January 25, 1923
MUSICAL COURIER
24
PRACTICAL INSTRUMENTATION
For School, Popular and Symphony Orchestras
By FRANK PATTERSON
Author of The Perfect Modernist
[Fourth Intallment]
Copyrighted, 1923, by The Musical Courier Company.
by an “orchestra” (?) consisting of a piano and drums, or piano, drums and saxophone! Combinations of two violins, piano, saxophone and drums are not uncommon, and the balance is likely to be bad, the piano, saxophone and drums too loud for the violins (sometimes only one violin) unless the players are careful (which they all too frequently are not).
As a basis for this elucidation we will select a piece at random. It happens to be All Over Nothing at All, a fox trot song published by M. Wit-mark & Sons, arranged by George J. Trinkaus. It is scored for piano, first violin, second violin, viola, cello, bass, flute, oboe, clarinet in B flat, two B flat trumpets, two horns in F, bassoon, trombone, drums, and three saxophones—C melody saxophone, E flat alto and B flat tenor. These are marked “If one sax, use C melody,” and the C melody part is marked “Same as cello. If only one sax, use this part.”
There is no printed score, although the arranger makes a score for himself from which the parts are copied. Each of the parts is printed on a separate sheet, and each of them is double, with two complete arrangements (sometimes three), and the words of the song printed in nearly all of the parts. The student is advised to buy and study these orchestrations. They cost very little, and one learns more by looking at such things than by reading about them.
Two examples of this orchestration are given:	First a few bars of
the “verse,” then a few bars of the “refrain.” It will be noted that the orchestration of the verse part is much less elaborate than the orchestration of the refrain. This is usual in this sort of music. It will be noted, too, that in the verse part the orchestra plays practically the same notes as in the piano arrangement. (Ex. 8.) In the refrain there are counterpoints that are not to be found in the piano arrangement. (Ex. 9.) These are given to the flute, clarinet, saxophones and trumpets, alternating, and, the second time, doubled at the octave, the flute and clarinet being an octave above the saxophones.
Notice that the strings make a complete score except for these counterpoints. Also that the violin and cello alternate in playing the melody, or the third or. sixth above or below the melody ; that is, the first time the cello has the melody and the violin the third above the melody; the second time the parts are just reversed. Notice also that the chords (Ex. 9) in the strings remain in one position. They do not follow the melody down, avoiding the melody notes, as in the piano arrangement. This is very important and must always be observed, as, otherwise, the score will be thin. (In the examples two different arrangements of the same passage—first time, second time—are shown.)
[To be Continued]
Popular Orchestration
It may not be out of place to say a word here about balance. It is a much abused term. Some writers on orchestration, teachers, and musical critics have so exaggerated the importance of it that not a few students get the impression that all there is to learn about orchestration is the relative force of the various instruments. This is the last, and the least thing that need concern us. Within limits of common sense almost any passage may be turned around. The brass, once used only as a noise maker, is capable of very soft effects of sustained harmony, while the wood, once conceived as useful only for sustained effects and solo passages, or for reinforcing the strings, may replace the strings to some extent in giving “motion” to the accompaniment.
As to the force of things—the relative force—naturally no reasonable being will give an inner part to a weak-toned solo instrument where there is much going on in the other parts, and expect it to be heard. Such a part, either inner or outer, may easily be buried—and this applies, especially in small orchestrations, to accompanying parts as well. Take, for instance, an ordinary waltz with the chords on the second and third beat of each bar written for the second violins and violas. This will be intended for a full orchestra—say ten violins and six or eight violas. If it is reduced to the small hotel, café or theater orchestra, where there is only one second violin and only one viola, evidently there will be no “beat,” no rhythm, no harmony, especially as the melody may be taken by the first violin, flute, clarinet (and cornet, as it used to be in the bad old days), all in unison, and especially, furthermore, in view of the fact that, in waltz music, the rhythmic beat is most important. In some cases the drums come to the rescue, but that will still leave thinness in the harmony, and it is better to use either the piano or brass and horns. (It often happens that solo parts in the Mozart symphonies are buried because the modern orchestra has so many more strings than Mozart ever reckoned for.)
How a popular orchestration is built up may now be considered. Publishers of popular music are in the position, never faced by symphonic writers, of not knowing what sort of combination may be called upon to play their orchestrations. They therefore make a basis, or foundation, with the piano and one solo instrument. Sufficient of the other parts are cued in to make the score intelligible to the players and to leave to their judgment what to play and what to leave out. Then, as the complete orchestration is built up, there comes a point where the piano may be omitted entirely.
The skill of those who make these orchestrations, suited to almost any combination of instruments, is amazing, and they should get a great deal more credit for it than they do. Aided by the publishers, they have done an immense good by placing orchestrations within the reach* of all. But what they must sometimes hear of their own work must be startling even to themselves, who are taught to expect it. It is not unusual to hear music