orchestration test 2

violin open strings

GDAE

viola open strings

CGDA

cello open strings

CGDA

bass open strings

EADG

range of bass vs. smaller strings

• Double bass sounds one octave lower than written

• Lowest instrument in orchestra

• Has less agile upper register

• Upper range usable but weaker and thinner than cello

arco

bowed

sordino

• Marked con sord.

• Small mute placed on bridge.

• Softer, darker, veiled tone.

• Remove with senza sord.

• Sul ponticello

bow near bridge → glassy, intense, many overtones.

• Sul tasto

bow over fingerboard → soft, flute-like.

Col Legno Battuto

• Strike string with wood of bow.

• Dry, percussive.

• Not very loud.

• Damages bows if overused.

on the string bowings

• Louré / Portato = gently separated notes in one bow

• Détaché = separate bows, smooth

• Legato = smoothly connected

• Martelé = hammered, accented

off the string bowings

• Spiccato = light bouncing

• Jeté / Ricochet = thrown bow, multiple bounces in one direction

• Sautillé = fast natural bounce

practical limits for multiple stops

• Cannot sustain 3–4 notes simultaneously (bridge curve)

• Large stretches impossible in low positions

• Bass triple stops very limited

fundamental and first seven overtones for any string

1. Fundamental (1st partial)

2. Octave

3. Perfect fifth

4. Double octave

5. Major third

6. Perfect fifth

7. Minor seventh (flat)

8. Triple octave

natural harmonics

• Lightly touch open string at node.

• Common nodes:

  • 1/2 → octave

  • 1/3 → octave + fifth

  • 1/4 → two octaves

• Notated at sounding pitch or with small circle above note.

artificial harmonics

• Stop a note with 1st finger.

• Lightly touch perfect 4th above.

• Sounds two octaves above stopped pitch.

• Notated with:

  • Lower normal note

  • Diamond note a 4th above

left handed pizzicato

Marked with "+" above note.

bowing direction symbols

up bow - down arrow

down bow- bracket

bow direction advantages

• Down bow = stronger (naturally heavier)

• Up bow = lighter, good for pickup gestures

dovetailing

Passing a phrase smoothly between instruments so the change is imperceptible.

harp harmonics

• Node is at midpoint of string

• Sounds one octave above.

• Notated with small circle.

• Written where fingers touch (middle of string).

harp pedals

Left foot:
D – C – B
Right foot:
E – F – G – A

Each pedal: flat, natural, sharp.

harp pedal changes

Easy:

• One pedal

• Adjacent pedals same foot

Hard:

• Two pedals on same foot at once

• Rapid unrelated changes

harp pedal diagrams

Draw 7 vertical lines labeled D C B | E F G A
Mark:

• Top = flat

• Middle = natural

• Bottom = sharp

Must respell enharmonically for glissandi.

harp fingerings

DONT use pinky, arpeggiated unless bracketed

choral vocal registers

Soprano: C4–A5
Alto: G3–D5
Tenor: C3–G4
Bass: E2–C4

Comfort zones slightly narrower.