100 ALTO CLEF SIGHT-SINGING DRILLS By this point in my Alto Clef Reading Course, you should have sharpened your recognition of alto clef pitches by using my provided flashcards; developed your own reliable, natural freehand alto clef writing, along with practicing the reversed positions of key signatures; and most importantly of all, studied the repertoire…
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For better control in delicate scoring, use the horn’s middle register, especially in the octave between written G3 to G4 (sounding C3-C4). For this specific area of range, bass clef is recommended if the orchestrator is scoring in concert pitch. I recently moderated a composers workshop hosted by the Academy of Scoring Arts, in which…
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While dovetailing a line between woodwind instruments can feel very natural, truly seamless doubling requires the use of compatible registers between members of the same family. Sometimes, a composer conceives an exposed line that’s so wide in scope that it requires dovetailing between instruments – and yet there may be a need to keep that…
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Comparing the spectrum of normally played harp notes with harmonic tones reveals a wealth of information useful in understanding dynamics, contrasts, and quality of timbre. The poetic, bell-like tone of harp harmonics is a magical effect. The scores of composers like Ravel and Holst contain beautiful examples, carefully highlighted in ways that draw the attention…
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While the application of extreme dynamics varies widely in musical meaning between composers, eras, and genres, there are some general characteristics relative to the abilities of orchestral players that can be used to forge a systematic approach; giving today’s composers more confidence in scoring these markings. In my previous tip, “Extreme Dynamics, Part I: Realities…
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Use extreme caution when applying extreme dynamics, and be aware of the physical realities and limitations for your players; not to mention issues of comparative balance. Extreme dynamics have become ever more common in the modern era, and are often used in scores without any systematic application. Composers will drop in a pppp right after…
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EVERYTHING YOU DON’T NEED TO KNOW (BUT MAYBE SHOULD) ABOUT HORN BUMPERS If you were to ask the average seasoned horn player if there’s anything a composer needs to know about bumping, they’ll almost invariably tell you “No. That’s not your concern in any way. Leave that decision to us.” And yet with all respect…
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The clarinet is an excellent resource for supporting and colouring harmonic and melodic texture. (Tip no. 18 from 100 Orchestration Tips, 2nd Edition) The unique resonance of the clarinet’s registers are sometimes misconstrued as too individual to blend harmonically or melodically with other instruments. But a little score-reading will immediately reveal the clarinet as the perfect mixer at a…
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Use extreme caution when scoring octave melodies for clarinets, and be aware that the overtones reinforce each other with great potency. (Tip no. 17 from 100 Orchestration Tips) Octave melodies for wind instruments of the same model are generally problematic. Rimsky-Korsakov gently advises against their use, though he opens the door for doubling by auxiliaries at…
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