 : Mesures 59-64, exemple de combinaison des trompettes et des altos et contrebasses sul ponticello [Caméra 2 : 3:26 - 3:45] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835428582-K91JSJFNDGPAHTD69I4M/figure-10-ramos.jpg Écrits - Technologie et Timbre - Make it stand out Figure 10 : Mesures 78-87, exemple de « filtrage » du contenu harmonique. L'utilisation de sourdines « wah wah » permet aux musiciens de façonner librement le son émis en modifiant le filtrage des partiels supérieurs. Cela ressemble à un filtre passe-bas[8]. [Caméra 2 : 4:17 - 4:54] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622834468676-FHYHY0HX0JBUAAZS9VCL/figure-1-ramos.jpg Écrits - Technologie et Timbre - Make it stand out Figure 1 : Photographie de la création, le 24 novembre 2019 au Pavilhão Centro de Portugal à Coimbra, sous la direction de Jan Wierzba. © Orquestra Clássica do Centro. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622834747307-W70LATQUWDQ1MD8X11FP/figure-4-ramos.png Écrits - Technologie et Timbre - Make it stand out Figure 4 : Résultat final du processus d'analyse spectrale dans SPEAR. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835478360-RMGOU3PC95VHG7L99IPZ/figure-11-ramos.jpg Écrits - Technologie et Timbre - Make it stand out Figure 11 : Mesures 12-23, exemple d'« inflection de hauteur » chez les violons. [Caméra 2 : 0:43 - 1:28] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622834815715-9D9P5XTHYPX599QK5NRE/figure-5-ramos.png Écrits - Technologie et Timbre - Make it stand out Figure 5 : Schéma de composition et d'orchestration utilisé pour le développement de Moving Sources. [Flèches du haut] (Composition) Carillon éolien → Enregistrement → Analyse spectrale (+ correspondance manuelle entre fréquence et hauteur) → Partition. [Flèches du bas] (Orchestration) Carillons éoliens → Orchestration adaptée au comportement et à l'interactivité du site → Partition. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835390063-PFR895NEZ7HA4JITH5XM/figure-9-ramos.jpg Écrits - Technologie et Timbre - Make it stand out Figure 9 : Mesures 51-58, exemple dynamique d'un effet de décalage (écho). Le quintuplet entendu pour la première fois dans la clarinette en si bémol est systématiquement retardé d'un temps de décalage par rapport à l'impulsion de déclenchement. Ceci, cependant, est reconnu à la fois comme une répétition dans la composition musicale et comme une texture dans l'orchestration traditionnelle. [Caméra 2 : 2:57 - 3:26] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835256389-00MUKIBXF1HRF8J9RKFR/figure-7-ramos.jpg Écrits - Technologie et Timbre - Make it stand out Figure 7 : Mesures 35 à 41 de la section des cordes [Caméra 2 : 2:04 - 2:24] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1622835525711-8P9C1GT6MPBRT40YX9SH/figure-12-ramos.jpg Écrits - Technologie et Timbre - Make it stand out Figure 12 : Mesure 59-60. La dernière impulsion des bois inférieurs déclenche une impulsion dans les bois supérieurs. Cette impulsion est progressivement retardée et filtrée, en fondu enchaîné du piccolo au cor anglais. [Caméra 2 : 3:26 - 3:33] https://timbreandorchestration.org/fr/ecrits/recherche-creation/seven-beginnings monthly 0.5 2024-04-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808220681-C8UOW62GQBWS25QPSN6R/image-asset.png Écrits - Seven Beginnings Premier système du deuxième commencement. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808236690-GF86HSEJU2CO2CZ9VGLQ/image-asset.png Écrits - Seven Beginnings Extrait de la partition du sixième commencement, correspondant au spectrogramme ci-dessus https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808238794-80D0X0J8AGFTVDGW11DJ/image-asset.png Écrits - Seven Beginnings Extrait de la partition du septième commencement https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808225275-TBITTSOMQQDNU13SFY72/image-asset.png Écrits - Seven Beginnings Spectrogramme des vocalisations bébé https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808234428-AWRCY46Y6H4XHZ0ZVFKL/image-asset.png Écrits - Seven Beginnings Spectrographe du texte parlé du sixième commencement (mm. 80-82) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808227680-Z1SALZX7IZ4H2HY6XDAG/image-asset.png Écrits - Seven Beginnings Partition extraite du quatrième commencement, correspondant au spectrographe ci-dessus https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808231596-ID3PWATIURDJS85T2MBG/image-asset.png Écrits - Seven Beginnings Extrait de la partition du cinquième commencement https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808218672-79KKQD3MRE3QX37F8HIN/image-asset.png Écrits - Seven Beginnings Spectrogramme du fichier sonore du premier commencement (Beginning 1) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1680808222447-UDWA526U0BR21OXMGSKS/image-asset.png Écrits - Seven 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https://timbreandorchestration.org/all-examples/extreme-orchestration/flute-family/ex-6 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8211e1b5-2c8e-4b84-b087-c0603fd1d6e4/Screen+Shot+2022-02-07+at+10.12.28+PM.png Examples - Saint-Saëns | Carnival of the Animals | Flute Family Ex. 6 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2b02d4c7-0fb5-46c9-984e-7eb666354623/Screen+Shot+2022-02-07+at+10.12.37+PM.png Examples - Saint-Saëns | Carnival of the Animals | Flute Family Ex. 6 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d54c9962-e0dc-4d9d-992b-956ac464d4e0/Saint-Sae%CC%88ns-+Carnival+of+the+Animals%2C+No.+10%2C+Volie%CC%80re.png Examples - Saint-Saëns | Carnival of the Animals | Flute Family Ex. 6 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/all-examples/extreme-orchestration/flute-family/ex-5 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/aa9385b5-08fc-4925-8806-35606b605070/Rimsky-Korsakov-+Russian+Easter+Overture%2C+rehearsal+letter+C.png Examples - Rimsky-Korsakov | Russian Easter Overture | Flute Family Ex. 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5c1919e0-ccda-413f-b0e8-3466118d6f33/Screen+Shot+2022-02-07+at+9.51.53+PM.png Examples - Rimsky-Korsakov | Russian Easter Overture | Flute Family Ex. 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f62d841a-daba-41ae-a0f5-98f2473ed0a8/Screen+Shot+2022-02-07+at+9.51.32+PM.png Examples - Rimsky-Korsakov | Russian Easter Overture | Flute Family Ex. 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f1fad025-21d3-42af-92af-5ecfb6faf84f/Screen+Shot+2022-02-07+at+9.51.38+PM.png Examples - Rimsky-Korsakov | Russian Easter Overture | Flute Family Ex. 5 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/all-examples/extreme-orchestration/flute-family/ex-4 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1e731caf-6315-43f3-ad06-2aa1a8c34c37/Rossini-+William+Tell+Overture%2C+m.+209-212.png Examples - Rossini | William Tell Overture | Flute Family Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/297114df-afd4-4667-8cfb-191c6e5b7d08/Screen+Shot+2022-02-07+at+6.49.23+PM.png Examples - Rossini | William Tell Overture | Flute Family Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d662370c-f46f-4514-8a23-7ee4d89b053f/Screen+Shot+2022-02-07+at+6.49.40+PM.png Examples - Rossini | William Tell Overture | Flute Family Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b478fb51-3eb5-4afb-bbe8-605840a69159/Screen+Shot+2022-02-07+at+6.49.48+PM.png Examples - Rossini | William Tell Overture | Flute Family Ex. 4 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/all-examples/extreme-orchestration/flute-family/ex-3 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b7993ca7-bf35-4975-915f-7dd27f1913cd/Screen+Shot+2022-02-03+at+6.02.14+PM.png Examples - Debussy | Prélude à l’après-midi d’un faune | Flute Family Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3c21e39c-e5fb-4e07-8c45-a96bf4399225/Screen+Shot+2022-02-03+at+6.02.24+PM.png Examples - Debussy | Prélude à l’après-midi d’un faune | Flute Family Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/414ace43-456e-4efa-88b5-adb1b7731516/Screen+Shot+2022-02-03+at+6.04.16+PM.png Examples - Debussy | Prélude à l’après-midi d’un faune | Flute Family Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7121ebe7-b090-4de7-abcb-c5eddd7096fb/Debussy-+Pre%CC%81lude+a%CC%80+l%E2%80%99apre%CC%80s-midi+d%E2%80%99un+faune%2C+m.+21-30.png Examples - Debussy | Prélude à l’après-midi d’un faune | Flute Family Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5b4ed119-3a6c-4f14-8fb8-07617f6a22a0/Screen+Shot+2022-02-03+at+6.02.42+PM.png Examples - Debussy | Prélude à l’après-midi d’un faune | Flute Family Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/all-examples/extreme-orchestration/flute-family/ex-2 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9cc006fe-bc99-46f9-a9c3-efd0cb437ada/-Brahms-+Symphony+No.+4%2C+4th+movement%2C+m.+89-105.png Examples - Brahms | Symphony No. 4 | Flute Family Ex. 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643928100047-8XTIF8FFAJ6QFYCDI0G7/Screen+Shot+2022-01-21+at+5.30.39+PM.png Examples - Brahms | Symphony No. 4 | Flute Family Ex. 2 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643927734400-DSMXX2I52O0TTUF4H1ZQ/Screen+Shot+2022-02-03+at+5.35.10+PM.png Examples - Brahms | Symphony No. 4 | Flute Family Ex. 2 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643927734446-J403LW4Z7AHAYGDP2QQF/Screen+Shot+2022-02-03+at+5.35.19+PM.png Examples - Brahms | Symphony No. 4 | Flute Family Ex. 2 https://timbreandorchestration.org/all-examples/extreme-orchestration/flute-family/ex-1 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/18f417b5-927a-4602-86e4-27ce7e28f46f/Beethoven-+Symphony+No.+3+%E2%80%9CEroica%2C%E2%80%9D+4th+movement%2C+m.+170-200.png Examples - Beethoven | Symphony No. 3 | Flute Family Ex. 1 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643921808236-DXNDNIX7LY6QOHWOKIB8/Screen+Shot+2022-02-03+at+3.55.47+PM.png Examples - Beethoven | Symphony No. 3 | Flute Family Ex. 1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643921807326-NCLAR6VI56XECPEH9P7L/Screen+Shot+2022-02-03+at+3.55.55+PM.png Examples - Beethoven | Symphony No. 3 | Flute Family Ex. 1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1643921807367-ZITV0XJ657V1BVYPII6N/Screen+Shot+2022-02-03+at+3.56.07+PM.png Examples - Beethoven | Symphony No. 3 | Flute Family Ex. 1 https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-1/beethoven-symphony-no-5 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e141981b-1e31-40ac-89a1-c782b9c10f10/Exemple1-ContrasteEquilibreSuccessifs-Beethoven5-1.png Examples - Beethoven | Symphony No. 5 | Ex. 1 - Make it stand out Figure 1. L. van Beethoven, symphonie n. 5, 1er mouvement mm. 439-469. © Dover 1989, p. 15. https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-2/schoenberg/five-pieces-for-orchestra monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1708611877067-AIRUHK8I4P3PEPKZ2ADL/Exemple2-ContrasteEquilibreSuccessifs--Schoenberg-1.png Examples - Schoenberg | Five pieces for orchestra | Ex. 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1708611876611-RYAIDDV6WARWXHHQ3FKI/Exemple2-ContrasteEquilibreSuccessifs--Schoenberg-2.png Examples - Schoenberg | Five pieces for orchestra | Ex. 2 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-3/berlioz/symphonie-fantastique monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1c99b1a6-264e-48e5-a0ab-aa94b4d5bd3d/Exemple3-ContrasteEquilibreSuccessifs-BerliozMarcheSupplice-1.png Examples - Berlioz | Symphonie fantastique | Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b3cc6429-a8ef-4a8f-b7ce-b6e872071ae9/Exemple3-ContrasteEquilibreSuccessifs-BerliozMarcheSupplice-2.png Examples - Berlioz | Symphonie fantastique | Ex. 3 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-4/beethoven/symphony-no-8 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e7365de3-4ac7-4b17-a92a-33aae9271341/Exemple4-ContrasteEquilibreSuccessifs-Beethoven8-1.jpg Examples - Beethoven | Symphony No. 8 | Ex. 4 - Make it stand out Figure 4 L. van Beethoven, 8ème symphonie, début du 1er mouvement. © Dover Publications 1989 https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-5/mozart/symphony-no-40 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3fee6434-7450-4b50-a99c-f8b9aab6109f/Exemple5-ContrasteEquilibreSuccessifs-Mozart40-1.png Examples - Mozart | Symphony No. 40 | Ex. 5 - Make it stand out Figure 5 W.A. Mozart, symphonie n. 40, 1er mouvement, m. 44. © Breitkopf & Härtel, 1880. https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-6/handel/music-for-the-royal-fireworks monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5064a951-bc1a-4b0a-9b21-946fbe700638/Exemple6-ContrasteEquilibreSuccessifs-HandelFireworks-2.png Examples - Handel | Music for the Royal Fireworks, Overture | Ex. 6 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2606e54d-795d-4e90-bad4-7f9780a60a55/Exemple6-ContrasteEquilibreSuccessifs-HandelFireworks-1.png Examples - Handel | Music for the Royal Fireworks, Overture | Ex. 6 - Make it stand out Figure 6. G. F. Haendel. Music for the Royal Fireworks. Ouverture, m. 47. Hallische Händel-Ausgabe, Serie IV, Band 13. Kassel: Deutsche Händelgesellschaft, 1962 https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-7/mahler/symphony-no-4 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/48b96f49-9f3a-4633-8ede-67fb72d8722b/Exemple7-ContrasteEquilibreSuccessifs-Mahler4-2.png Examples - Mahler | Symphony No. 4 | Ex. 7 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/614b92a3-ecf4-426f-bed5-b99e23b384ab/Exemple7-ContrasteEquilibreSuccessifs-Mahler4-1.png Examples - Mahler | Symphony No. 4 | Ex. 7 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-8/bizet/carmen monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/004ffcec-8441-493e-94a5-d03d9267722f/Exemple8-ContrasteEquilibreSuccessifs-CarmenGardeMontante-1.png Examples - Bizet | Carmen | Ex. 8 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-9/mahler/symphony-no-2 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2693b0f5-a9dd-4803-a32b-7c7c4d183a9c/Exemple9-ContrasteEquilibreSuccessifs-Mahler2-1.png Examples - Mahler | Symphony No. 2 | Ex. 9 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-10/bizet/carmen monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0fd26f9a-8302-4edc-8403-0763f79da040/Exemple10-ContrasteEquilibreSuccessifs-CarmenDanseBoheme-1.png Examples - Bizet | Carmen, 2nd Suite | Ex. 10 - Make it stand out Figure 10. G. Bizet, 2ème suite de Carmen, Danse bohème, mm 39-46. © Breikopf und Härtel, c. 1910 https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-11/tchaikovsky/symphony-no-4 monthly 0.5 2024-06-02 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/6583c417-8ac6-4e7b-9ed8-9208df84cede/Exemple11-ContrasteEquilibreSuccessifs-TchaikovskyDestiny-1.jpg Examples - Tchaikovsky | Symphony No. 4 | Ex. 11 - Make it stand out Figure 11. P. Tchaïkovski, 4ème symphonie, 1er mouvement, mm.193-201. © Dover Publications, 1998 https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-12/tchaikovsky/symphony-no-4 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b850fddd-341e-4c84-8d20-1089499fffb9/Exemple12-ContrasteEquilibreSuccessifs-TchaikovskyCrescendo-1.jpg Examples - Tchaikovsky | Symphony No. 4 | Ex. 12 - Make it stand out Figure 12. P. Tchaïkovski, 4ème symphonie, 1er mouvement, mm. 389-392. © Dover Publications, 1998 https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-13/beethoven/symphony-no-7 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/09251dfa-6b93-412d-a97e-60106d73d9a1/Exemple13-ContrasteEquilibreSuccessifs-Beethoven7%28III%29-1.png Examples - Beethoven | Symphony No. 7 | Ex. 13 - Make it stand out Figure 13. L. van Beethoven, 7èmre symphonie, 3ème mouvement mm. 25-28. © Dover, 1989 https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-14/bartok/music-for-strings-percussion-and-celesta monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fb4e54d6-e59b-4bef-8c67-9a11a48012ef/Exemple14-ContrasteEquilibreSuccessifs-Bartok-1.jpg Examples - Bartok | Music for Strings, Percussion and Celesta | Ex. 14 - Make it stand out Figure 14. B. Bartók, Musique pour cordes percussion et célesta, 2ème mouvement, début. © Universal Edition, Vienne, 1937. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c5f21f78-c85c-4afc-9168-f5c01ea7c7f1/Exemple14-ContrasteEquilibreSuccessifs-Bartok-2.png Examples - Bartok | Music for Strings, Percussion and Celesta | Ex. 14 - Make it stand out Figure 14. B. Bartók, Musique pour cordes percussion et célesta, 2ème mouvement, début. © Universal Edition, Vienne, 1937. https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-15/tchaikovsky/romeo-and-juliet monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2e1574e2-8187-4280-9f8b-fc865ec0dbec/Exemple15-ContrasteEquilibreSuccessifs-TchaikovskyRomeo_and_Juliet-1.png Examples - Tchaikovsky | Romeo and Juliet| Ex. 15 - Make it stand out Figure 15. Tchaïkovski, Roméo et Juliette, mm. 105-111. © Dover 1986 https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-16/tchaikovsky/symphony-no-6 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5ab16fbd-06e9-4697-a169-da9ffaae228b/Exemple16-ContrasteEquilibreSuccessifs-Tchaikovsky-6-III+-1.png Examples - Tchaikovsky | Symphony No. 6 | Ex. 16 - Make it stand out Figure 16. Tchaïkovski, 6ème symphonie, 3ème mouvement, début. © Dover Publications, 1997 https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-17/victoria/ave-maria monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/87f20300-93fa-4d13-801c-b1c1b90971bb/Exemple17-ContrasteEquilibreSuccessifs-Victoria-1.png Examples - Victoria | Ave Maria | Ex. 17 - Make it stand out Figure 17. T. L. de Victoria, Ave Maria à 8 (1572). T. L. de Victoria, Opera Omnia, Vol. 1 (p. 149) © Breitkopf und Härtel, 1902 https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-18/beethoven-symphony-no-3 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3c775d0b-0510-4703-ab13-86890e28b18e/Exemple18-ContrasteEquilibreSuccessifs-Beethoven3%28III%29-1.png Examples - Beethoven | Symphony No. 3 | Ex. 18 - Make it stand out Figure 18 . L. van Beethoven, 3ème symphonie, 3ème mouvement mm. 99-112. © Dover Publications, 1989 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/93aede38-313b-4f28-b186-da50cdba03ce/Exemple18-ContrasteEquilibreSuccessifs-Beethoven3%28III%29-2.png Examples - Beethoven | Symphony No. 3 | Ex. 18 - Make it stand out Figure 18 . L. van Beethoven, 3ème symphonie, 3ème mouvement mm. 99-112. © Dover Publications, 1989 https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-19/beethoven-symphony-no-9 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e2dbf954-e2c8-4b21-9f3a-82c4dc4a8005/Exemple19-ContrasteEquilibreSuccessifs-Beethoven9-1.jpg Examples - Beethoven | Symphony No. 9 | Ex. 19 - Make it stand out Figure 19. L. van Beethoven, 9ème symphonie, 1er mouvement mm. 102-109. © Dover Publications, 1989 https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-20/beethoven-symphony-no-4 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2fe9e566-3a1a-4066-8204-565613787e6b/Exemple20-ContrasteEquilibreSuccessifs-Beethoven4-1.jpg Examples - Beethoven | Symphony No. 4 | Ex. 20 - Make it stand out Figure 20. L. van Beethoven, 4ème symphonie, 4ème mouvement mm. 184-192. © Dover Publications, 1989 https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-21/brahms-symphony-no-2 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7b6033d7-dd60-4ce1-8ba1-1a0e571aad11/Exemple21-ContrasteEquilibreSuccessifs-Brahms2-2.png Examples - Brahms | Symphony No. 2 | Ex. 21 - Make it stand out Figure 21. J. Brahms, 2ème symphonie, 1er mouvement, mm. 286-297. © Dover Publications, 1974. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/31170bdc-951a-450d-9818-d85456064a6e/Exemple21-ContrasteEquilibreSuccessifs-Brahms2-1.png Examples - Brahms | Symphony No. 2 | Ex. 21 - Make it stand out Figure 21. J. Brahms, 2ème symphonie, 1er mouvement, mm. 286-297. © Dover Publications, 1974. https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-22/bruckner-symphony-no-7 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3a7cfc5b-16e1-4fe9-b762-2b4169ce1072/Screenshot+2024-04-08+at+12.12.41+PM.png Examples - Bruckner | Symphony No. 7 | Ex. 22 - Make it stand out Figure 22. A. Bruckner, 7ème symphonie, Finale, lettre S. © E, Eulenburg, https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-23/ligeti/atmospheres monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/801f33a8-d485-4f5e-ad81-03774bcfb48c/ligeti-ex-23.png Examples - Ligeti | Atmosphères | Ex. 23 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/853ec79f-e482-4cb3-8af6-6ab8e3f20be8/Exemple23-ContrasteEquilibreSuccessifs-Ligeti-1.png Examples - Ligeti | Atmosphères | Ex. 23 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/all-examples/cahiers-d-orchestration/ex-24/mendelssohn-les-hebrides monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b6e711f7-ffff-4234-b23f-a4171c8f24cf/exemple24-ContrasteEquilibreSuccessifs-MendelssohnHebrides1-5.jpg Examples - Mendelssohn | Les Hébrides | Ex. 24 - Make it stand out 5 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9e9a5a9a-0a8a-4ab6-8ab5-927ca013fa7e/exemple24-ContrasteEquilibreSuccessifs-MendelssohnHebrides1-3.jpg Examples - Mendelssohn | Les Hébrides | Ex. 24 - Make it stand out 3 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d310fd73-0584-4de1-8d6a-13df1644c356/exemple24-ContrasteEquilibreSuccessifs-MendelssohnHebrides1-2.jpg Examples - Mendelssohn | Les Hébrides | Ex. 24 - Make it stand out 2 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a9e02d72-6183-417a-8bd0-78e17d89ec17/Exemple25-ContrasteEquilibreSuccessifs-MendelssohnHebrides2-1.jpg Examples - Mendelssohn | Les Hébrides | Ex. 24 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1250424f-ac66-49f4-a6cd-2ebff2bca6a4/exemple24-ContrasteEquilibreSuccessifs-MendelssohnHebrides1-4.jpg Examples - Mendelssohn | Les Hébrides | Ex. 24 - Make it stand out 4 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e92065b0-a155-485b-b4a8-b1a5f11d5b26/exemple24-ContrasteEquilibreSuccessifs-MendelssohnHebrides1-1.jpg Examples - Mendelssohn | Les Hébrides | Ex. 24 - Make it stand out 1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a7eca50e-f24a-4622-9acb-e32eaa2b8793/Exemple25-ContrasteEquilibreSuccessifs-MendelssohnHebrides2-2.jpg Examples - Mendelssohn | Les Hébrides | Ex. 24 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://timbreandorchestration.org/all-examples/toge/ex-1 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2279a1c8-226b-45c2-97ff-8583803f1e10/Ex1.png Examples - Auditory Grouping Mechanisms | TOGE Ex. 1 - Make it stand out Example 1. Auditory grouping gives rise to events from which perceptual properties are extracted, which then acquire musical functions within a given sonic context https://timbreandorchestration.org/all-examples/toge/ex-2 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cfc472b7-0e78-45d8-a617-3dfbf697fb61/Ex2.png Examples - Grouping Processes | TOGE Ex. 2 - Make it stand out Example 2. Auditory grouping processes and the resulting perceptual qualities and corresponding orchestral effects. [Adapted from Goodchild and McAdams 2021, Fig. 1] https://timbreandorchestration.org/all-examples/toge/ex-3 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ead4b550-d044-4455-b27d-710566cd4edc/Ex3.png Examples - Concurrent Grouping | TOGE Ex. 3 - Make it stand out Example 3. Taxonomy of concurrent auditory grouping phenomena https://timbreandorchestration.org/all-examples/toge/ex-4 monthly 0.5 2024-05-18 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2dce4dd9-f4d1-4af2-97bd-1dba30041890/Ex4.png Examples - Debussy | La Mer | TOGE Ex. 4 - Make it stand out Example 4. Timbral augmentation (sustained, stable): Debussy, La Mer, i, mm. 122–31 Audio example 1a is the English horn alone, 1b adds the two solo celli, and 1c is the full context [simulation from OrchPlayMusic Library] https://timbreandorchestration.org/all-examples/toge/ex-5 monthly 0.5 2024-05-18 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/840002fb-2afc-4f48-b3d7-85d1d263bfe1/Ex5.jpg Examples - Wagner | Parsifal | TOGE Ex. 5 - Make it stand out Example 5. Timbral augmentation (sustained, transforming): Wagner, Parsifal, Overture, mm. 20–25 https://timbreandorchestration.org/all-examples/toge/ex-6 monthly 0.5 2024-05-27 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2b5fa9c3-6688-431f-9294-984af2be0d29/Ex6.png Examples - Sibelius | Symphony no. 5 | TOGE Ex. 6 - Make it stand out Example 6. Timbral augmentation (punctuated): Sibelius, Symphony no. 5, op. 82, iii, mm. 474–482 Audio example 3 [recording of Berliner Philharmoniker conducted by Herbert von Karajan, Deutsche Grammophon] https://timbreandorchestration.org/all-examples/toge/ex-7 monthly 0.5 2024-05-27 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/65d2ceaf-ae2b-4466-9541-b4423d426cb6/Ex7.jpg Examples - Debussy | La Mer | TOGE Ex. 7 - Make it stand out Example 7. Timbral emergence (sustained, stable): Debussy, La Mer, i, mm. 6–17 Audio example 4a presents the blend of English horn plus muted trumpet and 4b adds the full musical context [simulation from OrchPlayMusic Library] https://timbreandorchestration.org/all-examples/toge/ex-8 monthly 0.5 2024-05-27 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d0ba6044-2e26-40c2-9de1-7f12d1d344fd/Ex8.jpg Examples - Schoenberg | Five Pieces for Orchestra | TOGE Ex. 8 - Make it stand out Example 8. Timbral emergence (sustained, transforming): Schoenberg, Five Pieces for Orchestra op. 16, iii, mm. 1–11 Audio example 5 [recording of BBC Symphony conducted by Pierre Boulez, CBS Masterworks] https://timbreandorchestration.org/all-examples/toge/ex-27 monthly 0.5 2024-05-17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/633748f1-7563-4192-ac3d-d119b5264be2/Ex27.png Examples - Haydn| Symphony No. 100 | TOGE Ex. 27 - Make it stand out Example 27. Sectional boundaries: Dolan’s (2013b) orchestral graph of Haydn, Symphony no. 100, ii. Colors represent different instruments and the line thickness corresponds to notated dynamics. The instruments are arranged with strings at the bottom followed by woodwinds, brass, and percussion. 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online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/23aa9ff4-405b-4e3f-a431-24802bee0aac/Exemple5-ContrasteEquilibreSuccessifs-Mozart40-1.jpg Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2693b0f5-a9dd-4803-a32b-7c7c4d183a9c/Exemple9-ContrasteEquilibreSuccessifs-Mahler2-1.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Figure 9. 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Mahler, 2ème symphonie, 5ème mouvement, 8 m. après 3. © Friedrich Hofmeister, Leipzig, 1897, pag. 140 Cliquez ici pour la partition et l’audio https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e141981b-1e31-40ac-89a1-c782b9c10f10/Exemple1-ContrasteEquilibreSuccessifs-Beethoven5-1.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/00abca5e-a656-447d-bc99-7780c17023a6/Exemple19-ContrasteEquilibreSuccessifs-Beethoven9-1.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7b6033d7-dd60-4ce1-8ba1-1a0e571aad11/Exemple21-ContrasteEquilibreSuccessifs-Brahms2-2.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/09251dfa-6b93-412d-a97e-60106d73d9a1/Exemple13-ContrasteEquilibreSuccessifs-Beethoven7%28III%29-1.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d310fd73-0584-4de1-8d6a-13df1644c356/exemple24-ContrasteEquilibreSuccessifs-MendelssohnHebrides1-2.jpg Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/33988ba4-85ba-4a0c-b9c7-570f5580b400/Exemple6-ContrasteEquilibreSuccessifs-HandelFireworks-1.jpg Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2e1574e2-8187-4280-9f8b-fc865ec0dbec/Exemple15-ContrasteEquilibreSuccessifs-TchaikovskyRomeo_and_Juliet-1.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0f883663-82da-471d-a616-b8c45f6b348b/Exemple11-ContrasteEquilibreSuccessifs-TchaikovskyDestiny-1.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/87f20300-93fa-4d13-801c-b1c1b90971bb/Exemple17-ContrasteEquilibreSuccessifs-Victoria-1.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/a9e02d72-6183-417a-8bd0-78e17d89ec17/Exemple25-ContrasteEquilibreSuccessifs-MendelssohnHebrides2-1.jpg Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0fd26f9a-8302-4edc-8403-0763f79da040/Exemple10-ContrasteEquilibreSuccessifs-CarmenDanseBoheme-1.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2fe9e566-3a1a-4066-8204-565613787e6b/Exemple20-ContrasteEquilibreSuccessifs-Beethoven4-1.jpg Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f997db8e-262b-4f6b-aa36-1b9eb6be840c/Exemple3-ContrasteEquilibreSuccessifs-BerliozMarcheSupplice-1.jpg Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3c775d0b-0510-4703-ab13-86890e28b18e/Exemple18-ContrasteEquilibreSuccessifs-Beethoven3%28III%29-1.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e7365de3-4ac7-4b17-a92a-33aae9271341/Exemple4-ContrasteEquilibreSuccessifs-Beethoven8-1.jpg Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4dfa7d6c-11ff-49f8-9ae1-d7fcd27cef51/Screenshot+2024-03-07+at+10.50.45+PM.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ebc86e60-8d6d-4cc4-b2da-babe42fb67c7/Exemple7-ContrasteEquilibreSuccessifs-Mahler4-1.jpg Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fb4e54d6-e59b-4bef-8c67-9a11a48012ef/Exemple14-ContrasteEquilibreSuccessifs-Bartok-1.jpg Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5ab16fbd-06e9-4697-a169-da9ffaae228b/Exemple16-ContrasteEquilibreSuccessifs-Tchaikovsky-6-III+-1.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/801f33a8-d485-4f5e-ad81-03774bcfb48c/ligeti-ex-23.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3a7cfc5b-16e1-4fe9-b762-2b4169ce1072/Screenshot+2024-04-08+at+12.12.41+PM.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/004ffcec-8441-493e-94a5-d03d9267722f/Exemple8-ContrasteEquilibreSuccessifs-CarmenGardeMontante-1.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Figure 8. G. Bizet, 2ème suite de Carmen, La Garde montante, début. © Breitkopf und Härtel, c. 1910 Cliquez ici pour la partition et l’audio https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/bf9a87d3-d3b2-4de5-8146-0285de601cf5/Screenshot+2024-04-08+at+1.30.36+PM.png Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c8b79363-9676-4d74-84fd-df149787720c/Exemple12-ContrasteEquilibreSuccessifs-TchaikovskyCrescendo-1.jpg Traités - L'équilibre et le contraste dans la succession de scènes orchestrales - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/71a44553-5a02-40ad-a866-6a7b209c3c0c/Screenshot+2024-03-07+at+11.01.42+PM.png Traités - L'équilibre et le contraste 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https://timbreandorchestration.org/research-ensembes/compositions/hughes/talking-politics-in-a-coffee-shop monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/khorsandi/hijacked monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/kofman/stacks monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/konick/voices monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/kramer/e-rock monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/lauvray/for-narrow-is-the-door monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/liu/etude-for-echoes monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/mitsialis/timbral-junctions monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/rossi/per-mutare monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/sadaka/pado monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/song/stendhal-etudes monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/stephenson/data-for-the-study-of-timbral-modulation monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/webb/a-circle-within-a-circle monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/zaba/gone-fission monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/zhou/scenarios monthly 0.5 2024-12-04 https://timbreandorchestration.org/research-ensembes/compositions/category/Composer monthly 0.5 https://timbreandorchestration.org/research-ensembes/compositions/category/CORE+Recording monthly 0.5 https://timbreandorchestration.org/research-ensembes/compositions/tag/CORE+Round+1 monthly 0.5 https://timbreandorchestration.org/research-ensembes/compositions/tag/CORE+Round+2 monthly 0.5 https://timbreandorchestration.org/research-ensembes/compositions/tag/CORE+Round+3 monthly 0.5 https://timbreandorchestration.org/research-ensembes/compositions/tag/CORE+Round+3b monthly 0.5 https://timbreandorchestration.org/fr/taxonomie daily 0.75 2024-09-24 https://timbreandorchestration.org/fr/taxonomie/timbral-augmentation monthly 0.5 2024-09-24 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619097394880-4ERU7H70Y35N6OEQHID7/image-asset.jpeg Taxonomie - Timbral Augmentation Example 3. Wagner, Parsifal, Overture, mm. 20-25 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619097393101-2B41TB34SNXF1AAZ6IU2/image-asset.png Taxonomie - Timbral Augmentation Example 1. Debussy, La Mer, i, mm. 122-131 https://timbreandorchestration.org/taxonomies daily 0.75 2024-12-25 https://timbreandorchestration.org/taxonomies/blog-post-title-one-69y73 monthly 0.5 2020-08-25 https://timbreandorchestration.org/taxonomies/blog-post-title-two-g3p8l monthly 0.5 2020-05-20 https://timbreandorchestration.org/taxonomies/blog-post-title-three-6m4cc monthly 0.5 2020-05-20 https://timbreandorchestration.org/taxonomies/blog-post-title-four-ljka8 monthly 0.5 2020-05-20 https://timbreandorchestration.org/contact daily 0.75 2025-01-25 https://timbreandorchestration.org/publications/blog daily 0.75 2024-05-20 https://timbreandorchestration.org/newsletter-subscription daily 0.75 2021-06-18 https://timbreandorchestration.org/form/timbre-and-orchestration-resource daily 0.75 2021-06-18 https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/concurrent-grouping/timbral-augmentation daily 0.75 2024-09-24 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619097393101-2B41TB34SNXF1AAZ6IU2/image-asset.png Timbral Augmentation — Taxonomy of Orchestral Grouping Effects Example 1. Debussy, La Mer, i, mm. 122-131 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619097394880-4ERU7H70Y35N6OEQHID7/image-asset.jpeg Timbral Augmentation — Taxonomy of Orchestral Grouping Effects Example 3. Wagner, Parsifal, Overture, mm. 20-25 https://timbreandorchestration.org/instruments daily 0.75 2025-06-19 https://timbreandorchestration.org/resources/instruments/ensembles/chinese-orchestra daily 0.75 2024-04-10 https://timbreandorchestration.org/orchestral-register daily 0.75 2021-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142075709-ZURKGXL7OTG0Z3BK919Q/25+-+Violoncello+-+Ranges+-+001.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142076727-R713UTBQPEDPYMAAOD4O/25+-+Violoncello+-+Ranges+-+018.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142077576-MFM6QMQI9HJ5VIQ5L1TD/25+-+Violoncello+-+Ranges+-+017.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142078742-MEFW7F120AXZQTHUQAR2/25+-+Violoncello+-+Ranges+-+016.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142079561-74NCEU3W680IERZ4J278/25+-+Violoncello+-+Ranges+-+015.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142080357-7UIEKVHAZQXVWOTXELDL/25+-+Violoncello+-+Ranges+-+014.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142081095-75TW8SLIBPQ5V2X838ST/25+-+Violoncello+-+Ranges+-+013.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142082135-O1WAFISFWOWOX5KIFYZR/25+-+Violoncello+-+Ranges+-+012.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142082892-M0YJQMTIF4R37B41RDJE/25+-+Violoncello+-+Ranges+-+011.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142083700-LBMTKFIG0BCSYDU6VRTT/25+-+Violoncello+-+Ranges+-+010.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142084589-2KIKIUO09TE9VD9D419S/25+-+Violoncello+-+Ranges+-+009.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142085357-GIHMM7J01LAYBGOBA7MH/25+-+Violoncello+-+Ranges+-+008.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142086423-KXU7OYMOXBEPP438N1XV/25+-+Violoncello+-+Ranges+-+007.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142087385-V2Y63NBOMYCW9756TWFP/25+-+Violoncello+-+Ranges+-+006.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142088278-V5VIWU9WGBT14AF4VU5A/25+-+Violoncello+-+Ranges+-+005.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142089192-94OEK2JYCP1DP48GBW68/25+-+Violoncello+-+Ranges+-+004.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142089945-AXA91XF7T08QRDN47DLM/25+-+Violoncello+-+Ranges+-+003.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142090789-GL7WUPATTJDFN2C64HN0/25+-+Violoncello+-+Ranges+-+002.png Orchestral Register https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619142073509-BJEGHQHT9CIJS77MCIHS/image-asset.jpeg Orchestral Register https://timbreandorchestration.org/instruments/ensembles/chinese-orchestra/bowed-strings daily 0.75 2023-04-06 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143214805-E0UU4XKPVE9HI6CWN97N/image-asset.png Bowed Strings — Chinese Orchestra | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143215908-OFRQF4TJ1ILF4OCCKVEM/image-asset.png Bowed Strings — Chinese Orchestra | Homepage Dance of Yao (瑶族舞曲) by Liu Tieshan and Mao Yuan, arr. Peng Xiuwen https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143225279-VAJT1A65XBDQHJ7RHLQB/image-asset.png Bowed Strings — Chinese Orchestra | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143218160-GERMJM7V7HBPSK069MF6/image-asset.png Bowed Strings — Chinese Orchestra | Homepage Harvest Drums (丰收锣鼓) by Peng Xiuwen and Cai Huiquan https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143224199-PJTO7ZP70FH1EZNQ8QQX/image-asset.png Bowed Strings — Chinese Orchestra | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143219750-EZ0YNEFIMCF93LH91FCG/image-asset.png Bowed Strings — Chinese Orchestra | Homepage Luanyunfei (乱云飞) opera tune, arr. Peng Xiuwen https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143220576-UZ04V24HFD3U97W2MM6R/image-asset.png Bowed Strings — Chinese Orchestra | Homepage Lord of Western Qin (西秦王爷) by Lu Yun https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143222703-BE97I1GYS01YB5OSTFQX/image-asset.png Bowed Strings — Chinese Orchestra | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143213984-SRXDKEP6IQ5IWM6ELZ2U/image-asset.png Bowed Strings — Chinese Orchestra | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143211509-OSA29UP4Q7OT28B0N89V/image-asset.jpeg Bowed Strings — Chinese Orchestra | Homepage (click to enlarge) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143213195-2YB6F2GAW5JY3KQDWMR7/image-asset.png Bowed Strings — Chinese Orchestra | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143209768-PKHRU8I56FRA1B1YC2LL/image-asset.jpeg Bowed Strings — Chinese Orchestra | Homepage (click to enlarge) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143210737-M5L4TWJVGJFPJKGPM6WO/image-asset.jpeg Bowed Strings — Chinese Orchestra | Homepage (click to enlarge) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143216852-ZZCMNYKQEX6YUNRSBY3D/image-asset.png Bowed Strings — Chinese Orchestra | Homepage Unforgettable Water Festival (难忘的泼水节) by Liu Wenjin https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143221615-G8CLPTJVLGEM0NHAYKQ6/image-asset.png Bowed Strings — Chinese Orchestra | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619143229272-TJSBXOL5O31GXGKUSEYQ/image-asset.jpeg Bowed Strings — Chinese Orchestra | Homepage https://timbreandorchestration.org/instruments/repertoire-examples daily 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Repertoire for Keyboard Instruments https://timbreandorchestration.org/instruments/repertoire-examples/plucked-instruments daily 0.75 2024-08-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619144285900-ACGJRG8KHZE42PP2OCGM/image-asset.jpeg Repertoire for Plucked Instruments https://timbreandorchestration.org/instruments/repertoire-examples/strings daily 0.75 2024-08-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619144300609-UHAYQW519BDD74Q9Z2CA/image-asset.jpeg Repertoire for Strings https://timbreandorchestration.org/missing-page daily 0.75 2022-10-31 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1642651954718-YX42NH7GAPLKVEOV5EHQ/unsplash-image-T-tOgjWZ0fQ.jpg Missing Page https://timbreandorchestration.org/tor/odessa/sections-info daily 0.75 2021-04-23 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/cf3d335f-518b-4371-a173-84a43dc71549/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-001.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/38c14094-41f4-492b-9dc2-05357197dc92/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-002.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1abe257d-3582-49e0-a3a3-2a1a93b46827/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-003.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ac4bff8c-a30a-4872-96e3-ce177e7bf962/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-004.jpg ODESSA Sections Info 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https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/12668ecd-1f1f-469c-8744-435be75e5408/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-141.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/e5a8fc8c-77ac-41b8-b64c-515cae1f4ff0/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-142.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f083086c-852e-487f-93cb-5bf83d1c585c/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-143.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d524d184-3337-46f7-822e-369cb046f94f/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-144.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/d0bf3113-ba3a-4f2f-95d2-b671db932e9d/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-145.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3e149d76-18ee-4601-8353-74c403435ee0/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-146.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0254ce3b-5281-472c-9e81-20c1658d7ac2/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-147.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f2c1c6c8-8cad-4c20-b309-2bb3f4517f3b/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-148.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/357313e0-a102-4c4f-9d77-992190208a84/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-149.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/2f737a22-2114-4f68-b876-9945f1614119/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-150.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/04c78590-817f-4552-bdf5-aee3e19204c6/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-151.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/881aa04d-62d7-477c-a092-7ff1ec877d01/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-152.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7dc21eaa-2d1e-4fb6-98dd-7ee0aeee1e2d/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-153.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/c4d03e59-1b2b-4f60-918c-dc5c0dc79616/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-154.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8be61893-ee90-4efa-97fa-6e2dd8f3fbd5/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-155.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/04b0a600-4700-4cba-b61c-e2096a89a467/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-156.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/3030dd7a-6068-4b7c-83fd-68f2f919f390/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-157.jpg ODESSA Sections Info https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7987dc21-c088-45f2-bb94-1ce9ab82f917/Tchaikovsky_-_Symphony_No.6_in_B_minor%2C_Op.74__TH_30__CW_27%2C_+Pathetic+_w-bar-numbers-page-158.jpg ODESSA Sections Info https://timbreandorchestration.org/odessa daily 0.75 2024-11-29 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644522446260-R2Y96TLS812TR8VQ5P7O/OUM_RivestEtLaPathetique_13oct18-24.jpg ODESSA I - Homepage - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1644522498335-19KMF8KLF8SI5ULUG8VA/OUM_RivestEtLaPathetique_13oct18-25.jpg ODESSA I - Homepage - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149579639-OS5Z0N0ENSMRESWPZW6A/20180930_124326.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149580461-0Z4ML6QC5XEKT16LNTNG/20180930_124338.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149582198-7VA5EAXFHRK658HVBONO/20180930_123939.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149583064-6VXN6TDGK8B5PRMXKXH9/20180930_123858.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149584453-7NGDIRVB2R4IRDGTXJ9V/20180930_123823.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149585388-NAGMPJ9797ZBT67EG7UI/20180930_123423.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149586210-M4Z5BXDWT17D74OT1RDH/20180930_112319.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149587198-W62FD2OQXDV5XS1Z4NOM/20180930_123419.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149588299-AOK05MWZ59URD6737INK/20180930_110824.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149589581-WX59M4BU1N6UVRL5MA2H/20180929_161735.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149590691-SH84TVRFS6HZW7YTQBV0/20180929_161705.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149591613-A3Q6CYJCC5X68ZNAJMS0/20180929_165446.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149592605-EKRGFMMDJIH2LRXJBN4N/20180929_165016.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149593713-I0P9N9ZHF2Y49JNKZ7IM/20180929_164802.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149594673-6WSBV82C9DM006YKMATH/20180929_165004.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149595583-O6QC5JP4LQLWV5Y7K8CU/20180929_164413.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149596670-P93L4GRYYB8NRQDSYLMA/20180929_164214.jpg ODESSA I - Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149597752-Q7SHKTQ21X7VMZZ96VQH/20180929_164119.jpg ODESSA I - Homepage https://timbreandorchestration.org/odessa/recordings daily 0.75 2024-12-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427408470-BFWJXXW41N34N6QI8LB1/S5+A_Strings-1.jpg ODESSA I - Recordings - Subject 2 | Example A Thematic and motivic counterpoint https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427408551-8KSWJ2OWDQH8SHHSA3VY/S5+B_WindsBrass_InC-1.jpg ODESSA I - Recordings - Subject 2 | Example B Winds and Brass only https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427409397-5ZMZNU7YZ3CAAYFDSVFP/S5C_Tutti_InC-1.jpg ODESSA I - Recordings - Subject 2 | Example C1 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427409477-YCH3P3P5I26J5P2M7B85/S5C_Tutti_InC-2.jpg ODESSA I - Recordings - Subject 2 | Example C2 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427410310-R78YT2UL2X20YR6UGOU0/S5C_Tutti_InC-3.jpg ODESSA I - Recordings - Subject 2 | Example C3 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427410420-2I3QFBQAOYUNBMMGT9S0/S5C_Tutti_InC-4.jpg ODESSA I - Recordings - Subject 2 | Example C4 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658422072795-FUACWX0FYQI1IKYDJ2AV/S3+1_InC-1.jpg ODESSA I - Recordings - Subject 4.1, Example A Harmony only https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658422072311-YS40O4MY2I8G3RYS8R60/S3+2_InC-1.jpg ODESSA I - Recordings - Subject 4.1, Example B Contrechant only https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658422073037-TBHQ60GFQ030RZHTC5S1/S3+3_InC-1.jpg ODESSA I - Recordings - Subject 4.1, Example C Melody only https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658422073622-THH21XYD6FAYQMEY0QGB/S3_Tutti_InC-1.jpg ODESSA I - Recordings - Subject 4.1, Example D1 Tutti https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658422074147-ZMQQPN93SDJ5Z1IP47ZT/S3_Tutti_InC-2.jpg ODESSA I - Recordings - Subject 4.1, Example D2 Tutti https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/054323b1-2e5e-474f-81a1-d2ec8ed5ddd7/S2_InC-1.jpg ODESSA I - Recordings - Subject 4.2, Examples A and B Same score for both Examples. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455269791-79JGNR7I0W404VALJ1OT/S9_Tutti_InC-01.jpg ODESSA I - Recordings - Subject 9 | Example A1 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455270018-1EQLOADDTQLRRVAV6TDC/S9_Tutti_InC-02.jpg ODESSA I - Recordings - Subject 9 | Example A2 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455270854-G99HECLCFKPZMO5UAXAX/S9_Tutti_InC-03.jpg ODESSA I - Recordings - Subject 9 | Example A3 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455271086-I261NUATLGP3AZY6ZDKD/S9_Tutti_InC-04.jpg ODESSA I - Recordings - Subject 9 | Example A4 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455271611-1S969AHEQ6PJJPM39CZ2/S9_Tutti_InC-05.jpg ODESSA I - Recordings - Subject 9 | Example A5 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455271916-MUWA4R4A5UQN7ADMSVW2/S9_Tutti_InC-06.jpg ODESSA I - Recordings - Subject 9 | Example A6 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455272357-DJM05T4SKSNELM4XBE0P/S9_Tutti_InC-07.jpg ODESSA I - Recordings - Subject 9 | Example A7 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455272708-XDTP1ZM5R7JMWQL0RKVA/S9_Tutti_InC-08.jpg ODESSA I - Recordings - Subject 9 | Example A8 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455273108-MGQ0ZAZO54BVQIAQNYJB/S9_Tutti_InC-09.jpg ODESSA I - Recordings - Subject 9 | Example A9 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455273479-BYZ84WVVSR0KTNJL02T3/S9_Tutti_InC-10.jpg ODESSA I - Recordings - Subject 9 | Example A10 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455273972-M00DKEJMJSA05TC50DTJ/S9_Tutti_InC-11.jpg ODESSA I - Recordings - Subject 9 | Example A11 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455274384-DJPLHM2RP86Z940Q0BGH/S9_Tutti_InC-12.jpg ODESSA I - Recordings - Subject 9 | Example A12 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455274817-D9BAHHM6B1Z58KYQU0DF/S9_Tutti_InC-13.jpg ODESSA I - Recordings - Subject 9 | Example A12 Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658427259719-ZY2BT2KX6I7CGP81OJV2/S4_ViolinI-1.jpg ODESSA I - Recordings - Subject 1 | All Examples https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658430083811-CM0SY55V81400F247EYA/S6+1_InC-1.jpg ODESSA I - Recordings - Subject 3 | Example A harmony+ counter-subject https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658430083663-KORIIDOWH4LMMXILTOJY/S6+2-1.jpg ODESSA I - Recordings - Subject 3 | Example B melody alone https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658430084568-PRYAAVAMLSPSR2REWV76/S6C_Tutti_InC-1.jpg ODESSA I - Recordings - Subject 3 | Example C1 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658430084770-CWODG1DNKQ4F114IYXK5/S6C_Tutti_InC-2.jpg ODESSA I - Recordings - Subject 3 | Example C2 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658430085323-85KOPGMCG8S9906UEOB0/S6C_Tutti_InC-3.jpg ODESSA I - Recordings - Subject 3 | Example C3 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658430085697-NE7TNUFZMT2T1KHW5FAM/S6D_Tutti_InC-1.jpg ODESSA I - Recordings - Subject 3 | Example D1 Full orchestration, extended section https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658430086070-BDQN9U5PEH04P8461JKU/S6D_Tutti_InC-2.jpg ODESSA I - Recordings - Subject 3 | Example D2 Full orchestration, extended section https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658430086530-J4WO1H5PWUMLCZYZGIUR/S6D_Tutti_InC-3.jpg ODESSA I - Recordings - Subject 3 | Example D3 Full orchestration, extended section https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658430086935-7HM3Q23XYBSQ0JFBQ63N/S6D_Tutti_InC-4.jpg ODESSA I - Recordings - Subject 3 | Example D4 Full orchestration, extended section https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658430087408-BLU4C0336GW4YPS7KTF3/S6D_Tutti_InC-5.jpg ODESSA I - Recordings - Subject 3 | Example D5 Full orchestration, extended section https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658430087741-MUKXELL15IJISBIVNV3J/S6D_Tutti_InC-6.jpg ODESSA I - Recordings - Subject 3 | Example D6 Full orchestration, extended section https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/0ae8699b-3340-430c-8a59-ed171e300008/0001.jpg ODESSA I - Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/19ff7b53-4433-402f-b63a-bff5c8d8fb10/0002.jpg ODESSA I - Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658421442817-074UG6DYTRQOEVYPRH38/0003.jpg ODESSA I - Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658421442774-8H5CXKSRZ8CQK5IEELMH/0004.jpg ODESSA I - Recordings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658454845082-18MC70U3GFMPQ43N89FQ/S8_1-1.jpg ODESSA I - Recordings - Subject 7 | Example A Percussion https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658454846805-2ITUJWILDQVMTH5ZVVCS/S8_2_InC-1.jpg ODESSA I - Recordings - Subject 7 | Example B Percussion and Brass https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658454847361-AIHJF4V662O1632GLPEL/S8_3_InC-1.jpg ODESSA I - Recordings - Subject 7 | Example C Woodwinds and Strings https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658504439524-97RK0JITWLYV17XBMM3R/S8_Tutti_InC-1.jpg ODESSA I - Recordings - Subject 7 | Example D1 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658504439507-7I3HKDWVQ04KQR0JCJDQ/S8_Tutti_InC-2.jpg ODESSA I - Recordings - Subject 7 | Example D2 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658504440552-808N82MDL7G6UZHAA1Z5/S8_Tutti_InC-3.jpg ODESSA I - Recordings - Subject 7 | Example D3 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658504440643-NCXVX5QBV1SXK3J3OEJ7/S8_Tutti_InC-4.jpg ODESSA I - Recordings - Subject 7 | Example D4 Full orchestration https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455423972-JBD82VCUTNOX0RZ079U9/S10_A-1.jpg ODESSA I - Recordings - Subject 6 | Examples A Strings only. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455424169-9LPPX36II1ZX1N9026K3/S10_B_InC-1.jpg ODESSA I - Recordings - Subject 6 | Examples B Woodwinds only. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455424866-KPT68H65CNIPD8TQIKVO/S10_C_InC-1.jpg ODESSA I - Recordings - Subject 6 | Examples D Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455646987-XSJAAY231X7U2IO4WHTV/S12_A_InC-1.jpg ODESSA I - Recordings - Subject 8.1 | Example A Woodwinds only. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455647592-NRQ5ICE8AV36GYS3A1LX/S12_B_InC-1.jpg ODESSA I - Recordings - Subject 8.1 | Example B Full orchestration. Score in C. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455526135-L7G1K96XE9GGPFEX5P7S/S11_A-1.jpg ODESSA I - Recordings - Subject 8.2 | Example A Violin II https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455526163-LQ8T5TB9OC5EHBQQRFOF/S11_B-1.jpg ODESSA I - Recordings - Subject 8.2 | Example B Violin I https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455526593-XN2YI5GW4C1ZI7GSOOEW/S11_C_D-1.jpg ODESSA I - Recordings - Subject 8.2 | Examples C &amp; D Ex. C: Violins I&II: violin II leads Ex. D: Violins I&II: Even https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1658455526705-8FX987EQSL1KVAL00KUV/S11_E-1.jpg ODESSA I - Recordings - Subject 8.2 | Examples E Full string section. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619149624172-MA5PIF63953G7N4KWM3G/image-asset.jpeg ODESSA I - Recordings https://timbreandorchestration.org/orchestras daily 0.75 2021-04-23 https://timbreandorchestration.org/tor/modules/orchestration-textbooks/rimsky-korsakov daily 0.75 2021-05-01 https://timbreandorchestration.org/tor/reorchestration daily 0.75 2022-02-21 https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/concurrent-grouping/timbral-emergence daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204412717-FJP5DL871GVBAAKZT6WA/image-asset.png Timbral Emergence — Taxonomy of Orchestral Grouping Effects (Copy) Stable Timbral Emergence, ex.1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204414465-28FEG7NHVOG058SWZ7XY/image-asset.png Timbral Emergence — Taxonomy of Orchestral Grouping Effects (Copy) Punctuation Blend, Timbral Emergence, ex. 2. Beethoven, Symphony no. 7 in A major, i, mm. 124–127 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204413612-4J2TT9CS7HONMT2P3ROF/image-asset.png Timbral Emergence — Taxonomy of Orchestral Grouping Effects (Copy) Punctuation Blend, Timbral Emergence, ex. 1. Berlioz, Symphonie fantastique, iv, m. 17 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204415576-AJT3QUE0TUYK0U73RC7A/image24.jpg Timbral Emergence — Taxonomy of Orchestral Grouping Effects (Copy) - Transforming Timbral Emergence, ex.1 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204416334-H9O91T17QV5QYTYPFX1F/image25.jpg Timbral Emergence — Taxonomy of Orchestral Grouping Effects (Copy) https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/concurrent-grouping/timbral-heterogeneity daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204488901-WED5763Q1WP1GSTXTQM2/image-asset.png Timbral Heterogeneity — Taxonomy of Orchestral Grouping Effects (Copy) (Copy) Example 8. Debussy, La Mer, iii, mm. 183-186. Note that the glockenspiel sounds two octaves higher than written. The rest of the orchestra is not shown. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204490051-2PO2V1KNDTBTDS1CDWK6/image30.jpg Timbral Heterogeneity — Taxonomy of Orchestral Grouping Effects (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204490655-VYIWLDNXCWQULQ7EZ04I/image33.jpg Timbral Heterogeneity — Taxonomy of Orchestral Grouping Effects (Copy) (Copy) https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/sequential-grouping/stream daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204511147-UOSKERZQPHFIEZNOMG74/image37.jpg Stream — Sequential Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204512127-O928XEEOLNHGOG2LG1P0/image39.jpg Stream — Sequential Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204509931-HHC7D0S1BEBY1ED9PQRI/image-asset.png Stream — Sequential Grouping — Taxonomy of Orchestral Grouping Effects https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/sequential-grouping/surface-texture daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204532491-ZN8EUFJATERRAJ1J8PT9/image-asset.png Surface Texture — Sequential Grouping — Taxonomy of Orchestral Grouping Effects Example 13. Smetana, The Bartered Bride, Overture, mm. 89–99. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204531723-HRY8DFLS2VRZ65OE40A9/image-asset.png Surface Texture — Sequential Grouping — Taxonomy of Orchestral Grouping Effects Example 12. Smetana, Die Moldau, mm. 187-194. https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/sequential-grouping/stream-segregation daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204553588-HHY0XE23MILC97ZF6CSK/image-asset.png Segregation — Sequential Grouping — Taxonomy of Orchestral Grouping Effects Example 14. Vaughan Williams, The Lark Ascending, mm. 88-94 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204559896-CE2IWU2P12FLJC7DEXZH/image45.jpg Segregation — Sequential Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204561669-GYWBFCSWBJ4TE77M9QY2/image47.jpg Segregation — Sequential Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204562479-IG2D7G2WZRA8CAYQ338R/image48.jpg Segregation — Sequential Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204563545-JG7X1ZTJHJRG2ZZNFE96/image49.jpg Segregation — Sequential Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204556128-947NYSOMQVA3GWI7MWY7/image-asset.png Segregation — Sequential Grouping — Taxonomy of Orchestral Grouping Effects Example 15. Borodin, In the Steppes of Central Asia, mm. 210-218. https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/sequential-grouping/stratification daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204596654-Y93I3LGWRKR6QYGTV4WV/image-asset.png Stratification — Sequential Grouping — Taxonomy of Orchestral Grouping Effects Example 16. Smetana, Die Moldau, mm. 187-194 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204597793-K7A6R3M9S8JA4FTXYQLF/image-asset.png Stratification — Sequential Grouping — Taxonomy of Orchestral Grouping Effects Example 17. Borodin, In the Steppes of Central Asia, mm. 27–42. https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/segmental-grouping/timbral-shifts daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204615117-VP8OYX6KV1Y8BFX4F90A/image-asset.png Timbral Shifts — Segmental Grouping — Taxonomy of Orchestral Grouping Effects https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/segmental-grouping/timbral-echo daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204633736-1CIWNFBBZG7G9981FOFZ/image-asset.png Timbral Echo — Segmental Grouping — Taxonomy of Orchestral Grouping Effects Example 19. Sibelius, Symphony no. 2 in D major, ii, mm. 120-128. https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/segmental-grouping/general-contrasts daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204659916-NI5VU6VL49IZWJJLYTG4/image-asset.png Timbral Juxtapositions — Segmental Grouping — Taxonomy of Orchestral Grouping Effects Example 21. Sibelius, Symphony no. 2, ii, mm. 67–75. https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/segmental-grouping/antiphonal-contrasts daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204679758-IY2I3F3OYQYT8FSV637N/image-asset.jpeg Antiphonal Contrasts — Segmental Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204677967-OKD38BRPVWNI3JQDXE03/image-asset.png Antiphonal Contrasts — Segmental Grouping — Taxonomy of Orchestral Grouping Effects Example 18. Haydn, Symphony no. 100 in G major (Military), ii, mm. 61–64 https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/segmental-grouping/sectional-boundaries daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619204716172-0HHYQP35K6PUWQ5FYUK2/image-asset.png Sectional Boundaries — Segmental Grouping — Taxonomy of Orchestral Grouping Effects Figure 3. Dolan’s (2013b) orchestral graph of Haydn, Symphony no. 100, ii. Colors represent different instruments and the line thickness corresponds to notated dynamics. The instruments are arranged from bottom to top in order of decreasing presence, with strings at the bottom followed by woodwinds, brass, and percussion. The horizontal bracket over the second panel indicates the measures included in Sound example V. (from Dolan 2013b, used with permission) https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/introduction daily 0.75 2024-09-24 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205028459-WH5I82FUYH02JDJJHL0L/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects - Timbral Augmentation Examples https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205030374-YHDWPPND7PENRDK1ZE1N/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects - Score and Audio Examples https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205026043-CAYKZZNNDZYA2TD7P0PF/image-asset.png Introduction — Taxonomy of Orchestral Grouping Effects Auditory grouping processes and the resulting perceptual qualities and orchestral effects. [Reproduced from Goodchild and McAdams, 2018, Fig. 1] https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205034316-9OSA4LLKFD9VCMQ9G4NS/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects - Stratification Stratification https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205039076-542G3N2C1P6L2L3TED69/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205030986-IAS8QNL61BCA2XY1F9EG/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects Structure of taxonomic categories in Sequential Grouping https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205036544-BI6STYHZKEG7HKWS5D9C/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205026779-BXGM9NU907VQKQOLFVTD/image-asset.png Introduction — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205033406-XUPHMURX8EKP0QXRE1MM/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects - Streams Click to view: Streams / Segregation https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624160897922-CCUHNP6ISLWZLCXJ6434/TOR+-+score+and+audio+-+simple.jpg Introduction — Taxonomy of Orchestral Grouping Effects - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205038304-2P569KNMQA98DOT02ICM/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624160897922-CCUHNP6ISLWZLCXJ6434/TOR+-+score+and+audio+-+simple.jpg Introduction — Taxonomy of Orchestral Grouping Effects - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205027610-VGSO7A058M7BNXGBQZXS/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects Structure of taxonomic categories in Concurrent Grouping https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205029229-77UTEYCESHRHJBDSNEP2/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects - Timbral Emergence https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205031842-G8NM2P1CK6PLUYMIA6S0/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205034971-LA7UD5J2KQT78YNVC5NN/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects Structure of taxonomic categories in Segmental Grouping https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624160897922-CCUHNP6ISLWZLCXJ6434/TOR+-+score+and+audio+-+simple.jpg Introduction — Taxonomy of Orchestral Grouping Effects - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205035692-CAGADUUQ8ES2QUBQZAI6/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624160897922-CCUHNP6ISLWZLCXJ6434/TOR+-+score+and+audio+-+simple.jpg Introduction — Taxonomy of Orchestral Grouping Effects - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619205032647-YP3MENVFDJB9AJFFP83J/image-asset.jpeg Introduction — Taxonomy of Orchestral Grouping Effects 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https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624157799672-UVHLDPL4Y7TEHVMQ4CD0/Screen+Shot+2021-06-19+at+10.56.17+PM.png Gradual Addition — Segmental Grouping — Taxonomy of Orchestral Grouping Effects - Make it stand out Gradual Addition: Mahler, Symphony No.1, iii, mm. 1-32 (Goodchild, 2016, p. 245) https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624159572940-PR3SUN1BSTJS993SYVEH/Screen+Shot+2021-06-19+at+11.25.20+PM.png Gradual Addition — Segmental Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624159571383-VIVKLBVJIZXFXN4ILZ3D/Screen+Shot+2021-06-19+at+11.25.33+PM.png Gradual Addition — Segmental Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624159571967-NLDHTJ8J4G68D35W75L4/Screen+Shot+2021-06-19+at+11.25.46+PM.png Gradual Addition — Segmental Grouping — Taxonomy of Orchestral Grouping Effects https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/segmental-grouping/sudden-addition daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624159394420-F3K1T4BWWNYB3NLINXOH/Screen+Shot+2021-06-19+at+11.22.08+PM.png Sudden Addition — Segmental Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624159393569-AA0KNW5VVZ1VFKZAP8U7/Screen+Shot+2021-06-19+at+11.22.31+PM.png Sudden Addition — Segmental Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624159393217-008B731B6T3ZV4Q7AI8G/Screen+Shot+2021-06-19+at+11.22.16+PM.png Sudden Addition — Segmental Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624159136016-19XY0S6WWTU3438D9UE2/Screen+Shot+2021-06-19+at+11.18.04+PM.png Sudden Addition — Segmental Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624159136373-6SSNDU3DNEY2AZUS6ISO/Screen+Shot+2021-06-19+at+11.18.21+PM.png Sudden Addition — Segmental Grouping — Taxonomy of Orchestral Grouping Effects https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624158104058-M1XNY5R90WEB9Q7Y3WDA/Screen+Shot+2021-06-19+at+11.00.41+PM.png Sudden Addition — Segmental Grouping — Taxonomy of Orchestral Grouping Effects - Make it stand out Sudden Addition: Vaughan Williams’s London Symphony, I (mm. 8-53)(Goodchild, 2016) https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/segmental-grouping/gradual-reduction daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624158557151-WAI5EZ747PEWU0KT8D3D/Screen+Shot+2021-06-19+at+11.08.31+PM.png Gradual Reduction — Segmental Grouping — Taxonomy of Orchestral Grouping Effects Mussorgsky/Ravel, “Bydlo” from Pictures at an Exhibition, mm. 53-64. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624157626289-D0VFH8EP4LD7D4KY592U/Screen+Shot+2021-06-19+at+10.52.56+PM.png Gradual Reduction — Segmental Grouping — Taxonomy of Orchestral Grouping Effects - Make it stand out Goodchild, 2016, p. 248 https://timbreandorchestration.org/tor/modules/taxonomy/orchestral-grouping-effects/examples/segmental-grouping/sudden-reduction daily 0.75 2022-12-14 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/8781dd24-e183-4c03-ba79-44b6231105f8/IMSLP05396-Holst_-_THE_PLANETS_-_Suite_for_Large_Orchestra_-_Partitur-159.jpg Sudden Reduction — Segmental Grouping — Taxonomy of Orchestral Grouping Effects - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/46f193f3-7b0d-46b3-a3ce-a663bfbbf7fc/IMSLP05396-Holst_-_THE_PLANETS_-_Suite_for_Large_Orchestra_-_Partitur-160.jpg Sudden Reduction — Segmental Grouping — Taxonomy of Orchestral Grouping Effects - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1624158300603-31QLDMUJIAW52FVICFPJ/Screen+Shot+2021-06-19+at+11.04.08+PM.png Sudden Reduction — Segmental Grouping — Taxonomy of Orchestral Grouping Effects - Make it stand out HOLST, THE PLANETS, “URANUS,” MM. 193-236 (Goodchild, 2016, p. 254) https://timbreandorchestration.org/tor/content-info daily 0.75 2024-12-14 https://timbreandorchestration.org/publications/writings/amazing-moments-in-timbre daily 0.75 2024-05-20 https://timbreandorchestration.org/publications/writings/timbre-lingo daily 0.75 2024-06-20 https://timbreandorchestration.org/tor/modules/taxonomy daily 0.75 2022-11-18 https://timbreandorchestration.org/links daily 0.75 2024-12-14 https://timbreandorchestration.org/instruments/cello daily 0.75 2025-06-19 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619748398067-MI0X49WKVDQJF60H7MNR/cello_hand-bow_2500-shutterstock_1105605557.jpg Cello | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619748388801-FU45P4UJCHWY8E05DNVL/cello_bridge-fhole_shutterstock_108292712.jpg Cello | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619748493834-D74QZV03K0CMB6HGH0V2/cello_scroll-zoom_shutterstock_1584868525.jpg Cello | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1619748404383-T87PK70QSB00FN2181ZI/cello_bridge_2500-shutterstock_1121103668.jpg Cello | Homepage https://timbreandorchestration.org/instruments/violin daily 0.75 2025-06-19 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https://timbreandorchestration.org/instruments/viola daily 0.75 2025-06-19 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9e261d17-3341-4221-9591-4b58a092fdbb/viola_shutterstock_1873507882-min.jpg Viola | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/52c9f924-f024-4be9-92b8-437efd16a526/viola_shutterstock_141732787-min.jpg Viola | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/fe2e9e2a-5664-48d6-baba-f037eeb02bd4/viola_shutterstock_1757546297-min.jpg Viola | Homepage https://timbreandorchestration.org/instruments/contrabass daily 0.75 2025-06-19 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9b011dd0-ae70-4326-85f6-b9b172fe2725/contrabass-shutterstock_1800240478-min.jpg Contrabass | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/b888d290-bfeb-4433-8318-e7ff76e5d7dd/contrabass-shutterstock_1653608242-min.jpg Contrabass | Homepage 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| Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/de16ba91-ffb9-498d-8de7-04f915efabad/clarinet_shutterstock_98149214-min.jpg Clarinet | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/ad793149-367c-4f63-92d7-738b1f8b7ae4/clarinet_shutterstock_1575909757-min.jpg Clarinet | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/4118d54b-e6f6-4c0b-af2a-e9697f093607/clarinet_shutterstock_790320007-min.jpg Clarinet | Homepage https://timbreandorchestration.org/instruments/english-horn daily 0.75 2025-06-19 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5a2ad8fc-4419-4015-ae2a-f0226d72aff4/English+horn-shutterstock_727377700.jpg English horn | Homepage https://timbreandorchestration.org/instruments/bassoon daily 0.75 2025-06-19 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f1679e63-ff9d-4849-9b32-f576296b9594/bassoon-shutterstock_1360500743-min.jpg 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https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/5ada1dbe-6847-414e-9c22-cc4fc405b003/bass-clarinet_shutterstock_1028308174-min.jpg Bass clarinet | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/69a06a97-28da-4226-b9c0-a1fb88e842d5/bass-clarinet_shutterstock_504570388-min.jpg Bass clarinet | Homepage https://timbreandorchestration.org/instruments/trumpet daily 0.75 2025-06-19 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7da78e4a-bbd1-4df8-9330-24ee5258f998/Trumpet_shutterstock_282401429-min.jpg Trumpet | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/9d407b8d-dcea-43ab-950b-4aa479802644/Trumpet_shutterstock_259420958-min.jpg Trumpet | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/50f0a9da-cf18-4cc0-ada7-483126adba45/Trumpet_shutterstock_1222100014-min.jpg Trumpet | Homepage 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EN APPRENDRE DAVANTAGE -> https://timbreandorchestration.org/instruments/contrabassoon daily 0.75 2025-06-19 https://timbreandorchestration.org/tor/resources/bibliographies daily 0.75 2025-06-13 https://timbreandorchestration.org/instruments/saxophone daily 0.75 2025-06-19 https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/7fb74d52-497b-4c36-a844-7a082801308a/Saxophone-shutterstock_520595017-min.jpg Saxophone | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/f35b674d-6fcf-4ddf-833b-15bf1042228f/Saxophone-shutterstock_251868019-min.jpg Saxophone | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/876c1912-d571-4434-8e0a-0707e50ab53e/Saxophone-shutterstock_615881450-min.jpg Saxophone | Homepage https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/1f9d6615-8045-4570-a9e4-b92b177e8cdb/Saxophone-shutterstock_1158890290-min.jpg Saxophone | Homepage 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