The Complete Idiot''s Guide to Music Theory

Par t 6:Arranging

Make the Big Score—for the Symphonic

Orchestra

Now we’re in the big leagues. Creating a score for full orchestra is a major

undertaking, if for no other reason than there are many instruments to deal

with. Because of this, most orchestra scores are written on large sheets of

paper—11" x 17" or so. Because of the sheer size of the beast, you’ll probably

get only four to eight measures on each page, which means the typical orches-

tral score also is fairly long.

As you can see from the example on page 251, instrument families are grouped

together in the score in the following order:

◆Woodwinds: Piccolo, flute (first and second), oboe (first and second),

English horn, E
clarinet, B
clarinet (first and second), bass clarinet, bas-

soon (first and second), contrabassoon, French horn (first, second, third,

and fourth)

◆Brass:Trumpet (first, second, and third), trombone (first, second, and

third), tuba

◆Percussion:Timpani, percussion (including snare drum, bass drum,

marimba, and so on)

◆Harp

◆Piano

◆Strings:Violin (first and second), viola, cello, double bass

As with big band scores, you can create orchestral scores in either concert key

or transposed keys—whichever works better for you.

Because most orchestral pieces are fairly long, it’s important to include proper

road mapping in your scores. Number each measure, and designate each section

with a new letter. This way musicians (and the conductor!) can easily find their

places during the starting and stopping of the rehearsal process—or if they hap-

pen to fall asleep during a long rest in a live performance!

Use the Computer

In the old days, it was a real pain in the rear to create scores for large ensem-

bles. Every part had to be written separately, by hand, and transposed as neces-

sary. That was a lot of writing, and didn’t always result in the most readable

pieces of music—especially if your handwriting is as bad as mine!

252

You also can cre-

ate a condensed

score,in which

individual parts are

collapsed into single

staves. This type of score

is easier to read, even

though it doesn’t contain

the part detail necessary

for initial rehearsals.

Tip

You have the option

of cutting down the

number of staves in

the score during

long sections of music

where fewer instruments

are playing.

Tip