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Writing For Woodwinds

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Writing For Woodwinds Things to Think About Woodwinds Think about the numbers you are writing for - what is the general make-up of a school band? – PowerPoint PPT presentation

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Title: Writing For Woodwinds


1
Writing For Woodwinds
  • Things to Think About

2
Woodwinds
  • Think about the numbers you are writing for -
    what is the general make-up of a school band?
  • ALWAYS- think about the sound you would like to
    produce - All voices equal? Choir vs. Choir, lead
    voice over back ups? Think about dynamic contour
    and instrument color.

3
Woodwinds
  • Execution
  • Can they play effectively at your tempo?
  • Can they play effectively at your dynamic?
  • Can they play the full line as marked? How does
    AIR factor in?
  • Can they execute the articulations (think about
    instrument characteristics)

4
Voicing
  • Alto Clarinet? Double either 3rd clarinet or Bass
    Depending on Voice strength
  • Clarinet Parts are usually split 3 ways
  • Saxophones are Flexible - either used as a Choir,
    as a sonority strengthener, as rhythmic
    background, Soloists, inner harmony

5
Voicing
  • Melody may be doubled in octaves
  • Avoid doubling the bass line above its original
    Pitch
  • Exception - more than an octave between the bass
    line and the next highest voice

6
Voicing
  • Think about using the double reed quartet 2
    oboes, 2 bassoons
  • May be used as a quartet in light passages - Its
    all about the color you want.
  • Lighter passages - Flute can carry the melody in
    the upper register
  • Think if your tutti passages are balanced, top
    heavy, or bottom heavy

7
Voicing
  • Put largest Vertical intervals the lower the
    octave - Think Harmonic Series and Clarity
  • Close vertical space in the lower octave creates
    a muddy sound
  • Space voices evenly in the upper register and
    avoid large gaps.
  • Exception - octave between two top melodic voices
  • Chords should be voiced as completely as possible
    in each section

8
Voice Leading/Revoicing
  • Sometimes voice parts need to be shifted around
    due to range considerations. Ex. - a tenor/bass
    combination
  • Avoid awkward skips ( see ex no. 2 page 40)
  • Watch for Excessive Doubling of 3rds
  • Think about how you want to split voices or
    Condense. 5 parts for 4 players? 7 parts for 12
    players?

9
Now Lets Look at Some Scores
  • Irish Tune
  • Dvorak Serenade
  • Strauss - Suite in B flat
  • Beethoven - Octet
  • Jacob - Old Wine In New Bottles

10
Woodwind Project
  • Recording - March 1st, March 3rd
  • Instrumentation - 2 Flute, 2 Oboe, 2 B flat
    Clarinet, 1Bass Clarinet, 1 Bassoon, 1 alto sax,
    1 tenor sax, 1 bari sax - Recruit PLAYERS!
  • Be inventive!! Intros, Endings, Harmony, Style?
  • Lab Day Thursday
  • Woodwind Quiz - Feb 22nd
  • No Class on the 24th
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