Orchestration 18-20

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Orchestration 18-20
2010-11-30 10:11:01

Quiz 18-20
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  1. Piccolo Trumpet
    C5-E6, M2 or m3 lower
  2. Cornet
    F#3-D6, M2 lower
  3. Flügelhorn
    F#3-C6, M2 lower
  4. Baritone (or Euphonium)
    E2-Bb5, as written
  5. Guitar
    E3-E6, 8ve lower
  6. Mandolin
    G3-E6, as written
  7. Soprano Saxophone
    C4-F6, G6-G7, M2 lower
  8. Alto Saxophone
    C4-F6, G6-G7, M6 lower
  9. Tenor Saxophone
    C4-F6, G6-G7, M9 lower
  10. Baritone Saxophone
    Bb3-F6, eve plus M6 lower
  11. What is Kennan’s warning about using the altissimo range of the saxophone?
    The bottom 4th of the range is usable, but the notes above C7 are difficult to produce.
  12. The instrumentation of most published arrangements for high school orchestras.
    • 1 piccolo
    • 2 flutes
    • 2 oboes
    • 2 Bb clarinets
    • 2 bassoons
    • 4 F horns
    • 2 or 3 Bb trumpets
    • 2 or 3 trombones
    • 1 tuba
    • timpani
    • other percussion
    • strings
  13. Referring to the above instrumentation list, what instruments are likely to be missing in a high school orchestra?
    2nd oboe, 2nd bassoon, 3 and 4 horns.
  14. In the string section what instrument is likely to be weakly represented?
  15. How are the parts for these instruments to be treated?
    They are made nonessential, being played by other instruments in case these instruments are missing.
  16. The preferable way of doing rehearsal numbers or letters.
    must be included in both the score and parts, enclosed in a square or circle
  17. What pairs of instruments should not be on the same staff.
    instruments that use different transpositions.
  18. What is the standard size of player’s parts in professional situations?
    9.5 x 13
  19. What distance apart should ledger lines be?
    the same distance apart as the lines in the staff
  20. How many string parts do you need for an orchestra with 10 1st violins and 10 2nd violins?
  21. How are rests of more than two measures indicated in player’s parts? What should be done if there is a rehearsal number in the middle of the rest?
    with the bar and number of rests, the rests are split at the rehearsal number
  22. What does “tacet” mean?
    the instrument does not play for a specified length of time.
  23. What are reference* cues and cues that may have to be played? Where are reference cues most often included? Where else are they useful? What key should they be written in?
    notes that can be played if the part represented is weak, included in an important voice that can easily be heard, also useful for counting rests, write in the key of the instrument reading the cue
  24. What is the format for player’s parts? Where should you place the name of the composition, the composer and arranger’s names, and the name of the instrument that will play the part?
    label each part, center the name of the composition at the top of the page, composer and arranger in top right, name of instrument in upper left
  25. How should the part be prepared if page turning is required?
    copy so that there is sufficient rest time at the bottom of the page to turn
  26. Arrange percussion parts with a specific number of players in mind, assign each player a number that will be used to indicate his/her staff or line in both the score and the individual percussion part. List all the instruments each player is responsible for at the beginning of the part and the beginning of the score on the “instrumentation page”. If the percussion parts are highly complex, you might include a diagram showing how the instruments should be set up. This will also give you an idea of how practical it is to require percussion players to switch from one instrument to another.