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Methods of combining instruments of different kinds in a chord. Know the advantages and disadvantages of each method as applied to various orchestral instruments.
juxtaposition, interlocking, enclosed, overlapping
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The current and usually preferable practice of spacing upper woodwinds: open or closed. Know the exceptions to this practice.
closed, octave gap
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The better choice (according to Kennan) of assigning instrumental colors when a progression involves both stationary and moving parts.
stationary parts should have one color, moving parts another color
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The better choice for bass of the woodwind section: Bass Clarinet or Bassoon.
bass clarinet
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In the brass section the instrument that should be doubled at mf or louder.
horn
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The minimum number of violins or violas to sound like a section.
3
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When filling in brass section chords with woodwinds, what dynamic levels will produce the best balance?
piano
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The choices of instrumental tone color that will accentuate dissonance.
same color
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Timbre qualities of doubling woodwinds with brass.
makes the brass less transparent and brilliant in timbre
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Various ways to refigure and re-space piano arpeggios and other figures for strings.
divide the rearrangement among two or more instruments,
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Best way to render broken octaves (in piano music) for strings.
tremolo with doubling at the octave
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How to handle rolled piano chords.
omit or played pizzicato in arpeggiated fashion
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In the case of a piano passage that has a pronounced soloistic or cadenza-like character and encompasses a wide range of notes, what is the best way to transcribe it for orchestra according to Kennan?
give it to a solo instrument and alter the music to retain its overall musical effect
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In full-instrument scores of the common-practice period what orchestral section (woodwinds, brass or strings) rested the most; the least?
brass most, strings least
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How to best achieve the effect of a melody standing out clearly from the background music.
give melody to one color, background to another
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Kennan’s comments on the effect of doubling woodwinds at the unison.
- flute and oboe - oboe dominates but quality is softened
- flute and clarinet - warm, round tone, not strong above middle C
- oboe and clarinet - mixes oboe tang and clarinet mellowness
- clarinet and bassoon - rich, somber if clarinet is low
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Kennan’s comments on the effect of doubling the flute and bassoon at two octaves.
good, omission of the middle octave makes for a particular effect
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Kennan’s comments on the effect of doubling winds with strings, particularly the benefit of doubling bassoon with cellos or violas and the benefit of combining English horn with violas.
- bassoons are good for added body and rhythmic definition
- horn provides poignant and attractive tone
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Kennan’s warning about the constant use of mixed or composite colors.
makes a score sound nondescript and opaque
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