Orchestration notes on Assignment 2 (woodwinds) Introductory remarks All seven students submitted this assignment on time. Grades ranged from 91% to 100%, and the average grade was an unusually high 96%. The demerit factor was four points. For a few students, many points were subtracted for errors that would cost rehearsal time. A few incorrectly transposed notes, for example, can derail a rehearsal, or a recording session. I recommend reading all of these comments, not just those that apply to your work. Specific points 1. (0 demerits this time) If you were playing one of the parts in this arrangement, how would you interpret the directive sostenuto (Italian for sustained ) combined with staccato markings? That combination may appear to be an oxymoron in this edition of the Kuhlau. But shouldn t it be acknowledged somehow in your arrangement? Also, how did you interpret the phrase markings from the original? 2. (0 demerits this time) This starts very soft with a diminuendo. With the full orchestration you have this may be difficult to achieve. 3. (1 demerit) Repeated notes without articulation markings are not normally slurred together in wind parts. 4. (1 demerit) Note heads are facing the wrong directions. 5. (0 demerits) Your score will be clearer if stems for the second part point down. 6. (0 demerits) Be consistent with your beams. 7. (1 demerit) Articulations/slurs in the wrong place. 8. (0 demerits this time) a2 is not necessary with stems facing both directions. 9. (0 demerits this time) We would mark a2 here. 10. (0 demerits this time) In ensemble writing of any kind, it is a good idea to provide starting and ending dynamics for crescendo and diminuendo markings. 11. (0 demerits this time) Ambiguous dynamic marking. Because it s not beneath a note, it s not clear where the dynamic begins. 12. (0 demerits this time) The balance of dynamics might not work. 13. (0 demerit) Why is only this line doubled in a different octave?
14. (0 demerits) This is a very thoughtful way to arrange dotted sixteenth rhythms for winds. 15. (1 demerit) Stems are facing the wrong direction. 16. (0 demerits this time) The tessitura of the original makes a marked jump at this point, but your arrangement does not. 17. (0 demerits) Nice transition between players. 18. (0 demerits this time) The tessitura of this segment is an octave above or below where you placed it. Compare Kuhlau s original to get a sense of how this diminishes the impact of this moment. 19. (0 demerits this time) Many of your flags are too small to believe in. 20. (2 demerits) Tempo? 21. (2 demerits) Key signature? 22. (2 demerits) Time signature? 23. (0 demerits this time) This may clash with the melody in this octave. 24. (0 demerits this time) Align dynamic markings vertically whenever possible and under the note where they apply. 25. (1 demerit) Dynamics are missing. 26. (2 demerits) Some notes are missing. 27. (1 demerit) This is an unresolved dissonance. 28. (1 demerit) The instructions were to let everyone play at least some of the time. 29. (0 demerits this time) You need to include rests for part 2 here if they are not playing. If they are playing, then use a2 or have the second part s stem facing down. 30. (1 demerit this time) Use a2, double stemming, 1., 2., or rests to indicate who plays what. 31. (0 demerits) Never mind. There is no #31. 32. (1 demerit) Align noteheads vertically. 33. (0 demerits this time) This range of the oboe may be a bit harsh for your purposes. 34. (0 demerits this time) It s not normal to write a2 when there are two parts. Just ask yourself, Will each player know which notes to play?
35. (0 demerits this time) Just write the dynamics you intend here. Your indication of sim. Provides a level of ambiguity since the passage it applies to is not precisely repetitive nor is it an extended continuation. 36. (0 demerits this time) Ledger lines should be spaced like staff lines. A ruler and some lightly-drawn guidelines can help. 37. (0 demerits this time) The number 1 (or 2) should have a period after it. 38. (1 demerit) These notes are difficult to read. 39. (0 demerits this time) Kuhlau intends a perfect authentic cadence here. By switching an inner voice with an outer voice, you have altered a basic structural feature. 40. (0 demerits this time) Why no slur(s) here? 41. (0 demerits this time) Collision. 42. (0 demerits) This marking is unclear. 43. (2 demerits this time) This transposition is incorrect. 44. (0 demerits) You have strayed far from the original in your choice of rhythm and articulation here. 45. (0 demerits this time) When both parts are slurred, the slurs should be placed above as well as below. Also, articulations should be marked separately for each voice. Consult the textbook for examples of how these should look. 46. (0 demerits) These rests undermine the legato style of the melody. The player will have enough air to continue making sound here. 47. (0 demerits) There is no need to add an eighth rest here. At this tempo, the winds of plenty of time to breathe. 48. (2 demerits) This is outside the range of the instrument. 49. (0 demerits this time) These articulations should appear in both parts. 50. (0 demerits this time) When only one line is shown on a staff, attach slurs to note heads. If there are two lines, show slurs above and below each voice. 51. (1 demerit) You have omitted a voice. 52. (2 demerits) Wrong pitch(es) or rhythm. 53. (0 demerits this time) Placing the ensemble at a higher tessitura here diminishes the impact of the higher tessitura assigned by the composer to the same material later in m. 22. 54. (0 demerits this time) Doubling the 5th in octaves is questionable here.
55. (0 demerits this time) Changing the octave of one voice and not the other can create a huge gap between them, a questionable choice for this very conventional piece. 56. (5 demerits) The music doesn t end in the middle of this phrase. 57. (0 demerits this time) It would be helpful to have dynamics here, especially for instruments reentering after multiple measures of rests. 58. (0 demerits) By putting the bass line in this register, you have distorted the original melody and undermined the climactic leap in the original version. 59. (0 demerits) The pianist would lift the pedal here. The B-flats would not be sustained. 60. (0 demerits) Perhaps it would make more sense to separate the melody and the alternating accompaniment into separate instrument pairings, rather than dividing it between, i.e., oboe 1 and oboe 2. For clarity. 61. (1 demerit) You ve omitted the 7 th and the 5 th of this chord. The 7 th being the most concerning. 62. (1 demerit) According to your score, flute 1 is already playing. The indication of 1. here is either unnecessary or you forgot an a2 in a previous measure. 63. (0 demerits this time) Barlines need to go through staves. 64. (0 demerits) Wrong inversion. 65. (1 demerit) You have assigned a dynamic to a rest. 66. (0 demerits) While this is an interesting texture, you have the word, "legato" written, which may be more difficult to achieve with the given texture. 67. (0 demerits this time) More dynamics throughout would be helpful or more expressive. 68. (0 demerits this time) Abbreviate instruments throughout the score (Fl., Ob., etc.) 69. (0 demerits this time) To indicate clearly that parts are being exchanged back and forth, it would help to notate clarinet 1 with stems up, and clarinet 2 with stems down. 70. (1 demerit) By adding this note, you have doubled the leading tone in the outer voices. 71. (0 demerits this time) By crossing two voices, you fundamentally alter the structure of the piece. 72. (0 demerits this time) The balance here is questionable. Many bassoonists would have difficulty playing this softly. 73. (0 demerits this time) As you have changed from the first to second instruments, you must give a new dynamic (or repeat the current one).
74. (0 demerits) The tempo indication was Andante con espressione ( q = 76) Why be less specific than that? 75. (0 demerits this time) This should be listed in all staves. 76. (0 demerits this time) Missing score element (smorz., dim.). 77. (0 demerits) Please state both the title and author; title is incorrect. 78. (0 demerits this time) Space things so that they don t overlap or crash. 79. (0 demerits this time) In instrumental music, we normally look for dynamics below the staff, not above. 80. (0 demerits this time) The 7th of this chord must resolve down by step. Play it, and you ll hear what we mean. 81. (0 demerits) It will be difficult for the flute to play a true p in this high register. 82. (0 demerits) This line would be easier to read, with fewer ledger lines, if it were notated in bass clef. 83. (0 demerits this time) Doubling the bass note above the tenor and alto notes may obscure the first-inversion harmony. 84. (0 demerits this time) Be consistent in how you are indicating rhythm through parts. 85. (1 demerit) Rather than simply arranging the existing piece, you have modified the melody and added a new voice above it. 86. (0 demerits) Your articulations produce a sound that is much less connected than the original version. 87. (0 demerits this time) Although wind players can accent in the middle of a slur, it will not be articulated, but achieved by emphasizing the note with air. If this is not your intension, you should eliminate the slur prior to the attack. 88. (0 demerits this time) This dynamic marking is ambiguous. 89. (0 demerits this time) The second bassoon should be up an octave on beat 2 to reflect the original bassline. 90. (1 demerit) You have added two additional voices not in the original music. 91. (0 demerits this time) Why does this note have two dynamics (really, three)? 92. (1 demerit) The flute 1 part clashes with the rest of the harmony. 93. (0 demerits this time) Switching lines between players here is both effective and considerate. We recommend letting the players overlap by one note. This will ensure that the first beat of each measure is on time.
94. (0 demerits) Since the piccolo sounds an octave higher than written, there will be a large gap between the top voice and everything else. 95. (0 demerits this time) The integrity of the harmony is preserved here, but you probably should put the soon in its original register. 96. (0 demerits) The English horn may not be able to play a true pp in this register. 97. (0 demerits this time) Angle this flag for visibility. 98. (1 demerit) You have added an additional voice here, not in the original music. 99. (0 demerits this time) When there is only one note on a staff, articulations should always go next to the notehead. 100. (1 demerit) You have only specified one bassoon at the beginning of the part, but you clearly intend two players. 101. (1 demerit) It is unclear where this slur is supposed to end. Please connect each slur clearly to a notehead. 102. (0 demerits) Effective use of slurring to create the accent. 103. (0 demerits this time) Specify how many players at the beginning of the score. 104. (1 demerit) Is this a tie, or a slur? Neither makes sense. If it s a tie, simply write one note for the entire duration instead. Slurring repeated notes for winds, with no articulation, is equivalent to a tie i.e., there is no reason for it. 105. (1 demerit) Rests are incorrectly notated. 106. (0 demerits this time) A note cannot serve as the end of one slur and the start of another slur. 107. (1 demerit) You must always specify the key for transposing instruments.