6	MUSICAL COURIER	February 1, 19 23
PRACTICAL INSTRUMENTATION
For School, Popular and Symphony Orchestras
By FRANK PATTERSON Author of The Perfect Modernist
[Fifth Installment]
Copyrighted, 1923, by The Musical Courier Company.
Symphony Orchestra.
3	Flutes, interchangeable with piccolos.
2 Oboes.
(English Horn.)
2 Clarinets.
(Bass Clarinet.)
2 Bassoons׳.
(Double Bassoon.)
4	Horns in F.
2	Trumpets in B flat or F.
(3d and 4th Trumpet in B flat or F.)
3	Trombones (2 Tenor, 1 Bass.)
Tuba.
Tympani.
Drums and Traps, Bells, etc.
(Celesta.)
Harp.
Strings.
Popular Orchestra.
1 Flute, interchangeable with piccolo. (1 Oboe.)
1	Clarinet.
(2d Clarinet.)
(1 Bassoon.)
2	or 3 Saxophones.
(2 Horns in F.)
1 Trumpet in B flat.
(2d Trumpet in B flat.)
Trombone (usually a tenor trombone written in the bass clef).
Tuba (becoming a frequent substitute for string bass).
Drums and Traps, Bells, etc.
(Banjo.)
Piano.
Strings.
Some further examples of popular orchestrations will now be given. Ex. 11 shows a few bars of the refrain (or chorus—the terms are interchangeable) of Sing Song Man, published by Remick, piano arrangement by J. Dell Lampe, orchestration by J. Bodewalt Lampe. We take bars 5-7 of the two arrangements of the chorus. These are the same bars of which the piano arrangements׳ have been compared in Ex. 10.
The melody is here first played by oboe, clarinet and saxophone in unison, then by trumpet and violin in octaves. The principal counterpoint is first played by the xylophone (if there is one—and there often is not) and violin in the lower octave, then by flute, clarinet, saxophone and trumpets in three octaves. The student often hesitates as to whether parts shall be in octaves or not. This is the answer:	Either way is right.
The after-beat (fourths in bar three) are played first by trumpets and xylophone (one player with two sticks), then by flute, clarinet and saxophones׳. Also the piano part (Ex. 10c) indicates that it may be played by the piano alone—a very good effect—or the piano may play with the wood-wind.
How full, the chords actually are in such an orchestration is shown in Ex. 12 a-b, these chords being reduced from the first bar of the two chorus arrangements shown in Ex. 11.
f f
(To be continued)
The parts are marked and cued as follows:	After the eight bar intro-
duction there is a four bar “vamp” with repeats׳ at both ends, to be repeated “till ready.” This is merely marked “vamp,’.’ and is so marked in all the parts. Where the voice begins each part is marked “voice.” The words are printed, two verses and refrain, in the piano; refrain only in all the string parts, trombone and drums; no words in flute, clarinet, saxophones׳, horns or trumpets. Cues are as follows:	In	the piano, none; in the first
violin, flute, second violin, saxophone and cello, occasional essential parts, but not the chromatic counterpoint parts; in the other strings, none; in the E flat alto saxophone—the other saxophone parts, cello; in the B flat tenor saxophone, trombone; in the C melody saxophone, cello; in the horns, none; in the trumpets, oboe; in the clarinet, trumpet, flute; in the flute, oboe; in the drums, the melody to be played on bells; in the trombone, bassoon—cello, horn.
Markings on the parts are:	In trombone, “refrain, last time melody;”
clarinet, “refrain, second time 8va.”; trumpets, “metal mutes, second time open;” C melody saxophone, “refrain, melody first time” (thus alternating on the melody with the trombone); B flat tenor saxophone, “refrain, first time (duet);” E flat alto saxophone, certain counterpoint parts are marked “ad lib.;” cello, “refrain, first time melody;” first violin, counterpoint in refrain marked “obligato first time,” “melody 8va. second time,” Each of the parts is marked “p-f” at the beginning of the refrain, which means first time piano, second time forte.
Certain features of present-day American orchestrations are worthy of mention. Ordinarily, as soon as it is decided to publish a new piece, orchestrations and “professional copies” are made and distributed to orchestra leaders׳ and vaudeville singers before the music is put on the market. These first copies are made by a copyist—not printed—and are known as autograph copies. The process is to write out the music on specially made sensitized paper, the impression being then transferred to plates from which the printing is done. The piano part of this arrangement is approximately the same as the piano part of the published arrangement, though the latter is sometimes still further simplified. The piano part of the printed orchestration is much more complex. In order that these differences may be seen, an example of the three is here given from the refrain of Sing Song Man—Remick. (Ex. 10.) They should be carefully compared.
Ex. 10׳
The autograph orchestrations (and sometimes also the printed orchestrations) are issued in seven keys (usually C, D, E flat, F, G, A flat, B flat). The sharp keys are avoided because the saxophones are always in flat keys. It may be said here in passing, too, that generally only the B flat clarinets and trumpets (cornets) are now being used, the instruments in A being somewhat out of fashion for the present, at least. This refers to popular music, but even in symphony orchestras the B flat trumpet is being almost exclusively used, although many scores are written for the F trumpet (rarely for the A trumpet). The players prefer to transpose their parts.
In order that the differences between the popular orchestra and the symphony orchestra may be clearly seen the two are here tabulated in parallel columns. Those instruments which are not standard are put in parentheses. The composer need have no hesitation in calling for any combination he desires in symphonic music. For the popular orchestra he must observe the cumulative plan described above, beginning with piano and violin and adding other instruments, and remembering that there may be Only one clarinet, only one trumpet, etc.