86 !!Chapter 6
describing the process of assigning the notes to the instruments in an
orchestra or additional instrumental combinations.)
Arranging and orchestrating are analogous to painting. A painter has
a palette containing paints from which he or she chooses and mixes colors.
Arrangers/orchestrators have palettes on which they store notes, harmon-
ies, rhythms, instruments, and dynamics. Painters and arrangers/orches-
trators mix colors and use different brushes and strokes to produce a final
result. Talent and taste determine the quality of their work.
The twentieth-century English composer Vaughan Williams studied
with the great romantic composer Ravel. Ravel’s main contribution to
Vaughan Williams’s style was teaching him orchestration. He taught him
‘‘how to orchestrate in points of color rather than lines’’ (Grout,A History
of Western Music, 695). This was also Debussy’s philosophy.
Film orchestrators use this concept. Composers have to be cautious not
to allow the music to interfere with the dialogue. The orchestration has to
complement the film through tonal colors.
Analyzing the work of the masters adds knowledge to one’s creative
‘‘toolbox.’’ Studying their orchestrations and compositions generates
ideas.
In most commercial music (excluding motion pictures and Broadway
shows), the arranger is also the orchestrator. In film scores and Broadway
shows, there is usually a separate orchestrator because of time restrictions.
Most film composers write their scores on six to ten staves (such as an
expanded piano part) with instrumental indications, such as ‘‘flutes
play , violins play ,’’ and so on. Most Broadway scores are
detailed, two-stave piano parts and in some instances contain orchestral
indications, such as ‘‘trumpets play ,’’ and so on.
Many orchestrators of commercial music not only assign the notes to
instruments but also enhance the arrangements. Because of time restric-
tions, composers indicate additions to be made by the orchestrator, such
as ‘‘add a jazz drum part,’’ or only the lead saxophone part is written and
the indication is to ‘‘complete the harmonies with the remainder of the
saxophone section.’’
Arranging and orchestrating for the studio is more complex than writ-
ing for a live performance. The main difference is the manner in which the
sound can be manipulated. Arrangers have time to address minute details
that are inherent to the recording process. Each recorded track can be
assigned its own automated equalization and effects. Throughout a
recording, the parameters of the sound can continually change through
the use of automation. In addition, because of the control over instrumen-
tal balance, unusual instruments can be featured. Many of the instruments
would not be heard in a traditional live acoustical setting without pains-
taking manipulation.