If this is your first look at my Alto Clef Reading Course, jump back to the my first two sections on Pitch Recognition and Scoring, and then read the companion chapter to this one on Score-Reading Viola. Of course, if you’re very well-versed in reading alto clef and viola parts, but you just want more…
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This represents the final post in my series, “Alto Clef Reading Tips and Drills.” Make sure that you’ve first studied my posts on Pitch Recognition , Scoring, and fully studied the materials in Score-Reading Viola and Score-Reading Alto Trombone. Then you’ll be ready to take the last step in fully developing your comprehension when picking…
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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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Recently in the middle of the current ongoing massive run of 165 evaluations for the 2021 Orchestration Challenge, it occurred to me just how much the horn section resembled the four hobbits of J.R.R. Tolkien’s Lord of the Rings trilogy. This happened in the middle of an evaluation, explaining the traditional roles of each horn player;…
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