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class="vector-toc-numb">2</span> <span>In practice</span> </div> </a> <ul id="toc-In_practice-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Examples_from_the_repertoire" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Examples_from_the_repertoire"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Examples from the repertoire</span> </div> </a> <button aria-controls="toc-Examples_from_the_repertoire-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Examples from the repertoire subsection</span> </button> <ul id="toc-Examples_from_the_repertoire-sublist" class="vector-toc-list"> <li id="toc-J.S_Bach" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#J.S_Bach"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1</span> 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div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">This article is about writing music. For management of computing resources, see <a href="/wiki/Orchestration_(computing)" title="Orchestration (computing)">Orchestration (computing)</a>. For orchestrating a pervasive game, see <a href="/wiki/Orchestration_(games)" class="mw-redirect" title="Orchestration (games)">Orchestration (games)</a>.</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Not to be confused with <a href="/wiki/Orchestrion" title="Orchestrion">orchestrion</a>.</div> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Autograph_score_of_part_of_Act2_(Wolf%27s_Glen)_of_%27Der_Freisch%C3%BCtz%27_-_NGO4p1116.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e0/Autograph_score_of_part_of_Act2_%28Wolf%27s_Glen%29_of_%27Der_Freisch%C3%BCtz%27_-_NGO4p1116.jpg/300px-Autograph_score_of_part_of_Act2_%28Wolf%27s_Glen%29_of_%27Der_Freisch%C3%BCtz%27_-_NGO4p1116.jpg" decoding="async" width="300" height="227" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e0/Autograph_score_of_part_of_Act2_%28Wolf%27s_Glen%29_of_%27Der_Freisch%C3%BCtz%27_-_NGO4p1116.jpg/450px-Autograph_score_of_part_of_Act2_%28Wolf%27s_Glen%29_of_%27Der_Freisch%C3%BCtz%27_-_NGO4p1116.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e0/Autograph_score_of_part_of_Act2_%28Wolf%27s_Glen%29_of_%27Der_Freisch%C3%BCtz%27_-_NGO4p1116.jpg/600px-Autograph_score_of_part_of_Act2_%28Wolf%27s_Glen%29_of_%27Der_Freisch%C3%BCtz%27_-_NGO4p1116.jpg 2x" data-file-width="1828" data-file-height="1383" /></a><figcaption>A hand-written <a href="/wiki/Sheet_music" title="Sheet music">musical score</a> for Act 2 of the <a href="/wiki/Opera" title="Opera">opera</a> <i><a href="/wiki/Der_Freisch%C3%BCtz" title="Der Freischütz">Der Freischütz</a></i> by <a href="/wiki/Carl_Maria_von_Weber" title="Carl Maria von Weber">Carl Maria von Weber</a>, written in the 1820s. The score contains all the parts for the singers and the <a href="/wiki/Accompaniment" title="Accompaniment">accompaniment</a> parts and melodies for the <a href="/wiki/Orchestra" title="Orchestra">orchestra</a>.</figcaption></figure> <p><b>Orchestration</b> is the study or practice of writing <a href="/wiki/Music" title="Music">music</a> for an <a href="/wiki/Orchestra" title="Orchestra">orchestra</a> (or, more loosely, for any <a href="/wiki/Musical_ensemble" title="Musical ensemble">musical ensemble</a>, such as a <a href="/wiki/Concert_band" title="Concert band">concert band</a>) or of adapting music composed for another medium for an orchestra. Also called "instrumentation", orchestration is the assignment of different instruments to play the different parts (e.g., <a href="/wiki/Melody" title="Melody">melody</a>, <a href="/wiki/Bassline" title="Bassline">bassline</a>, etc.) of a musical work. For example, a work for solo piano could be adapted and orchestrated so that an orchestra could perform the piece, or a concert band piece could be orchestrated for a symphony orchestra. </p><p>In <a href="/wiki/Classical_music" title="Classical music">classical music</a>, composers have historically orchestrated their own music. Only gradually over the course of music history did orchestration come to be regarded as a separate compositional art and profession in itself. In modern classical music, composers almost invariably orchestrate their own work. Two notable exceptions to this are <a href="/wiki/Ravel" class="mw-redirect" title="Ravel">Ravel</a>'s orchestration of <a href="/wiki/Mussorgsky" class="mw-redirect" title="Mussorgsky">Mussorgsky</a>'s solo piano work <a href="/wiki/Pictures_at_an_Exhibition" title="Pictures at an Exhibition">Pictures at an Exhibition</a><sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Malcolm_Arnold" title="Malcolm Arnold">Malcolm Arnold</a>'s orchestration of <a href="/wiki/William_Walton" title="William Walton">William Walton</a>'s String Quartet in A minor, producing the latter's Sonata for Strings.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>However, in <a href="/wiki/Musical_theatre" title="Musical theatre">musical theatre</a>, <a href="/wiki/Film_music" class="mw-redirect" title="Film music">film music</a> and other commercial media, it is customary to use orchestrators and arrangers to one degree or another, since time constraints and/or the level of training of composers may preclude them orchestrating the music themselves. </p><p>The precise role of the orchestrator in film music is highly variable, and depends greatly on the needs and skill set of the particular composer. </p><p>In musical theatre, the composer typically writes a piano/vocal score and then hires an <a href="/wiki/Arranger" class="mw-redirect" title="Arranger">arranger</a> or orchestrator to create the instrumental score for the <a href="/wiki/Pit_orchestra" title="Pit orchestra">pit orchestra</a> to play. </p><p>In jazz <a href="/wiki/Big_band" title="Big band">big bands</a>, the composer or <a href="/wiki/Songwriter" title="Songwriter">songwriter</a> may write a <a href="/wiki/Lead_sheet" title="Lead sheet">lead sheet</a>, which contains the melody and the chords, and then one or more orchestrators or arrangers may "flesh out" these basic musical ideas by creating parts for the saxophones, trumpets, trombones, and the <a href="/wiki/Rhythm_section" title="Rhythm section">rhythm section</a> (bass, piano/<a href="/wiki/Jazz_guitar" title="Jazz guitar">jazz guitar</a>/<a href="/wiki/Hammond_organ" title="Hammond organ">Hammond organ</a>, drums). But, commonly enough, big band composers have done their own arranging, just like their classical counterparts. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="As_profession">As profession</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=1" title="Edit section: As profession"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>An <b>orchestrator</b> is a trained musical professional who assigns instruments to an <a href="/wiki/Orchestra" title="Orchestra">orchestra</a> or other <a href="/wiki/Musical_ensemble" title="Musical ensemble">musical ensemble</a> from a piece of music written by a <a href="/wiki/Composer" title="Composer">composer</a>, or who adapts music composed for another medium for an orchestra. Orchestrators may work for <a href="/wiki/Musical_theatre" title="Musical theatre">musical theatre</a> productions, <a href="/wiki/Film_production" class="mw-redirect" title="Film production">film production</a> companies or <a href="/wiki/Recording_studio" title="Recording studio">recording studios</a>. Some orchestrators teach at colleges, conservatories or universities. The training done by orchestrators varies. Most have completed formal postsecondary education in music, such as a <a href="/wiki/Bachelor_of_Music" title="Bachelor of Music">Bachelor of Music</a> (B.Mus.), <a href="/wiki/Master_of_Music" title="Master of Music">Master of Music</a> (M.Mus.) or an artist's diploma. Orchestrators who teach at universities, colleges and conservatories may be required to hold a master's degree or a Doctorate (the latter may be a Ph.D. or a D.M.A). Orchestrators who work for film companies, musical theatre companies and other organizations may be hired solely based on their orchestration experience, even if they do not hold academic credentials. In the 2010s, as the percentage of faculty holding <a href="/wiki/Terminal_degree" title="Terminal degree">terminal degrees</a> and/or Doctoral degrees is part of how an institution is rated, this is causing an increasing number of postsecondary institutions to require terminal and/or Doctoral degrees. </p> <div class="mw-heading mw-heading2"><h2 id="In_practice">In practice</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=2" title="Edit section: In practice"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The term <i>orchestration</i> in its specific sense refers to the way instruments are used to portray any musical aspect such as <a href="/wiki/Melody" title="Melody">melody</a>, <a href="/wiki/Harmony" title="Harmony">harmony</a> or <a href="/wiki/Rhythm" title="Rhythm">rhythm</a>. For example, a C <a href="/wiki/Major_chord" title="Major chord">major chord</a> is made up of the notes <a href="/wiki/C_(musical_note)" title="C (musical note)">C</a>, <a href="/wiki/E_(musical_note)" title="E (musical note)">E</a>, and <a href="/wiki/G_(musical_note)" title="G (musical note)">G</a>. If the notes are held out the entire duration of a <a href="/wiki/Bar_(music)" title="Bar (music)">measure</a>, the composer or orchestrator will have to decide what instrument(s) play this chord and in what <a href="/wiki/Register_(music)" title="Register (music)">register</a>. Some instruments, including <a href="/wiki/Woodwinds" class="mw-redirect" title="Woodwinds">woodwinds</a> and <a href="/wiki/Brass" title="Brass">brass</a> are <a href="/wiki/Monophony" title="Monophony">monophonic</a> and can only play one note of the chord at a time. However, in a full orchestra there are more than one of these instruments, so the composer may choose to outline the chord in its basic form with a group of <a href="/wiki/Clarinets" class="mw-redirect" title="Clarinets">clarinets</a> or <a href="/wiki/Trumpets" class="mw-redirect" title="Trumpets">trumpets</a> (with separate instruments each being given one of the three notes of the chord). Other instruments, including the <a href="/wiki/String_instrument" title="String instrument">strings</a>, <a href="/wiki/Piano" title="Piano">piano</a>, <a href="/wiki/Harp" title="Harp">harp</a>, and pitched <a href="/wiki/Percussion" class="mw-redirect" title="Percussion">percussion</a> are <a href="/wiki/Polyphonic" class="mw-redirect" title="Polyphonic">polyphonic</a> and may play more than one note at a time. As such, if the orchestrator wishes to have the strings play the C major chord, they could assign the low C to the cellos and basses, the G to the violas, and then a high E to the second <a href="/wiki/Violin" title="Violin">violins</a> and an E an octave higher to the first violins. If the orchestrator wishes the chord to be played only by the first and second violins, they could give the second violins a low C and give the first violins a <a href="/wiki/Double_stop" title="Double stop">double stop</a> of the notes G (an open string) and E. </p><p>Additionally in orchestration, notes may be placed into another register (such as transposed down for the <a href="/wiki/String_bass" class="mw-redirect" title="String bass">basses</a>), doubled (both in the same and different octaves), and altered with various levels of dynamics. The choice of instruments, registers, and dynamics affect the overall <a href="/wiki/Timbre" title="Timbre">tone color</a>. If the C major chord was orchestrated for the <a href="/wiki/Trumpet" title="Trumpet">trumpets</a> and <a href="/wiki/Trombone" title="Trombone">trombones</a> playing <a href="/wiki/Fortissimo" class="mw-redirect" title="Fortissimo">fortissimo</a> in their upper registers, it would sound very bright; but if the same chord was orchestrated for the <a href="/wiki/Cello" title="Cello">cellos</a> and <a href="/wiki/String_bass" class="mw-redirect" title="String bass">double basses</a> playing <a href="/wiki/Sul_tasto" class="mw-redirect" title="Sul tasto">sul tasto</a>, doubled by the <a href="/wiki/Bassoon" title="Bassoon">bassoons</a> and <a href="/wiki/Bass_clarinet" title="Bass clarinet">bass clarinet</a>, it might sound heavy and dark. </p><p>Note that although the above example discussed orchestrating a chord, a melody or even a single note may be orchestrated in this fashion. Also note that in this specific sense of the word, <i>orchestration</i> is not necessarily limited to an orchestra, as a composer may <i>orchestrate</i> this same C major chord for, say, a <a href="/wiki/Woodwind_quintet" class="mw-redirect" title="Woodwind quintet">woodwind quintet</a>, a <a href="/wiki/String_quartet" title="String quartet">string quartet</a> or a <a href="/wiki/Concert_band" title="Concert band">concert band</a>. Each different ensemble would enable the orchestrator/composer to create different tone "colours" and timbres. </p><p>A <a href="/wiki/Melody" title="Melody">melody</a> is also orchestrated. The composer or orchestrator may think of a melody in their head, or while playing the piano or organ. Once they have thought of a melody, they have to decide which instrument (or instruments) will play the melody. One widely used approach for a melody is to assign it to the first violins. When the first violins play a melody, the composer can have the second violins double the melody an octave below, or have the second violins play a harmony part (often in thirds and sixths). Sometimes, for a forceful effect, a composer will indicate in the score that all of the strings (violins, violas, cellos, and double basses) will play the melody in <a href="/wiki/Unison" title="Unison">unison</a>, at the same time. Typically, even though the instruments are playing the same note names, the violins will play very high-register notes, the violas and cellos will play lower-register notes, and the double basses will play the deepest, lowest pitches. </p><p>As well, the <a href="/wiki/Woodwinds" class="mw-redirect" title="Woodwinds">woodwinds</a> and <a href="/wiki/Brass_instrument" title="Brass instrument">brass instruments</a> can effectively carry a melody, depending on the effect the orchestrator desires. The <a href="/wiki/Trumpet" title="Trumpet">trumpets</a> can perform a melody in a powerful, high register. Alternatively, if the trombones play a melody, the pitch will likely be lower than the trumpet, and the tone will be heavier, which may change the musical effect that is created. While the <a href="/wiki/Cello" title="Cello">cellos</a> are often given an <a href="/wiki/Accompaniment" title="Accompaniment">accompaniment</a> role in orchestration, there are notable cases where the cellos have been assigned the melody. In even more rare cases, the double bass section (or principal bass) may be given a melody, like, the high-register double bass solo in <a href="/wiki/Prokofiev" class="mw-redirect" title="Prokofiev">Prokofiev</a>'s <i><a href="/wiki/Lieutenant_Kije_Suite" class="mw-redirect" title="Lieutenant Kije Suite">Lieutenant Kije Suite</a>.</i> </p><p>While assigning a melody to a particular section, such as the string section or the woodwinds will work well, as the stringed instruments and all the woodwinds blend together well, some orchestrators give the melody to one section and then have the melody doubled by a different section or an instrument from a different section. For example, a melody played by the first violins could be doubled by the <a href="/wiki/Glockenspiel" title="Glockenspiel">glockenspiel</a>, which would add a sparkling, chime-like colour to the melody. Alternatively, a melody played by the piccolos could be doubled by the <a href="/wiki/Celesta" title="Celesta">celesta</a>, which would add a bright tone to the sound. </p><p>In the 20th and 21st century, <a href="/wiki/Contemporary_classical_music" title="Contemporary classical music">contemporary composers</a> began to incorporate <a href="/wiki/Music_technology_(electric)" title="Music technology (electric)">electric</a> and <a href="/wiki/Music_technology_(electronic_and_digital)" title="Music technology (electronic and digital)">electronic</a> instruments into the orchestra, such as the <a href="/wiki/Electric_guitar" title="Electric guitar">electric guitar</a> played through a <a href="/wiki/Guitar_amplifier" title="Guitar amplifier">guitar amplifier</a>, the <a href="/wiki/Electric_bass" class="mw-redirect" title="Electric bass">electric bass</a> played through a <a href="/wiki/Bass_amplifier" title="Bass amplifier">bass amplifier</a>, the <a href="/wiki/Theremin" title="Theremin">Theremin</a> and the <a href="/wiki/Synthesizer" title="Synthesizer">synthesizer</a>. The addition of these new instruments gave orchestrators new options for creating tonal colours in their orchestration. For example, in the late 20th century and onwards, an orchestrator could have a melody played by the first violins doubled by a futuristic-sounding <a href="/wiki/Synthesizer" title="Synthesizer">synthesizer</a> or a <a href="/wiki/Theremin" title="Theremin">theremin</a> to create an unusual effect. </p><p>Orchestral instrumentation is denoted by an abbreviated formulaic convention,<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> as follows: <a href="/wiki/Flute" title="Flute">flute</a>, <a href="/wiki/Oboe" title="Oboe">oboe</a>, <a href="/wiki/Clarinet" title="Clarinet">clarinet</a>, <a href="/wiki/Bassoon" title="Bassoon">bassoon</a>, <a href="/wiki/Horn_(instrument)" title="Horn (instrument)">horn</a>, <a href="/wiki/Trumpet" title="Trumpet">trumpet</a>, <a href="/wiki/Trombone" title="Trombone">trombone</a>, <a href="/wiki/Tuba" title="Tuba">tuba</a>. More details can be contained in brackets. A dot separates one player from another, a slash indicates doubling. Timpani and percussion are denoted 2Tmp+ number of percussion. </p><p>For example, 3[1.2.3/pic] 2[1.Eh] 3[1.2.3/Ebcl/bcl] 3[1.2/cbn.cbn] tmp+2 is interpreted as: </p> <ul><li>3 flautists, the 3rd doubling on piccolo ("doubling" means that the performer can play flute and piccolo)</li> <li>2 oboists, the 2nd playing English horn throughout</li> <li>3 clarinetists, the 3rd doubling also on E-flat clarinet and bass clarinet</li> <li>3 bassoonists, the 2nd doubling on contrabassoon, the 3rd playing only contra</li> <li>Timpani+ 2 percussion.</li></ul> <p>As an example, Mahler Symphony 2 is scored: 4[1/pic.2/pic.3/pic.4/pic] 4[1.2.3/Eh.4/Eh] 5[1.2.3/bcl.4/Ebcl2.Ebcl] 4[1.2.3.4/cbn]- 10 8 4 1- 2tmp+4-2 hp- org- str. </p> <div class="mw-heading mw-heading2"><h2 id="Examples_from_the_repertoire">Examples from the repertoire</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=3" title="Edit section: Examples from the repertoire"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="J.S_Bach">J.S Bach</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=4" title="Edit section: J.S Bach"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div><p> During the <a href="/wiki/Baroque" title="Baroque">Baroque</a> era, composers showed increasing awareness of the expressive potential of orchestration. While some early Baroque pieces have no indication of which instruments should play the piece, the choice of instruments being left to the musical group's leader or <a href="/wiki/Concertmaster" title="Concertmaster">concertmaster</a>, there are Baroque works which specify certain instruments. The orchestral accompaniment to the aria 'et misericordia' from <a href="/wiki/J._S._Bach" class="mw-redirect" title="J. S. Bach">J. S. Bach</a>'s <i><a href="/wiki/Magnificat_(Bach)" title="Magnificat (Bach)">Magnificat</a></i>, BWV 243 (1723) features muted strings <a href="/wiki/Voicing_(music)#Doubling" title="Voicing (music)">doubled</a> by flutes, a subtle combination of mellow instrumental <a href="/wiki/Timbres" class="mw-redirect" title="Timbres">timbres</a>.</p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Et_misericordia.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Et_misericordia.png/500px-Et_misericordia.png" decoding="async" width="500" height="381" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Et_misericordia.png/750px-Et_misericordia.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Et_misericordia.png/1000px-Et_misericordia.png 2x" data-file-width="2431" data-file-height="1852" /></a><figcaption>Orchestral introduction to 'et misericordia' from Bach's Magnificat, BWV 243. <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=Om6FA-8Rs5I">Listen</a></figcaption></figure><p> A particularly imaginative example of Bach's use of changing instrumental colour between orchestral groups can be found in his Cantata BWV 67, <i><a href="/wiki/Halt_im_Ged%C3%A4chtnis_Jesum_Christ" class="mw-redirect" title="Halt im Gedächtnis Jesum Christ">Halt im Gedächtnis Jesum Christ</a></i>. In the dramatic fourth movement, Jesus is depicted as quelling his disciples’ anxiety (illustrated by agitated strings) by uttering <i>Friede sei mit euch</i> ("<a href="/wiki/John_20:19" title="John 20:19">Peace be unto you</a>"). The strings dovetail with sustained chords on woodwind to accompany the solo singer, an effect <a href="/wiki/John_Eliot_Gardiner" title="John Eliot Gardiner">John Eliot Gardiner</a> likens to "a cinematic dissolve."<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup></p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_0" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="23" data-mwtitle="Bach,_from_Cantata_BWV_67,_4th_movement,_bars_8-13.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Bach,_from_Cantata_BWV_67,_4th_movement,_bars_8-13.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/a/aa/Bach%2C_from_Cantata_BWV_67%2C_4th_movement%2C_bars_8-13.wav/Bach%2C_from_Cantata_BWV_67%2C_4th_movement%2C_bars_8-13.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/a/aa/Bach%2C_from_Cantata_BWV_67%2C_4th_movement%2C_bars_8-13.wav/Bach%2C_from_Cantata_BWV_67%2C_4th_movement%2C_bars_8-13.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/a/aa/Bach%2C_from_Cantata_BWV_67%2C_4th_movement%2C_bars_8-13.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Bach, from Cantata BWV 67, 4th movement, bars 8-13</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Bach,_from_Cantata_BWV_67,_4th_movement,_bars_8-13.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Bach%2C_from_Cantata_BWV_67%2C_4th_movement%2C_bars_8-13.png/600px-Bach%2C_from_Cantata_BWV_67%2C_4th_movement%2C_bars_8-13.png" decoding="async" width="600" height="490" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Bach%2C_from_Cantata_BWV_67%2C_4th_movement%2C_bars_8-13.png/900px-Bach%2C_from_Cantata_BWV_67%2C_4th_movement%2C_bars_8-13.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Bach%2C_from_Cantata_BWV_67%2C_4th_movement%2C_bars_8-13.png/1200px-Bach%2C_from_Cantata_BWV_67%2C_4th_movement%2C_bars_8-13.png 2x" data-file-width="1972" data-file-height="1612" /></a><figcaption>Bach, from Cantata BWV 67, 4th movement, bars 8-13</figcaption></figure><p> The orchestral introduction to the opening chorus of J. S. Bach's <a href="/wiki/Epiphany_(holiday)" title="Epiphany (holiday)">epiphany</a> Cantata <a href="/wiki/Sie_werden_aus_Saba_alle_kommen,_BWV_65" title="Sie werden aus Saba alle kommen, BWV 65"><i>Sie werden aus Saba alle kommen</i></a> BWV 65, which <a href="/wiki/John_Eliot_Gardiner" title="John Eliot Gardiner">John Eliot Gardiner</a> (2013, p. 328) describes as "one of the crowning glories of Bach’s first Christmas season" further demonstrates the composer's mastery of his craft. Within a space of eight bars, we hear recorders, <a href="/wiki/Oboe_da_caccia" title="Oboe da caccia">oboes da caccia</a>, horns and strings creating a "glittery sheen" of contrasted timbres, sonorities and textures ranging from just two horns against a string <a href="/wiki/Pedal_point" title="Pedal point">pedal point</a> in the first bar to a "restatement of the octave unison theme, this time by all the voices and instruments spread over five octaves" in bars 7-8:<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup></p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_1" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="41" data-mwtitle="Opening_orchestral_introduction_to_J.S._Bach's_Cantata,_BWV65.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Opening_orchestral_introduction_to_J.S._Bach%27s_Cantata,_BWV65.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/4/4c/Opening_orchestral_introduction_to_J.S._Bach%27s_Cantata%2C_BWV65.wav/Opening_orchestral_introduction_to_J.S._Bach%27s_Cantata%2C_BWV65.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/4/4c/Opening_orchestral_introduction_to_J.S._Bach%27s_Cantata%2C_BWV65.wav/Opening_orchestral_introduction_to_J.S._Bach%27s_Cantata%2C_BWV65.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/4/4c/Opening_orchestral_introduction_to_J.S._Bach%27s_Cantata%2C_BWV65.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Opening orchestral introduction to J.S. Bach's Cantata, BWV65.</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Sie_werden_aus_Saba_Alle_kommen_opening_bars.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/47/Sie_werden_aus_Saba_Alle_kommen_opening_bars.png/600px-Sie_werden_aus_Saba_Alle_kommen_opening_bars.png" decoding="async" width="600" height="803" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/47/Sie_werden_aus_Saba_Alle_kommen_opening_bars.png/900px-Sie_werden_aus_Saba_Alle_kommen_opening_bars.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/47/Sie_werden_aus_Saba_Alle_kommen_opening_bars.png/1200px-Sie_werden_aus_Saba_Alle_kommen_opening_bars.png 2x" data-file-width="2451" data-file-height="3282" /></a><figcaption>Opening orchestral introduction to J.S. Bach's Cantata, BWV65.</figcaption></figure> <p>In contrast, Bach’s deployment of his instrumental forces in the opening movement of his <i><a href="/wiki/St_John_Passion" title="St John Passion">St John Passion</a></i> evokes a much darker drama: </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_2" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="26" data-mwtitle="St_John_Passion_opening_for_audio_01.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:St_John_Passion_opening_for_audio_01.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/9/9e/St_John_Passion_opening_for_audio_01.wav/St_John_Passion_opening_for_audio_01.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/9/9e/St_John_Passion_opening_for_audio_01.wav/St_John_Passion_opening_for_audio_01.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/9/9e/St_John_Passion_opening_for_audio_01.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>St John Passion, opening</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:St_John_Passion_opening.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e1/St_John_Passion_opening.png/600px-St_John_Passion_opening.png" decoding="async" width="600" height="250" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e1/St_John_Passion_opening.png/900px-St_John_Passion_opening.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e1/St_John_Passion_opening.png/1200px-St_John_Passion_opening.png 2x" data-file-width="2320" data-file-height="966" /></a><figcaption>St John Passion opening</figcaption></figure><p> “The relentless tremulant pulsation generated by the reiterated bass line, the persistent sighing figure in the violas and the violins the swirling motion in the violins so suggestive of turmoil… all contribute to its unique pathos. Over this ferment, pairs of oboes and flutes locked in lyrical dialogue but with anguished dissonances enact a very different kind of physicality, one that creates a harrowing portrayal of nails being driven into bare flesh.” <sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>Igor Stravinsky (1959, p45) marvelled at Bach's skill as an orchestrator: "What incomparable instrumental writing is Bach's. You can smell the resin [(rosin)] in his violin parts, [and] taste the reeds in the oboes."<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Rameau">Rameau</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=5" title="Edit section: Rameau"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div><p> Jean Philippe <a href="/wiki/Rameau" class="mw-redirect" title="Rameau">Rameau</a> was famous for "the eloquence of [his] orchestral writing which was something entirely new... - with a feeling for colour [(i.e., tone colour or <a href="/wiki/Timbre" title="Timbre">timbre</a>)] that is altogether 'modern'."<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> In 'The Entrance of Polymnie' from his opera <i><a href="/wiki/Les_Bor%C3%A9ades" title="Les Boréades">Les Boréades</a></i> (1763), the predominant string texture is shot through with descending scale figures on the bassoon, creating an exquisite blend of timbres:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_3" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="32" data-mwtitle="Entry_of_Polymnie_from_les_Boreades.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Entry_of_Polymnie_from_les_Boreades.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/66/Entry_of_Polymnie_from_les_Boreades.wav/Entry_of_Polymnie_from_les_Boreades.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/66/Entry_of_Polymnie_from_les_Boreades.wav/Entry_of_Polymnie_from_les_Boreades.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/6/66/Entry_of_Polymnie_from_les_Boreades.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>'L'Entrée de Polymnie' from <i>Les Boréades</i> by Rameau.</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Entry_of_Polymnie_from_les_Boreades.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Entry_of_Polymnie_from_les_Boreades.png/500px-Entry_of_Polymnie_from_les_Boreades.png" decoding="async" width="500" height="401" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Entry_of_Polymnie_from_les_Boreades.png/750px-Entry_of_Polymnie_from_les_Boreades.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Entry_of_Polymnie_from_les_Boreades.png/1000px-Entry_of_Polymnie_from_les_Boreades.png 2x" data-file-width="2330" data-file-height="1868" /></a><figcaption>'L'Entrée de Polymnie' from <i>Les Boréades</i> by Rameau.</figcaption></figure><p>In the aria ‘Rossignols amoureux’ from his opera <i><a href="/wiki/Hippolyte_et_Aricie" title="Hippolyte et Aricie">Hippolyte et Aricie</a></i>, Rameau evokes the sound of lovelorn nightingales by means of two flutes blending with a solo violin, while the rest of the violins play sustained notes in the background. </p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_4" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="32" data-mwtitle="Rameau_'Rossignols_amoureux'_from_Hippolyte_et_Aricie_01.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Rameau_%27Rossignols_amoureux%27_from_Hippolyte_et_Aricie_01.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/e/e6/Rameau_%27Rossignols_amoureux%27_from_Hippolyte_et_Aricie_01.wav/Rameau_%27Rossignols_amoureux%27_from_Hippolyte_et_Aricie_01.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/e/e6/Rameau_%27Rossignols_amoureux%27_from_Hippolyte_et_Aricie_01.wav/Rameau_%27Rossignols_amoureux%27_from_Hippolyte_et_Aricie_01.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/e/e6/Rameau_%27Rossignols_amoureux%27_from_Hippolyte_et_Aricie_01.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Rameau 'Rossignols amoureux' from Hippolyte et Aricie</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Rameau_%27Rossignols_amoureux%27_from_Hippolyte_et_Aricie_02.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Rameau_%27Rossignols_amoureux%27_from_Hippolyte_et_Aricie_02.png/600px-Rameau_%27Rossignols_amoureux%27_from_Hippolyte_et_Aricie_02.png" decoding="async" width="600" height="389" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Rameau_%27Rossignols_amoureux%27_from_Hippolyte_et_Aricie_02.png/900px-Rameau_%27Rossignols_amoureux%27_from_Hippolyte_et_Aricie_02.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Rameau_%27Rossignols_amoureux%27_from_Hippolyte_et_Aricie_02.png/1200px-Rameau_%27Rossignols_amoureux%27_from_Hippolyte_et_Aricie_02.png 2x" data-file-width="2078" data-file-height="1348" /></a><figcaption>Rameau 'Rossignols amoureux' from Hippolyte et Aricie</figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="Haydn">Haydn</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=6" title="Edit section: Haydn"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div><p> Joseph <a href="/wiki/Haydn" class="mw-redirect" title="Haydn">Haydn</a> was a pioneer of symphonic form, but he was also a pioneer of orchestration. In the minuet of <a href="/wiki/Symphony_No._97_(Haydn)" title="Symphony No. 97 (Haydn)">Symphony No. 97</a>, "we can see why <a href="/wiki/Rimsky-Korsakov" class="mw-redirect" title="Rimsky-Korsakov">Rimsky-Korsakov</a> declared Haydn to be the greatest of all masters of orchestration. The oom-pah-pah of a German dance band is rendered with the utmost refinement, amazingly by kettledrums and trumpets pianissimo, and the rustic <i><a href="/wiki/Glissando" title="Glissando">glissando</a></i>… is given a finicky elegance by the grace notes in the horns as well as by the doubling of the melody an octave higher with the solo violin. These details are not intended to blend, but to be set in relief; they are individually exquisite."<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup></p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_5" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="15" data-mwtitle="Haydn,_Symphony_97,_third_movement,_bars_109-116.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Haydn,_Symphony_97,_third_movement,_bars_109-116.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/f/f6/Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-116.wav/Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-116.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/f/f6/Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-116.wav/Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-116.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/f/f6/Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-116.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Haydn, Symphony 97, third movement, bars 109-118</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Haydn,_Symphony_97,_third_movement,_bars_109-117.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-117.png/500px-Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-117.png" decoding="async" width="500" height="468" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-117.png/750px-Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-117.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-117.png/1000px-Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-117.png 2x" data-file-width="1819" data-file-height="1704" /></a><figcaption></figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Haydn,_Symphony_97,_third_movement,_bars_109-118.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/91/Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-118.png/500px-Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-118.png" decoding="async" width="500" height="465" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/91/Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-118.png/750px-Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-118.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/91/Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-118.png/1000px-Haydn%2C_Symphony_97%2C_third_movement%2C_bars_109-118.png 2x" data-file-width="1816" data-file-height="1688" /></a><figcaption>Haydn, Symphony 97, third movement, bars 109-118</figcaption></figure><p> Another example of Haydn's imagination and ingenuity that shows how well he understood how orchestration can support harmony may be found in the concluding bars of the second movement of his <a href="/wiki/Symphony_No._94_(Haydn)" title="Symphony No. 94 (Haydn)">Symphony No. 94</a> (the "Surprise Symphony.") Here, the oboes and bassoons take over the theme, while sustained chords in the strings accompany it with "soft, but very dissonant harmony. "<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Flute, Horns and timpani add to the mix, all contributing to the "air of uncanny poignancy" that characterises this atmospheric conclusion.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_6" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="33" data-mwtitle="Haydn,_Symphony_94,_second_movement_bars_150-156.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Haydn,_Symphony_94,_second_movement_bars_150-156.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/2/26/Haydn%2C_Symphony_94%2C_second_movement_bars_150-156.wav/Haydn%2C_Symphony_94%2C_second_movement_bars_150-156.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/2/26/Haydn%2C_Symphony_94%2C_second_movement_bars_150-156.wav/Haydn%2C_Symphony_94%2C_second_movement_bars_150-156.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/2/26/Haydn%2C_Symphony_94%2C_second_movement_bars_150-156.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Haydn, Symphony 94, second movement bars 143-156</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Haydn,_Symphony_94,_second_movement_bars_150-157.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/53/Haydn%2C_Symphony_94%2C_second_movement_bars_150-157.png/500px-Haydn%2C_Symphony_94%2C_second_movement_bars_150-157.png" decoding="async" width="500" height="636" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/53/Haydn%2C_Symphony_94%2C_second_movement_bars_150-157.png/750px-Haydn%2C_Symphony_94%2C_second_movement_bars_150-157.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/53/Haydn%2C_Symphony_94%2C_second_movement_bars_150-157.png/1000px-Haydn%2C_Symphony_94%2C_second_movement_bars_150-157.png 2x" data-file-width="1942" data-file-height="2470" /></a><figcaption></figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Haydn,_Symphony_94,_second_movement_bars_150-158.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/Haydn%2C_Symphony_94%2C_second_movement_bars_150-158.png/500px-Haydn%2C_Symphony_94%2C_second_movement_bars_150-158.png" decoding="async" width="500" height="457" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/Haydn%2C_Symphony_94%2C_second_movement_bars_150-158.png/750px-Haydn%2C_Symphony_94%2C_second_movement_bars_150-158.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/02/Haydn%2C_Symphony_94%2C_second_movement_bars_150-158.png/1000px-Haydn%2C_Symphony_94%2C_second_movement_bars_150-158.png 2x" data-file-width="1937" data-file-height="1769" /></a><figcaption>Haydn, Symphony 94, second movement bars 143-156</figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="Mozart">Mozart</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=7" title="Edit section: Mozart"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><a href="/wiki/Mozart" class="mw-redirect" title="Mozart">Mozart</a> "was acutely sensitive to matters of instrumentation and instrumental effect where orchestral writing was concerned", including a "meticulous attitude towards the spacing of chords."<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> <a href="/wiki/H._C._Robbins_Landon" title="H. C. Robbins Landon">H. C. Robbins Landon</a> marvels at the "gorgeous wash of colour displayed in Mozart’s scores."<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> For example, the opening movement of the <a href="/wiki/Symphony_No._39_(Mozart)" title="Symphony No. 39 (Mozart)">Symphony No. 39</a> (K543) contains "a charming dialogue between strings and woodwind"<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> that demonstrates the composer's exquisite aural imagination for the blending and contrast of <a href="/wiki/Timbres" class="mw-redirect" title="Timbres">timbres</a>. Bars 102-3 feature a widely spaced <a href="/wiki/Voicing_(music)" title="Voicing (music)">voicing</a> over a range of four octaves. The first and second violins weave curly parallel melodic lines, a tenth apart, underpinned by a <a href="/wiki/Pedal_point" title="Pedal point">pedal point</a> in the double basses and a sustained <a href="/wiki/Octave" title="Octave">octave</a> in the horns. Wind instruments respond in bars 104–5, accompanied by a spidery ascending <a href="/wiki/Chromatic" class="mw-redirect" title="Chromatic">chromatic</a> line in the cellos.</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_7" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="32" data-mwtitle="Symphony_39,_first_movement,_bars_102-119.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Symphony_39,_first_movement,_bars_102-119.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/0/0c/Symphony_39%2C_first_movement%2C_bars_102-119.wav/Symphony_39%2C_first_movement%2C_bars_102-119.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/0/0c/Symphony_39%2C_first_movement%2C_bars_102-119.wav/Symphony_39%2C_first_movement%2C_bars_102-119.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/0/0c/Symphony_39%2C_first_movement%2C_bars_102-119.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Symphony 39, first movement, bars 102-119</figcaption></figure> <figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Symphony_39,_first_movement,_bars_102-120.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Symphony_39%2C_first_movement%2C_bars_102-120.png/500px-Symphony_39%2C_first_movement%2C_bars_102-120.png" decoding="async" width="500" height="378" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Symphony_39%2C_first_movement%2C_bars_102-120.png/750px-Symphony_39%2C_first_movement%2C_bars_102-120.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Symphony_39%2C_first_movement%2C_bars_102-120.png/1000px-Symphony_39%2C_first_movement%2C_bars_102-120.png 2x" data-file-width="2061" data-file-height="1558" /></a><figcaption>Symphony 39, first movement, bars 102-105</figcaption></figure><p>A graceful continuation to this features clarinets and bassoons with the lower strings supplying the bass notes.</p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Symphony_39,_first_movement,_bars_102-121.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/27/Symphony_39%2C_first_movement%2C_bars_102-121.png/500px-Symphony_39%2C_first_movement%2C_bars_102-121.png" decoding="async" width="500" height="244" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/27/Symphony_39%2C_first_movement%2C_bars_102-121.png/750px-Symphony_39%2C_first_movement%2C_bars_102-121.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/27/Symphony_39%2C_first_movement%2C_bars_102-121.png/1000px-Symphony_39%2C_first_movement%2C_bars_102-121.png 2x" data-file-width="2061" data-file-height="1004" /></a><figcaption>Symphony 39, first movement, bars 106-109</figcaption></figure><p>Next, a phrase for strings alone blends <a href="/wiki/Pizzicato" title="Pizzicato">pizzicato</a> cellos and basses with bowed violins and violas, playing mostly in thirds:</p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Symphony_39,_first_movement,_bars_110-114.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/16/Symphony_39%2C_first_movement%2C_bars_110-114.png/500px-Symphony_39%2C_first_movement%2C_bars_110-114.png" decoding="async" width="500" height="205" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/16/Symphony_39%2C_first_movement%2C_bars_110-114.png/750px-Symphony_39%2C_first_movement%2C_bars_110-114.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/16/Symphony_39%2C_first_movement%2C_bars_110-114.png/1000px-Symphony_39%2C_first_movement%2C_bars_110-114.png 2x" data-file-width="2061" data-file-height="845" /></a><figcaption>Symphony 39, first movement, bars 110-114</figcaption></figure><p>The woodwind repeat these four bars with the violins adding a <a href="/wiki/Counter-melody" title="Counter-melody">counter-melody</a> against the cellos and basses playing <a href="/wiki/Bow_(music)" title="Bow (music)"><i>arco</i></a>. The violas add crucial harmonic colouring here with their D flat in bar 115. In 1792, an early listener marvelled at the dazzling orchestration of this movement "ineffably grand and rich in ideas, with striking variety in almost all obbligato parts."<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup></p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Symphony_39,_first_movement,_bars_115-119.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/63/Symphony_39%2C_first_movement%2C_bars_115-119.png/500px-Symphony_39%2C_first_movement%2C_bars_115-119.png" decoding="async" width="500" height="314" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/63/Symphony_39%2C_first_movement%2C_bars_115-119.png/750px-Symphony_39%2C_first_movement%2C_bars_115-119.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/63/Symphony_39%2C_first_movement%2C_bars_115-119.png/1000px-Symphony_39%2C_first_movement%2C_bars_115-119.png 2x" data-file-width="2061" data-file-height="1293" /></a><figcaption>Symphony 39, first movement, bars 115-119</figcaption></figure><p>"The main feature in [his] orchestration is Mozart’s density, which is of course part of his density of thought."<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> Another important technique of Mozart's orchestration was <a href="/wiki/Call_and_response_(music)" title="Call and response (music)">antiphony</a>, the "call and response" exchange of musical motifs or "ideas" between different groups in the orchestra. In an antiphonal section, the composer may have one group of instruments introduce a melodic idea (e.g., the first violins), and then have the woodwinds "answer" by restating this melodic idea, often with some type of variation. In the trio section of the minuet from his <a href="/wiki/Symphony_No._41_(Mozart)" title="Symphony No. 41 (Mozart)">Symphony No. 41</a> (1788), the flute, bassoons and horn exchange phrases with the strings, with the first violin line <a href="/wiki/Voicing_(music)#Doubling" title="Voicing (music)">doubled</a> at the <a href="/wiki/Octave" title="Octave">octave</a> by the first oboe:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_8" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="13" data-mwtitle="Mozart_Jupiter_Symphony_Trio.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Mozart_Jupiter_Symphony_Trio.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/8/8a/Mozart_Jupiter_Symphony_Trio.wav/Mozart_Jupiter_Symphony_Trio.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/8/8a/Mozart_Jupiter_Symphony_Trio.wav/Mozart_Jupiter_Symphony_Trio.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/8/8a/Mozart_Jupiter_Symphony_Trio.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Trio section of the Minuet from Mozart's Symphony No. 41.</figcaption></figure> <figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Mozart_Jupiter_Trio.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Mozart_Jupiter_Trio.png/500px-Mozart_Jupiter_Trio.png" decoding="async" width="500" height="638" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Mozart_Jupiter_Trio.png/750px-Mozart_Jupiter_Trio.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Mozart_Jupiter_Trio.png/1000px-Mozart_Jupiter_Trio.png 2x" data-file-width="2406" data-file-height="3069" /></a><figcaption>Trio section of the Minuet from Mozart's Symphony No. 41.</figcaption></figure><p> Charles Rosen (1971, p. 240) admires Mozart's skill in orchestrating his piano concertos, particularly the <a href="/wiki/Piano_Concerto_No._22_(Mozart)" title="Piano Concerto No. 22 (Mozart)">Concerto in E flat major, K482</a>, a work that introduced clarinets into the mix. "This concerto places the greatest musical reliance on tone colour, which is, indeed, almost always ravishing. One lovely example of its sonorities comes near the beginning."<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup></p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_9" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="29" data-mwtitle="Mozart_Piano_Concerto_22_first_movement_opening.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Mozart_Piano_Concerto_22_first_movement_opening.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/bf/Mozart_Piano_Concerto_22_first_movement_opening.wav/Mozart_Piano_Concerto_22_first_movement_opening.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/bf/Mozart_Piano_Concerto_22_first_movement_opening.wav/Mozart_Piano_Concerto_22_first_movement_opening.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/b/bf/Mozart_Piano_Concerto_22_first_movement_opening.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Mozart Piano Concerto K482 first movement bars 1-12</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Mozart_Piano_Concerto_K482_first_movement_bars_1-6.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Mozart_Piano_Concerto_K482_first_movement_bars_1-6.png/500px-Mozart_Piano_Concerto_K482_first_movement_bars_1-6.png" decoding="async" width="500" height="97" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Mozart_Piano_Concerto_K482_first_movement_bars_1-6.png/750px-Mozart_Piano_Concerto_K482_first_movement_bars_1-6.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Mozart_Piano_Concerto_K482_first_movement_bars_1-6.png/1000px-Mozart_Piano_Concerto_K482_first_movement_bars_1-6.png 2x" data-file-width="1755" data-file-height="341" /></a><figcaption>Mozart Piano Concerto K482 first movement bars 1-6</figcaption></figure><p> The orchestral <a href="/wiki/Tutti" title="Tutti">tutti</a> in the first two bars is answered by just horns and bassoon in bars 2–6. This passage repeats with fresh orchestration: </p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Mozart_Piano_Concerto_K482_first_movement_bars_7-12.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Mozart_Piano_Concerto_K482_first_movement_bars_7-12.png/500px-Mozart_Piano_Concerto_K482_first_movement_bars_7-12.png" decoding="async" width="500" height="104" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Mozart_Piano_Concerto_K482_first_movement_bars_7-12.png/750px-Mozart_Piano_Concerto_K482_first_movement_bars_7-12.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Mozart_Piano_Concerto_K482_first_movement_bars_7-12.png/1000px-Mozart_Piano_Concerto_K482_first_movement_bars_7-12.png 2x" data-file-width="1755" data-file-height="365" /></a><figcaption>Mozart Piano Concerto K482 first movement bars 7–12.</figcaption></figure><p>"Here we have the unusual sound on the violins providing the bass for the solo clarinets. The simplicity of the sequence concentrates all our interest on tone-colour, and what follows – a series of woodwind solos – keeps it there. The orchestration throughout, in fact, has a greater variety than Mozart had wished or needed before, and fits the brilliance, charm, and grace of the first movement and the finale."<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><div class="mw-heading mw-heading3"><h3 id="Beethoven">Beethoven</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=8" title="Edit section: Beethoven"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div><p> Beethoven's innovative mastery of orchestration and his awareness of the effect of highlighting, contrasting and blending distinct instrumental <a href="/wiki/Timbre" title="Timbre">colours</a> are well exemplified in the <a href="/wiki/Scherzo" title="Scherzo">Scherzo</a> of his <a href="/wiki/Symphony_No._2_(Beethoven)" title="Symphony No. 2 (Beethoven)">Symphony No. 2</a>. <a href="/wiki/George_Grove" title="George Grove">George Grove</a> asks us to note "the sudden contrasts both in amount and quality of sound… we have first the full orchestra, then a single violin, then two horns, then two violins, then the full orchestra again, all within the space of half-a-dozen bars."<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> "The scoring, a bar of this followed by a bar of that, is virtually unique, and one can visualize chaos reigning at the first rehearsal when many a player must have been caught unprepared."<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_10" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="10" data-mwtitle="Symphony_2_scherzo_bars_1-8.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Symphony_2_scherzo_bars_1-8.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/c/ca/Symphony_2_scherzo_bars_1-8.wav/Symphony_2_scherzo_bars_1-8.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/c/ca/Symphony_2_scherzo_bars_1-8.wav/Symphony_2_scherzo_bars_1-8.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/c/ca/Symphony_2_scherzo_bars_1-8.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Beethoven, Symphony 2 scherzo bars 1-8</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Symphony_2_scherzo_bars_1-9.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/be/Symphony_2_scherzo_bars_1-9.png/500px-Symphony_2_scherzo_bars_1-9.png" decoding="async" width="500" height="432" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/be/Symphony_2_scherzo_bars_1-9.png/750px-Symphony_2_scherzo_bars_1-9.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/be/Symphony_2_scherzo_bars_1-9.png/1000px-Symphony_2_scherzo_bars_1-9.png 2x" data-file-width="1569" data-file-height="1356" /></a><figcaption>Symphony 2 scherzo bars 1-8</figcaption></figure><p> Another demonstration of Beethoven's consummate skill at obtaining the maximum variety out of seemingly unprepossessing and fairly simple material can be found in the first movement of the <a href="/wiki/Beethoven_Piano_Concerto_No._5" class="mw-redirect" title="Beethoven Piano Concerto No. 5">Piano Concerto No. 5</a> in E flat (‘The Emperor’) Opus 73 (1810). The <a href="/wiki/Sonata_form" title="Sonata form">second subject of the sonata form</a> is a deceptively simple tune that, according to Fiske (1970, p. 41) "is limited to notes playable on the horns for which it must have been specially designed."<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> This theme appears in five different orchestrations throughout the movement, with changes of <a href="/wiki/Mode_(music)" title="Mode (music)">mode</a> (major to minor), <a href="/wiki/Dynamics_(music)" title="Dynamics (music)">dynamics</a> (<a href="/wiki/Forte_(music)" class="mw-redirect" title="Forte (music)">forte</a> to <a href="/wiki/Dynamics_(music)" title="Dynamics (music)">pianissimo</a>) and a blending of instrumental <a href="/wiki/Timbre" title="Timbre">colour</a> that ranges from boldly stated <a href="/wiki/Tutti" title="Tutti">tutti</a> passages to the most subtle and differentiated episodes, where instrumental sounds are combined often in quite unexpected ways:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_11" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="25" data-mwtitle="Second_subject_theme_from_the_first_movement_of_Beethoven's_Piano_Concerto_No._5_(Emperor).wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Second_subject_theme_from_the_first_movement_of_Beethoven%27s_Piano_Concerto_No._5_(Emperor).wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/9/90/Second_subject_theme_from_the_first_movement_of_Beethoven%27s_Piano_Concerto_No._5_%28Emperor%29.wav/Second_subject_theme_from_the_first_movement_of_Beethoven%27s_Piano_Concerto_No._5_%28Emperor%29.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/9/90/Second_subject_theme_from_the_first_movement_of_Beethoven%27s_Piano_Concerto_No._5_%28Emperor%29.wav/Second_subject_theme_from_the_first_movement_of_Beethoven%27s_Piano_Concerto_No._5_%28Emperor%29.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/9/90/Second_subject_theme_from_the_first_movement_of_Beethoven%27s_Piano_Concerto_No._5_%28Emperor%29.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Second subject theme from the first movement of Beethoven's Piano Concerto No. 5 (Emperor)</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Subsidiary_theme_from_the_first_movement_of_beethoven%27s_Piano_Conxcert_No._5_(Emperor).png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/38/Subsidiary_theme_from_the_first_movement_of_beethoven%27s_Piano_Conxcert_No._5_%28Emperor%29.png/600px-Subsidiary_theme_from_the_first_movement_of_beethoven%27s_Piano_Conxcert_No._5_%28Emperor%29.png" decoding="async" width="600" height="112" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/38/Subsidiary_theme_from_the_first_movement_of_beethoven%27s_Piano_Conxcert_No._5_%28Emperor%29.png/900px-Subsidiary_theme_from_the_first_movement_of_beethoven%27s_Piano_Conxcert_No._5_%28Emperor%29.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/38/Subsidiary_theme_from_the_first_movement_of_beethoven%27s_Piano_Conxcert_No._5_%28Emperor%29.png/1200px-Subsidiary_theme_from_the_first_movement_of_beethoven%27s_Piano_Conxcert_No._5_%28Emperor%29.png 2x" data-file-width="2014" data-file-height="375" /></a><figcaption>Second subject theme from the first movement of Beethoven's Piano Concerto No. 5 (Emperor)</figcaption></figure><p> The theme first appears in the minor mode during the orchestral introduction, performed using <a href="/wiki/Staccato" title="Staccato">staccato</a> articulation and orchestrated in the most delicate and enchanting colours:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_12" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="25" data-mwtitle="Minor_version_of_the_theme.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Minor_version_of_the_theme.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/67/Minor_version_of_the_theme.wav/Minor_version_of_the_theme.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/67/Minor_version_of_the_theme.wav/Minor_version_of_the_theme.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/6/67/Minor_version_of_the_theme.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Minor version of the theme</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Minor_version_1.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Minor_version_1.png/500px-Minor_version_1.png" decoding="async" width="500" height="283" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Minor_version_1.png/750px-Minor_version_1.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Minor_version_1.png/1000px-Minor_version_1.png 2x" data-file-width="2064" data-file-height="1167" /></a><figcaption>Minor version of the theme.</figcaption></figure><p> This is followed by a more straightforward version in the major key, with horns accompanied by strings. The theme is now played <a href="/wiki/Legato" title="Legato">legato</a> by the horns, accompanied by a sustained <a href="/wiki/Pedal_point" title="Pedal point">pedal point</a> in the bassoons. The violins simultaneously play an elaborated version of the theme. (See also <a href="/wiki/Heterophony" title="Heterophony">heterophony</a>.) The timpani and <a href="/wiki/Pizzicato" title="Pizzicato">pizzicato</a> lower strings add further colour to this variegated palette of sounds. "Considering that the notes are virtually the same the difference in effect is extraordinary":<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup></p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_13" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="25" data-mwtitle="Major_version_of_the_theme,_with_horns_playing_the_melody.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Major_version_of_the_theme,_with_horns_playing_the_melody.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/b0/Major_version_of_the_theme%2C_with_horns_playing_the_melody.wav/Major_version_of_the_theme%2C_with_horns_playing_the_melody.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/b0/Major_version_of_the_theme%2C_with_horns_playing_the_melody.wav/Major_version_of_the_theme%2C_with_horns_playing_the_melody.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/b/b0/Major_version_of_the_theme%2C_with_horns_playing_the_melody.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Major version of the theme, with horns playing the melody</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Major_version_of_the_theme.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/eb/Major_version_of_the_theme.png/500px-Major_version_of_the_theme.png" decoding="async" width="500" height="654" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/eb/Major_version_of_the_theme.png/750px-Major_version_of_the_theme.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/eb/Major_version_of_the_theme.png/1000px-Major_version_of_the_theme.png 2x" data-file-width="2066" data-file-height="2703" /></a><figcaption>Major version of the theme, with horns playing the melody.</figcaption></figure><p> When the solo piano enters, its right hand plays a variant of the minor version of the theme in a <a href="/wiki/Tuplet" title="Tuplet">triplet</a> rhythm, with the backing of pizzicato (plucked) strings on the off-beats:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_14" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="25" data-mwtitle="Minor_version_of_the_theme,_with_piano_right_hand_elaborating_the_melody_in_triplets.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Minor_version_of_the_theme,_with_piano_right_hand_elaborating_the_melody_in_triplets.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/3/3c/Minor_version_of_the_theme%2C_with_piano_right_hand_elaborating_the_melody_in_triplets.wav/Minor_version_of_the_theme%2C_with_piano_right_hand_elaborating_the_melody_in_triplets.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/3/3c/Minor_version_of_the_theme%2C_with_piano_right_hand_elaborating_the_melody_in_triplets.wav/Minor_version_of_the_theme%2C_with_piano_right_hand_elaborating_the_melody_in_triplets.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/3/3c/Minor_version_of_the_theme%2C_with_piano_right_hand_elaborating_the_melody_in_triplets.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Minor version of the theme, with piano right hand elaborating the melody in triplets</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Minor_version_2_-_piano.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/11/Minor_version_2_-_piano.png/500px-Minor_version_2_-_piano.png" decoding="async" width="500" height="462" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/11/Minor_version_2_-_piano.png/750px-Minor_version_2_-_piano.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/11/Minor_version_2_-_piano.png/1000px-Minor_version_2_-_piano.png 2x" data-file-width="2042" data-file-height="1888" /></a><figcaption>Minor key version of the theme, with piano right hand elaborating the melody in triplets.</figcaption></figure><p> This is followed by a bold <i><a href="/wiki/Tutti" title="Tutti">tutti</a></i> statement of the theme, "with the whole orchestra thumping it out in aggressive semi-<a href="/wiki/Staccato" title="Staccato">staccato</a>.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> </p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_15" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="25" data-mwtitle="Tutti_statement_of_the_theme.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Tutti_statement_of_the_theme.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/b4/Tutti_statement_of_the_theme.wav/Tutti_statement_of_the_theme.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/b4/Tutti_statement_of_the_theme.wav/Tutti_statement_of_the_theme.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/b/b4/Tutti_statement_of_the_theme.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Tutti statement of the theme</figcaption></figure><p>:</p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Tutti_version_in_major.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b3/Tutti_version_in_major.png/500px-Tutti_version_in_major.png" decoding="async" width="500" height="199" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b3/Tutti_version_in_major.png/750px-Tutti_version_in_major.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b3/Tutti_version_in_major.png/1000px-Tutti_version_in_major.png 2x" data-file-width="2043" data-file-height="815" /></a><figcaption>Tutti statement of the theme.</figcaption></figure><p> The minor version of the theme also appears in the <a href="/wiki/Cadenza" title="Cadenza">cadenza</a>, played staccato by the solo piano:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_16" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="25" data-mwtitle="Solo_piano_statement_of_theme_in_the_cadenza.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Solo_piano_statement_of_theme_in_the_cadenza.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/8/87/Solo_piano_statement_of_theme_in_the_cadenza.wav/Solo_piano_statement_of_theme_in_the_cadenza.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/8/87/Solo_piano_statement_of_theme_in_the_cadenza.wav/Solo_piano_statement_of_theme_in_the_cadenza.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/8/87/Solo_piano_statement_of_theme_in_the_cadenza.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Solo piano statement of theme in the cadenza</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Cadenza.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/42/Cadenza.png/500px-Cadenza.png" decoding="async" width="500" height="215" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/42/Cadenza.png/750px-Cadenza.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/42/Cadenza.png/1000px-Cadenza.png 2x" data-file-width="2043" data-file-height="878" /></a><figcaption>Solo piano statement of theme in the cadenza.</figcaption></figure><p> This is followed, finally, by a restatement of the major key version, featuring horns playing legato, accompanied by pizzicato strings and <a href="/wiki/Filigree" title="Filigree">filigree</a> arpeggio figuration in the solo piano:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_17" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="25" data-mwtitle="Final_statement_of_the_theme_in_a_major_key_by_the_horns_after_the_end_of_the_cadenza.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Final_statement_of_the_theme_in_a_major_key_by_the_horns_after_the_end_of_the_cadenza.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/3/35/Final_statement_of_the_theme_in_a_major_key_by_the_horns_after_the_end_of_the_cadenza.wav/Final_statement_of_the_theme_in_a_major_key_by_the_horns_after_the_end_of_the_cadenza.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/3/35/Final_statement_of_the_theme_in_a_major_key_by_the_horns_after_the_end_of_the_cadenza.wav/Final_statement_of_the_theme_in_a_major_key_by_the_horns_after_the_end_of_the_cadenza.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/3/35/Final_statement_of_the_theme_in_a_major_key_by_the_horns_after_the_end_of_the_cadenza.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Final statement of the theme in a major key by the horns after the end of the cadenza</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Major_version_in_cadenza.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Major_version_in_cadenza.png/500px-Major_version_in_cadenza.png" decoding="async" width="500" height="722" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Major_version_in_cadenza.png/750px-Major_version_in_cadenza.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Major_version_in_cadenza.png/1000px-Major_version_in_cadenza.png 2x" data-file-width="2066" data-file-height="2983" /></a><figcaption>Final statement of the theme in a major key by the horns after the end of the cadenza.</figcaption></figure><p> Fiske (1970) says that Beethoven shows "a superb flood of invention" through these varied treatments. "The variety of moods this theme can convey is without limit."<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p><div class="mw-heading mw-heading3"><h3 id="Berlioz">Berlioz</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=9" title="Edit section: Berlioz"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div><p> The most significant orchestral innovator of the early 19th century was Hector <a href="/wiki/Berlioz" class="mw-redirect" title="Berlioz">Berlioz</a>. (The composer was also the author of a <i><a href="/wiki/Treatise_on_Instrumentation" title="Treatise on Instrumentation">Treatise on Instrumentation</a></i>.) "He was drawn to the orchestra as his chosen medium by instinct … and by finding out the exact capabilities and <a href="/wiki/Timbres" class="mw-redirect" title="Timbres">timbres</a> of individual instruments, and it was on this raw material that his imagination worked to produce countless new sonorities, very striking when considered as a totality, crucially instructive for later composers, and nearly all exactly tailored to their dramatic or expressive purpose."<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> Numerous examples of Berlioz's orchestral wizardry and his penchant for conjuring extraordinary sonorities can be found in his <i><a href="/wiki/Symphonie_fantastique" title="Symphonie fantastique">Symphonie fantastique</a></i>. The opening of the fourth movement, entitled "March to the Scaffold" features what for the time (1830) must have seemed a bizarre mix of sounds. The timpani and the double basses play thick chords against the snarling muted brass: </p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_18" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="15" data-mwtitle="March_to_the_Scaffold_bars_1-4_for_audio.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:March_to_the_Scaffold_bars_1-4_for_audio.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/d/d7/March_to_the_Scaffold_bars_1-4_for_audio.wav/March_to_the_Scaffold_bars_1-4_for_audio.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/d/d7/March_to_the_Scaffold_bars_1-4_for_audio.wav/March_to_the_Scaffold_bars_1-4_for_audio.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/d/d7/March_to_the_Scaffold_bars_1-4_for_audio.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>March to the Scaffold from the <i>Symphonie fantastique</i></figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:March_to_the_Scaffold_bars_1-4.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fd/March_to_the_Scaffold_bars_1-4.png/500px-March_to_the_Scaffold_bars_1-4.png" decoding="async" width="500" height="202" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fd/March_to_the_Scaffold_bars_1-4.png/750px-March_to_the_Scaffold_bars_1-4.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fd/March_to_the_Scaffold_bars_1-4.png/1000px-March_to_the_Scaffold_bars_1-4.png 2x" data-file-width="2406" data-file-height="972" /></a><figcaption>Berlioz, March to the Scaffold from the <i>Symphonie fantastique</i></figcaption></figure> <p>"Although he derives from Beethoven, Berlioz uses features that run counter to the rules of composition in general, such as the chords in close position in the low register of the double basses."<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p><p> Berlioz was also capable of conveying great delicacy in his instrumental writing. A particularly spectacular instance is the "<a href="/wiki/Queen_Mab" title="Queen Mab">Queen Mab</a>" scherzo from the <i><a href="/wiki/Romeo_et_Juliette" class="mw-redirect" title="Romeo et Juliette">Romeo et Juliette</a></i> symphony, which <a href="/wiki/Hugh_Macdonald_(musicologist)" title="Hugh Macdonald (musicologist)">Hugh Macdonald</a> (1969, p51) describes as "Berlioz’s supreme exercise in light orchestral texture, a brilliant, gossamer fabric, <a href="/wiki/Prestissimo" class="mw-redirect" title="Prestissimo">prestissimo</a> and <a href="/wiki/Dynamics_(music)" title="Dynamics (music)">pianissimo</a> almost without pause: </p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_19" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="9" data-mwtitle="Berlioz,_Queen_Mab_Scherzo,_opening_bars.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Berlioz,_Queen_Mab_Scherzo,_opening_bars.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/63/Berlioz%2C_Queen_Mab_Scherzo%2C_opening_bars.wav/Berlioz%2C_Queen_Mab_Scherzo%2C_opening_bars.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/63/Berlioz%2C_Queen_Mab_Scherzo%2C_opening_bars.wav/Berlioz%2C_Queen_Mab_Scherzo%2C_opening_bars.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/6/63/Berlioz%2C_Queen_Mab_Scherzo%2C_opening_bars.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Berlioz, Queen Mab scherzo from Romeo et Juliette</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Queen_Mab_main_theme.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e4/Queen_Mab_main_theme.png/500px-Queen_Mab_main_theme.png" decoding="async" width="500" height="262" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e4/Queen_Mab_main_theme.png/750px-Queen_Mab_main_theme.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e4/Queen_Mab_main_theme.png/1000px-Queen_Mab_main_theme.png 2x" data-file-width="2464" data-file-height="1291" /></a><figcaption>Berlioz, Queen Mab scherzo from Romeo et Juliette</figcaption></figure> <p>Boulez points out that the very fast tempo must have made unprecedented demands on conductors and orchestras of the time (1830), "Because of the rapid and precise rhythms, the staccatos which must be even and regular in all registers, because of the isolated notes that occur right at the end of the bar on the third quaver…all of which must fall into place with absolutely perfect precision."<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p><p> Macdonald highlights the passage towards the end of the scherzo where "The sounds become more ethereal and fairylike, low clarinet, high harps and the bell-like antique cymbals…The pace and fascination of the movement are irresistible; it is some of the most ethereally brilliant music ever penned."<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_20" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="9" data-mwtitle="From_Berlioz,_Queen_Mab_scherzo.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:From_Berlioz,_Queen_Mab_scherzo.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/64/From_Berlioz%2C_Queen_Mab_scherzo.wav/From_Berlioz%2C_Queen_Mab_scherzo.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/64/From_Berlioz%2C_Queen_Mab_scherzo.wav/From_Berlioz%2C_Queen_Mab_scherzo.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/6/64/From_Berlioz%2C_Queen_Mab_scherzo.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Berlioz, orchestral texture from Queen Mab scherzo</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Queen_mab_scherzo_p218.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Queen_mab_scherzo_p218.png/500px-Queen_mab_scherzo_p218.png" decoding="async" width="500" height="274" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Queen_mab_scherzo_p218.png/750px-Queen_mab_scherzo_p218.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Queen_mab_scherzo_p218.png/1000px-Queen_mab_scherzo_p218.png 2x" data-file-width="2451" data-file-height="1341" /></a><figcaption>Berlioz, orchestral texture from Queen Mab scherzo</figcaption></figure><p> The <a href="/wiki/New_Grove_Dictionary" class="mw-redirect" title="New Grove Dictionary">New Grove Dictionary</a> says that for Berlioz, orchestration "was intrinsic to composition, not something applied to finished music...in his hands <a href="/wiki/Timbre" title="Timbre">timbre</a> became something that could be used in free combinations, as an artist might use his palette, without bowing to the demands of line, and this leads to the rich orchestral resource of Debussy and Ravel."<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> </p><div class="mw-heading mw-heading3"><h3 id="Wagner">Wagner</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=10" title="Edit section: Wagner"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div><p> After Berlioz, <a href="/wiki/Richard_Wagner" title="Richard Wagner">Richard Wagner</a> was the major pioneer in the development of orchestration during the 19th century. <a href="/wiki/Pierre_Boulez" title="Pierre Boulez">Pierre Boulez</a> speaks of the "sheer richness of Wagner’s orchestration and his irrepressible instinct for innovation."<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> Peter Latham says that Wagner had a "unique appreciation of the possibilities for colour inherent in the instruments at his disposal, and it was this that guided him both in his selection of new recruits for the orchestral family and in his treatment of its established members. The well-known division of that family into strings, woodwind, and brass, with percussion as required, he inherited from the great classical symphonists such changes as he made were in the direction of splitting up these groups still further." Latham gives as an example, the sonority of the opening of the opera <i><a href="/wiki/Lohengrin_(opera)" title="Lohengrin (opera)">Lohengrin</a></i>, where "the ethereal quality of the music" is due to the violins being "divided up into four, five, or even eight parts instead of the customary two."<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> </p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Prelude_to_Lohengrin_condensed_score.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b4/Prelude_to_Lohengrin_condensed_score.png/500px-Prelude_to_Lohengrin_condensed_score.png" decoding="async" width="500" height="213" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b4/Prelude_to_Lohengrin_condensed_score.png/750px-Prelude_to_Lohengrin_condensed_score.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b4/Prelude_to_Lohengrin_condensed_score.png/1000px-Prelude_to_Lohengrin_condensed_score.png 2x" data-file-width="2555" data-file-height="1087" /></a><figcaption>Wagner, Prelude to Lohengrin <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=lqk4bcnBqls">Listen</a></figcaption></figure><p> "The A major chord with which the <i>Lohengrin</i> Prelude begins, in the high register, using <a href="/wiki/Harmonics" class="mw-redirect" title="Harmonics">harmonics</a> and held for a long time, lets us take in all its detail. It is undoubtedly an A major chord, but it is also high strings, harmonics, long notes – which gives it all its expressivity, but an expressivity in which the acoustic features play a central role, as we have still heard neither melody nor harmonic progression."<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> As he matured as a composer, particularly through his experience of composing <a href="/wiki/Der_Ring_des_Nibelungen" title="Der Ring des Nibelungen"><i>The Ring</i></a> Wagner made "increasing use of the contrast between pure and mixed <a href="/wiki/Timbre" title="Timbre">colours</a>, bringing to a fine point the art of transition from one field of sonority to another."<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> For example, in the evocative "Fire Music" that concludes <i><a href="/wiki/Die_Walk%C3%BCre" title="Die Walküre">Die Walküre</a></i>, "the multiple <a href="/wiki/Arpeggio" title="Arpeggio">arpeggiations</a> of the wind chords and the <a href="/wiki/Contrapuntal_motion" title="Contrapuntal motion">contrary motion</a> in the strings create an oscillation of tone-colours almost literally matching the visual flickering of the flames."<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup></p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_21" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="12" data-mwtitle="Wagner_Fire_Music_from_Die_Walkure_01.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Wagner_Fire_Music_from_Die_Walkure_01.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/f/f1/Wagner_Fire_Music_from_Die_Walkure_01.wav/Wagner_Fire_Music_from_Die_Walkure_01.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/f/f1/Wagner_Fire_Music_from_Die_Walkure_01.wav/Wagner_Fire_Music_from_Die_Walkure_01.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/f/f1/Wagner_Fire_Music_from_Die_Walkure_01.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Wagner Fire Music from <i>Die Walküre</i></figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Wagner_Fire_Music_from_Die_Walkure_02.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Wagner_Fire_Music_from_Die_Walkure_02.png/500px-Wagner_Fire_Music_from_Die_Walkure_02.png" decoding="async" width="500" height="655" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Wagner_Fire_Music_from_Die_Walkure_02.png/750px-Wagner_Fire_Music_from_Die_Walkure_02.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Wagner_Fire_Music_from_Die_Walkure_02.png/1000px-Wagner_Fire_Music_from_Die_Walkure_02.png 2x" data-file-width="2474" data-file-height="3242" /></a><figcaption>Wagner Fire Music from <i>Die Walküre</i></figcaption></figure><p><a href="/wiki/Robert_Craft" title="Robert Craft">Robert Craft</a> found Wagner's final opera <i><a href="/wiki/Parsifal" title="Parsifal">Parsifal</a></i> to be a work where "Wagner’s powers are at their pinnacle… The orchestral blends and separations are without precedent."<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> Craft cites the intricate orchestration of the single line of melody that opens the opera:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_22" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="29" data-mwtitle="Parsifal_Prelude_Opening_01.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Parsifal_Prelude_Opening_01.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/3/37/Parsifal_Prelude_Opening_01.wav/Parsifal_Prelude_Opening_01.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/3/37/Parsifal_Prelude_Opening_01.wav/Parsifal_Prelude_Opening_01.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/3/37/Parsifal_Prelude_Opening_01.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Parsifal Prelude Opening</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Parsifal_Prelude_Opening.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/37/Parsifal_Prelude_Opening.png/500px-Parsifal_Prelude_Opening.png" decoding="async" width="500" height="235" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/37/Parsifal_Prelude_Opening.png/750px-Parsifal_Prelude_Opening.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/37/Parsifal_Prelude_Opening.png/1000px-Parsifal_Prelude_Opening.png 2x" data-file-width="2182" data-file-height="1027" /></a><figcaption>Parsifal Prelude Opening</figcaption></figure> <p>"<i>Parsifal</i> makes entirely new uses of orchestral colour… Without the help of the score, even a very sensitive ear cannot distinguish the instruments playing the unison beginning of the Prelude. The violins are halved, then doubled by the cellos, a clarinet, and a bassoon, as well as, for the peak of the phrase, an alto oboe [cor anglais]. The full novelty of this colour change with the oboe, both as intensity and as timbre, can be appreciated only after the theme is repeated in harmony and in one of the most gorgeous orchestrations of even Wagner’s Technicolor <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=AQOfIENN2tk">imagination</a>."<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> </p><p> Later, during the opening scene of the first act of <i><a href="/wiki/Parsifal" title="Parsifal">Parsifal</a></i>, Wagner offsets the bold brass with gentler strings, showing that the same musical material feels very different when passed between contrasting families of instruments:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_23" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="54" data-mwtitle="Parsifal_contrasting_groups_for_audio.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Parsifal_contrasting_groups_for_audio.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/bd/Parsifal_contrasting_groups_for_audio.wav/Parsifal_contrasting_groups_for_audio.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/bd/Parsifal_contrasting_groups_for_audio.wav/Parsifal_contrasting_groups_for_audio.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/b/bd/Parsifal_contrasting_groups_for_audio.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Contrasting orchestral groups from the Prelude to the first Act of Parsifal</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Parsifal_contrasting_groups.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Parsifal_contrasting_groups.png/500px-Parsifal_contrasting_groups.png" decoding="async" width="500" height="204" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Parsifal_contrasting_groups.png/750px-Parsifal_contrasting_groups.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Parsifal_contrasting_groups.png/1000px-Parsifal_contrasting_groups.png 2x" data-file-width="3158" data-file-height="1288" /></a><figcaption>Contrasting orchestral groups from the Prelude to first Act of Parsifal</figcaption></figure><p> On the other hand, the prelude to the opera <i><a href="/wiki/Tristan_und_Isolde" title="Tristan und Isolde">Tristan and Isolde</a></i> exemplifies the variety that Wagner could extract through combining instruments from different <a href="/wiki/Orchestra" title="Orchestra">orchestral families</a> with his precise markings of <a href="/wiki/Dynamics_(music)" title="Dynamics (music)">dynamics</a> and <a href="/wiki/Articulation_(music)" title="Articulation (music)">articulation</a>. In the opening phrase, the cellos are supported by wind instruments: </p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_24" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="40" data-mwtitle="Tristan_prelude_bars_1-7_version_for_audio.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Tristan_prelude_bars_1-7_version_for_audio.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/b4/Tristan_prelude_bars_1-7_version_for_audio.wav/Tristan_prelude_bars_1-7_version_for_audio.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/b4/Tristan_prelude_bars_1-7_version_for_audio.wav/Tristan_prelude_bars_1-7_version_for_audio.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/b/b4/Tristan_prelude_bars_1-7_version_for_audio.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Wagner, Tristan Prelude, opening</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Tristan_prelude_bars_1-7.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3a/Tristan_prelude_bars_1-7.png/500px-Tristan_prelude_bars_1-7.png" decoding="async" width="500" height="270" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3a/Tristan_prelude_bars_1-7.png/750px-Tristan_prelude_bars_1-7.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3a/Tristan_prelude_bars_1-7.png/1000px-Tristan_prelude_bars_1-7.png 2x" data-file-width="2271" data-file-height="1227" /></a><figcaption>Wagner, Tristan prelude, opening.</figcaption></figure><p> When this idea returns towards the end of the prelude, the <a href="/wiki/Timbre" title="Timbre">instrumental colors</a> are varied subtly, with sounds that were new to the 19th century orchestra, such as the <a href="/wiki/Cor_anglais" title="Cor anglais">cor anglais</a> and the <a href="/wiki/Bass_clarinet" title="Bass clarinet">bass clarinet</a>. These, together with the ominous rumbling of the timpani effectively convey the brooding atmosphere: </p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_25" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="39" data-mwtitle="Tristan_prelude_closing_bars_version_for_audio.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Tristan_prelude_closing_bars_version_for_audio.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/f/ff/Tristan_prelude_closing_bars_version_for_audio.wav/Tristan_prelude_closing_bars_version_for_audio.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/f/ff/Tristan_prelude_closing_bars_version_for_audio.wav/Tristan_prelude_closing_bars_version_for_audio.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/f/ff/Tristan_prelude_closing_bars_version_for_audio.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Wagner, Tristan Prelude, closing bars</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Wagner,_Tristan_prelude_closing_bars.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/76/Wagner%2C_Tristan_prelude_closing_bars.png/500px-Wagner%2C_Tristan_prelude_closing_bars.png" decoding="async" width="500" height="259" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/76/Wagner%2C_Tristan_prelude_closing_bars.png/750px-Wagner%2C_Tristan_prelude_closing_bars.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/76/Wagner%2C_Tristan_prelude_closing_bars.png/1000px-Wagner%2C_Tristan_prelude_closing_bars.png 2x" data-file-width="2270" data-file-height="1177" /></a><figcaption>Wagner, Tristan Prelude, closing bars.</figcaption></figure> <p>"It’s impressive to see how Wagner… produces balance in his works. He is true genius in this respect, undeniably so, even down to the working out of the exact number of instruments." Boulez is "fascinated by the precision with which Wagner gauges orchestral balance, [which] … contains a multiplicity of details that he achieved with astonishing precision."<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> According to <a href="/wiki/Roger_Scruton" title="Roger Scruton">Roger Scruton</a>, "Seldom since Bach's inspired use of <a href="/wiki/Obbligato" title="Obbligato">obbligato</a> parts in his cantatas have the instruments of the orchestra been so meticulously and lovingly adapted to their expressive role by Wagner in his later operas."<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Mahler">Mahler</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=11" title="Edit section: Mahler"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div><p> William Austin (1966) says "<a href="/wiki/Mahler" class="mw-redirect" title="Mahler">Mahler</a> expanded the orchestra, going ahead to a historic climax in the direction already marked by <a href="/wiki/Beethoven" class="mw-redirect" title="Beethoven">Beethoven</a>, <a href="/wiki/Berlioz" class="mw-redirect" title="Berlioz">Berlioz</a> and <a href="/wiki/Wagner" class="mw-redirect" title="Wagner">Wagner</a>… The purpose of this famous expansion was not a sheer increase in volume, but a greater variety of sound with more nearly continuous gradations… Mahler only occasionally required all his vast orchestra to play together, and his music was as often soft as loud. Its colours were continually shifting, blending or contrasting with each other."<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Adorno" class="mw-redirect" title="Adorno">Adorno</a> (1971) similarly describes Mahler's symphonic writing as characterised by "massive tutti effects" contrasted with "chamber-music procedures".<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> The following passage from the first movement of his Symphony No. 4 illustrates this:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_26" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="23" data-mwtitle="Mahler_4_1st_movt_Fig_5.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Mahler_4_1st_movt_Fig_5.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/9/99/Mahler_4_1st_movt_Fig_5.wav/Mahler_4_1st_movt_Fig_5.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/9/99/Mahler_4_1st_movt_Fig_5.wav/Mahler_4_1st_movt_Fig_5.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/9/99/Mahler_4_1st_movt_Fig_5.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Mahler, Symphony No. 4, first movement, Fig 5</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Mahler_4_1st_movt_Fig_5.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Mahler_4_1st_movt_Fig_5.png/500px-Mahler_4_1st_movt_Fig_5.png" decoding="async" width="500" height="606" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Mahler_4_1st_movt_Fig_5.png/750px-Mahler_4_1st_movt_Fig_5.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Mahler_4_1st_movt_Fig_5.png/1000px-Mahler_4_1st_movt_Fig_5.png 2x" data-file-width="2412" data-file-height="2922" /></a><figcaption>Mahler, Symphony No. 4, first movement, Figure 5.</figcaption></figure><p> Only in the first bar of the above is there a full ensemble. The remaining bars feature highly differentiated small groups of instruments. Mahler's experienced conductor's ear led him to write detailed performance markings in his scores, including carefully calibrated dynamics. For example, in bar 2 above, the low harp note is marked <a href="/wiki/Dynamics_(music)" title="Dynamics (music)"><i>forte</i></a>, the clarinets, <a href="/wiki/Dynamics_(music)" title="Dynamics (music)"><i>mezzo-forte</i></a> and the horns <a href="/wiki/Dynamics_(music)" title="Dynamics (music)"><i>piano</i></a>. Austin (1966) says that "Mahler cared about the finest nuances of loudness and tempo and worked tirelessly to fix these details in his scores."<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> Mahler's imagination for sonority is exemplified in the closing bars of the slow movement of the Fourth Symphony, where there occurs what <a href="/wiki/Walter_Piston" title="Walter Piston">Walter Piston</a> (1969, p. 140) describes as "an instance of inspired orchestration… To be noted are the sudden change of mode in the harmonic progression, the unusual spacing of the chord in measure 5, and the placing of the perfect fourth in the two flutes. The effect is quite unexpected and magical."<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup></p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_27" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="20" data-mwtitle="Mahler_4_3rd_movement_Fig_13.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Mahler_4_3rd_movement_Fig_13.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/f/f1/Mahler_4_3rd_movement_Fig_13.wav/Mahler_4_3rd_movement_Fig_13.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/f/f1/Mahler_4_3rd_movement_Fig_13.wav/Mahler_4_3rd_movement_Fig_13.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/f/f1/Mahler_4_3rd_movement_Fig_13.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Mahler Symphony No 4, third movement, Figure 13.</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Mahler_4_third_movement.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3e/Mahler_4_third_movement.png/500px-Mahler_4_third_movement.png" decoding="async" width="500" height="333" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3e/Mahler_4_third_movement.png/750px-Mahler_4_third_movement.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3e/Mahler_4_third_movement.png/1000px-Mahler_4_third_movement.png 2x" data-file-width="2419" data-file-height="1609" /></a><figcaption>Mahler Symphony No 4, third movement, Figure 13.</figcaption></figure><p> According to Donald Mitchell, the "rational basis" of Mahler's orchestration was "to enable us to comprehend his music by hearing precisely what was going on."<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> </p><div class="mw-heading mw-heading3"><h3 id="Debussy">Debussy</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=12" title="Edit section: Debussy"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Apart from Mahler and <a href="/wiki/Richard_Strauss" title="Richard Strauss">Richard Strauss</a>, the major innovator in orchestration during the closing years of the nineteenth and the first decades of the twentieth century was Claude <a href="/wiki/Debussy" class="mw-redirect" title="Debussy">Debussy</a>. According to Pierre <a href="/wiki/Boulez" class="mw-redirect" title="Boulez">Boulez</a> (1975, p20) "Debussy’s orchestration… when compared with even such brilliant contemporaries as Strauss and Mahler… shows an infinitely fresher imagination." Boulez said that Debussy's orchestration was "conceived from quite a different point of view; the number of instruments, their balance, the order in which they are used, their use itself, produces a different climate." Apart from the early impact of <a href="/wiki/Wagner" class="mw-redirect" title="Wagner">Wagner</a>, Debussy was also fascinated by music from Asia that according to Austin "he heard repeatedly and admired intensely at the Paris World exhibition of 1889".<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> </p><p> Both influences inform Debussy's first major orchestral work, <i><a href="/wiki/Pr%C3%A9lude_%C3%A0_l%27apr%C3%A8s-midi_d%27un_faune" title="Prélude à l'après-midi d'un faune">Prelude a l’après-midi d’un faune</a></i> (1894). Wagner's influence can be heard in the strategic use of <a href="/wiki/Silence" title="Silence">silence</a>, the sensitively differentiated orchestration and, above all in the striking <a href="/wiki/Half-diminished_seventh" class="mw-redirect" title="Half-diminished seventh">half-diminished seventh</a> chord spread between oboes and clarinets, reinforced by a <a href="/wiki/Glissando" title="Glissando">glissando</a> on the harp. Austin (1966, p. 16) continues "Only a composer thoroughly familiar with the <a href="/wiki/Tristan_chord" title="Tristan chord">Tristan chord</a> could have conceived the beginning of the <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=bYyK922PsUw"><i>Faune</i></a>."<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup></p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Prelude_a_l%27apres_midi_opening.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/05/Prelude_a_l%27apres_midi_opening.png/600px-Prelude_a_l%27apres_midi_opening.png" decoding="async" width="600" height="372" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/05/Prelude_a_l%27apres_midi_opening.png/900px-Prelude_a_l%27apres_midi_opening.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/05/Prelude_a_l%27apres_midi_opening.png/1200px-Prelude_a_l%27apres_midi_opening.png 2x" data-file-width="2860" data-file-height="1772" /></a><figcaption>Debussy, Prelude a l'apres midi d'un faune, opening bars</figcaption></figure><p> Later in the <i>Faune</i>, Debussy builds a complex texture, where, as Austin says, "<a href="/wiki/Polyphony" title="Polyphony">Polyphony</a> and orchestration overlap...He adds to all the devices of <a href="/wiki/Mozart" class="mw-redirect" title="Mozart">Mozart</a>, <a href="/wiki/Carl_Maria_von_Weber" title="Carl Maria von Weber">Weber</a>, <a href="/wiki/Berlioz" class="mw-redirect" title="Berlioz">Berlioz</a> and Wagner the possibilities that he learned from the <a href="/wiki/Heterophonic" class="mw-redirect" title="Heterophonic">heterophonic</a> music of the Far East.... The first harp varies the flute parts in almost the same way that the smallest bells of a <a href="/wiki/Java" title="Java">Javanese</a> <a href="/wiki/Gamelan" title="Gamelan">gamelan</a> vary the slower basic melody."<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup></p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Prelude_a_l%27apres_midi,_from_Fig_7-_short_score_version.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/63/Prelude_a_l%27apres_midi%2C_from_Fig_7-_short_score_version.png/700px-Prelude_a_l%27apres_midi%2C_from_Fig_7-_short_score_version.png" decoding="async" width="700" height="495" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/63/Prelude_a_l%27apres_midi%2C_from_Fig_7-_short_score_version.png/1050px-Prelude_a_l%27apres_midi%2C_from_Fig_7-_short_score_version.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/63/Prelude_a_l%27apres_midi%2C_from_Fig_7-_short_score_version.png/1400px-Prelude_a_l%27apres_midi%2C_from_Fig_7-_short_score_version.png 2x" data-file-width="3211" data-file-height="2272" /></a><figcaption>Debussy, Prelude a l'apres midi d'un faune, Figure 7, bars 11-13</figcaption></figure><p> Debussy's final orchestral work, the enigmatic ballet <i><a href="/wiki/Jeux" title="Jeux">Jeux</a></i> (1913) was composed nearly 20 years after the <i>Faune</i>. The opening bars feature divided strings, spread over a wide range, a harp doubling horns with the addition of the bell-like <a href="/wiki/Celesta" title="Celesta">celesta</a> in the 5th bar and the sultry voicing of the <a href="/wiki/Whole_tone_scale" class="mw-redirect" title="Whole tone scale">whole tone</a> chords in the woodwind:</p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Jeux_opening_bars.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/01/Jeux_opening_bars.png/500px-Jeux_opening_bars.png" decoding="async" width="500" height="631" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/01/Jeux_opening_bars.png/750px-Jeux_opening_bars.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/01/Jeux_opening_bars.png/1000px-Jeux_opening_bars.png 2x" data-file-width="1926" data-file-height="2430" /></a><figcaption>Debussy, <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=x8qP_2i3HYA">Jeux opening bars</a></figcaption></figure> <p>Jensen (2014, p. 228) says "Perhaps the greatest marvel of <i>Jeux</i> is its orchestration. While working on the piano score, Debussy wrote: ‘I am thinking of that orchestral colour which seems to be illuminated from behind, and for which there are such marvellous displays in <i><a href="/wiki/Parsifal" title="Parsifal">Parsifal</a></i>’ The idea, then, was to produce timbre without glare, subdued... but to do so with clarity and precision."<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="As_adaptation">As adaptation</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=13" title="Edit section: As adaptation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In a more general sense, <i>orchestration</i> also refers to the re-adaptation of existing music into another medium, particularly a full or reduced orchestra. There are two general kinds of adaptation: <a href="/wiki/Transcription_(music)" title="Transcription (music)">transcription</a>, which closely follows the original piece, and <a href="/wiki/Arrangement" title="Arrangement">arrangement</a>, which tends to change significant aspects of the original piece. In terms of adaptation, <i>orchestration</i> applies, strictly speaking, only to writing for orchestra, whereas the term <i><a href="/wiki/Instrumentation_(music)" title="Instrumentation (music)">instrumentation</a></i> applies to instruments used in the texture of the piece. In the study of orchestration – in contradistinction to the practice – the term <i>instrumentation</i> may also refer to consideration of the defining characteristics of individual instruments rather than to the art of combining instruments. </p><p>In commercial music, especially musical theatre and film music, independent orchestrators are often used because it is difficult to meet tight deadlines when the same person is required both to compose and to orchestrate. Frequently, when a stage musical is adapted to film, such as <i><a href="/wiki/Camelot_(film)" title="Camelot (film)">Camelot</a></i> or <i><a href="/wiki/Fiddler_on_the_Roof_(film)" title="Fiddler on the Roof (film)">Fiddler on the Roof</a></i>, the orchestrations for the film version are notably different from the stage ones. In other cases, such as <i><a href="/wiki/Evita_(1996_film)" title="Evita (1996 film)">Evita</a></i>, they are not, and are simply expanded versions from those used in the stage production. </p><p>Most orchestrators often work from a draft (sketch), or <a href="/wiki/Sheet_music#Types" title="Sheet music">short score</a>, that is, a score written on limited number of independent <a href="/wiki/Musical_staff" class="mw-redirect" title="Musical staff">musical staves</a>. Some orchestrators, particularly those writing for the <a href="/wiki/Opera" title="Opera">opera</a> or <a href="/wiki/Music_theatre" title="Music theatre">music theatres</a>, prefer to work from a piano <a href="/wiki/Vocal_score" class="mw-redirect" title="Vocal score">vocal score</a> up, since the singers need to start rehearsing a piece long before the whole work is fully completed. That was, for instance, the method of composition of <a href="/wiki/Jules_Massenet" title="Jules Massenet">Jules Massenet</a>. In other instances, simple cooperation between various creators is utilized, as when <a href="/wiki/Jonathan_Tunick" title="Jonathan Tunick">Jonathan Tunick</a> orchestrates <a href="/wiki/Stephen_Sondheim" title="Stephen Sondheim">Stephen Sondheim</a>'s songs, or when orchestration is done from a <a href="/wiki/Lead_sheet" title="Lead sheet">lead sheet</a> (a simplified music notation for a song which includes just the melody and the <a href="/wiki/Chord_progression" title="Chord progression">chord progression</a>). In the latter case, arranging as well as orchestration will be involved. </p> <div class="mw-heading mw-heading2"><h2 id="Film_orchestration">Film orchestration</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=14" title="Edit section: Film orchestration"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Due to the enormous time constraints of film scoring schedules, most film composers employ orchestrators rather than doing the work themselves, although these orchestrators work under the close supervision of the composer. Some <a href="/wiki/Film_score" title="Film score">film composers</a> have made the time to orchestrate their own music, including <a href="/wiki/Bernard_Herrmann" title="Bernard Herrmann">Bernard Herrmann</a> (1911–1975), <a href="/wiki/Georges_Delerue" title="Georges Delerue">Georges Delerue</a> (1925–1992), <a href="/wiki/Ennio_Morricone" title="Ennio Morricone">Ennio Morricone</a> (1928–2020), <a href="/wiki/John_Williams" title="John Williams">John Williams</a> (born 1932) (his very detailed sketches are 99% orchestrated),<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Howard_Shore" title="Howard Shore">Howard Shore</a> (born 1946), <a href="/wiki/James_Horner" title="James Horner">James Horner</a> (1953–2015) (on Braveheart), <a href="/wiki/Bruno_Coulais" title="Bruno Coulais">Bruno Coulais</a> (born 1954), <a href="/wiki/Rachel_Portman" title="Rachel Portman">Rachel Portman</a> (born 1960), <a href="/wiki/Philippe_Rombi" title="Philippe Rombi">Philippe Rombi</a> (born 1968) and <a href="/wiki/Abel_Korzeniowski" title="Abel Korzeniowski">Abel Korzeniowski</a> (born 1972). </p><p>Some staff composers at the Walt Disney studios during the 1930s and 1940s (except for <a href="/wiki/Frank_Churchill" title="Frank Churchill">Frank Churchill</a>) had orchestrated their own music, such as <a href="/wiki/Paul_J._Smith_(composer)" class="mw-redirect" title="Paul J. Smith (composer)">Paul J. Smith</a> (on <i><a href="/wiki/Snow_White_and_the_Seven_Dwarfs_(1937_film)" title="Snow White and the Seven Dwarfs (1937 film)">Snow White and the Seven Dwarfs</a></i>, <i><a href="/wiki/Pinocchio_(1940_film)" title="Pinocchio (1940 film)">Pinocchio</a></i>, <i><a href="/wiki/The_Three_Caballeros" title="The Three Caballeros">The Three Caballeros</a></i>, and <i><a href="/wiki/Fun_and_Fancy_Free" title="Fun and Fancy Free">Fun and Fancy Free</a></i>. <a href="/wiki/Leigh_Harline" title="Leigh Harline">Leigh Harline</a> (on <i>Snow White</i> and <i>Pinocchio</i>), <a href="/wiki/Oliver_Wallace" title="Oliver Wallace">Oliver Wallace</a> (on <i><a href="/wiki/Dumbo_(1941_film)" class="mw-redirect" title="Dumbo (1941 film)">Dumbo</a></i>) and <a href="/wiki/Edward_H._Plumb" title="Edward H. Plumb">Edward H. Plumb</a> (on <i><a href="/wiki/Bambi" title="Bambi">Bambi</a></i>). These composers also <a href="/wiki/Development_(music)" title="Development (music)">developed</a> themes and songs that Churchill had written. Plumb continued to provide numerous film orchestrations at the Disney studios until his death in 1958. </p><p>Although there have been hundreds of orchestrators in film over the years, the most prominent film orchestrators for the latter half of the 20th century were <a href="/wiki/Jack_Hayes_(composer)" title="Jack Hayes (composer)">Jack Hayes</a>, <a href="/wiki/Herbert_W._Spencer" title="Herbert W. Spencer">Herbert W. Spencer</a>, <a href="/w/index.php?title=Edward_B._Powell_(orchestrator)&action=edit&redlink=1" class="new" title="Edward B. Powell (orchestrator) (page does not exist)">Edward Powell</a> (who worked almost exclusively with <a href="/wiki/Alfred_Newman_(composer)" class="mw-redirect" title="Alfred Newman (composer)">Alfred Newman</a>), <a href="/w/index.php?title=Arthur_Morton_(composer)&action=edit&redlink=1" class="new" title="Arthur Morton (composer) (page does not exist)">Arthur Morton</a>, Greig McRitchie, and <a href="/wiki/Alexander_Courage" title="Alexander Courage">Alexander Courage</a>. Some of the most in-demand orchestrators today (and of the past 30 years) include <a href="/wiki/Jeff_Atmajian" title="Jeff Atmajian">Jeff Atmajian</a>, <a href="/w/index.php?title=Pete_Anthony&action=edit&redlink=1" class="new" title="Pete Anthony (page does not exist)">Pete Anthony</a>, <a href="/w/index.php?title=Brad_Dechter&action=edit&redlink=1" class="new" title="Brad Dechter (page does not exist)">Brad Dechter</a> (James Newton Howard, Christopher Young, Theodore Shapiro, Teddy Castellucci, Danny Elfman, John Powell, Marco Beltrami, John Debney, Marc Shaiman, Michael Giacchino, Ludwig Göransson), <a href="/wiki/Conrad_Pope" title="Conrad Pope">Conrad Pope</a> (John Williams, Alexandre Desplat, Jerry Goldsmith, James Newton Howard, Alan Silvestri, James Horner, Mark Isham, John Powell, Michael Convertino, Danny Elfman, Howard Shore), <a href="/w/index.php?title=Eddie_Karam&action=edit&redlink=1" class="new" title="Eddie Karam (page does not exist)">Eddie Karam</a> (John Williams, James Horner), <a href="/wiki/Bruce_Fowler" title="Bruce Fowler">Bruce Fowler</a> (Hans Zimmer, Klaus Badelt, Harry Gregson-Williams, Steve Jablonsky, Mark Mancina, John Powell), <a href="/w/index.php?title=John_Ashton_Thomas&action=edit&redlink=1" class="new" title="John Ashton Thomas (page does not exist)">John Ashton Thomas</a> (John Powell, John Debney, Alan Silvestri, James Newton Howard, Henry Jackman, Lyle Workman, Theodore Shapiro, John Ottman, John Paesano, Alex Heffes, Christophe Beck, Carter Burwell), <a href="/w/index.php?title=Robert_Elhai&action=edit&redlink=1" class="new" title="Robert Elhai (page does not exist)">Robert Elhai</a> (Elliot Goldenthal, Michael Kamen, Ed Shearmur, Brian Tyler, Klaus Badelt, Ilan Eshkeri) and <a href="/wiki/J.A.C._Redford" class="mw-redirect" title="J.A.C. Redford">J.A.C. Redford</a> (James Horner, Thomas Newman). </p><p><a href="/wiki/Conrad_Salinger" title="Conrad Salinger">Conrad Salinger</a> was the most prominent orchestrator of MGM musicals from the 1940s to 1962, orchestrating such famous films as <i><a href="/wiki/Singin%27_in_the_Rain_(film)" class="mw-redirect" title="Singin' in the Rain (film)">Singin' in the Rain</a></i>, <i><a href="/wiki/An_American_in_Paris_(film)" title="An American in Paris (film)">An American in Paris</a></i>, and <i><a href="/wiki/Gigi_(1958_film)" title="Gigi (1958 film)">Gigi</a></i>. In the 1950s, film composer <a href="/wiki/John_Williams" title="John Williams">John Williams</a> frequently spent time with Salinger informally learning the craft of orchestration. <a href="/wiki/Robert_Russell_Bennett" title="Robert Russell Bennett">Robert Russell Bennett</a> (George Gershwin, Rodgers and Hammerstein) was one of America's most prolific orchestrators (particularly of Broadway shows) of the 20th century, sometimes scoring over 80 pages a day. </p> <div class="mw-heading mw-heading3"><h3 id="Process">Process</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=15" title="Edit section: Process"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Most films require 30 to 120 minutes of musical score. Each individual piece of music in a film is called a "cue". There are roughly 20-80 cues per film. A dramatic film may require slow and sparse music while an action film may require 80 cues of highly active music. Each cue can range in length from five seconds to more than ten minutes as needed per scene in the film. After the composer is finished composing the cue, this sketch score is delivered to the orchestrator either as hand written or computer generated. Most composers in Hollywood today compose their music using sequencing software (e.g. <a href="/wiki/Digital_Performer" title="Digital Performer">Digital Performer</a>, <a href="/wiki/Logic_Pro" title="Logic Pro">Logic Pro</a>, or <a href="/wiki/Cubase" class="mw-redirect" title="Cubase">Cubase</a>). A sketch score can be generated through the use of a <a href="/wiki/MIDI" title="MIDI">MIDI</a> file which is then imported into a <a href="/wiki/Scorewriter" title="Scorewriter">music notation program</a> such as <a href="/wiki/Finale_(software)" class="mw-redirect" title="Finale (software)">Finale</a> or <a href="/wiki/Sibelius_(software)" class="mw-redirect" title="Sibelius (software)">Sibelius</a>. Thus begins the job of the orchestrator. </p><p>Every composer works differently and the orchestrator's job is to understand what is required from one composer to the next. If the music is created with sequencing software then the orchestrator is given a MIDI sketch score and a synthesized recording of the cue. The sketch score only contains the musical notes (e.g. eighth notes, quarter notes, etc.) with no phrasing, articulations, or dynamics. The orchestrator studies this synthesized "mockup" recording listening to dynamics and phrasing (just as the composer has played them in). They then accurately try to represent these elements in the orchestra. However some voicings on a synthesizer (<a href="/wiki/Synthestration" title="Synthestration">synthestration</a>) will not work in the same way when orchestrated for the live orchestra. </p><p>The sound samples are often doubled up very prominently and thickly with other sounds in order to get the music to "speak" louder. The orchestrator sometimes changes these synth voicings to traditional orchestral voicings in order to make the music flow better. He may move intervals up or down the octave (or omit them entirely), double certain passages with other instruments in the orchestra, add percussion instruments to provide colour, and add Italian performance marks (e.g. Allegro con brio, Adagio, ritardando, dolce, staccato, etc.). If a composer writes a large action cue, and no woodwinds are used, the orchestrator will often add woodwinds by doubling the brass music up an octave. The orchestra size is determined from the music budget of the film. </p><p>The orchestrator is told in advance the number of instruments he has to work with and has to abide by what is available. A big-budget film may be able to afford a <a href="/wiki/Romantic_music_era" class="mw-redirect" title="Romantic music era">Romantic music era</a>-orchestra with over 100 musicians. In contrast, a low-budget <a href="/wiki/Independent_film" title="Independent film">independent film</a> may only be able to afford a 20 performer <a href="/wiki/Chamber_orchestra" class="mw-redirect" title="Chamber orchestra">chamber orchestra</a> or a <a href="/wiki/Jazz_quartet" class="mw-redirect" title="Jazz quartet">jazz quartet</a>. Sometimes a composer will write a three-part chord for three flutes, although only two flutes have been hired. The orchestrator decides where to put the third note. For example, the orchestrator could have the clarinet (a woodwind that blends well with flute) play the third note. After the orchestrated cue is complete it is delivered to the copying house (generally by placing it on a computer server) so that each instrument of the orchestra can be electronically extracted, printed, and delivered to the scoring stage. </p><p>The major film composers in Hollywood each have a lead orchestrator. Generally the lead orchestrator attempts to orchestrate as much of the music as possible if time allows. If the schedule is too demanding, a team of orchestrators (ranging from two to eight) will work on a film. The lead orchestrator decides on the assignment of cues to other orchestrators on the team. Most films can be orchestrated in one to two weeks with a team of five orchestrators. New orchestrators trying to obtain work will often approach a film composer asking to be hired. They are generally referred to the lead orchestrator for consideration. At the scoring stage the orchestrator will often assist the composer in the recording booth giving suggestions on how to improve the performance, the music, or the recording. If the composer is conducting, sometimes the orchestrator will remain in the recording booth to assist as a producer. Sometimes the roles are reversed with the orchestrator <a href="/wiki/Conducting" title="Conducting">conducting</a> and the composer producing from the booth. </p> <div class="mw-heading mw-heading2"><h2 id="Texts">Texts</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=16" title="Edit section: Texts"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Michael_Praetorius" title="Michael Praetorius">Michael Praetorius</a> (1619): <i><a href="/wiki/Syntagma_Musicum" title="Syntagma Musicum">Syntagma Musicum</a></i> volume two, <i>De Organographia</i>.</li> <li>Valentin Roeser (1764): <i>Essai de l'instruction à l'usage de ceux, qui composent pour la clarinet et le cor</i>.</li> <li><a href="/wiki/Hector_Berlioz" title="Hector Berlioz">Hector Berlioz</a> (1844), revised in 1905 by <a href="/wiki/Richard_Strauss" title="Richard Strauss">Richard Strauss</a>: <i>Grand traité d’instrumentation et d’orchestration modernes</i> (<i><a href="/wiki/Treatise_on_Instrumentation" title="Treatise on Instrumentation">Treatise on Instrumentation</a></i>).</li> <li><a href="/wiki/Fran%C3%A7ois-Auguste_Gevaert" title="François-Auguste Gevaert">François-Auguste Gevaert</a> (1863): <i>Traité general d’instrumentation</i>.</li> <li><a href="/wiki/Charles-Marie_Widor" title="Charles-Marie Widor">Charles-Marie Widor</a> (1904) : <i>Technique de l’orchestre moderne</i> (<i>Manual of Practical Instrumentation</i>).</li> <li><a href="/wiki/Nikolai_Rimsky-Korsakov" title="Nikolai Rimsky-Korsakov">Nikolay Rimsky-Korsakov</a> (1912): <i><a href="https://ru.wikipedia.org/wiki/%D0%A4%D0%B0%D0%B9%D0%BB:Rimsky_Korsakov_Fundamentals_of_orchestration_1913.djvu" class="extiw" title="ru:Файл:Rimsky Korsakov Fundamentals of orchestration 1913.djvu">Основы оркестровки</a></i> (<i>Principles of Orchestration</i>).</li> <li><a href="/wiki/Cecil_Forsyth" title="Cecil Forsyth">Cecil Forsyth</a> (1914; 1935): <i>Orchestration</i>. This remains a classic work<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> although the ranges and keys of some brass instruments are obsolete<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup></li> <li><a href="/wiki/Alfredo_Casella" title="Alfredo Casella">Alfredo Casella</a>: (1950) <i>La Tecnica dell'Orchestra Contemporanea</i>.</li> <li><a href="/wiki/Charles_Koechlin" title="Charles Koechlin">Charles Koechlin</a> (1954–9): <i>Traité de l'Orchestration</i> (4 vols).</li> <li><a href="/wiki/Walter_Piston" title="Walter Piston">Walter Piston</a> (1955): <i>Orchestration</i>.</li> <li><a href="/wiki/Henry_Mancini" title="Henry Mancini">Henry Mancini</a> (1962): Sounds and Scores: A Practical Guide to Professional Orchestration.</li> <li>Stephen Douglas Burton (1982): <i>Orchestration</i>.</li> <li><a href="/wiki/Samuel_Adler_(composer)" title="Samuel Adler (composer)">Samuel Adler</a> (1982, 1989, 2002, 2016): <i>The Study of Orchestration</i>.<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup></li> <li><a href="/wiki/Kent_Kennan" title="Kent Kennan">Kent Kennan</a> & <a href="/wiki/Donald_Grantham" title="Donald Grantham">Donald Grantham</a>: (1st ed. 1983) <i>The Technique of Orchestration</i>. A 6th edition (2002) is available.<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup></li> <li><a href="/wiki/Nelson_Riddle" title="Nelson Riddle">Nelson Riddle</a> (1985): <i>Arranged by Nelson Riddle</i></li> <li><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFPerone1996" class="citation book cs1">Perone, James E. (1996). <i>Orchestration Theory: A Bibliography</i>. Music reference collection, Number 52. <a href="/wiki/Greenwood_Press" class="mw-redirect" title="Greenwood Press">Greenwood Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-313-29596-4" title="Special:BookSources/0-313-29596-4"><bdi>0-313-29596-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Orchestration+Theory%3A+A+Bibliography&rft.series=Music+reference+collection%2C+Number+52&rft.pub=Greenwood+Press&rft.date=1996&rft.isbn=0-313-29596-4&rft.aulast=Perone&rft.aufirst=James+E.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOrchestration" class="Z3988"></span></li> <li>Alfred Blatter (1997) : <i>Instrumentation and Orchestration (Second edition)</i>.</li></ul> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=17" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Musical_notation" title="Musical notation">Musical notation</a></li> <li><a href="/wiki/Elastic_scoring" title="Elastic scoring">Elastic scoring</a></li> <li><a href="/wiki/Klangfarbenmelodie" title="Klangfarbenmelodie">Klangfarbenmelodie</a></li> <li><a href="/wiki/Orchestral_enhancement" title="Orchestral enhancement">Orchestral enhancement</a></li> <li><a href="/wiki/Arrangement" title="Arrangement">Arrangement</a></li> <li><a href="/wiki/Instrumentation_(music)" title="Instrumentation (music)">Instrumentation</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=18" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.britannica.com/topic/Pictures-at-an-Exhibition">"Pictures at an Exhibition | work by Mussorgsky | Britannica"</a>. <i>www.britannica.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">14 February</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.britannica.com&rft.atitle=Pictures+at+an+Exhibition+%7C+work+by+Mussorgsky+%7C+Britannica&rft_id=https%3A%2F%2Fwww.britannica.com%2Ftopic%2FPictures-at-an-Exhibition&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOrchestration" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.allmusic.com/composition/sonata-for-strings-transcription-by-walton-and-marnold-of-string-quartet-in-a-minor-mc0002365514">"Sonata for Strings (transcription ... | Details"</a>. <i>AllMusic</i><span class="reference-accessdate">. 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Retrieved <span class="nowrap">25 February</span> 2017</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Classical+Net&rft.atitle=Orchestration%3A+Overview&rft_id=http%3A%2F%2Fwww.classical.net%2Fmusic%2Fbooks%2Forchestration.php&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOrchestration" class="Z3988"></span></span> </li> <li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1"><a rel="nofollow" class="external text" href="https://www.scribd.com/book/271545721/Orchestration"><i>Orchestration by Cecil Forsyth - Ebook | Scribd</i></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Orchestration+by+Cecil+Forsyth+-+Ebook+%7C+Scribd&rft_id=https%3A%2F%2Fwww.scribd.com%2Fbook%2F271545721%2FOrchestration&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOrchestration" class="Z3988"></span></span> </li> <li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://archive.today/20120906230057/http://www.oxfordmusiconline.com/subscriber/article/grove/music/00206">"Adler, Samuel in Oxford Music Online"</a>. Archived from <a rel="nofollow" class="external text" href="http://www.oxfordmusiconline.com/subscriber/article/grove/music/00206">the original</a> on 6 September 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Adler%2C+Samuel+in+Oxford+Music+Online&rft_id=http%3A%2F%2Fwww.oxfordmusiconline.com%2Fsubscriber%2Farticle%2Fgrove%2Fmusic%2F00206&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOrchestration" class="Z3988"></span></span> </li> <li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSealey" class="citation web cs1">Sealey, Mark. <a rel="nofollow" class="external text" href="http://www.classical.net/music/books/reviews/0130771619a.php">"Book Review: The Technique of Orchestration"</a>. <i>Classical Net</i><span class="reference-accessdate">. Retrieved <span class="nowrap">25 February</span> 2017</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Classical+Net&rft.atitle=Book+Review%3A+The+Technique+of+Orchestration&rft.aulast=Sealey&rft.aufirst=Mark&rft_id=http%3A%2F%2Fwww.classical.net%2Fmusic%2Fbooks%2Freviews%2F0130771619a.php&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOrchestration" class="Z3988"></span></span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Orchestration&action=edit&section=19" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></span></span></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; font-style: italic;"><a href="https://commons.wikimedia.org/wiki/Category:Orchestration" class="extiw" title="commons:Category:Orchestration">Orchestration</a></span>.</div></div> </div> <ul><li><style data-mw-deduplicate="TemplateStyles:r1041539562">.mw-parser-output .citation{word-wrap:break-word}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}</style><span class="citation gutenberg"> <i><a rel="nofollow" class="external text" href="https://gutenberg.org/ebooks/33900">Rimsky-Korsakov's Principles of Orchestration</a></i> at <a href="/wiki/Project_Gutenberg" title="Project Gutenberg">Project Gutenberg</a></span> – full, searchable text with music images, mp3 files, and MusicXML files</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20071224101811/http://www.northernsounds.com/forum/forumdisplay.php?f=77">Rimsky-Korsakov's <i>Principles of Orchestration</i></a> (full text with "interactive scores")</li> <li><a rel="nofollow" class="external text" href="http://andrewhugill.com/manuals/">The Orchestra: A User's Manual</a> by Andrew Hugill with The Philharmonia Orchestra. In depth information on orchestration including examples and video interviews with instrumentalists of each instrument.</li> <li><a rel="nofollow" class="external text" href="http://www.classical.net/music/books/orchestration.php">Books about Music: Orchestration</a> An overview of books on the theory and practice of orchestration.</li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul 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</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Components</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Instrumentation_(music)" title="Instrumentation (music)">Instrumentation</a></li> <li><a href="/wiki/Libretto" title="Libretto">Libretto</a> <ul><li><a href="/wiki/Electronic_libretto" title="Electronic libretto">Electronic libretto</a></li></ul></li> <li><a href="/wiki/Lyrics" title="Lyrics">Lyrics</a></li> <li><a href="/wiki/Musical_form" title="Musical form">Musical form</a></li> <li><a href="/wiki/Musical_notation" title="Musical notation">Musical notation</a></li> <li><a class="mw-selflink selflink">Orchestration</a></li> <li><a href="/wiki/Song_cycle" title="Song cycle">Song cycle</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Song types</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Answer_song" title="Answer song">Answer song</a></li> <li><a href="/wiki/Art_song" title="Art song">Art song</a></li> <li><a href="/wiki/Ballad" title="Ballad">Ballad</a> <ul><li><a href="/wiki/Execution_ballad" title="Execution ballad">Execution ballad</a></li> <li><a href="/wiki/Murder_ballad" title="Murder ballad">Murder ballad</a></li> <li><a href="/wiki/Sentimental_ballad" title="Sentimental ballad">Sentimental ballad</a></li></ul></li> <li><a href="/wiki/Car_song" title="Car song">Car song</a></li> <li><a href="/wiki/Children%27s_song" title="Children's song">Children's song</a> <ul><li><a href="/wiki/Campfire_song" class="mw-redirect" title="Campfire song">Campfire song</a></li> <li><a href="/wiki/Cumulative_song" title="Cumulative song">Cumulative song</a></li> <li><a href="/wiki/Repetitive_song" title="Repetitive song">Repetitive song</a></li></ul></li> <li><a href="/wiki/Christmas_carol" title="Christmas carol">Christmas carol</a> <ul><li><a href="/wiki/Advent_song" title="Advent song">Advent song</a></li></ul></li> <li><a href="/wiki/Drinking_song" title="Drinking song">Drinking song</a></li> <li><a href="/wiki/Hit_song" title="Hit song">Hit song</a> <ul><li><a href="/wiki/Sleeper_hit" title="Sleeper hit">Sleeper hit</a></li> <li><a href="/wiki/Summer_hit" title="Summer hit">Summer hit</a></li></ul></li> <li><a href="/wiki/List_song" title="List song">List song</a></li> <li><a href="/wiki/Love_song" title="Love song">Love song</a> <ul><li><a href="/wiki/Torch_song" title="Torch song">Torch song</a></li> <li><a href="/wiki/Breakup_song" title="Breakup song">Breakup song</a></li></ul></li> <li><a href="/wiki/Novelty_song" title="Novelty song">Novelty song</a> <ul><li><a href="/wiki/Nonsense_song" title="Nonsense song">Nonsense song</a></li></ul></li> <li><a href="/wiki/Patter_song" title="Patter song">Patter song</a></li> <li><a href="/wiki/Plainsong" title="Plainsong">Plainsong</a> <ul><li><a href="/wiki/Hymn_tune" title="Hymn tune">Hymn tune</a></li></ul></li> <li><a href="/wiki/Revolutionary_song" title="Revolutionary song">Political or revolutionary song</a> <ul><li><a href="/wiki/Campaign_song" title="Campaign song">Campaign song</a></li> <li><a href="/wiki/Freedom_songs" class="mw-redirect" title="Freedom songs">Freedom song</a></li> <li><a href="/wiki/Protest_song" title="Protest song">Protest song</a></li> <li><a href="/wiki/War_song" title="War song">War song</a></li></ul></li> <li><a href="/wiki/Show_tune" title="Show tune">Show tune</a> <ul><li><a href="/wiki/%22I_Want%22_song" title=""I Want" song">"I Want" song</a></li></ul></li> <li><a href="/wiki/List_of_signature_songs" title="List of signature songs">Signature song</a></li> <li><a href="/wiki/Sporting_song" title="Sporting song">Sporting song</a> <ul><li><a href="/wiki/Fight_song" title="Fight song">Fight song</a></li> <li><a href="/wiki/Football_chant" title="Football chant">Football chant</a></li></ul></li> <li><a href="/wiki/Theme_music" title="Theme music">Theme song</a></li> <li><a href="/wiki/Teenage_tragedy_song" title="Teenage tragedy song">Tragedy song</a></li> <li><a href="/wiki/Work_song" title="Work song">Work song</a> <ul><li><a href="/wiki/Sea_shanty" title="Sea shanty">Sea shanty</a></li></ul></li></ul> </div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Orchestration&oldid=1219118096">https://en.wikipedia.org/w/index.php?title=Orchestration&oldid=1219118096</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" 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