Supplemental Study Guide Instrument Ranges and Techniques MUS‐E312 Arranging for Vocal and Instrumental Groups
Instrument
Piccolo (Dylan)
Range/Tessitura
Transposition
1 octave above written
Flute (Sarah F)
No transposition
Oboe (Meg)
No transposition
Bb transposition: M2 (most common) Clarinet (Morgan)
Play a sounding C? Write a clarinet D.
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Considerations ‐ Avoid unison writing for two or more piccs ‐ Avoid writing high and soft ‐ Low register: woody, breathy, hollow, does not project well ‐ Mid register: most characteristic sound ‐ High register: Piercing, shrill tone ‐ Similar to flute in technique ‐ Low register: airy, tone closer to the oboe, typically flat, tends to be soft and blends well with other instruments ‐ Middle register: Clear, full sound, will be heard above the ensemble, good for doubling the oboe part ‐ Upper register: can be piercing, usually sharp, difficult to tune across the section, the loudest of the of the flute (difficult to play soft), good for bringing put upper harmonics of the of the ensemble ‐ Vibrato is used to help create a shimmering effect; no vibrato can be used to create a different colo and for jazz for jazz ‐ Used in orchestra, wind choirs, jazz, choirs, jazz, band ‐ Low range: thick and reedy, appropriate for slower passages ‐ Mid range: rich and distinctive, effective dynamics ‐ Mid‐upper range: bright sound and agile ‐ Upper range: Piercing quality ‐ Notes speak clearly and can flow throughout the entire range ‐ Can do single and double tonguing ‐ Upward slurs are more difficult than downward slurs ‐ Wide range of timbre of timbre with large range ‐ Clarinets appear in orchestras, bands, marching band, and jazz and jazz ‐ Usually have multiple parts per ensemble ‐ Does an excellent job excellent job at fading away to nothing ‐ Typically carries melody or plays a supportive role with countermelody ‐ Does not use vibrato, double‐tongue ‐ Can add a flourishy effect to the ensemble
Instrument
Range/Tessitura
Transposition
Bb plus an 8vb Bass Clarinet (Trevor)
Play a sounding C? Write a bass clarinet D. * Lowest note is with a C‐extension
Bassoon (Tiffany)
Alto Sax (Andrew)
No transposition
Eb transposition: M6 Play a sounding C? Write a Alto Sax A.
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Considerations ‐ Lowest register is the most resonant and clear; blends well with low brass, bassoons, and other low voices ‐ Middle range is good for cutting through ensemble; supports clarinet choir particularly the 3rd clarinet part ‐ High register has a unique sound similar to saxophone; difficult to project and should be avoided ‐ The break exists between Bb and B‐natural in the staff; parts should stay primarily above or below this break ‐ Avoid large leaps, piano dynamics in the upper range, heavy staccato in the low range, doubling with higher‐pitched instruments; excessive doubling or boring parts ‐ Can be used in bands, orchestras, and chamber groups ‐ Notated in bass, tenor, and alto clefs ‐ Low register is thick and reedy ‐ Low‐middle register has the fullest ‘bassoon’ sound ‐ Upper middle register is thin and reedy ‐ Upper register is also thin and reedy with lots of different fingerings ‐ Versatile instrument that can easily play octave jumps, lyrical playing, and can play humorous sounds ‐ Avoid soft playing in extreme ends of the range, quick articulated passages in low register, playing the same part as the bass clarinet, and Variations on a Korean Folksong ‐ Techniques: flutter tongue, air sounds, timbre changes, key clicks ‐ Related family: contrabasson ‐ Prevalent in jazz band, combos, and concert band with only specific pieces for orchestra ‐ Mainly used as melodic instrument and can include solos ‐ Can play a part similar to the French Horn, due to their similar timbres.
Instrument
Tenor Sax (Robbie)
Baritone Sax (Regan)
French Horn (Sarah M)
Range/Tessitura
Transposition
Bb transposition: M2 plus 8vb Play a sounding C? Write a Tenor Sax D.
Eb transposition: M6 + 8vb Play a sounding C? Write a Bari Sax A.
F transposition: P5 (most common) Play sounding C? Write a F Horn G.
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Considerations ‐ The third voice of the sax section ‐ Can be played in a variety of styles from jazz, funk, band ‐ Capable of many expressive techniques (vibrato, bends, glissandi, trills) ‐ Capable of both linear and arpeggiated lines ‐ Response is slower in low register, especially RH pinky keys ‐ Notes are often shrill and out of tune in high register, especially LH palm keys ‐ Most characteristic range: D below staff ‐D above staff ‐ Lower register blends well with trombone and horn ‐ Upper register blends well with trumpet ‐ The lower and middle registers produce the best tone on the instrument ‐ Articulations include legato, staccato, and double‐tonguing ‐ Breaks are fairly consistent across the instrument ‐ Functions as a low‐register instrument and sometimes as a bass in an ensemble ‐ Difficult to play in low registers ‐ Multiple levels of vibrato ‐ Special techniques: flutter tonguing, slap tonguing, multiphonics ‐ The sound in the lower octave of the horn is weak and easily covered ‐ The middle range has a tone that can vary between dark and bland; often used for sustained chordal texture ‐ Can sound lyrical or heroic when used in solo or in unison ‐ The higher the range, the stronger and brighter the sound ‐ It is common to interlock the harmony parts across horn parts ‐ The horn can be muted with the hand (stopped tones) or with a mute
Instrument
Trumpet (Suzanne)
Range/Tessitura
Transposition
Bb transposition: M2 (most common) Play a sounding C? Write a trumpet D.
Euphonium (Effie)
No transposition
Trombone (Eric)
No transposition
Tuba (Tamara)
If BBb tuba: M2 + 2 octaves below If C tuba: two octaves below
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Considerations ‐ Typically carry the melody in band and orchestra; jazz used for melody or ‘hits’; can also be used in a variety of brass ensembles ‐ Mutes can be used and change the timbre of the sound (straight, cup, harmon, plunger) ‐ Allow the trumpet player opportunities to breath ‐ Consider trumpet player endurance when arranging ‐ Give special consideration to articulation markings; trumpets are conducive to many different kinds of attacks ‐ Consider the speed of the notes with regards to your articulation and playing ability ‐ Conical bore ‐ Has the same pitch as trombone along with similar tone color ‐ Upright bell or bell‐front ‐ Dark, rich, mellow tone ‐ Articulation: single tonguing, multiple tonguing, flutter tonguing, staccato, piccato, sforzando, legato ‐ Lip slurs and glissandos; vibrato should be natural and well‐suited ‐ Mutes are used; typically raises pitch 14‐25 cents ‐ Special techniques: glissandos, trills, vibrato ‐ Mutes can be used and change the timbre of the sound (straight, cup, wa‐wa, plunger) ‐ Can accompany vocal music ‐ Often plays the alto, tenor, or bass ranges and functions within the total orchestral soundscape ‐ Also featured in jazz as an ensemble and solo instrument ‐ Conical bore which means lots of harmonics ‐ Upper range isn’t particularly brilliant ‐ Lower range are the strongest and most resonant ‐ Timbre is akin to French horn because of its conical bore ‐ Used in band, orchestra, marching band as a sousaphone, and jazz ‐ Special techniques: growling, flutter tongue, vibrato, mutes
Instrument
Range/Tessitura
Transposition
No transposition Harp (Felicia)
Has foot pedals to change the instrument into different keys
Considerations ‐ Use the fingers to generate sound ‐ Has to be manually tuned per string per performance ‐ Only comes in one key; have to adjust pedals to change the key of the instrument ‐ Special techniques: harmonics, whistling, pedal slides, pedal buzzes, knocks on soundboard, paper in strings, rod/pencil in strings, nai glissandos, Pres de la table ‐ Check out http://www.garritan.com/tutorial/GPO_HarpTutorial.html
Information combined from instrument presentations in: MUS‐E312 Arranging for Vocal and Instrumental Groups Todd Fruth, instructor, Fall 2010 Trevor K. Ousey, editor
[email protected]
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