Course Description

This course is designed to be an intensive study of Instrumentation, Score

Preparation and Orchestration. The class will include: lectures, listening,
analysis, score study, workbook assignments, class presentations, and various
orchestration assignments.
During the course of the semester, students will write a series of
arrangements for various instrumental groups and a final project for orchestra.
Since listening and score study are an essential part of the course, students will
be required to study and become familiar with all of the scores and recordings
studied and discussed in class as well as those on the reference list.
The class aims to enable students to expand knowledge of instruments and their
abilities; to develop understanding of instruments in solo and ensemble contexts,
based upon the exploration of orchestrational techniques from the baroque
period through the twentieth century; to orchestrate for ensembles of different
sizes and combinations and become aware of stylistic orchestration;; also to
grasp key principles in arranging relating to form, style, roles, color, and rhetoric.
Orchestration skills are extremely important both pedagogically and
professionally for a contemporary musician. In this 15-week course, students will
learn traditional orchestration techniques as well as emerging issues specific to
today's market demands.
Student Learning Outcomes
As a result of participation in this class, the student will be able to:
1) Develop a thorough understanding of basic acoustics, timbres, ranges,
techniques, tone qualities, musical capabilities, idiosyncrasies, notation and other
characteristics of the various band and orchestral instruments and instrumental
families.
2) Acquire a thorough understanding of the notational conventions, terminology
and transpositions necessary to correctly read and notate band and orchestral
scores.
3) Analyze musical textures and identify their various components such as
primary and secondary melodies, harmonic support and rhythmic support.
4) Develop the ability to compose simple idiomatic arrangements for various
instrumental combinations.
5) Cultivate relevant listening and score-study skills and to acquire a basic
vocabulary for score study.
5) Prepare a musical score and parts in the proper form.
6) Transcribe and arrange instrumental works for ensembles of varying size and
ability.
7) Develop an understanding of the musical nature of excerpts and/or extended

compositions and conceive them in the framework of an orchestral setting.

8) Prepare a musical score and parts in the proper form and improve notation
software skills. While I will be teaching from within Sibelius, you are free to use
Finale or any other notation software.
Course Requirements

Participation in at least 95% of all class meeting time.

Adequate preparation for class discussions and presentations that should include
timely completion of reading, score study, listening, and arranging assignments.
Attendance of one orchestral concert at the BSO, one chamber music concert
held in the wider Boston area, and a short written study of unique instrumentation
demonstrated by the music in each event.
A well prepared classroom demonstration of the capabilities and techniques of
your instrument, with commentary about its use in ensembles.
Four (4) arranging/composing studies employing techniques explained and
demonstrated in class, and/or exemplified by the works studied in class.
A brief (2-3 minute) arrangement or composition for orchestra.
A midterm exam involving knowledge of instrument ranges and capabilities,
correct notation, and important musical terms.
The required arranging or composing studies are intended as technical/stylistic
exercises in which you demonstrate your understanding of the instrumentation
and orchestration concepts and techniques studied in class. The duration of each
study will be extremely short - usually 30 seconds to two minutes. Each study will
be due roughly every two to three weeks, at which time you should hand in a
copy of your score, plus parts if necessary. All of the studies will be played and
discussed in class.
Grading for the course will be based on timely and thorough completion of all the
course requirements. Since every requirement is considered a vital part of the
educational experience of the course, serious and high quality work is expected
at all times. Grading will be based upon the following:

1. Attendance (10%)
2. Active and informed participation in discussions and presentations held in class
(10%)
3. Concert attendance and critique (10%)
4. Midterm exam (10%)
5. Assigned short arranging/composing studies (40% - 10% for each assignment)
6. Final orchestration assignment (20%)
The study of instrumentation and orchestration is a fascinating lifelong endeavor.
I hope this class will assist in sparking your creative imagination whatever your
musical path may be.
Instrumentation & Orchestration Reference Books:

Instrumentation and Orchestration by Alfred Blatter.

Principles of Orchestration by Rimsky-Korsakov.
The Technique of Orchestration by Kent Kennan.
The granddaddy of all orchestration texts is A Treatise on Modern
Instrumentation and Orchestration by Hector Berlioz.
If you are interested in scoring for film and television, On the Track by Fred Karlin
& Rayburn Wright is also highly recommended.
And lastly, should you be interested in the physics of music, you might wish to
look at Musimathics (Volumes 1 & 2) by Gareth Loy.
Notation Reference Books
Behind Bars: The Definitive Guide to Music Notation by Elaine Gould
Music Notation in the Twentieth Century: A Practical Guidebook by Kurt Stone
Reference Scores
Violin
Bach: Chaconne
Bartok: Sonata
Tchaikovsky: Violin Concerto
Paganini: Caprices
Debussy: Sonata in G min
Viola
Berio: Folk Songs
Debussy: Sonata for Flute, Viola, and Harp
Violoncello
Bach: Cello Suites
Dvorak: Cello Concerto
Lutoslawski: Cello Concerto
Debussy: Sonata in D min
String Quartet
Beethoven: No. 131
Debussy
Ravel
Bartok: No. 4
Bass
Schubert: Death and the Maiden
Stravinsky: Pulcinella
String Orchestra
Takemitsu: Requiem; Dorian Horizon
Tchaikovsky: Serenade for Strings

Flute
Varese: Density 21.5
Boulez: Sonatine
Debussy: Prelude a l'apres-midi d'un faune; Sonata for Flute, Viola, and Harp
Oboe
Stravinsky: Firebird
English Horn
Dvorak: New World Symphony
Rodrigo: Concierto de Aranjuez
Clarinet
Copland: Clarinet Concerto
Mahler: Symphony No. 1
Bass Clarinet
Stravinsky: Rite of Spring
Dobrian: Parable
Bassoon
Stravinsky: Rite of Spring; Petrushka (Contra)
Woodwind Quintet
Ligeti: Ten Pieces
Piano
Bartok: Mikrokosmos
Bartok: Sonata for Two Pianos and Percussion
Stravinsky: Petrushka
Ravel: Piano Concerto
Harp
Tchaikovsky: Nutcracker Suite
Debussy: Sonata for Flute, Viola, and Harp
Celesta
Tchaikovsky: Nutcracker Suite
Bartok: Music for Strings, Percussion, and Celesta
Vibraphone
Boulez: Le marteau sans maitre
Dobrian: Nonyx; Now and Then
Marimba

Berio: Circles
Dobrian: Now and Then
Timpani
Carter: Etudes
Beethoven: Symphony No. 6 & 9
Berlioz: Symphonie fantastique
Bass Drum
Stravinsky: Rite of Spring
Percussion
Varese: Ionisation
Berio: Circles
Dobrian: Now and Then
Guitar
Rodrigo: Concierto de Aranjuez
Sor: Variations on a Theme by Mozart
Villa-Lobos: EtudesTarrega Capricho Arabe
Jazz Ensemble
Ellington: Ko-ko
Texture
Debussy: La Mer
Ravel: Rapsodie espagnole
Ligeti: Atmospheres; Lontano
Xenakis: Pithoprakta
String Orchestration
Vivaldi: Four Seasons
Bach: Violin Concerto in E major
Britten: Variations on a Theme of Frank Bridge
Warlock: Capriol Suite
Classical Orchestration
Mozart: Serenade for Winds (C minor K.388), Symphonies No 35, 39, 40, 41,
Requiem
Haydn: London Symphony (No 104)
Early Romantic Orchestration
Beethoven: Symphony No 5, Symphony No 9
Berlioz: Symphonie Fantastique
Brahms: Symphony No 4

Late Romantic Orchestration

Mendelssohn: Fingals Cave (Hebrides Overture)
Tchaikovsky: Symphony No. 5 (Finale), Orchestrations of Mozart
Bizet LArlesienne Suite
Mahler: Symphony No 4
Twentieth Century Orchestration
Debussy: L'apres midi d'un faune, La Mer, Nocturnes
Ravel: Introduction and Allegro, Orchestration of Mussorgsky's Pictures at an
Exhibition and Debussy's Danse
Hindemith: Symphonic Metamorphosis of Themes by Carl Maria von
Weber (movements 2 & 4), Symphony in B flat
Respighi: Orchestration of Rachmaninov's Cinq etudes-tableaux
Bartok: Concerto for Orchestra
Copland: El Salon Mexico
Webern: Six Orchestral Pieces

Weekly Topics
Getting Started
1

a) Mon. 1/27: Introduction to this course; syllabus; collection of student data;

concert attendance scheduling; class presentations scheduling; Informal
listening and discussion.

THE STRINGS
2

Mon. 2/3: Discussion / Class presentations / Analysis

Reading: pp. 7-50
Listening: CD 1
TURN IN concert report choice (decide on specific concert you will be attending)

Mon. 2/10: Discussion / Class presentations / Analysis

Reading: pp. 51-108
Listening: CD 1

Tue. 2/18: Scoring for Strings

Reading: pp. 111-159
Listening: CD 1
THE WOOD WINDS

Mon. 2/24: Discussion / Class presentations / Analysis

Reading: pp. 164-225
Listening: CD 2
TURN IN PROJECT 1

Mon. 3/3: Scoring for Wood Winds

Reading: pp. 229-291
Listening: CD 2

Mon. 3/10: MIDTERM EXAM

TURN IN PROJECT 2

Mon. 3/17: Spring Break

THE BRASS

Mon. 3/24: Discussion / Class presentations / Analysis

Reading: pp. 295-354
Listening: CD 3

10 Mon. 3/31: Scoring for Brass

Reading: pp. 357-424
Listening: CD 3
THE PERCUSSION
11 Mon. 4/7: Discussion / Class presentations / Analysis
Reading: pp. 431-467
Listening: CD 4
TURN IN PROJECT 3
12 Wed. 4/14: Scoring for Percussion
Reading: pp. 486-497
Listening: CD 4
13 Mon. 4/28: Scoring for Orchestra
Reading: pp. 547-639
Listening: Orchestral works suggested in class
TURN IN PROJECT 4
14 Mon. 5/5: Scoring for Orchestra
Reading: pp. 611-639
Listening: Orchestral works suggested in class
TURN IN FINAL PROJECT

SYLLABUS APPENDIX
A. Regarding the Required Textbook and materials
The required textbook and additional materials (CD set) for the course are available at
the Berklee bookstore, any major bookstore in Boston, and on-line. You must
purchase all materials immediately and must always bring your textbook to class.
Most required reading assignments refer to the textbook. Some additional reading
assignments will be distributed in class in the form of handouts or they will be uploaded
on the class website.
An anthology of CD recordings accompanies the text.
You are required to read and listen to the given assignment(s) before the lecture, and
again after the lecture.
B. Classroom policies
1.

Attendance. Attendance at class meetings is required and roll will be taken at

every class. If you know that you are not able to come regularly to class, you
should not take this course. The first 2 hours of absence (one class meeting)
will count for any personal excuse (illness, work, family, or otherwise). Every
absence beyond that will automatically be reducing your final grade by one
third of a letter grade (i.e. B will become B-, C+, C,etc.).
Late arrivals constitute disruptive behavior since they disturb the lecture and
your fellow students. Three late arrivals (more than 5min.) will be considered
one unexcused absence. After that each tardy will be considered one
unexcused absence and your grade will be decreased proportionately. Note
that you risk failing the course due to excessive absences and/or chronic
lateness.
I am certainly open to accommodate any special circumstances
(catastrophic illness, family emergency, etc), which might arise and
encourage you to contact me in advance so we can work out a reasonable
solution. Obviously, you should be able to officially document your special
situation.

2.

Forms of address. Please inform me during first roll how you wish to be
addressed in class. I wish at all times to be addressed by my professional
title.

3.

Handing in assignments. All assignments MUST be fully prepared before

class and turned in at the beginning of class. Assignments should adhere to
the following guidelines:
a. Include a cover page with your name, date, and course number
b. Put name and page numbers on all pages
c. Have all pages stapled in upper left corner
d. Projects will only be accepted electronically, and should be sequenced.
I will accept all different types of files (Finale, Sibelius, PDF-Audio)

Late weekly work turned in without a valid excuse will not be accepted.
When accepted it will be graded accordingly in order to be fair to those
students who do turn in their work on time. If you need an extension on a
longer and more complex assignment like a midterm or final project, please
ask at least 48 hours before the assignment is due.
4.

Conduct. By taking this course, you agree to behave at all times with respect
and consideration for the instructor and other students enrolled. I reserve the
right to fail any student who disrupts the course, its goals, activities, lectures, or
discussions in any way. Disruptive activities include but are not limited to:
talking or making obtrusive sounds when you do not have the floor, especially
during lectures; chronic lateness; behaving in a fashion that is inconsistent
with stated course policies; cheating; plagiarizing; partaking of activities during
meetings that are not directly related to course tasks (such as sleeping or
reading non-related materials). Eating is not permitted during class, only
before and/or after. Make sure that you thoroughly clean up afterwards.

5.

ALL ELECTRONIC DEVICES SHOULD BE TURNED OFF BEFORE YOU

ENTER THE CLASS.

C. Academic Integrity
I will operate on the assumption that every class member is thoroughly familiar
with the Berklee Code of Student Conduct (you may find an on line version at:
http://www.berkleemusic.com/school/studentinfo/policies/). If you're not, please
consider this document to be your first reading assignment! Plagiarism,
collaboration on individual assignments, and cheating in any fashion will not be
tolerated; such behavior will result in failing the assignment, or the course, and in the
notification of the department chair and the dean of students (in accordance with
University sanctions).
D. Regarding Course Assignments
a) Listenings, readings, and writing assignments constitute the core of this course.
Therefore, it is extremely important that you keep up with all.
b) You are required to complete all listening and reading assignments before each
class meeting. Only in this way will you be able to participate in and follow the class
discussion which will mostly focus upon, analysis, critical listening, specific items that
need further examination, and student presentations.
c) Every week, the day before class, a series of questions will be uploaded in the
course website that relate to the material that is going to be discussed in class during
the regular class meeting. You are required to answer all these questions on line and
upload your answers in the class website. You will be graded for your answers.
More information about this interactive approach will be provided during the first class
meeting.
Projects

There will be four major graded projects, culminating into the final project, you
would have to complete during the semester. In these projects you should
demonstrate a comprehensive understanding of all topics discussed in class. You
are expected to display a synthesis of your musical thinking, reading, listening,
analyzing, and writing (arranging) as it evolves throughout the semester.
More specifically your work should demonstrate an acute awareness of nuanced
instrumental writing as well as stylistic awareness across a wide range of
musical styles; a full understanding of orchestral colour and pacing, and an
outstanding understanding of arranging techniques demonstrated in various
instrumental combinations. Submitted scores should be presented to publishing
standard.
More information regarding these assignments will be discussed in class.

NB: This syllabus and appendix are subject to change. You will be notified on
time of any major or minor changes.