Orchstration mini-challenge

Hey you guys,

You guys think that you guys can give me some constructive criticism on my post from above. Please. I want to know if I at least did something right or wrong. oh yeah and another orchestration challenge from QC wouldnt hurt either. Thanks.

the only issue I could see with it was that the clarinet part wasn't quite properly transposed (the first notes). And be careful of introducing notes that are not present in the original (oboe in the second last measure has a B nat. while the the actual melody has a Bb).

What I suggest is trying again with the melody and making it fit multiple moods. For example, everyone seems to have gone with "playful", how about re-orchestrating it to fit "sad" or pensive".. something that goes against the actual grain of the melody itself?

I would also like to see blended textures more. Many of you are using single instruments and hopping from one or two to a different one or two instruments. How about using the tutti? There should be 2 of each instrument in this phrase: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons.

Part of the point of this exercise is to force you to start considering blended woodwinds rather than always using single lines for them.

I see so many pieces posted on this forum where the woodwinds are continuously placed as single lines - 1 flute line, a second oboe line, a clarinet line beneath that. There are many ways to orchestrate a melody using a full woodwind section, doublings and octaves. This is the chance to explore that.

Consider the following

- the flute's lowest octave is its weakest, it's higher range can get "shrill"

- the oboe's lowest is it's loudest and most "pungent", while its highest range tends to get thin

- the clarinet is the only instrument that is relatively (and I stress "relatively") even through-out its range. the lowest range has strength but massive warmth as well, the mid range is pronounced, lacking a bit of the thickness of the lowest register, and the highest register can speak quite prominantly over a full orchestra.

- the bassoon's lowest notes (E and below) can cause fingering problems, so rapid fingering in that lowest 3rd-4th is always a bit risky, it's medium range has a certain mellowness and speaks well, though not enough to bring out any sort of melody against a full orchestra unless it's doubled (bassoons in unison, or bassoons and violas or cellos, or bassoons and a horn), the bassoon's higher register has a very particular plaintive quality (think of the opening of Strawinski's Sacre du Printemps) that actually makes a very beautiful complement to violins and violas.

when considering doublings of instruments, consider HOW those timbres will blend or not:

Flutes and oboe are a normal doubling - the flutes tend to neutralize a bit of the oboe's pungency.

Clarinets and flutes are a natural fit, both instruments having relatively pure tones. This blend will tend to be relatively "neutral' in timbre, however, netiher the brilliance of the flute, nor the expressivity of the clarinet taking precedence.

If you want something that is rather pungent, then oboes and bassoons as a group will give that sound. Remember that grouping 2 oboes and 2 bassoons together will tend to overpower any other woodwind you try to incorporate, so forget using a single flute against 4 double-reeds.

Unison doubling of an instrument does not make twice the sound.

Octave doubling tends to re-enforce upper harmonics.

Doubling in 3rds and 6ths can VERY much thicken a texture, especially with double reed instruments. Two oboes playing a scale in 3rds will have a tendancy to sound "richer" than two flutes playing the same line.

Thanks a lot QC!

Thanks for the input. I guess I did have mistakes. sorry for introducing other notes. I wasnt aware of that. Hmm, you suggested orchestrating it to give a different mood. Thats a very clever suggestion. I myself would have never thought of that. would i be breaking a rule if i changed the tempo? I think you just opened a world of different options, in regards to how to change the feel of a simple melody. Now that is gonna be a challenge.

But, how would i achieve that. when the melody has a very playful tonality to it to begin with. my guess would be to use the instrument that sound ailing in their low register, such as bassoon and the oboe. and maybe even using the clarinet and flute in their midrange as a way to reinforce it. hmm. I think im gonna give it a shot.

Thanks again QC. You are obviously super- mega experienced and educated in this area. I appreciate your time and help. Thanks pal.

Qccowboy: I started a very slow, "pensive" version of this melody. I have it at my computer at home somewhere, I'll finish it up and post it here tonight, if we don't run into traffic on the way :P (5 hour drive from Philly :()

Oh, and Cain, I don't believe a tempo was originally given ;). Just the notes.

Yay, here's my na