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MUSIC LIBRARY UNIVERSITY OF CONNECTICU1 ORRS. CONNECTICUT
Digitized by the Internet Archive in
2013
http://archive.org/details/workbookfororcheOOwagn
Workbook
for
ORCHESTRATION: A
Practical
Handbook
JOSEPH WAGNER
McGRAW-HILL BOOK COMPANY, New
York
Toronto
London
INC.
.
Reference Chart of Keyboard Idioms and Patterns I.
Broken 1.
2. 3.
4. 5.
6.
II.
Broken Broken Broken Broken Broken Broken
octaves
octaves with embellishments octaves combined with thirds sixths
thirds sixths
and
thirds
combined
Broken Chords 1
Left-hand broken chords in close position
2.
Left-hand broken chords in open position
3.
5.
Broken chords spaced for two hands Broken chords in right hand with implied melodic line Broken chords with blocked melodic and rhythmic patterns
6.
Arpeggiated chords
4.
III.
Intervals
Melodic Lines and Figurations 1. Large melodic skips 2. Outlining a melodic line 3. Dividing a melodic line 4. Melodic lines combined with repeated note patterns; nonmetrical passages 5. Melodic settings: contrasts, comparative strengths, repeated phrases
IV. Implied Bass Parts
V. Single-note, Interval, and VI. Two1.
2. 3.
VII.
\ III.
Chord Repetitions
and Three-part Music
Homophonic Polyphonic Style mixtures
Spacing Problems in the Middle Register 1. Large harmonic gaps 2. Sustained notes, intervals, and chords Contrast Problems Conditioned by Dynamics
IX. Voice Leading
X. Obbligato or
Added Secondary
XI. Antiphonal Effects XII. XIII.
Tremolo Types
Dance Forms
(Afterbeats)
Parts Arranged from
Harmonic Progressions
? •^
Workbook
for
ORCHESTRATION: A
Practical
Handbook
DR. JOSEPH
WAGNER
Lecturer'—in— music
Pepperdine College
Los Angeles,
Calif.
McGRAW-HILL BOOK COMPANY, New
York
Toronto
INC.
London
1959
MUSIC
UBRAR*^
rsssssr
WORKBOOK FOR ORCHESTRATION
©
Copyright 1959 by the McGraw-Hill Book Company, Inc. Printed in the United States of America. All rights reserved. This book, or parts thereof, may not be reproduced in any form without permission of the publishers. 5 6 7 8 9
EBEB
9876543210
67656
PREFACE The examples in this Workbook have been selected to provide teachers and students of orchestration with music from Bach to Bartok. They represent a diversification of styles and textures spekeyed to the categories of the Reference Chart of Keyboard Idioms and Patterns as given and applied in the author's Orchestration: A Practical Handbook. The majority of these examples are suitable for string and/or wood-wind scoring as well as for orchestras with varying instrumentation. The music in Part One is for preliminary exercises dealing with clefs and transpositions, chorals and voice extensions, and the brass and percussion sections as a separate unit. Part Three contains music without classification for special assignments. This arrangement of source material permits the teacher to use the Workbook in the same sequence as given in the text of the author's Orchestration: A Practical Handbook. When the text and the music cifically
are used concurrently, the student will have the invaluable experience
of scoring identical material for ensembles of varying instrumentation. In many instances several examples are given for the teacher's convenience.
Although the examples in the Workbook have been keyed to specific categories of the Reference Chart in Part Two, their scoring will invariably necessitate the application of techniques derived from other entries in the Chart as indicated and described in Chaps. 10, 16, and 35 of the This interrelated plan constitutes the basis for scoring practices and, when used with facility and assurance, provides the means for a text.
practical solution to the problems of orchestration.
Joseph Wagner
CONTENTS Preface
iii
Part
\J
One
PRELIMINARY EXERCISES CLEFS AND TRANSPOSITIONS
33
Song No.
Peasant's
— Bartok (K)
1
1
CHORALS 5*— Schumann
Choral. Op. 68, No.
........
Hochstes Gut* Bach (K) Wir in Hochsten Nothen Sein* Bach (K)
Herr Jesu
Wenn
—
Du
(K)
Crist,
2
—
3
MUSIC FOR BRASS AND PERCUSSION Watchman's Song, Op. 12, No. 3— Grieg (M)
3
Impromptu, Op. 142, No. 2— Schubert (M) The Stranger, Op. 68, No. 26— Schumann (K) Folksong No. 8*— Bartok (K) Piece Heroi'que- -Franck (M) Part
,2
4 4 5
6
Two
REFERENCE CHART OF KEYBOARD IDIOMS AND PATTERNS BROKEN INTERVALS I.
Etude, Op.
2,
No.
4— Prokofiev (M)
7
— Haydn (M) The Horseman, Op. 68, No. 23 — Schumann (K) Sonata No. 7 (Finale)
Waltz. Op. 54, No.
2,
9
No. 11— Schumann (K) No. 2 Dohnanyi (M)
9
........
—
II.
Arabesque
10 11
(K)
Rondo, Op. 51, No. 1— Beethoven Arietta, Op. 12, No. Grieg Air— Handel (M) Impromptu, Op. 142, No. 2 Schubert (M) Passacaille— Handel (M) Rondo Capriccioso, Op. 14 Mendelssohn (D) Prelude in G Minor, Op. 23, No. 5— Rachmaninov (M) 1
10
BROKEN CHORDS
— Debussy (M) Piece Heroi'que — Franck (M) Fantasie Impromptu, Op. 66 — Chopin Serenata Andaluza — Falla (M) First
8
1— Dvorak
Saint Nicolas, Op. 68,
Intermezzo, Op.
7
12 13
14
—
14 15
—
.16 16
—
17
...
MELODIC LINES AND FIGURATIONS Scene, Op. 19, No. 3— Grieg (M)
18
III.
Carnival
Second Arabesque
— Debussy
(M)
18
19
No. 2— Mendelssohn (D) Sonata No. 27, Op. 90— Beethoven (D) Sonata No. 12 (Rondo)— Mozart A Joyous Party, Op. 13, No. 8— Dohnanyi (M) Characteristic Piece, Op.
7,
.
V.
.
.
.
.
.
.
20 21
.
22 22
IMPLIED BASS PARTS
IV.
Sonatina (Finale)
.
....
— Bartok (K)
24
SINGLE NOTE, INTERVAL,
AND CHORD REPETITIONS
X—
Bear Dance No. Bartok (K) , Novelette, Op. 21, No. 4— Schumann (D) Rondo, Op. 51, No. 1 Beethoven Valses Nobles (No. 6), Op. 77— Schubert (M) Suggestion Diabolique, Op. 4, No. 4 Prokofiev (M) Bourree Fantasque Chabrier (M) Le Polichinelle— Villa-Lobos (M) Ballade, Op. 118, No. 3— Brahms (M) .
—
.
.
.
.
.
25
.
26
.
26
....
27
27 28 28
TWO- AND THREE-PART MUSIC
HOMOPHONIC
1.
Rigaudon
.
—
—
VI.
.
.
25
— Rameau(M)
29
Andante— Haydn (M) Danzas
Oriental from
30 Espafiolas, Op.
5,
No. 2
— Granados (M)
30
.
POLYPHONIC
2.
21— Bach (M) Op. 68, No. 27— Schumann (K) 3. STYLE MIXTURES
Fugue No.
31
A
32
Canon,
Allegretto in
C Minor— Schubert (M)
Warum?, Op.
12,
Traumerei, Op. VII.
9,
33
No. 3— Schumann (D) No. 4 Strauss
34
—
34
SPACING PROBLEMS IN THE MIDDLE REGISTER
Sevilla— Albeniz (M)
35
2— Brahms (M) 36 VIII. CONTRAST PROBLEMS CONDITIONED BY DYNAMICS 37 Impromptu, Op. 90, No. 2— Schubert (M) Rhapsody, Op.
79,
No.
1— Kabalevsky (K) IX. VOICE LEADING G Minor, Op. 37, No. 1— Chopin (K)
Sonatina, Op. 13, No.
38
Nocturne
39
in
OBBLIGATO OR ADDED SECONDARY PARTS ARRANGED FROM HARMONIC PROGRESSIONS
X.
Gibraltar from
Album
de Viajo
— Turina(M)
39
XL ANTIPHONAL EFFECTS Serious Variations (No.
7),
XII.
Sonata No.
Op.
54— Mendelssohn
(D)
Rhapsody No.
42 17),
Op.
2— Dohnanyi
(M)
XIII.
54— Mendelssohn
(D)
...
42 43
DANCE FORMS
B Flat Major, Op. 7, No. 1— Chopin (K) Polonaise (Military), Op. 40, No. 1— Chopin (M) in
40
TREMOLO TYPES
9— Mozart
Serious Variations (No.
Mazurka
....
.
.
.
.
45
46
Waltz, Op. 39, Italian
Brahms (M) Rachmaninov (M)
No. 3*
Polka
46 47
Part Three
MUSIC WITHOUT CLASSIFICATION (Recommended
Fugue No.
5 in
for Special
Assignments)
D Major*— Bach
48
— Debussy (M) No. — Beethoven C Minor. Op. Loma — Milhaud Sobre Passaeaglia — Piston .... Prelude and Dance (No. Op. 29, No. — Creston
Nocturne Sonata in
in
D
Flat
1
10,
la
1
1),
Psalm
*
XXIX— Wagner
51
52 54 55
56 57
Only music marked with an
asterisk
is
complete. All other selections are
incomplete excerpts.
PUBLICATION CREDITS Music excerpts marked with the lisher.
letter
(D) are used by permission of the pub-
Oliver Ditson Co.
Excerpts marked with (K) are used by the courtesy of the publisher, Edwin F.
Kalmus,
New
York, N. Y.
Music marked with (M) Marks Music Corporation,
is
used by the courtesy of the publisher, Edward B.
New
York,
N.Y
.
1
PART ONE
Preliminary Exercises CLEFS AND TRANSPOSITIONS Score this piece in octaves for the following combinations: 1
The
treble part for violins,
and
for violas in the alto clef.
The bass
part for the cellos in the
tenor clef and basses in the bass clef sounding an octave below the cellos. Arrange bowings so that they approximate the phrasing of the piano copy. 2.
(Bb),
Wood-winds
in four octaves for piccolo, flute, oboe, English horn, clarinet (A), bass clarinet
bassoon (tenor
clef),
and contrabassoon. The phrasing should
give the
same
effect as the
original.
Two
horns (F) in octaves, trumpet (6b), first trombone in the alto clef, second trombone in the tenor clef, third trombone in the bass clef, and the tuba an octave below the written bass part. Retain the same phrasing used for the wood-winds. 3.
PEASANT'S SONG No. Ten Easy Pieces Allegro moderate,
I
for Piano
Bela Bartok <^«o-e«
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CHORALS Score these chorals for the string, w ood-\K ind, and brass sections and for full orchestra. Develop range extensions and add doublings and tillers as indicated in Chaps. 9, 15, 19, 25, and 34.
CHORAL Robert Schumann, Op. M. M. J
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MUSIC FOR BRASS AND PERCUSSION Score for four horns, two trumpets, three trombones, and timpani. Use tuba and additional percussion instruments
when
appropriate.
In the Grieg excerpt, score the
trombones.
first full
phrase for horns, the second phrase for trumpets and
A filler and bass octave can be added
in
measures nine
to twelve.
WATCHMAN'S SONG
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Molto andante e semplice. «4
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Edvard Grieg, Op. 4 2
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— IMPROMPTU
Allegretto
Franz Schubert, Op.
(J s 132)
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No. 2
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THE STRANGER Robert Schumann, Op. Stark und kraftig zu spielen M. M.J= 144 Forte ed energico
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Seek out contrast for the melody here. effective for
harmony
No
fillers
for.
Mutes would be
parts.
FOLKSONG Ten Easy Pieces Poco andante,
or doublings are called
J/e»
No.
8
for Piano
Bela Bartok
J&feespr.
193
[5]
t
be necessar) to invert the melody and to double
will
1<
Start the
rhis
first
music
an octave lower
measure A-C-F, then move by nearest positions organ can benefit from the use of the full brass section.
chord of
for
it
this
in
measure
thirteen.
to the other chords.
PIECE HEROIQUE Cesar Franck
Allegro maestoso
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PART TWO
Reference Chart of Keyboard Idioms
and Patterns I.
The term "broken
BROKEN INTERVALS
used here, refers to their movement in sequence as distinguished from intervals occurring in broken-chord formations. Broken intervals, in this category, usually have a dual purpose: (1) they maintain rhythmic patterns idiomatically, and (2) they complete harmonic progressions. Literal scoring for orchestral instruments is possible only at intervals," as
slow tempos. The following examples are to be arranged as shown in Chaps. 1.
10, 16,
and
35.
Broken Octaves
ETUDE Sergei Prokofiev, Op. 2, No. 4 Presto con energia
(LP'fiO /
a ia 4/4
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wa/7o sinistra legato 2.
Broken Octaves with Embellishments
FINALE
from
SONATA
No. 7 Joseph Haydn
Presto,
yh l :
^
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1
ma non
troppo
"
[7]
I
» Broken Octaves Combined with Thirds
3. ["his
1
The extremes of dynamic range
excerpt includes several entries in this classification.
mit corresponding variet) of range extensions
and
per-
sonorities.
THE HORSEMAN Robert Schumann, Op. 68, No. 23
Kurz und bestimmt M.M.J =100 Breve
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Broken Sixths
WALTZ Anton Dvorak, Op.
54,
No.
1
Piu mosso
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5.
Reduce
these thirds to four-part
Broken Thirds
harmony
outlining
and sustaining
the
melody and bass
parts.
Retain the sixteenth-note rhythm in the two middle parts. The complete excerpt should be phrased legato.
SAINT NICOLAS Robert Schumann, Op. Polternd, ungefiige M.M. J=
126
Chiassoso, duramente 2
8
14
5
8
[9]
68,
No.
1
/v
W Broken Sixths and Thirds Combined
(>.
INTERMEZZO Ernst Dohnanyi, Op.
*
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1.
b
BROKEN CHORDS
Left-Hand Broken Chords in Close Position
FIRST ARABESQUE Claude Debussy Andantino con moto
w
a Tempo I
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PIECE HEROIQUE for organ,
melody should be written in octaves with an The pedal point in the bass part can also be extended an octave higher. In
the
inside
filler.
PIECE HEROIQUE Cesar Franck Allegro maestoso
[11]
— 2.
Left-Hand Broken Chords in Open Position
FANTASIE IMPROMPTU Frederic Chopin, Op. 66
Moderate) cantabile.
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SERENATA ANDALUZA Manuel de Poco meno mosso
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Broken
I
bonk Spaced
for
Two Hand-
should first be reduced to four-part writing with the highest and lou melod) and bas> parts. In this RONDO, these parts would be in half notcv rhythmic figuration should be maintained in the two inside parts. (See the example in Chaps. and 35 under this heading.) This would be a good example to experiment with, adding (in the high treble and tenor ranges), as explained in the same chapter. two obbi ;
this categ
.
s
c
•
RONDO Ludwig van Beethoven. Op.
51.
No.
Edvard Grieg. Op.
12.
No.
1
azioso
k^kEE=M ARIETTA
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Poco andante
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4.
Broken Chords
in Right
Hand
with Implied Melodic Line
In scoring the next two examples, keep the implied melodic lines free of the inside parts.
The bass
parts should also be detached
the orchestration
on the thematic
from the two inside rhythmic harmony
harmony
parts.
Vary
repetitions.
AIR George Frederic Handel Andantino
YAR.V V
Ha tempo)
sempref e
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IMPROMPTU Franz Schubert, Op. Allegretto
(J
=
142,
No.
2
132)
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Broken Chords with Blocked Melodic and Rhythmic Patterns
PASSACAILLE George Frederic Handel Allegro con brio
[16]
6.
The two following
Arpeggiated Chords
excerpts are most desirable for full orchestra.
The
arpeggios in both can be
Arrange them idiomatically for appropriate strings. (2) Arrange them as broken chords for strings or wood-winds and give the full arpeggios to the harp. In the Mendelssohn excerpt, supply, the harmony for the first measure and continue it in accordance with the rhythmic pattern given by the composer. The Rachmaninov excerpt requires sustained middlescored as follows:
harmony
(1)
parts as indicated in the third measure.
RONDO CAPRICCIOSO Felix Mendelssohn, Op. 14 Presto
(J.
=
96)
[17]
PRELUDE
IN
G MINOR Sergei
Alia marica
Un
poco
(J
=
I
No.
5
meno mosso
MELODIC LINES AND FIGURATIONS 1.
fast
23,
OS)
III.
At
Rachmaninov, Op.
tempos
it is
Large Melodic Skips
advisable to rearrange themes of this kind for two voices, yet always re-
taining both the rhythmic patterns
and
interval changes.
CARNIVAL SCENE Edvard Grieg, Op.
19,
No.
3
Allegro alia burla
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Outlining a Melodic Line
plans of outlining are suggested here: (1) above the melody, and (2) sustained an octave
combined with the lowest theme note on each
beat.
SECOND ARABESQUE Claude Debussy Allegretto scherzando
[19]
:>.
Dh
Dividing a Melodic Line
enure treble part for two or more voices as required. Parts in the bass range
ide the
will
also need considerable revision to provide consistent voice textures.
CHARACTERISTIC PIECE
No. 2 Felix Mendelssohn, Op.
—
Allegro vivace (J.=7a)
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No. 2
Melodic Lines Combined with Repeated Notes
4.
In scoring this excerpt, retain the tessitura of the repeated notes but rearrange the chord positions starting in measure twenty-one.
SONATA No.
27
Ludwig van Beethoven, Op. 90 Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck (J
=
152)
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SONATA
No.
12
RONDO Wolfgang Amadeus Mozart Ukiiro
u =
5.
80)
Melodic Settings: Contrasts, Comparative Strengths, Repeated Phrases
These four-measure excerpts, taken from eight-measure phrases, illustrate one composer's approach to seeking contrast with the same thematic material at different dynamic levels. The orchestration of these phrases should explore the full potentialities of each section, reserving the orchestra for the two fortissimo passages. Note: Observe the obbligato in the second brace. could be varied and repositioned for the other variations.
full It
A JOYOUS PARTY Ernst Dohnanyi, Op.
Vivace giocoso.
I
[22]
13,
No. 8
A JOYOUS PARTY (Continued)
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[23]
1^
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IMPLIED BASS PARTS
number of the previous examples required the extracting of implied bass parts from chord formations. The following excerpt presents music which calls for sustained tenor and bass parts combined * ith a pedal point. By starting the implied bass part on the second beat of the third measure and treating it as a suspension, the effect intended by the composer can be realized. \
This plan changes
in
measure eleven.
FINALE
from
SONATINA Bela Bartok
Allegro vivace
(J
=
154-146)
poco
rit.
a tempo
1
[24]
3
V.
The examples
SINGLE-NOTE, INTERVAL,
AND CHORD REPETITIONS
have been selected so that they can be represented in their most familiar forms. Each excerpt should be rearranged idiomatically for orchestral instruments, as illustrated in Chaps. 10, 16, and 35. for this category
1.
Repeated Notes — without Rests
BEAR DANCE Ten Easy Pieces
No.
X
for Piano
Bela Bartok
Allegro vivace,
J/104-120
motto narcato
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4 8 2
1
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simile
Repeated Notes — with Rests
NOVELETTE Robert Schumann, Op. Poco piu animato
(J.
=
(45)
IT"
I
No. 4
4.
* fe*
feft
3/4
21,
72)
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RONDO Ludwig van Beethoven, Op.
51,
No.
1
Moderate) e erazioso
3.
Repeated Intervals as Afterbeats
VALSES NOBLES
(No. 6)
Franz Schubert, Op. 77
Tempo
di Valse
[26]
4.
Repeated Chords
SUGGESTION DIABOLIQUE Sergei Prokofiev, Op.
4,
No. 4
Prestissimo fantastico
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Repeated Notes, Intervals, and Chords Spaced for Alternating Hands
BOURREE FANTASQUE Emmanuel
Tres anime avec beaucoup
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LE POLICHINBLLE Heitor Villa-Lobos Presto
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BALLADE Johannes Brahms, Op.
1
18,
No. 3
Allegro energico. »
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— VI.
TWO- AND THREE-PART MUSIC
Most of the music included up
to this point has
been homophonic. The voice textures have
often been inconsistent, thereby requiring considerable revision, as will be the case with similar music to follow. The next excerpts illustrate three varieties of homophonic styles and textures. 1.
Homophonic
RIGAUDON Jean Philippe
Rameau
Allegretto 5
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[29]
2
4
2
ANDANTE Joseph Haydn
Andante grazioso
from
ORIENTAL DANZAS ESPANOLAS Enrique Granados, Op.
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No. 2
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Polyphonic
Polyphonic music in its most strict forms (canon and fugue, without doublings, fillers, or harmonization), is comparatively rare in orchestral music. In fugal scoring, some doubling in octaves
is
permissible, notably in bass parts
Occasional outlining and sustaining
canon by Schumann needs
mony
parts
whenever
may
Review
for principal thematic material emphasis.
also be necessary
clarity for the
possible.
and
this
two thematic
and even
lines in contrast to
category in Chaps.
The harmonized and with the har-
desirable.
10, 16,
and
35.
FUGUE
No. 21 from the Well-tempered Clavichord
Johann Sebastian Bach
Allegretto. %
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A CANON Robert Schumann, Op. Nicht schnell und mit innigem Ausdruck Moderate t con intima espressione s
No. 27
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Style Mixtures
3.
homophonic and polyphonic passages) provide a great continuity, and contrast for symphonic music. Scoring in this style
Style mixtures (juxtapositions of
source of organic strength,
should be along the lines discussed under
this
heading in Chaps.
ALLEGRETTO
IN C
10, 16,
and
35.
MINOR Franz Schubert
Allegretto
(poco riten.)
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WARUM? Robert Schumann, Op. Lento
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58)
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9,
No. 4
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SPACING PROBLEMS IN THE MIDDLE REGISTER
VII.
Both
entries
under
have been presented as secondary considerations in many of the previous categories. They should now be reexamined as isolated, major problems concerned this classification
with orchestral balance and sonority. 1.
Fillers in the
Large Harmonic Gaps
middle register are needed here for the
first
two and one-half measures of each
four-measure phrase.
SEVILLA Isaac Albeniz Allegretto
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2.
Sustained Notes, Intervals, and Chords
Sustained parts, indispensable for
full
orchestra starting in the third measure, ean be extracted
from the upper notes of the broken chords and the implied bass notes.
RHAPSODY Johannes Brahms, Op. Molto passionate,
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3
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[36]
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79,
No. 2
VIII.
Consult Chaps.
CONTRAST PROBLEMS CONDITIONED BY DYNAMICS 10, 16,
and 35
for suggested
ways of scoring
similar
and/or identical phrases
with different dynamics.
IMPROMPTU Franz Schubert, Op. Allegro
i
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(J.
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90,
No. 2
69)
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IX.
VOICE LEADING
The place and problem of good voice leading In scoring
is
strikingly apparent in this
rearrange the voice structure of the
Chopin
excerpt.
harmony and
bass so that they can be maintained consistently. Grace notes that are melodic embellishments should be retained whenit,
ever practicable. Those that are distinctly chordal, as in measures 7 and 8, can generally be eliminated altogether or incorporated as part of the harmonic texture. Review this category in Chaps. 10, 16,
and
35.
NOCTURNE
IN
G MINOR Frederic Chopin, Op. 37, No.
1
Andante sostenuto a tempo
to.
*
to.
mmm
2
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to.
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5
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OBBLIGATO OR ADDED SECONDARY PARTS ARRANGED FROM HARMONIC PROGRESSIONS
and a second, more rapid counterpoint above the melody. Plan both parts so that their greatest momentum and intensity starts in the twelfth measure. Consult this category in Chap. 10 for directions and illustrations. The final "8 va." can be omitted; the others are optional. Work for maximum sonority and brilliance starting at the obbligato part in the tenor register
2/4 measure. This excerpt
is
intended for
from
full
orchestra only.
GIBRALTAR ALBUM DE VIAJO Joaquin Turina
Allegro vivo
[39]
GIBRALTAR
Z
i
(Continued)
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XL ANTIPHONAL EFFECTS Alternate the string and wood- wind sections as given in Chap. 35 under this heading. The sextolet
may be
scored either in octaves and/or as broken chords. Seek
maximum
brilliance
within the instrumentation of the Classic orchestra.
SERIOUS VARIATIONS Felix Mendelssohn, Op. 54
VAR.
r.h.
7
cJ = so)
SERIOUS VARIATIONS
[41]
(Continued)
TREMOLO TYPES
XII. I
orm octaves
score this passage as a measured tremolo. to be scored as
of
for the highest treble notes
this
Mozart excerpt
The arpeggiated chords
measure rive and RHAPSODY No. 2 are
starting in in
unmeasured, fingered tremolos.
SONATA
No. 9
Wolfgang Amadeus Mozart Allegro con spirito
(J
=
132)
JL
SERIOUS VARIATIONS
JL
(No. 17) Felix Mendelssohn, Op. 54
Allegro vivace
(J
=
76)
ritenu
[42]
RHAPSODY
No. 2 Ernst Dohnanyi
Adagio
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5=±
(
I
'istesso
Ibid.
tempo)
[44]
XIII.
DANCE FORMS
These dance excerpts have been selected primarily afterbeats. In scoring
them
to provide
music having characteristic
give consideration to other pertinent entries in the Reference Chart.
MAZURKA
IN B FLAT
MAJOR Frederic Chopin, Op.
Vivace.
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[45]
5
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No.
1
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POLONAISE (MILITARY) Frederic Chopin, Op. 40, No.
1
Allegro con brio
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ITALIAN POLKA Sergei
Allegretto
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[47]
Rachmaninov
PART THREE
Music Without Classification (Recommended
FUGUE
for Special Assignments)
No.
5
IN
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Johann Sebastian Bach
Allegro moderate
J =76.
[48]
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[50]
NOCTURNE
IN
D FLAT Claude Debussy
Allegretto
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SONATA First
IN
C MINOR
Movement — Exposition Ludwig van Beethoven, Op.
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(
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MCMXXXVIII
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by M. Witmark and Sons,
New
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.
Reference Chart of Keyboard Idioms and Patterns I.
Broken 1.
2. 3.
4. 5.
6.
II.
Broken octaves Broken octaves with embellishments Broken octaves combined with thirds Broken sixths Broken thirds Broken sixths and thirds combined
Broken Chords 1
2. 3.
Left-hand broken chords in close position Left-hand broken chords in open position Broken chords spaced for two hands
5.
Broken chords in right hand with implied melodic line Broken chords with blocked melodic and rhythmic patterns
6.
Arpeggiated chords
4.
III.
Intervals
Melodic Lines and Figurations 1. Large melodic skips 2. Outlining a melodic line 3. Dividing a melodic line 4. Melodic lines combined with repeated note patterns; nonmetrical passages 5. Melodic settings: contrasts, comparative strengths, repeated phrases
IV. Implied Bass Parts
V. Single-note, Interval, and Chord Repetitions
and Three-part Music Homophonic
VI. Two1.
2. 3.
VII.
Polyphonic Style mixtures
Spacing Problems in the Middle Register 1. Large harmonic gaps 2. Sustained notes, intervals, and chords
VIII. Contrast
Problems Conditioned by Dynamics
IX. Voice Leading
X. Obbligato or
Added Secondary
XI. Antiphonal Effects XII. XIII.
Tremolo Types
Dance Forms
(Afterbeats)
Parts Arranged from
Harmonic Progressions
6765
