Class: Dr. Ofer Ben-Amots

Packard Hall R. 16

MU425 - Syllabus

Objective:

The art of orchestration is tightly connected with the understanding of musical forms, harmonic language and contrapuntal procedures. It also requires a thorough knowledge of the traditional and extended playing techniques of individual instruments. The objective of this course is twofold: 1. to explore the ranges, transpositions, capabilities and characteristics of orchestral instruments, both in solo and in conjunction with chamber and orchestral ensembles, and 2. to examine orchestration techniques with emphasis on the historical development of the orchestra from the early baroque to the twentieth century. During the course, students will study and analyze the orchestration of numerous scores, learn to extract piano reductions from large orchestral scores, and orchestrate several piano works in a variety of styles.

Finally, a live performance of the scores created during the block is one of the course’s highlights. Students will learn how to adequately prepare scores and parts for actual performance.

Prerequisite: MU301 or MU412. 1 unit.

Required Text:

• Andrew Stiller, Handbook of instrumentation, Philadelphia, Kallisti Music Press, c1994.
• Useful tables for instrumental ranges and techniques can be found in La technique de l’orchestre contemporain by A. Casella and V. Mortari (Edition Recordi).Recommended additional textbooks are available and on reserve at the A. Seay - including Samuel Adler's and Alfred Blatter's orchestration books.
• Recommended Software for notation: Finale 98, by Coda Music Software. A copy of Finale 98 is available at the Music Computer Laboratory on every machine

Grading Policy:

1. Grading:

Identification, orchestration analyses and a short orchestration drills (50%)

Daily progress in completing personal orchestration portfolio (20%)

Portfolio of orchestration analysis and original projects as described in detail attached (30%).

2. As with all other classes at Colorado College the Academic Honor System will apply to this class. Please refer to the 1996-97 CC catalog or CC Pathfinder for more information about the Honor Code.
3. Absences will not be excused except for medical reasons. In case of absence for professional reasons, students should notify me in advance.
4. All assignments are due at the beginning of the following class. The timely presentation of assignments will become part of your grade.

Office Hours: Appointments for M, W, F 1-3pm upon request.

Please call ext. 6555 or e-mail <obenamots@coloradocollege.edu>.

Otherwise, the best time to talk with me is 15 minutes before or after class.

Class Requirements and Expectations:

1. Orchestration of 2-3 Bach piano pieces from the Notebook for Anna Magdalene Bach
2. Converting 1-2 movements of a Mozart symphony into a piano score
3. Orchestrating a Beethoven Scherzo and Trio movements in a classical style
4. Orchestrating a Debussy prelude for larger ensemble (also possible Ravel, Bartok, or

• Students in the orchestration class will prepare a portfolio based on 5-6 daily projects and 4 major projects. Daily projects in the first unit will include instrumentation of J.S. Bach chorales in the following manners:

1. for strings
2. for winds
3. for brass
4. for mixed ensemble (with possible inclusion of percussion)

• Daily exercises in the second unit include two instrumentation of a Haydn string quartet into:

1. woodwinds ensemble
2. mixed ensemble (incl. percussion).

• During the third unit students will orchestra a piano piece of Schoenberg (op. 19 or op. 25) or Bartók's Mikrokosmos for piano.

• Session I - "Looking at a score": an introduction to the different instrumental families within the orchestra. How is the score structured? A brief history of the development of orchestration. Preparation of templates - first step in orchestration.
• Session II - Baroque style orchestration (Bach, Handel). Review of figured bass. Selecting 2-3 Bach piano selections for orchestration.
• Session III - Checking figured bass for basso continuo first and second Bach orchestrations. Selecting solo instruments and strings.
• Session IV - Complete third orchestration (if enough time)
• Session V - Proofreading Baroque orchestration. Setting into a 2-3-movement suite.

• Session I - Selection of a symphony by Mozart for piano reduction. Introduction to the basics of piano score setting. What do we include? What should we leave out? Typical string notation and its conversion in the piano score.
• Session II - Analyzing Mozart orchestration. Checking piano reduction. Score identification - first session.
• Session III - Checking final versions of piano reductions. Score identification - second session.
• Session IV - Listening to late classical orchestration (Haydn, Beethoven). Class will select a Beethoven Scherzo & Trio and prepare template for orchestration.
• Session V - Check Beethoven orchestrations (Keep working over weekend).

• Session I - Check Beethoven orchestration in progress. Listen to Debussy and / or Ravel orchestrations. Analyze orchestrational procedures. Select a Debussy Prelude from either Book I or II (possibly Ravel or Bartok pieces as alternative)
• Session II - Complete Beethoven orchestration. Prepare Debussy orchestral template.
• Session III - Check progress on Debussy. Start extracting parts for previous orchestration exercises (Bach, Beethoven)
• Session IV - Complete Prelude orchestration.
• Session V - All Scores and parts should be handed in. Score identification - session III.

• Session I - Orchestration - Work independently on scores and orchestral parts (final touches).
• Session II - Final preparations for an orchestration workshop.
• Session III - Last Day of Block, Class breakfast, Handing in complete portfolios. Checking recordings (if available).