Music Book Extract

PROFESSIONAL ORCHESTRATION:

A P  RA  RA CT I CA L  H   H ANDBOOK    - From Piano to Strings 

This adaptation of broken sixths applies the principle of having one legato part legato part combined with a second, non-legato part non-legato part carrying out the rhythmic notation. It’s a setting possible at all tempos and dynamic levels. At (1) the first violins are divided in octaves to compensate for the stronger forte stronger forte dynamic  dynamic as well as to fill the need for greater sonority as the figure ascends to a higher range. The entrance of the bass part at (2) requires a three-octave spread to avoid the large gap in the middle register and to add emphasis value to this part. Additional Comments.  The

Violins 2 part is a challenge for repeated notes/round robin programs. If repeated notes are ineffective, a new eighth note line can be created by having F go down to D, E down to C, etc.

5. Broken Thirds There is very little difference between the method of arranging these intervals for strings and that given for sixths. The type of adaptation is determined by the style, tempo, and dynamic of the passage in question. Similar treatment can, of course, be applied to broken intervals in the tenor and bass ranges as shown in Examples S-6 [c] and [d]. The versions given at Examples S-6 [a] and [c] are called for in fast tempos while those at Examples S-6 [b] and [d] are playable in most moderate and slow tempos. (See (See the second movement of Beethoven’s Sixth Symphony for string parts in broken thirds.) thirds. ) The upper eighth note stems (cello) in Example S-6 [c] have an alternative modification which permits a legato effect legato effect for broken intervals at fast tempos.

Example S-6 

8 Extract from Professional Orchestration: A Practical Handbook – From Piano to Strings (Book) Copyright © 2009 by Peter Lawrence Alexander. All rights reserved. Music engraving by Max Tofone (www.mtmusicservices.com)

Appendix I

Chart of String Unisons   n   e    i   v   e   t   a   c   c   a    l   o   p   n   e   a    k   s   a   i    t  ,   y   n   e   t   e    h    t    t    i   r   r   e   w    t   s   e    i   g   r   e   e   r    h    t   w   a    h   e   v   w   t   a    d   c   n   o   a   n    d   (   a   n   e   s    d   d   n   n   a   u   o   n   s    i   g   e   e   r   e    b   h   s   w   n   o   s   n   e    i    t   n   t    i   u   r   g   w   n   n    i   r   e    t   e   s    b   e   r   e   e   v    h   a   w   h   e   s   n   e   s    i   s   a   m   r    B   e  .    t   e   t    d   n   e   o   m    t   u    t   r   r    t   a   s    h   n   c   i  .   s    h   )    i   c   r    h    t   a   e   e   h   e   g   s   r   o   i    U   f    h

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PROFESSIONAL ORCHESTRATION:

A P  RA CT I CA L  H ANDBOOK   - Workbook 

 Serious Variations 

50 Extract from Professional Orchestration: A Practical Handbook – From Piano to Strings (Workbook) Copyright © 2009 by Peter Lawrence Alexander. All rights reserved. Music engraving by Max Tofone (www.mtmusicservices.com)