Northern State University

For those of you taking the Orchestration and Arranging class,

please send to me your schedule.

The first class meeting will be held sometime during the week of January 22, 2008.

Sincerely, Mr. H., fred@northern.edu

1200 Jay Street

School of Fine Arts

Department of Music

Aberdeen, SD 57401

Orchestration & Arranging syllabus

MUS-420-N01

A. Class information

1. Term: Spring semester, 2008

2. Credit Hours: 2 semester hours

3. Professor: Fred Hemke

4. Email: fred@northern.edu

5. Website: http://www.northern.edu/fred.hemke/

6. Office telephone: 605-626-2669

7. Meeting times: Individual study and consultation is emphasized and arranged.

8. Location: JFAC 116.

B. Pre-requisites: Student must be enrolled as a NSU music major, completed Basic Music Theory MUS 110 and Basic Music Theory MUS 111. Student must have an email address and be proficient in and have access to a PC (non Mac/Apple) computer, Microsoft Word, Print Music, or Finale. Computers and Microsoft Word are available for use in the NSU computer centers. Computers and Print Music are available for use in Spafford 313. Print Music is available for purchase at Lentine's Music, http://www.lentine.com/so/items/74919.stm for $55.00.

C. Overall course description: Students in this course will study intermediate instrumental orchestration and arranging techniques. New, original compositional techniques will not be considered. Supplemental compositions and the study of choral and jazz elements may be included to those individuals interested.

D. Objectives

1. To study instrumentation, the characteristics of each instrument

2. To study transposition, the correct writing procedure for each instrument

3. To study and apply orchestration (voice selection)

4. To study and apply arranging techniques (voice placement)

E. Class procedure: The class as a whole will meet T.B.A. Individual study and consultation is emphasized and arranged.

F. Resources

1. Both a quartet score and a concert band score are necessary for this course. These materials may be found in the NSU library and the Music Department band library.

2. The references below are available and on hold at the main NSU library desk. They are put in order of importance.

a. Blatter, Alfred, Instrumentation and Orchestration, MT70.B56, ISBN: 0534251870. This will be the main text used for this class. The other texts below may serve as supplements.

b. Kennan, Kent, The Technique of Orchestration, MT70.K37

c. Forsyth, Cecil, Orchestration, MT70.F76

d. Rimsky-Korsakov, Nikolay, Principles of Orchestration, MT70.R58

e. Cacavas, John, Music Arranging and Orchestration, MT70.C23

f. Wagner, Joseph, Orchestration, MT70.W33

g. Jacob, Gordon, The Elements of Orchestration, MT70.J3

h. Piston, Walter, Orchestration, MT70.P56

i. Wagner, Joseph, Band Scoring, MT73.W27

j. Erickson, Frank, Arranging for the Concert Band, MT73.E74

k. Lang, Philip, Scoring for the Band, MT73.L33

3. The following texts are highly recommended, not required, and available to purchase through Amazon.com. Prices may vary.

a. Blatter, Alfred, Instrumentation and Orchestration, ISBN: 0534251870, $60.95

b. Kennan/Grantham, The Technique of Orchestration and CD Recording Package, Sixth Edition, ISBN: 0130771619, $76.14

c. Adler, Samuel, Study of Orchestration, Third Edition, ISBN: 039397572X, $69.75

d. Adler, Samuel, Study of Orchestration (six CD set), Third Edition, ISBN: 0393102831, $93.75

e. Forsyth, Cecil, Orchestration, ISBN: 0486243834, $11.53

f. Rimsky-Korsakov, Nikolay, Principles of Orchestration, ISBN: 0486212661, $13.57

g. Berlioz/Strauss, Treatise on Instrumentation, ISBN: 0486269035, $18.33

h. Cacavas, John, Music Arranging and Orchestration, ASIN: B0006CMCJO, $25.00

i. Corozine, Vince, Arranging Music for the Real World: Classical and Commercial Aspects (Book & CD set), ISBN: 0786649615, $20.37

j. White, Gary, Instrumental Arranging, ISBN: 0697354326, $64.06

k. Black/Gerou, Essential Dictionary of Orchestration, ISBN: 0739000535, $9.95

4. Students are strongly encouraged to obtain information through their own exploration, interviews with peer and professional musicians, interlibrary loan, and information found on the world-wide web.

G. Information about the assignments

1. All assignments must be emailed to Mr. Hemke (fred@northern.edu) either as Microsoft Word or Print Music attachments in PC (non Mac/Apple) format. Submit assignments in numerical order and put the assignment number in the subject area of the email.

2. All assignments must adhere to the criteria as stated in Blatter's chapter 1.

3. All assignments must include the original score before treatment.

4. All assignments must include the orchestrated/arranged (treated) score with all voices in concert pitch.

5. All assignments must include the treated score with transposed voices.

6. All assignments must include title, composer, arranger, voice names, clef, time signature, pitches, rhythms, accidentals, bar lines, and numbered measures.

7. Correct number of copies of separate parts and all other details such as dynamics, articulations, accents, etc... are only required for treated works that will be performed.

8. For describing exact pitches:

a. Middle C = C4.

b. All of the notes above C4 through B4 are in the 4th octave (E4, F4, Ab4, etc...).

c. The C one octave below middle C4 is C3.

d. The C one octave above middle C4 is C5.

9. A rough guide for ability levels:

a. A beginning musician can play successive half notes when the quarter note = 120 b.p.m. and at least 6 pitches.

b. An intermediate musician can play successive eighth notes when the quarter note = 120 b.p.m. An intermediate musician can play the chromatic scale except for the extreme low and high notes of the instrument.

c. An advanced musician can play successive sixteenth notes when the quarter note = 120 b.p.m. An advanced musician can play the chromatic scale throughout the full range of the instrument and sometimes higher.

10. Always listen to your work. Do not just write, copy, or transpose the parts without listening to them. Check to see if each part sounds reasonable when played by itself and with the other parts. Make sure that the work sounds good even if you are just using a piano or computer for playback. Live musicians are the best way to test your arrangements.

11. Always strive to write for the talent level of each individual performer.

12. Always make sure that the primary melodies and harmonies are heard.

13. You may simplify rhythms as long as a strong spirit of the original work is present.

H. Assignments: All assignments listed below are numbered. Detailed information to provide with each assignment is lettered.

Instrumentation assignments 1 through 37. Provide the following information (a through i):

a. The name of the instrument.

b. The full pitch range as the instrument sounds.

c. The written transposition of the instrument.

d. The clef in which it is written.

e. The characteristics and strengths of the instrument as a soloist.

f. The characteristics and strengths of the instrument within an ensemble.

g. "Bad sounding" or "hard to play" notes for an intermediate performer.

h. Special effects able to be performed.

i. Things to avoid when scoring the instrument.

Orchestral strings:

1. The violin.

2. The viola.

3. The violoncello (cello).

4. The contrabass (string bass).

Woodwinds:

5. The flute (in C).

6. The piccolo (in C).

7. The oboe (in C).

8. The bassoon.

9. The clarinet (in Bb).

10. The bass clarinet (in Bb).

11. The alto saxophone (in Eb).

12. The tenor saxophone (in Bb).

13. The baritone saxophone (in Eb).

The brass:

14. The horn (in F).

15. The trumpet (in Bb).

16. The trombone (tenor, in C).

17. The bass trombone (in C).

18. The euphonium/baritone (bass clef/b.c.).

19. The euphonium/baritone (treble clef/t.c.).

20. The tuba (in C).

Percussion with definite pitch:

21. The marimba.

22. The xylophone.

23. The vibraphone.

24. The orchestral bells (glockenspiel).

25. The tubular chimes.

26. The timpani.

Percussion with "indefinite" pitch. See Blatter pages 194, 195, 233, 372-378 to become familiar with typical scoring.

27. The temple block.

28. The castanets.

29. The maracas.

30. The crash cymbals.

31. The suspended cymbals.

32. The hi-hat cymbal.

33. The triangle.

34. The cowbell.

35. The snare drum.

36. The tom-tom.

37. The tambourine.

Arranging assignments 38 through 45. Apply the following information (a through d):

a. Write for intermediate musicians. Apply appropriate ranges and note durations.

b. Make the arrangement a minimum of 16 measures long.

c. If you are using music that is similarly orchestrated as one of the assignments, rearrange the parts.

d. Obtain a quartet from the library or elsewhere.

38. Arrange it for mixed strings.

39. Arrange it for mixed woodwinds.

40. Arrange it for mixed brass.

41. Arrange it for any combination of instruments.

42. Arrange it for any combination of instruments; do not use any instruments from assignment 41.

43. Arrange it for any combination of instruments; do not use any instruments from assignments 41 and 42.

44. Arrange it for any combination of instruments; do not use any instruments from assignments 41-43.

45. Arrange it for any combination of instruments; do not use any instruments from assignments 41-44.

46. You have only one concert band of mixed ability levels and instrumentation. Your band consists of the following instrumentation and ability level listed below. Abbreviations: b = beginner, i = intermediate.

flute, i.

flute, b.

clarinet, i.

clarinet, b.

alto saxophone, i.

alto saxophone, b.

tenor saxophone, i.

tenor saxophone, b.

baritone saxophone, b.

trumpet, i.

trumpet, b.

trombone, i.

trombone, b.

percussion, i.

Obtain and have Mr. Hemke approve a full score for intermediate to advanced concert band. Arrange 16 measures minimum for your concert band. All original main parts especially percussion, solo, and low parts must be heard. You might have to compromise some less important parts or make some parts easier to play. You should consider switching students from one section or instrument to play something else. You will have only a limited amount of time to train students on new instruments. You may move saxophone players to other saxophone instruments, and anyone to beginning percussion parts. If this assignment is clean, without any errors and submitted three weeks before the last day of school it will be considered for a play-through during a concert band rehearsal. Dr. Perkins has already consented to this concept.

I. Assignment due dates. Stay on task to turn your assignments in on time. Work ahead. Any late assignment will cause a reduction of one letter grade. This will benefit your schedule and the review of your work. Assignments 38-46 may take a bit more work because they involve the use of a computer notation program.

1-28-8, assignments 1- 4.

2-4-8, assignments 5-13.

2-11-8, assignments 14-20.

2-18-8, assignments 21-26.

3-2-8, assignments 27-37.

3-24-8, assignments 38-41.

4-14-8, assignments 41-45.

5-5-8, assignment 46.

J. Method of evaluation:

1. Instrumentation assignments 1-37 are averaged together and worth 40% of the total, final grade.

2. Arranging assignments 38-45 are averaged together and worth 30% of the total, final grade.

4. Arranging assignment 46 is worth 30% of the total, final grade.

5. The following grading system will be used to determine the final grade: A = 90-100 %, B = 80-89 %, C = 70-79%, D = 60-69 %, F = below 60%.

5. There will be no examinations.

6. Any late assignments will cause a reduction of one letter grade.

K. Northern State University recognizes its responsibility for creating an institutional climate in which students with disabilities can thrive. If you have any type of disability for which you require accommodations, please contact Karen Gerety at the NSU Office of Disability Services (626-2371, Student Center 217) as soon as possible to discuss your particular needs.

L. Under Board of Regents and University policy student academic performance may be evaluated solely on an academic basis, not on opinions or conduct in matters unrelated to academic standards. Students should be free to take reasoned exception to the data or views offered in any course of study and to reserve judgment about matters of opinion, but they are responsible for learning the content of any course of study for which they are enrolled. Students who believe that an academic evaluation reflects prejudiced or capricious consideration of student opinions or conduct unrelated to academic standards should contact the academic dean administratively in charge of the class to initiate a review of the evaluation."