-7

AN ANALYSIS OF MAURICE RAVEL' S TECHNIQUE

OF ORCHESTRATION

THESI

Presented to the Graduate Council of the

North Texas State College in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Murray Augustus Allman, B. M. E.

Denton, Texas

August, 195$

4"Mm-mill pgpqmpm

TABLE 0F CyONTNT

PageLIST OF B ES . - - - - - - - - - . . . . . . . .IVI)A S ' 1-7LS1 P~2vLIST oF ILLUST rTOQ * . . * . . . * . * . , * . 4 . . * V

t BIOGRP t ICAL KE C F UrICE E ..

II. OTO F PIANOcoMPOSTIO - , - , * * I

fnaL sis of chestration, jalysis of Orchestrati-

une Infante DbffuLterAnlyis of Orchtttion

Analysis of OrchestrationELo iiLtionT-i

II.LARGE ORCHTESTRA-,1LWRK....

BIBLIOAPTYV

4t enuet Antimaueof Pavane our

M, it nere tL yeof pictures aan

*.

Anlysi W 0rchkiestration of )pOdi

OrchQtrti o BoleroA s of Orchestration of is at

ti I is -

Chlo'Ara-ysis of Orchestration of La se

Anays0i1s of station of ILtroduction

Analysis of Orchestration of Slihehra .. zaid eAna]lyvsis of Or chetain fOcerdD

'ouo L 'ncro -r

psano et Orchestre orAnaLysis of~Orchestr-tion of concertoo for

the Left and for Piano ar:d Orci'estraConclusion ~~

. . . - - - - - - - - - - - - 132

iii

LIST OF TABLES

T oble Page

I. Comparison of Rt vel0s Orchestra to that ofOrchard Wagner . . . . - . . . - . . . . . . . 13

II *Ratios of Real Parts to Doubled Parts in

Ma a ue a . . . - - - - - - . . . . . . OrI. >atios of Real Parts to Doubled Parts i

IV. 01rt s 1F RearilParts tCo Doubled .Pnarts . i.n" r.,".- - - - - - - . . . . 65

V. Avcrage Rtioi of Real Parts to Doubled Parsof Each Sectio0 >?on of R ns-*dieE . . 66

VI. ,The 12inctions of the Indivilual hoirs and theInstrucentaJ Color in DQJ.se hlo4,

Suite No.ISut-.. 1 .* . . . .* . . . . . Si

II 1The1I nations of the Individual Choirs and theJ.nst mental Color in Dai.s et Chloe

Suite 2ooult It .2.. . . . . . . . . . . . . . . 86

VIII, The Devices of' Instrumental Techric Found inDajhnir et Chlo, Suite No. 9 - - . . . . .104

IX. Antipho &caLEnsemble i nSection 98 in L .i-Ise . . .110

X. The In strumreta Color in 1S1 ra-de . . . . . .117

L. 0F ILLUSTRATIONS

Measures 1 and 2 of Pavwne .

Measures 8 and 9 of Pavane,

Measure 10 of. Pavan -. - -

Measures 17 rnd 18 of Pavane

easures 28 and 29 of Pavane

mef sure 28 and 29 of Pavane

Me asire 37 of Pavane - . .0

evure 37 of Pavane . . . .

ias-Vures 41 ad 42 of Pavone

Measure 43 of Pavane . - -

Measure 7-o Pvae . - --

Measure 6) of Pavane . . .

1.

2z.

13

1.

5.

17

0.

(7.

8.

9.,

1k.

11.

12.

13.

1'.

15.

16.

17.

.

18. Mea.. sures 174-177 of Introductior ad All ero

measures 104 mid 105 of M Me.-

Mea sure 495 of MAL ere 1'Oye

Measure 67 of Pictures atn

Measure 5 of Introduction and

measure 63 of Introduction an-

. . .114

V

Page

* . 9 9 . . 9 . . . . 19

S - 9 - 9 9 9 . . . . 20

9 9 9 9 - 9 9 - . . . 21

9 . 9 9 9 9 9 . . . . 2 2

9 9 9 9 9 9 9 . . . . 25

9 9 - 9 9 9 9 . . . . 25

* . - 9 9 9 9 .~ . . 279 - - 9 - 9 . . . . . 27

* 9 9 9 9 9 9 . . . . 28

9 - - 9 9 9 . . . . . 29

9 9 9 9 9 4 9 - - * . 32

9 9 9 9 9 * 9 9 - 9 9 33

re iLOie...99 2

EU'hibitiLon- - - - . . 5,2

A2l2e ro. .1911.

.9 9 9.9113~

CHAPTER I

A BIGRAP:Ilt SKETCHi OF MAU1ICEQ% A!VEL

aur3-e ave 4~as born thne seventh.- K of M h, 1875, t

12 Quai de la Nivelle(renamed Qui Maurice Ravel) in Ciboure

Frac e, a Basiue seaport near the border between France and

Spain.l

Joseph Ravel, his father, was a French-Swiss engineer.

It appears that Maurice also had a mechanical mind as shown

by the vy he learned and interpreted the rules of harmony

and composition at the Conservatoire National de Musique.

Ravel often saidI,"I I had not been a musician , I should

have turned to mechanicts.2 Marie Eluarte S-avel, his mother,

Iose father was. a fisherman as his Fathers had been gen-

era ions before, was o-f -asqu orig0. Since RAvel ws born

close to Spain, he had a great fascination for Spanish usic

and his c positions We remendously influenced by Spanish

e It:.

.hen vRavel was only a few months old, the family moved

to Paris, where he spent most of his life.

At the age of seven he began his first piano training

under lenri Ghys, composer of Amaryllis(Air Louis XIIl),

lVictor Seroff, taurice Rvel (New York, 1953), p. 11-13.

2Madeleine Goss, Bolero (New York, 1940), p. 22.

I0W+'=

2

who entered on that day in his diary, "31 ray, 1882. 1 am

today starting a little pupil, Maurice Ravel, iho seems to

me in'tellig-ent. t3

Joseph Ravel, who had studied at the Conservatory of

Geneva to become a concert pianist, did much to encourage

Maurice and to keep his interest in music. After Maurice

had learned to play well enough to play duets with his fa-

ther, seldom did they miss a day without playing together.

Joseph Ravel's favorite was the overture to Tannhauser,

cd tlheyPlayed it so much that Maurice grew tired of it, a

fact hich 'did not help his later feelings toward Wagnerian

music.

Ravel presently began to study harmony under Charles-

Ien', who required extra work from his students such as

variations on a certain thete or original corpositions.

These eXtra assigrents intrigued Ravel, who astonished his

te archers with his cork. When Ravel was fourteen, Ghys and

Charles-Ren4 prepared him for the audition to enter the

Conservatoire National de Musique in Paris.5 He passed the

audition successfully, and for the next fifteen years, Stu-

died at the &nsrrtoiro. Iore is no record or report

cvaIlable concrnig a ny other education tha Jn thata the

Coserv toire de usiaue in Paris.

3Goss, 3O. cit., p. 22.

'+Ibid., p 23. 5Ibid., pp. 24-25.

3

Soon after he entered the Conservatoire, he met his

fast friend and constant companion throughout most of his

life, Ricardo Vi~ec, Probably one reason for Thvels at-

taclment wcs that Viesvas Spanish.6 Their mothers also

became fast friends, chatting in Sparish while their boys

explored, played and experimented together. At the Universal

Exposition the boys heard a gamelang orchestra from Java,

whose influence showed later in Ravel's music. 7

Spring, the tme for the compeitions at the Conserva-

toire, was the only time that Ravel did not need extra,

encouragement to got him to practice. After he had been at

the Conservatoire for two years he won first place, an hon-

or which elated his parents. This was a feat he never

repeted. His piano teacher was Charles de Beriot, who

gave him a stern lecture for being at the bottom of the

class when he should have been at the top. 0 His harmony

teacher was the liberal Emile Pessard, who always encouraged

originality in his students within certain limits. 9

IL 1891, he discovered the music of Alexis Emmanuel

Chabrier and become exuberantly enthusiatic; this was the

music for rich he had been seeking! Chabrier was influ-

enced by the impressionistic painters of his day--Renoir,

Monet, Manet, and Verlaine. Ravel and Vines visited Chabrier

6j. B. Trend, "Vines," Grove's Dictionary of music andMusicians, Vol. VIII (London, 719 .

7Goss, p0. Ci ., pp. 541-55.

8Ibid ., P. 34. 9Ibid.,P.- 3+.

one day and played his Trois Valses for hir, out were bewil-

dered by his contradictory raises and criticisms.10

Once whien Ravel returned home from the Conservatoire,

his father introduced iim to Erik Satle as being interested

in modern music. Satie laughed and remarked, "They call me

modern, but not in a complimentary ;ay."tll Satie composed

in free, humorous style, using dissonant harmonies, but he

was always a failure as far as being accepted by the major-

ity. This he attributed to his indolence in the Conservatoire,

wh ere he did not actually learn the rules of good composition,

which he needed to give him a good background. Ravel was

attracted by such composers, %nd Satie probably exerted the

most influence upon the music of Ravel. Although Ravel

seemed to be rebellious against the strict rules taught at

the Conservatoire, he only wanted to expand the possibilities

of corposition further than that of the classical period.

Before Ravel studied under Gabriel Faur4, he was in the

counterpoint class of Jenri-Gldalge, who rearked that Ravel

was the most remarkable couterpoint student he ever had.

Although the music of Schumann, Liszt, Chopin, Weber, and the

"Russian Five" influenced >avelts music greatly, Gabriel

Faure made the most lasting impression upon Ravel. Faure was

as superb a teacher as the French felt him to be a composer.

10Seroff, a. it., p. 31.

lGoss, 2E. cLit., p. 39.

Belng in his class was like being a guest in his home. He

never criticized or reprimanded, only suggested. In his

later 1ife Faure suffered from loss of hearing, even so,

his composing did not diminish.12

The Societe Natioal de Musique was founded to help

young French performers and composers to gcain recognition

by having them perform and by having their music performed

in the concerts that were held every Saturday night. It

was for one of these concerts that Ricardo Vies was asked

to peorm with Marthe Dron. This poor performance of

Ravel's Sites Auriculaires resulted because the pianists

were performing on a new type of pianos, facing each other,

and they were unable to give each other the proper signals;

so the audience did not accept the composition at all.

About a year later the Societe gave Ravel another chance to

be heard. his time it was the performance of the Overture

to Sheherazade, wich as ascoyplete a failure as Sites

Auriculaires, Td the critics, especially Pierre Llo,

wrote very disparaging articles concerning Ravel. The fol-

lowing is an excerpt from Lalo's article:

Monsieur Laurice Ravel is a young pupil fromthe Conservatory, over Vhom his comrades and hisprofessors make a great fuss. If this is what M.avel believes to be an Overture "constructed on

the classical form," we must agree that M. Ravelhas a great deal of imagination. His style remindsone in its structure of Grieg, more still of Rimsky-Korsakoff or Balakire.f. There is the same incoher-ence in the general plan and in the relation of the

12Goss, . ci., pp. 48-61.

6

tones; but the characteristics already strikingenough in the models are carried to an excess bythe pupil.13

For a time Ravel worried about pleasing the public and the

critics, but soon he decided to work on>l for what he w-nted

to accomplish.

At the Conservatoire, each year, the French government

sponsored the Prix de Rome competition among young French

composers, the award for which was a seven-year stay at the

Medici Place in Rome while pursuing their art. The financiaI

pcart would mean much to Ravel; so he entered the competition

in 1902, 1903 and 1904, but was unsuccessul. In 1903,

Ravel, then a composer of some note, failed even to pass the

examination to enter the competition. This caused such a

national. scandal th at Theodore Dubois, thenI director of the

Conservatory, resigned,14 -nd Gabriel Faurh was nominated as

the heod of the institution. Soor afterwards Ravel was a

member of the examination and competition jury. 1 5 On January

12, 1887, the Societe National presentQ the premiere of

Ravel's Histoires Naturelles. Some ere amused, and others,

outraged. Pierre Lalo accused Ravel of imitating Debussy,

To mIake matters worse, Ravel had several copositions with

titles similar to the titles of some of Debussy's compositions.

13Goss, o . ciot.., p. 56.

l4Scroff, p. t, p. 80.

15y14 D. Calvocoressi, Musicians Gal1y (London, 1933),p. 50. y(ono,13)

7

Other writers such as Jean-Aubry, Calvocoressi, Laloy, and

Jean Marnold supported Ravel. They conceded that Ravel may

have been influenced by Debussy, and that was good, but

Ravel was not an imitator.l 6 Prom this Ravel emerged more

famous than ever.

In France, about this time, the most popular music was

that- of Beethoven and Iagner, but "Les Apaches" did not care

for any of it. "Les Apaches" were a group of men--painters,

writers, and musicins--wiho found tha t they had a mutual in-

terest in experimenting to broaden their respective fields

instead of just keeping within the strict rules already ac-

cepte&$. They would go to concerts en masse and, most nights,

stay up ll night discuss: w and playing their favorite mu-

sic. "Les Apaches" were interested in Pussian music(the

Fre-ich public considered it barbaric), especially the music

of the "Russian Five"--Rimsky-Korsakoff, Cesar Cui, Balakireff,

MoussorgsC2 and Borodin. Members of the "Apaches" besides

RLvel were as follows: Pul Sordes, painter and musician of

considerable ability and interpreter of Ravel's colors;

Ricardo Vines, pianist and closest friend of Ravel; Leon-

Paul Fargue, writer and critic(Ravel liked to imitate his

mannerisms); Maurice Delage, pupil of Ravel; Tristan Klingsor,

painter and poet; Calvocoressi, writer and critic(noted for

translations of operas); Charles Sordes, brother of Paul;

Pierre Haour, poet; Edouard Benedictus, painter; Inghelbrecht,

16SeroffI _0101- it., p. 124.

8

conductor; Seguy; Florent Schmitt; Chadeigne, chorus direc-

tor at the Opera; Roger-Ducasse; Andre Caplet; Manuel de

Falla; the Ahbb Petit; Igor Stravinsky; and Roland-Manuel.1 ?

As a result of the scandalsl" concerning the Prix de

Ronme nd ilistoires Naturelles, Ravel became one of the most

famous your composers of the day. In 1905, Jacques Durand

offered to be his publisher and proposed to ay him twelve

thousand francs a year as an advance on his royalties for an

option on all of his forthcoming compositions. Ravel took

only sih thousand francs so he would not ". . . feel cor.-

pelled to turn out a greater quatity of work."18 Prior to

this, Ravel had comrposed seventeen compositions, anong them:

Menuet Antique, Shhrazade, Pvane pDour un Infante Dbfunte,

Jeu; d'Eau, -and the Stin Quartet.19 After the first per-

formance of the Sonatine in 1906, most of Ravel's compositions

were greatly acclaimed, so he had finally established him-

self financially independent.

At the outset of World War I, in 1914, Ravel tried re-

peatedly to enter the French Air Force, 'ut was always re-

jected, because of his being so slight of build. He was

finally accepted in the motor convoy and served at the front

for several months.

17ss, on. cit., P. 7.

18seroff, 212 cit., p. 86.

19Goss, _. cit., pp. 265-266 .

9

His nerves shattered, Ravel returned home and bought a

beautiful house in Ile-de-France. All o his affections

went into redecorating this house and romping with a faily

of Si0mese cats.20

In 1928, Ravel was promised ten thousand dollars to

mike a concert tour of the United States. He made thirty-

one appearance and was acclaimed every ere he waent. He

wI.s greatly impressed by everything ir America, especially

jazz music in Harlem. Ravel returned h ome the richest he

had ever been, having received twenty-seven thousand dollars

for the tour.21

In the same year 0avel t ascomissioned by the dancer,

Ida &ubinstcir, to &ritt a ballt for her. entitled it

Boleroo, SQCh Otme his ost acclaimed work. ravel explained

that he had done exactly what he had intended to do, Nd

that was to exhaust all of the possibilities of a theme over

a monotonous rhythm . Bolero was adapted for every possible

combination of instruments, and one film comany paid Ravel

a "fabulous" sum of money for film rights, believing it to

be so e sort of opera.22

In the fall of 1932 Ravel was in a Paris taxi accident.

Within a few months, he lost 'his owners of co-ordination and

was partially pralyzed. In 1935, a trip to spain and Morocco

20Seroff, 22. _fl, pp. 221-223.

2lIbid., p. 248.

22Goss, o-. cit., P. 3.

10

with Leon Lcyritz, the sculptor, partially rehabilitated him,

but when he returned he seemed to grow worse; so, in1937,

the doctors decided upon a brain operation. After the op-

eraction Ravel never regained consciousness, and 0 nine days

later, December 28, 1937, ft the ige of siXty-tWo, he died. 2 3

His Last works were two concertos--one for the 1eft-

hnded piAnist, Paul Wittgenstein, and the other he wrote

for himself to perforu--and three songs he was comissioned

to xrite for a motion picture, which was never completed.24

For a study of invel's style, the folioiingi td

concerning it. Mt D. (tloo essi says of Ravel:

In 1ll his works Ravel stAnds revealed as atypicol product of French culture, essntiily in-telligent, versatile, although he deliberatelyrestricts his field, purroseful, and eager to in-vestigate the possibilities of musie. . . . . . .

Hjs style is characterized by a sharp defi-ition of contours, by finish, poInt and piquancydow,,n to theu otdcetail.25

Donald N. Ferguson sus avel's characteristics of Npression

. . perception of the ide allusiveness ofthe dnce ,as a medium of exression; a dispositionto look toward Spain for inspiration; a certainsuperficia restraint and clarity in melodic andharmonic dosirn; and tundrlying all, a temperamentfundat~Mentally passionate and romantic.26

2 3$roff, Sct., p. 271.

24GC)oss., o t., pp. 242-247,

2j. B. Tarnd, "Ravel," Grove's Dictionaryr of usic and-sicin, 1o1. Vy 1 WVII (New Yor,719

26D. N. Ferguson, A -Fistoryof Musical 2Thouht (NewYork, 1935),, pp . 486-487.

11

S Ince this won twill primartlv cnern R-avel's orches-t rwtions, the follo«g is said concernIng thea. GardnerJ-

I 05u lcO& 'UC2~o~rcth0em. GOtO"-dn

Rend refers to Ravel as "lthe master craftsm,an"I of orches-

ti)o.27 i J GraymIs of the opinODhion that:

The element which one dislikes in avel's Lu-Sic. . . is his orchestration, which reveals theinfluence of the Russians and of Rimsky-Korsakovin particular, in the constant pro-occupation withexternal brilliance and meretricious glitter. *28

Norman Demuth, in his biography of Ravel, says, concerning

Ravel as a riter for orchestra:

If we approach Ravel in the spirit of the Teutonicor central EuLropean school, we shall find no linesor solidity of thout. . . There will be no de-velopments or long w orkings-out. But w find nomud: everything is crystal-clear. In the largerworks such as Daphais et Chloe he treats the or-hestra as a virtuosc Anstrument. . . He decorates

everythIng. lhe strings are called upon to do-f:eats usuam rlly expected only in the solo part of aconcerto. The winds ill find their resourcesused to an extraordinary degree of completeness.Always we are faced with consummate food taste,

quisite tone-painting and masterly editorship.Mr. Myers Foggin has called att ention to this inhis remarks on the piano works. In the orchestralscores we find it developed to a complete art. .Each instrument is treated as if it were a soloist.There is nothing Dareless, nothing left to chance. 2 9

Marion Bauer' and Ethel Peyser in their book on the history

of music, Say, "rs amster ot t henmodern orchestra, Ravel

27Gardner Read, Thesaurus of Orchestral DeviLces (NewYork, 1953), p. 280.

28Norman Denmth, Ravel (London, 1947), P. 166.2 9 Ibid., p. 167.

12

stands almost without rival." Jen Marnold wrote the folP

o ing remarks about Ravel:

monsieur Maurice Ravel has created an orchestralanguage, which belongs exclusively to himself.

Its extreme subtlety sees, by its style, to achievesimplicity through a natural unfolding of the infi-nite resources of each instrument. The basis ofthis coMplete mastery is his adequate and profondunderstanding of these resources.31

30marion Bauer and Ethel R. Peyser, Music mThroh theAaes (Ne iYbrk, 1946), p. 480.

31Goss, 2p. . cai-t., p. I .

CHAPTER II

ORCHESTRATIONS OF PIANO COMPOSITIONS

It is interesting to note that several of Ravel's com-

positions for the piano were successful only after he had

orchestrated them. Ravel, a pianist, had a natural gift for

orchestration, and when writing for the piano he seems to

have projected his thoughts to the orchestra; thus some of

his works are more successful' for the orchestra than for the

piano. Since he orchestrated several of his own piano com-

positions, these present an excellent opportunity for a

study of his orchestrations.

About the most popular composer in France during Ravel's

day was Richard Wagner, but Ravel did not always agree with

Wagner. Table I is a comparison of Ravel's and Wagner's or-

chestras.

TABLE I

COMPARISON OF RAVEL'S ORCHESTRATO THAT OF RICHARD WAGNER

Ravel's Orchestra(1911) Wagner's Orchestra

1 piccolo 1 piccolo2 flutes 3 flutes1 alto flute2 oboes 3 oboes1 English horn 1 English horn1 E flat clarinet . . . .0.*.#.41.0.0.2 B flat clarinets 3 B flat clarinets1 bass clarinet 1 bass clarinet

13

14

TABLE I--Continued

Ravel's Orchestra(1911)

bassoonscontra bassoonhorns-trumpets

31I44

I3

4

. 9. 9 a 9

* 9.

9 9

Wagner's Orchestra.

3 bassoons

8 horns3 trumpets1 bass trumpet3 trombones1 contra bass trombone" . .

. 9 .

9 9 . .9

* 9 9 9 0. 0 9 9 9 9 9

celesta2 harps

violin Iviolin IIviolasvioloncellosdouble bassesChorus: S. A. T. B.,

off-stage

2 tenor tubas2 bass tubas1 contra bass,4 timpani9 9 9 9 0 .cymbals

tenor drumtriangle

9 9 9 9 . 9 .9

bells. . . . . . . . . . .

6 harpsviolin 1(16)violin 11(16)violas(12)violoncellos(12)double basses(8)

13 solo voices

Analysis of Orchestration of Menuet Ant Qe

In 1895, as a student at the Conservatory, Ravel com-

posed his first orchestral work, Menuet Antique. It was

first published by &och and Company of Paris as a piano

piece in 1898, and later that year, as an orchestral piece.

The one hundred forty-eight measures of the composition last

for seven minutes with tempo marking, maestoso(76 beats per

trombones

tuba9 9 ..9

timpanibass drumcymbalssnare drumtenor drumtriangletambourinecastanetscrotalesgongEoliphoneglockenspiel

tuba

9 9 9 9

. 9 9 9

. 9 9 9

9 9 . 9

9 9 9 9

. . 9 9

. 9 9 9

. . . .

ilinute changing to 80). The first public performance of

the orebestral version was directed by the composer on Jr-

uary 11, 1930, for Concerts Lamoureux.1 Madeleine Goss, in

her biograVph of Ravel, says of Menuet Antiue:

Though in this work Ravel follows the classicalmore closely, its title is somewhat of a paradox-- forerunner of the curious contradictions he wasso fond of throughout his life; but there are cer-tain striking Innovations that deny the austereimplication O tts titte, and thcMenuetiscanexcellent eamle of Ravel's ability Tdo~chieveoriginality and tahe unusual within the restrictionsof form. Roland-Manual calls it "a conflict be-tween order and adventure." We can imagine thetwenty-year-old Maurice trying to conform obedi-ently to the precepts of his teachers, yet unableto resist a few dissonant chords and "uodernl har-ronies.2

The instrumentation of Menuet Antique is two flutes,

piccolo, two oboes, English horn, two clarinets in A, bass

clarinet in A, two bassoons, contra bassoon, four horns,

three trumpets in 2, three troebones, tuba, two timpani,

harp, and strings.

The piano version of Menuet Antigue starts on the last

half of the third beat, but in the orchestral version Ravel

has completed the measure by filling in rests for the first

two and a half beats.

Measures forty-seven to fifty-five are repeated in the

piano version, but iot in the orchestral version.

1Dur-nd et Cie, Cataloue de 1 Oeuvre de Maurice Ravel(Paris, date not given), pp. 21, 3 "

2Goss, on. cit., p. Y+.

16

Measures fifty-six to seventy-nine are repeated in the

orchestral version, but not in the piano version. There

are only slight changes in the accompaniment when these

measures are repeated.

Only the problems in transcribing piano compositions

for the orchestra will be considered in this discussion of

Menuet Antique. Throughout the entire transcription Ravel

keeps the same keys as in the piano version even though the

keys have as many as six sharps. To compensate for the sus-

taining action of the piano, Ravel gives the lowest one or

two notes of the piano composition greater values rhythmi-

cally in the orchestral version, so that they will be sus-

tained throughout the passage for the same length of time

as in the piano composition.

Since Ravel wrote the piano composition, he would have

no doubt of the harmonies and the melody the composer intend-

ed, so some of the problems that would confront most tran-

scribers would not hinder Ravel in this situation.

The ostinato chords at measure fifty-six are performed

by the strings in the orchestral version. First the cellos

and violas are divided and play the four-membered chords,

and then the first and second violins have them. Ravel has

scored the chords in an interlocking superposition as he has

most of the chords in the composition.

There are no arpeggios that the orchestral instruments

cannot handle, because Ravel scores the piano arpeggios the

WWOMOMMM9

17

same in the orchestral version. Also In the piano compo-

sition there are no rolled chords or tremoli to present any

problems of transcribing.

Analysis of Orchestration of

Pavane Dour une Infante Dfunte

Payane our oInfante Defunte ras composed as a piano

piece in 1899 and orchestrated in 1910. The orchestral 'rork

was copyrighted by Max Eschig. The first performance was

conducted by Alfredo Casella on December 25, 1911, for

Concerts Hasselmans. The Pavane was dedicated to Princess

Edmond de Polignas. 3

Ravel received his inspiration for the Pavane from his

mother's description of Spanish dance around the funeral

bier placed in front of the altar. The riece is in rondo

form. Ravel produces the impression of a lute writh the stac-

cato inner parts throughoutt most of the composition. He said

of the Pavane that it showed too flagrant an influence of

Chabrier, and that the form was poor. Norman Demuth says of

the Pavane:

As regards form, anything rore elaborate than rondoform would only have given the piece weight alto-gether out of proportion to itself. The orchestralversion illustrates the slenderness of the fabricwhich is not inmediately realizable when we play iton the piano.

Ravel insisted that it should be played calmlyin strict time and without any passionate or senti-mental rubato. . . whether it be great music or

3Durand, _12. Ci ., p. 21*

l8

smal: whether It be origin a.1mnd individual orple imitation, the Pavane pour une InfanteDefunte is of the highest importance not onlyhistorically, out also in respect of its com-poser's early declaration of style -ad technique.4

Ravel uses the following instrumentation for the Pavane;

two flutes, one oboe, two clarinets in B, two bassoons, two

horns In G, one harp, and strings. Since this piece is soft

and slow moving, the brilliant, penetrating sonorities of

the trmipets, trombones, and tuba are left out of the or-

chestration altogether. It is interesting to note that most

o1 the instruments seldom play in their high registers. All

of the instruments have solos except the strings and the

harp, but when the full or large ensemble is used the first

violins hve the melody usual ly reinforced by the oboe and

soreties one flute.

In the first section, consisting of the first sixmeas-

ures, the first horn has the melody with the second horn's

and bassoons' parts consisting of sustained chord tones.

The second violins and violas pluck the detached inner notes,

that represent a lute, while the cellos and bass take the

bass part -pizzicato. Example number one shows Ravel's

voicing of the first tro measures. The sustained chord

tones in the second horn's and the teo bassoons' parts do

+Deuth, 122_ cit., pp. 50-53.

19

not appear in the piano score as such, even though they

can be played by the pianist. These added parts give the

orchestral version color.

l s L-eJ a 4O -11~

ti Ir.~ J .?: Ii

ft

ft

Ex.. I--Measures I and 2

One flute enters with the melody as a

seventh measures, and Ravel gives the

the cadence on the fourth beat of the

which serves to connect the phrases.

orchestral work an interesting figure

solo in the sixth and

harp an arpeggio at

seventh measure,

He has added to the

for the flutes,

0L ,

- ' w qp 4w

20

consisting of sustained chord tones derived from the inner

detached part in the eighth measure of the piano score.

Example two compares this part to the melody.

Ex. 2--Measures 8 and 9

To complete the chord, the clarinet(in low register) and

bassoons are given sustained chord tones that do not appear

in the piano score. These parts were probably added, be-

cause the character of the tone of the low register of the

clarinet and bassoon gives the orchestral version color.

The first violins join the horns on the melody in measures

eight and nine, and the second violins and violas continue

with the pizzicato eighth notes to the tenth measure. The

cello and bass still take the pizzicato bass part.

Ravel has given the first violins a figure that is an

expansion of the syncopation, occurring on beats three and

four of the tenth measure in the piano score. This figure

is shown in example three and is found quite often in the

violin part throughout the work.

21

Ex. 3--Measure 10

An oboe solo appears in measure eleven, reinforced in

part by the clarinet. The second violins and violas take a

part derived from the inner voice of the Uiano score, and

the parallel fifths in the bass of the piano score are di-

vided between the cellos and basses. Ravel has given the

legato arpeggio in measure twelve to the first violins to

be played pizzicato, which emphasizes the detachment of thm

notes, and in the next measure the basses and harp play a

pedal point, and the second violins, violas, and cellos sus-

tain the rest of the chord tones on whole notes.

TIhe oboe part in the thirteenth measure consists of

the melod; while one bassoon(high register) takes a counter-

melody derived from the harmony notes appearing in the piano

score. The clarinets, from measure thirteen to measure

seventeen, get the rhythmic ostinato of eighth notes on

changing chord tones. From measure thirteen to measure nine-

teen the harp receives the bass part, part of which is

doubled an octave beer. Giving the haro the bass part adds

rhythmic interest to the sustaining string basses.

The oboe and the first clarinet carry the melody in

measure seventeen. Ravel has added here in the second

22

clarinet and first bassoon parts two hrmo prarts that ar@e

anexanio o te iano mus-I .Emple nuber four comparesALrAIM

these parts to te piano score,

Ef. +--Iasurs 17 nd

The eig hth not/ chor pattern, that rs i the pino sIcore,

is performed by the horns.. The bas part of the piano version

is given to tie harp doule ass.

The oboe ndth first cLarinet continue with the. ielody

i n mesr eighteen andl nineteen, the first non take u p the

fir- sthrmiony pr, and th second ciarinet cnd secon horn

play the second harmnony pat The bass prt of the pian

versi n consistr of parallel fifths, which in the orchestral

version are given to the bassoons mnd the harp

The Eelody, in measures twnty through twenty-four, is

executd by the first violins, andth second violins and

vioL thk o the eight note rhord pattern whsie the bassoon

is sustfined yhord tonns. The cellos perfro the lower

23

harmony part, a counter-melody part as mentioned before in

the bassoons; and the basses, the pizzicato fundamental

bass. Measure twenty to measure twenty-four in the piano

score is the same as measure thirteen to measure seventeen,

except for the sustained notes in the bass. In the orches-

tral version the section from measure thirteen to measure

seventeen is given to the woodwind section, and the section

from measure twenty to twenty-four is given to the strings.

The twenty-fifth measure of the piano version contains

six parts, but only five appear in the orchestral version,

appearing in the strings. This part is similar to the part

that appears in measure eighteen only with more dissonant

harmony. Ravel must have omitted the upper fifths of the

bass clef of the piano score to prevent the harmony from be-

ing too thick, which could have easily happened because of

the dissonant harmonies in the chords had he given all the

notes to the strings. Here is an instance where the piano

can handle more parts than the orchestra. The cellos could

have played these parallel fifths double-stopped.

From the third beat of the twenty-sixth measure to the

third beat of the twenty-seventh measure, the first flute,

first clarinet, first violins, and the first horn have the

melody with the second violins and the second clarinets

and violas on the first and second harmony parts respective-

ly. The bass part consists of parallel fifths with the

first bassoon and cello playing the top fifth ond the second

bassoon and bass o the lower part.

In the section starting on the third beat of measure

twenty-seven, the first flute and first horn join the first

violins on the melody while the first harmony pirt is being

performed by the oboe. The first clarinet aid the second

violins execute the second harmony part while the third har-

mony part is taken by the second clarinet, first violins, and

viola., Both the melody and the third harmony part appear in

the double-stopped first violin part. The bass part of the

piano version consists of parallel fifths. The first bassoon

takes the top part, and the second bassoon and bass take the

bottom part. The cellos are given both parts double-stopped.

The wide use of parallel fifths in the bass was started by

Faure, and several of his contemporaries continued the prac-

tice,

The practice of writing the cello and double-bass parts

differently was started after Beethoven. This complies with

the French conception of the orchestra as being "dainty" as

opposed to the German conception of the orchestra as being

large and voluminous,

From measure twenty-eight to measure thirty-four the two

clarinets(octave apart), the two flutes(octave apart), and

the oboe play the melody, and the divided second violins, the

detached inner broken chord part on eighth notes. This part

is shown in example five.

Ex. 5--l"ea sure s 28 and 29

The two over1apping second violin parts could he aes-

.iy been written as a repeated chord pattern, but Ravel made

the Dart rore interesting by writing it as is shon in exam-

ple nu ber five. The cellos pluck three-note chords on the

first and third beats while the violas pIuck them on the sec-

ond and fourth beats as in eiaml''e si .

,*I'

Ex. 6--Measures 28 cand 29

PiZZ.

25

I

26

Here aIvel has the second violins, violas, and cellos all

"strumming," which gives the effect of several lutes and gui-

tars, the instrunts that were probably used to accompany

the dance, after which the Pavane was written. Ravel has

added two parts to the orchestral version that do not appear

in the piano version. One is chord tones moving on half

notes in the bassoon and first violin part; the other is a

fundamental pizzicato bass in the double bass part, which is,

e lity, a mere reiinforcement of the lowest member of the

chord in the cello rart.

In mea sure thirty-four the harp plays an arpeggio to

connect the phrases.and add color. Ravel uses arpeggios

quite often whenever there is a note of any reat duration at

the cadence, so there will not be a rhythmic stagnation be-

tween prases. The first flute a:d oboe have the melody in

measure thirty-five. Instead of the chords on the after-

beats, that appear in the piano version, Savel gives the

first and second violins syncopate& thirds in the orchestral

version shown in example seven. These syncopated patterns ap-

pear in several places in the orchestral work, but never in

the piano. They seem to take the place of shorter notes that

appear on the after-beat in the piano score. he viola and

cellos sustain chord tones, and the fundamental pizzicato

bass continues.

The two flutes(octave apart), the oboe, and the two clar-

inets(octave apart) perform the melody in measure thirty-seven,

and the violins(I and II) execute syncopated chord tones.

27

.JE544r

'x. 7--easure 37

The background in the treble of the piano version is doubled

in the bass clef of the p#Aano. The sustained E and B in the

cello part do not appear in the piano part. The notes in

the cello part are the same as in the violin part, except

that they are sustaiLned as in ecarple eight.

Ex. 8--Measure 37

The second violins play the melodic passage above the

theme in measures tirrty-eight and. thirty-nine, and the theme

28

appears in the first horn rart. The bassoons, violas, and one

horn fulfill the rest of the chord tones on quarter notes with

the bass clef part of the piano version, which consists of

parallel fifths occurring in the cello and bass part.

There are in the iortieth measure tPo flute solos, two

nielodies being played together uJIle the firs- ohs re di-

vied into a syrcopa t ed pssage, and the harp plays a harmonic

on tro-line d.5

The first violins, in measure forty-one, have the melody,

the second violins ave the first harmony part, the violas

have the second harmony part, the bassoons have the first har-

mony part in the bass, and one norn Las the bass part with the

notes tied.

The voicing of the ins truments in measure iorty-two is

the same as measure forty-one, except that the oboe and the

first clarianet take up the melody, ari the second clarinet

carries the first hrmony part. Ravel added to the orchestral

version two parts, ifnich do not occur in the piano ver sion: a

pizzicato bass part on eighth notes, which is similar to the

double-bass pa-rt through out the work; the other, the cellos on

double harmonics. See example nine.

Ex. 9--Bass part

5George A. VIedge, Ear-training and Sih (NewYork, 1921), P. 31

29

Ravel adds the harp and flute with similar parts that rein-

force each other in measure forty-three.

Hrp

Ex. 10--Measure 43

Whenever Ravel doubles a part in more than one type of

instrument he adds richness in tone color as well as rein-

forces the part.

The first clarinet has the melody of measure forty-

four as a solo, and the second clarinet has the bass part of

the piano version as a solo, forming counter-melodies while

the divided violins execute syncopated thirds.

The first violins play the melody and the second har-

mony part as double-stops, starting on the third beat of

measure forty-five while the violas take the first harmony

part in the bass clef of the piano composition, and the

6IF40

30

horns and the bass have a pedal point. The melody, that

starts on the last half of the third beat of measure forty-

six, is doubled an octave lower in the second clarinet and

viola with the fist flute, oboe, and the first violin

(double-stopped) performing the upper melody, and tne first

harmony part occurs in the second flute, first clarinet, and

second violins(double-stopped) parts. The first horn pos-

sesses the second harmony part, and the first bassoon and

the second horn perform the first harmony part in the bass

of the piano version. The second bassoon executes the sec-

ond harmon, part in the bass, and the harp and cellos have

pedal points a fift apart. In this measure is good exam-

ple of reinforcing chord tones with the use of double-stops

in the string pArts.

There is an excellent example of full chord scoring for

a small orchestra on the first beat of measure forty-seve:.

In this scoring only the upper tones will be sustained with

the slight intensity to give a true sforzando effect(the

piano asking). The strings can only hold the lower notes

for a brief instant before they move the bow to the upper

notes of the quadruple stops, and the harp sustains the

tones with any large degree of volume for only an instant

ihen they are plucked, and then they die out rapidly. Even

though the piano score has one sharp in the key signature,

the musical content is in the key of B flat in this part, and

Ravel achieves this in the piano part through the use of

31

accidentals while in the orchestral version he avoids con-

fusion by changing the signature. The first beat of measure

forty-seven is shoxrn in example eleven(to be found on the

following page).

In both versions measures fifty to fifty-nine are like

measures forty to forty-nine, except for the addition of ar-

peggios in measures fifty and fifty-four and a glissando in

measure fifty-five.. The arpeggios and glissando are played

by the harp. The sextet that appears in measure fifty-nine

is the same in measure forty-nine, except that the flutes

take the part the horns had, which gives the combination of

two clarinets, two bassoons, and two flutes.

It is interesting to make a special note of the change

in the instrumentation of the sextet. It keeps it from be-

ing an exact repetition of the previous one and gives it

interesting tonal variety.

The melody in measure sixty is played by the two flutes

an octave apart, and the first and second violins, an octave

apart. The harp takes the arpeggic inner parts and the

chords on the second and the third beats. In the piano

score there appear chords on the first and third beats, but

in the orchestral version Ravel gives the bassoons, horns,

violas, and basses sustained chords on half notes.

Several times Ravel has added sustained note parts that

do not appear in the piano version. This type of accompani-

ment is very appropriate for this type of melody. It also

.

Harps

j a'C

4.

-1 0-

/f

I I4

I f

I

<f

w >

Ex. II--First beat of measure 47

32

p4 he SF

r.6

I

-I__!_

410f

33

gives the orchestral version a less percussive effect than

the piano version.

Starting on the third beat of measure sixty-five the

melody is played by the oboe, and the inner part is played

by the harp and the second flute. The bass part is played

by one bassoon and the double basses. Ravel has expanded

the piano score by the addition of two parts. They are

doubled sustained dominant tones, given to the first and

second violins and a clarinet part, consisting of the bass

part rhythm and the inner, part notes.(See example number

twelve.)

The clarinet part shows a unique way of handling a

part to be reinforced when transcribing a piano work for or-

chestra, even though Ravel does not make great use of this

technic.

Ex. 12--Measure 65

in measure sixty-six the first violins and violas have

the melody, and the harp has a glissando. The bass part is

$ i

34

not played in the orchestral version. Ravel probably omitted

the bass part to obtain a very light effect in the orches-

tral version and to allow the harp to be heard.

The melody in measures sixty-seven and sixty-eight is

played by the horns, first violins, and violas; and the

flutes and clarinets play the syncopated thirds. Ravel has

reinforced the harmony and accented the first beats with a

cello part, consisting of pizzicato chords on the first

beats; a double bass part, consisting of pizzicato notes on

the first beats of each measure; and bassoon parts, consist-

ing of sustained tonic and dominant tones to the tonic of

the next chord and a pedal point.

In measure sixty-nine the strings and horn have the

melody, and the syncopated chords are omitted. Ravel has

the chords on the fourth beat of measure sixty-nine, and one

on the first beat of measure seventy being sounded by the

flutes, clarinets, and bassoons.

The clarinets and horns play the melody in measure

seventy with the flutes, bassoons, harp, cellos, and basses

playing chords on the third and fourth beats. The oboe,

first and second violins, and violas are given the triplet

figure that appears on the fourth beat.

In measure seventy-one and seventy-two the clarinets(oc-

tave apart), first bassoon, first and second violins and

violas play the melody while the flutes(octave apart),

second bassoon, horns, first and second violins, violas,

WNA*WWMUM--

35

cellos(double--stops), and basses execute wihole-note chords.

Both the first and second violins are divided, playing the

Melody and sustained chord tones. The harp has triple har-

manics on the final chord, and the first violins and violas

have double harmonies.

In the orchestral version Ravel uses certain orchestral

devices that need to be considered. aFor instance, in-qeas-

ure twenty-four the horns range is extended to Great C.

There are three instances where Ravel gives the harp a

glissando to be played in one hand(mecasures fifty-one, fifty-

five, and sixty-six). in measures eight, forty, fifty, and

fifty-four the harp plays single harmonics, and in measures

fifty and fifty-four it plays double harmonics.

In measures tweanty-six, forty-three, forty-seven, fifty-

three, and fifty-seven the strings perform successive doxn-

bows. This Places more erphtsis on these -notes. In measures

forty-seven and fifty-seven the first ad second viollns and

violas have quadruple stops as is shown in example number

ten. There appears in Leasure sevnty-two double harmonics

in the first violin and Viola part. In easure twelve the

first violins are divided to play an arpeggio pizzicato.

A "strumming" of a lute effect is obtained in measures sixty-

seven and sixty-eight by the second violins and cellos pluck -

ing quadruple-stops. A similar effect is obtained in measure

twenty-eight by the violas and cellos playing triple-stops

Pizzicato. The devices, other than those mentioned above,

36

that appear in the cello part are double-stops played pizzi-

cato(measure eight), triple-stops played pizzicato(measures

nine and sixty), double harmonics(measure forty-two and

fifty-two), arpeggic triple-stops(measure sixty-seven), and

arpeggic quadruple-stops(measure sixty-eight).

The sections consisting of measures one to twelve,

twenty-eight to thirty-nine, and sixty to seventy-two have

the same melody, but Ravel in the piano composition has

changed the accompaniment of each section for variety. In

the section of measure one to measure twelve Ravel has a

staccato eighth note inner part and a marcato bass part. In

the section of measure twenty-eight to thirty-nine, the melo-

dy is an octave higher, the inner part is an octave higher

with chord tones added to the original notes, and the bass

part consists of chords on quarter notes. The only differ-

ence between measures sixty to seventy-two and measures

twenty-eight to thirty-nine is the inner part consists of a

broken chord on sixteenth notes instead of chords moving to

different positions on eighth notes.

In the first section, measures one to twelve, the first

horn has the melody, being reinforced by the first violin at

measure eight, and the second violins and violas have the in-

ner part.

In the section consisting of measures twenty-eight to

thirty-nine, the two flutes(octave apart) and the two clari-

nets(octave apart) have the melody, being joined by the rest

37

of the woodwinds in unisr s in measure thirty-seven. The

divided second violIns play thie iner part.(efer to eam-

p1e number five.)

From measure sixtr to measure seventy-two the flutes

and violins have the doubled melody with the horls added on

the melody in measure sixty-seven. Also in measure sixty-

seven the violas take ti melody in place of the second

violins, and then in measure sixty-kine all of tie strings

have the melody in unison. For most of the section the

harp takes the inncr part as well as the bass part. The in-

nor part consists of broke chords on sixteenth notes.

Analysis of Orchestration of

ia Mere 1 Qe

Ravel composed ha Mere V'Oye in 1908 for the piano and

orchestrated it in 1911. he dedicated it to Mimie and Jean

Godebsi, the children of Cipa and Ida Godebski, some of

Ravel's closest friends.6 The composition: is divided into

five sections: "Pavane of the Sleeping Beauty"; op-0-My-

Thmi b"; "Laideroanette, Mpress of the Pagodas"; "The Beauty

and the Beast"; and "The Fairy Garden. "

The orchestra of M. ee 'Oe is small without any

brass except twzo iorns. The instruments used are one flute,

one iccolo(changing to second flute in some movements),

one oboe, one &mlish orn(changing to second oboe in some

6Seroff, op. ("it., PP. 130-1 31

38

movements), t;wo clarinets, one bassoon, one contra bassoon

(changing to second bassoon), two horns in F, two timpani,

triangle, cy bals, bass drum, gong, xylophone, glockenspiel,

celesta, one harp, and strings. A part for a five-stringed

bass is optional. In all of the movements the clarinets

are in B flat except lie third where they are in A, because

the clarinet in A has a greater facIlity in the key of A,

which is the key of the movement, than the clarinet in B

Thenever one transcribes a composition from one medium

to another and also ir composing, there arises the problem

of proper dynamics. A thorough knowledge of the instruments

is necessary to give each the proper dynamics to achieve ba-

lance. This is true even in a small orchestra such as the

one Ravel uses for Ma Mere lLQe. For instance, in several

measures starting on the seventy-first measure the first

pia1no plays softer than the second piano, and then in the

saie measure in the orchestral version the piccolo, flute,

one bassoon, two of the three solo violins, the violas and

the divided double basses play piano, the other bassoon,

one clarinet , one horn, the first violins, and the second

violins perform pianissimo, and the first solo violin per-

forms mezzo-forte. Looking at the dynaic markings, it is

easy to determine the importance of each part, since most of

the instruments that are used have about the same carrying

power. The parts that are performed by a large number of

4WwaM9 , , , '. - -- ,. " -Ij 1, 1, -M." -1. 1 "NAM . - ",

39

instruments are to be performed softer thin those parts of

just one instrument. The piano part at measure 102 is to be

played pianssio, and in the orcrestral version the parts

that are marked pianissimo are one bassoon, one hor n, harp,

the first part or the divided violas, and the first part of

the divided cellos. The rest of the iinstruxents: the se-

cond part of the divided first violins, the secondcpart of

the divided second violins, the second part of the divided

viola, the second part of the divided cellos and -the double

basses have the dynamic arI , .pu. The parts tht are

performedE are only the tremolo accompaniment parts while

the pianissimo parts are reiforcements of the main parts in

the bassoon and horn.

The flute solo that starts on measure one hundred eight

is to be performed pia'o, but the samie part in the first

piano part is to be performed pianissimo. (The reason for

this difference Ln dynamics is that the piano is accorpanied

by itself xhile t i'e flute has almost a full orchestra playing

against it.)

Starting at measure 123 the alternating measures in

tie pwan pr he contrasting degrees of dynamics, forte

and pmnsso, but the orchestral version h ascontrasting

dynamics, fortissimo and pianissio. Ravel wanted more con-

rest, hich is1 u1h easier to obtain trom the oroestra

thanU.L from the whiano.E nugh th e O can a in a

(1 fori'ssio, th' eorestra has mucl gr 0t2 01fortissimo

because of the numbers of instruments involved. Also the

orchestra can attain a smaller degree of volume by having

oly one or two light instruments performing,.

The tone of the celesta has the least carrying quality

in the orchestra. (This does not obliterate the fact that

the celesta has one of the most beautiful tones in the or-

chestra.) A celeSta solo, then, should always be executed

with a much greater degree of volume than the instruments

that are accompanying it. There is a good example of ths

in measure 192. Ravel has the celesta perform mezzo-piano;

the harp and the solo clarinet, piano; and the rest of the

instruments, pianissimo.

For the first twenty measures the double-basses are mut-

ed and divided. The two parts are different in that one is

execu ted izzicato and the other, rco. ihe bowed part con-

sists entirely of harmonics.

Instead of the slightly detached notes that appear in

measures five through eight and thirtecu through twenty in

the left haid of thc first piano, Ravel in the orchestral

version has placed a sustained note at each place..

As a rhythmic reinforcement of the harmony, Ravel has

added in the cello part in measures thirteen to sixteen piz-

zicato quadruple stops on the first beats.

Ravel obtains a different character of tone and less

volume from the violins in "Hop-0-My-Thumb" using mutes.

The violas and cellos are also muted vhen they take over the

part from the violins in the thirty-second measure.

41

ee in raswre i ty hee s pJtv .. e collo p erfo r :

at the top of its range, ' mt:or only a fewv measures.

In measure seventy-o e trough seventy-four there are

three solo violin prts.Ravel itends these solo violin

parts to represent birds.

avel maires very general use of harmonics in all of

his orks, but especially so in Ma Mere l'Oye. For instance

in measure Cnineuy-one the cellos are divided to execute two

peda points as har'onics, td then in measure inety-nine

the chord is doubled on harmonics by "our soli violas, wITich

produces very interesting tonal effect.

Laidoronette Imperatrice des Pagodes" is in the key of

F sharp, but the haar rt is in the ey of G -flat so the

harp strings will have a greater vibrating are.'? If the

strings were set tihter in tne sharp key, they would not

vibrate so oreely and not have as good a tone uQlity.

For added color Ravel has oe sn'071 an. e ho"rin1

changing the left hnd part of thie seco p o A

sure< 1) to 119, and instead , just chordal accory}mpaniment

he hs the strings perform the chords as tremoli.

Since it is di cult -for the harpist to xecute very

ide leaps, Ravel as soe notes of the har pat as1; ron

ics thereby ii in te wide ps. An efiple of this

is otun In weasurs 12, 104 and sever,-, Leasu-es thereaifter.

7C eci o1.:Forsyth, Orchestration (New Cork, 1949), pr. 47M

. IMRWMNmkow- 1, -

42

The harp starting at measure 104 is unusual in that it

changes from. the right hand part of the first piano to the

left hand part, taking the most important notes from each

part as shown in example number thirteen.

Piap

00 0

Ex. 13--Measures 104 and 105

The harmony in measure 124 is executed by the divided

first and divided second violins as a trill for additional

color.

The cello is given the left hand part of the second

piano at measure 132, but instead of having half notes as:

the piano version does, the cellos have quarter notes and

quarter rests, because they execute the notes pizzicato.

In measure 154 there are added harmony parts. The glis-

sando is given to thie celesta, and the first violins and

divided cellos have portamenti between their slurred notes.

43

Quite often Ravel reinforces the harmony by adding sus-

taened chord tones in some of the orchestral parts such as

he does in the clarinet and harp part in measure 157. Th

harp takes the tones that appear on eighth notes in the

pito score and plays them on half notes and as harmonics

in every other measure.

For a fuller development in the orchestral version,

avel repeats measures 160 and 161 with more instruments

playing the parts. He also does the s0 o thing with neas-

ures 162 0nd 13 of the piano score.

Th ere ore two way t o reinforce tones on the harp. One

is to play the tone and its enharmonic on another string si-

multaneously, and the other is to sound the tone in the

usual manner, and as a harmonic on another string ,simultane-

ously. Ravel uses th latter in measure 169 and both through-

out is wor-s.

The tam-tam(gong) is used quite effectively by Ravel

starting at measure 171, and it adds much color to the or-

chestral work.

The harpist can, ake quic repetitions of a tone by

Prinrg it anid then playing it enhar.onically on another

string. Ravel h 1as th harist doing this stWarting ,t

ure 192, which produces the effect of a grac-note.

Starting at measure 24 the haAp part does not appear

in the piano version. It consists of eighth note harmonics.

Ravel again has the divided(a 3) first violins and divided

44

(a 3) second violins perform the chords as tremori. The

xylophone prt is also an added part, and It consists of

n1ajr isecondc 2Lye On4 " syn0opotcd ,hyt 1mic pttn. *Meas-

rO c L to 2 5 n cmeslures 108 to 122 have the srame elodyin the first piano part. At measure 3h1e melody is p-r-

fo r amed bthe piccolo and taken over at 19 by the -Clute.

The same melody doubled at measure 241 is played by tie ce-

lesta reinforced by the flute 't measure 252. The first

piano at 108 has 'no bass part, but it does at 2-1. Also, theaccompaniment in the second piano is entirely different when

the same rlody appears at 241.

measure 252 is one of the examples of Ravel's using the

harp gissandi, and here also are a series of ascending and

descending glissandi, being executed against treoli in the

strings, a sixteenth note melody b the celesta an. one flute,

lower melody by the divided first violins and bassoons,, and

sustained chord tones in the rest of the instruments.

Measures 264 to 296 are exact reretitions of measures

131 to 163. This is unusual o Ravel usually makes at leastslIht variations in some way -nr a passage isrepeated.

After 296 he has added four 0msures to the orchestral version

to ullydevelop the section by building up the intensity

wit> tLe addQitin o instruments.

ravel in measure 307 has added a part in the orchestral

version that does not appear in the piano work, and he has

given it to the first violins. It consists of a quarter note,

I"-. I ,- ;i - 4-- - -AWWWwwwwwo- m -, - - Km

one-line c, slurred to a ha>l note, one-line d. The harmony

for this tact Ls the FAC triad.

The n part tt u appears in the first piano score fromuea o 3 r' to 349 is pe rfored as a cl ri et s

-r;, e ttsro 1. o. Fro

-r 3 gi hs thestrin perform the harmonic

accomWpanimnt r-i.1s tremoli.

e-sure 362 in the orc-esttral version consists entirely

of rests for all of the instruments, but no such measure ap-

pears In the piano composition. This added measure gives

the strings a grea. ter opportun.Iy to change from arco to piz-

zicato.

The bass melody that begins at measure 392 is performed

alternatingly by the bassoon and contra bassoon. The same

melody appears again at measure 440 executed by the double

basses in an extemely hiph register. Thereafter the cellos

take the aelodv, but are not called upon to pla it in such

an exteme register.

Ravel 'Is caged the rt ofaI tho cclo part oro the

or I in which it ar in the piano score in measure 43.The -hyth .o th piano part consists of half note tied to

a sixteenth nd three more siteenth notes, and the rhythm of

tae cello part consists of a dotted quarter note and three

eighth notes. Ravel probably wanted the rhythm to be a du-

pliccation of the solo violin part in measure 452.

The first and second violins -and violas are divided into

four separate parts at measure 470, each one playing the

14QWOAWM

'46

full chod su s taiLned. Also in this measure ter is eolo

CEllo pmrt, and the rest of the cellos 're divided into

th aeeparts, one being apeda point with the oublen basses,

an the otOhers a sustQe'Snf chod U tones.

The I h 1ingnot th:i irst chodfl aur 49 1sChow

on ample nUmoberJ.ourteen.(o be found on t followingg

}a.) TJ s p i ron p to botom consecutively

is the solo violins, the upper part of the divided firs

violins an the first flute; the lower part of the divided

first Vioins and the second 'lute; the first clarinet and

the to-Imost divided, second %io-in pt; t he oboe and the

second. part of the divided second violins; the lowest part

of the divided second violins the Enbeglish horn nd the top-

most lrt ofC the fist divided vioLas; the first horn @nd

the top-rmost part of the seC0nd divided violas: theWsecond

cl-riet and tfe AoweIrrt of tIe list divided violas; the

second horn and th lowe part of the sEcond divided violas;

he ft tbassoon:nd te first trt o tOe cellop; a: nwdm

the second. bassoon, the lower part of the cello prt and the

double basses.

The part that is given to tIe harp in osure 4196 has

been rewritten from the form in which it appears in the piano

version. It starts an octave lower, end the notes do not ap-

pear in the same sequence, buit they are the same fundamental

harmony pearing- asT Lrmonics.

The rolled chords that appear in the pino composition

at measure 498 are not rolled in the orchestral version, but

WWWW-MR-w

solo Ving0 MF

AE iip

rrirr r

IAA

ririrrr

rrr rr

rr. rrrrrw

Sam K:

r"rrr r i w rr

. +r"rrrr w r rrrrrrrr

Ex. I4l--First chord of measure 495

47

piano

P no

-

FT.

r

w

r

r

r

r

r

r

480

are plucked by the harp, wich gives them a little different

color, nevertheless still the percussive action as in the

pian0.

avel, in the last seven measures, uses all of the good

devices to be had for building up intensity in a siall or-

chestra; such as tremoli in the strings(fortissimo), gis-

sandi in the harp and the celesta parts, arpeggios o six-

teenth notes in the glockenspiel part, a long roll in the

Cyibal Iat and part of the timpani part, and sharp attacks

in the wind instrument parts. Even though the glockenspiel

can easily execute glissandi, the notes will be sustained

long~s ,-er th.-.an they are in th other instruments that execute

lisandi, causing The tones to overrun each other.

Analysis of Orchestration of

Pictures at an Exhibition

The rork(piano version of Pictures at an Eahibitionoy usorgs1i,) loos rather like a sketch f anorchesttion a'nd it has, i fct, been the su.jctO

Of'frCqent oOCchT 1 ftmee ntiUent. it C)CUICred aa to bring to life t nt an echy

hidden L . UsorfskIis YYio vr'-Sion and to1k i s j s cmose probably conceivedIn his wn 1ainatin; it Canhardly be doubted

tht Ravel, w7ho undertook the tas in 1929, fullysucceeded in it. -Uis orchestrat-ion is not merelytho wo oI a skillful craftsmn but the interpre-tatlon of a great artist. The substance of the

sic i s almost untouched, but a carefu.11 study, illaos a considrable anutbor of small alterations

between the original and avel's score. It shouldhowever be mentioned that in "I Castello Vecchio"one bar is added for better balance; in "La GrandePorte de Kiev" theL pauses are written out; antd oneof the "Promenades" is omitted.8

8Boosey and awlces, Pictures at au Exhibition (London1942), -. 2.

In his orchestra version of the Pictures a tExhibition

Ravel has taken the liberty to ad" dynamic changes that

musorgskii does not have in his piano composition. musorgskii

usually has the same dynamic list for several measures, but

avel has the& change more orten. r 1 is is not the case all

of the time, since sometimes both of them have the dynamics

changing every e sure or even changing in the middle of a

measure. Sometimes Ravel ormIts 0 dynamic marking tuhat

msor4skii has in the piano compositions. Most often the

markings are sforzando, and Ravel simply adds an accent to

the notes. Sometimes Ravel changes the sforzando to a forte

or fortissimo and t-hen adds an accent to the notes. He also

makes other changes like f J toLmf to gp, Ej to , mf to

,1 f. tziatw, f toftoxm, and 2to 2.

Ravel hasa hor part that is an improvisatior of the

pno part. It has fanf re-likeh rhythm aand notes from the

melody at measure seventeen. At measure thirty-nine and forty,

Ravel has altered some of the parts by adding rests. This

~ makes the part easier to ex-cute for some of the instruments.

Ravel ha in several instances rewritten the parts slightly

so they are less difficult to execute on he orcestr.l in-

struments, Such as at measures 63> nd 7"52. The Piano part

at these places consists of sixteenth notes of octare leaps,

but the string parts consist of repeated tones instead of the

octave leaps.

or the second "Promenade" usorgskii does not have a

key signature, but it is in the key of A flat, and Ravel

gives the orchestral parts the key signature of A flat.

"Il Vecchio Castello" has the key of g sharp minor,

and theoretically the alto saxophone should be in the com-

plicated key of e sharp minor, but Ravel has written the

alto saxophone part in the enharmonic key of f minor. The

clarinets are clarinets in A, and previously they were in

B flat. If the part had not changed to the A clarinet they

would be playing in the key of a sharp minor, but in chang-

ing instruments it gives them the easier key of b minor.

So that the strings of the harp might have a better

tone, the harp in "Bydlo" plays in the enharmonic key of C

flat instead of B, and in "Cum Mortuis in Lingua Mortua"

the harp is in the key of G flat instead of D. This allows

Ravel to use two strings on one pitch such as G flat rein-

forcing F sharp, etc. This is technically possible at this

point because of the small number of notes given to the in-

strument.

In the third "Promenade" and "Catacombae" Musorgskii

uses accidentals rather than a key signature, but Ravel has

added a key signature to the orchestral parts. Whenever

Musorgskii changes keys in the middle of a movement by using

accidentals, Ravel does the same.

Use of the sustaining pedal is indicated only a few

times in the entire composition, and Ravel does not change

the values of the notes in orchestral version to compensate

for te ed.al action.

Ravel frequently uses an instiumental crescendo, such

as appears at measure 128. The two contrapuntal parts have

instruments gradually added to the , thereby building up the

intensity of th mic.

At measure 509 and 753 there appears a passage of

thirty-second notes that change from hand to hand, but in

the orchestral version the different otes are distributed

mO the instruments and are played as bow tremoli.

i nost instances in which a chord appears inathe compo-

sitiorn with large distance between the treble and the bass,

Ravel ALL in toh space -with chord embers.

Beginning at measure 91, Where Musorgskii has chords

repeated il ,different positions, Ravel has the chords re-

peated in the strings in the same position with the same rhy-

thrn that appears in e te piano version, but in che woodrinds

and brasses the chords are sustained. Ravel has meter sig-

natures of two-two in the woodirdcs and brasses, and amcer

signature of three-to in the striags, di in the piano the

mrter signature is two-two.

The piuno tremoli that consist of octaves that appear

at meCO sucr e 3543 and 953 are executed by te strings as bowed

t d .tLi thel piano tierpoli 3t 693 that conSist of

thirds are executed by the strings as f'7irger tremoli. tere

C.U1ski has, a Pi0no slur of two octves Racel has the

51

5:2

string glissando two octaves and the woodwinds slur two oc-

taves.

The appoggiaturas that appear in the piano version in

measure fifty-one are omitted from the cello and double-

bass parts, but not in the rest of the instrumental parts,

At measure fifty-three Ravel has added sul tasto glis-

sandi in the string parts, but there is no indication or

hint of glissandi by Musorgskii in the piano version.

Ravel has rewritten the passage at measure sixty-seven.

In order to eliminate a minor seventh he has the top instru-

ments rest, and the lower ones move a major second as shown

in example fifteen.

Ex. 15--Measure 67

Ravel added measures 164, 658 and 659 to balance the

phrases.

The orchestral instruments starting at measure 263 per-form legato the staccato piano passage.

Musorgskii calls for no particular articulation of the

notes at measure 279, but Ravel has them executed staccato.

In the second violin part there is an eighth note connected

to a sixteenth note followed by a sixteenth rest, so the

,-Mmwqmll I I I immmo

second violin part will have a staccato effect the same as

the rest of the instruments.

Ravel has, at ensure Y,0, added a considerable number

of instrumental parts: for instance, notes on the second

beat in the flute, oboe, horn, and harp parts; the two sets

of triple-stops in the divided second violin part; and the

rwythmic ostinato in the first. horn part; and then at meas-

ure 412 the flutes, oboes, bassoons, horns, harp, and second

violin parts are lost entirely different to the piano part.

A cowon Ravel device appears at measure 606, 720 and

523 in the first violin and viola. Instead of having the

fir st violins and violas Play the notes as they appear in

the palno version, Ravel adds color to them by adding bow

tremoli on the notes.

At measures 903, 904, 913, and 951 Ravel has taken li-

berties 7ith the composition and changed the rhythm. Meas-

ures 903 and 904 in the 0iano version consist of tro chords,

giving a duple rhythM, but Ravel has the first chord repeat-

ed to give it triple rPhytb , and at 913 he takeCs the same

chords nd changes the positions and augments and diminIshes

the note values. Then at measure 95 there the chords are

sustained for one beat in one position and repeated for one

beat in one position, ai zepeatnd 17 e beSt1 , in laother

position, Ravel 1 ts he chords sustained for twO Pnd a quar-

er oents and not repeated in arot&or position.

R4 - -, -, -- 7-:, Ir. .,, illllpkWwMgK "P,- ".

CEAPTR III

LARGE ORCHESTRAL RIKS

This chapter ill be devoted to the analysis of the or-

chestration of Ravel s, large works originally conceived for

the orchestra. The first work to be considered is sodie

Espapole.

Analysis of Orchestration of

Rapsodie Espanole

At the outset of the first part("Prelude a la Nuit") of

Rapsodie Esagnole, the first violins and violas are combined

to introduce a two-four ostinato, but the "Prelude a la Nuit"

is written with a meter signature of three-four; thus the be-

innainpg of the ostinato coincides with the bar line every

other measure. This fiure appears in some instrument in

nearly every measure throughout the entire composition.

At measure thirty-two the parts are duplicated in the

woodwinds and strings. The first part of the first violins,

first piccolo, first viola, English horn, first bassoon,

first oboe, and cello ,lay the melody with the second oboe,

second bvssoon, the second group of the first violins, and

the second violas playing a part a third lower. The first

flute, first clarinet, -nd the first art of the second vio-

lins have the ostinato(mentioned earlier), aLnd the second

flute, second clarinet, and the second part of the second

violins have the ostinato an octave lower.

At measure number eight Ravel has an antiphonal effect

in the strings. At the outset the first violins play the

ostinato for tree and one-third measures, and then the se-

cosd violins come in with the ostinato an octave lower than

the first violins performed it. The violas take the ostina-

to of the secoId violins and play it an octave lower, and

then the cellos and English horn come in with the ostinato.

(Changing the part from instrument to instrument facilitates

its execution and changes the tone color.)

ln measures ninety-two to ninety-seven Ravel divides the

first violins into three parts, the secoAd violins into three

parts, the violas into two parts, and the cellos into two

parts playing an ostinato. On measure ninety-four, starting

at the upper strings and going to the lower ones, the in-

struments gradually stop playing.

Throughout his orchestral works Ravel often changes a

part from one instrument to another instrument to achieve a

variety of tonal coloring on the part and to give it greater

rcige. For instance in measures 120 and 121 the flute part

goes to the clarinet, and in measures 127 and 128 the horn

and triupet part gos to the trombones.

The string parts at measure 131 are reinforced by the

woodwinds. The woocwind parts are an exact duplication of

56

the sring parts, except or a xtrEv quarter note in the

woodwind ptrt whenever the strings have a half note.

At measure 112 there is a good example of substitution.

ave< substitutes the clarinet for the English horn and the

piccolo for the clarinet, so that the part will not be so

strenuous on one performer, and by chngnginstruments the

range of the part is increased.

T Jo eliminate theany sharps that the B flat clariet

would have to play ir the "Habanera," "; vel h>s the clari-

nets change to clarinet in A. At measure 187 the solo part

has the tone color of the clarinet and violin, but at meas-

ure 191 the bass clarinet is substituted for the clarinet,

the part going below the range of the clarinet.

In measures 2+8 through 260 the parts are duplicated

in all of the choirs 'ith slight variations due to the in-

dividual characteristics of the inst ruments. The strings

are gi1 temoli; the woodwinds, rapid figures; while Ravel

gives only the reinforcing notes to the brass. He ,cobines

the flutes and second violin and the clarinet and viola at

307, this same combination appearing several times.

Two piccolos, two oboes, two bassoons, the divided

firut violins, the divided violas, and the divided cellos

perform the two main parts at measure 327. The piccolo

correspons to the first violins, the oboe corresponds to

the violas, and the bassoon corriesponds to the cellos. An

English horn solo appears at measure 295, and in the

accompanying instrument there appear antiphonal solid for

two violas, two cellos and one double bass. A very unusual

effect appears at measure 325 when four second violins play

a four-member chord glissando, and then at measure 332 four

divided violas do the same. At measure 336 there are four

cellos doing the same, but when it comes the double basses'

turn only two are performing a glissando in unison. All of

these glissandi are executed with the strings muted.

The technical requirements of each instrument in

Rapsodie Espagnole, as in most of Ravel's works, are almost

that of a virtuoso playing a concerto. The first twenty-

seven measures are not especially difficult, but from there

on most of the parts are demanding even in the lighter parts

of the composition, since Ravel creates his tonal coloring

with the use of very fast arpeggios, scales, tremoli, and

other melodic and rhythmic ostinatos sometimes on harmonics.

The success of Ravel's orchestrations stems from his

ability to achieve unique instrumental coloring, which he

accomplishes by weaving the orchestral parts among the in-

struments. For instance at measure 366 he has the violas

playing the melody with tremolo, and then at measure 368

the violins take the same melody, performing it on trills.

The horns play the same melody with the violins, executing

it in triplets.

Ravel at measure 373 has reinforced the parts in the

strings and woodwinds with brasses, but at measure 379 he

arnes the brass art enti rely from the string a- wood-

wind parts, giving thlem longer reinforcing chords.

Special colorlg is added to the double bass part at

measure 3 Q83 b playing an otherwise sustAned no t e with a

tremolo while the second basses have a moving part, reinforcing

lower cellos.

The re t section of this chapter is chiefly concerned

with the predominant ton colors of a odie Esp ole.

The opening first violin ad viola ostinato(previously dis-

cussed) is doubled In the oboe and English :orn parts, but

only for two mea suFores at 9 time. The first violins and vio-

las ssume the responsibility of the most important part in

this priclar section. Actually there are only three real

parts here as compared to twelve doubled parts, eac part

being doubled four times.

In considering the ratios o.: the real ,arts to the dou-

bled parts, the factor of the chord members is not involved.

The number o1 real parts is the number of parts with differ-

et -rrCtEr, for instance 11hat of melody, counterroint,

Jythmic ostinato, rhythmic accompaniment, melodic ostinato,

sustained chordal accompani3ient, etc. The nUmber of doubled

parts Is-the numer of parts being performed simultaneously.

The tone coloring in this S ECtI Whas the characteristics

of the cOnbined string nd double reed instruments.

The section starting at measure fourteen is predominate-

Iy the tones oa the clarnet and trumpet. Though only the

519

clarinet has the melody, the trumpet also is predominant,

because its part is marked p, the same as the clarinets

while the rest of the instruments are marked ppp. There

are seven real parts to twelve doubled parts.

At measure twenty-two the clarinets and first violins

are the prevailing in truments, and they carry the ostina-

to. Although the horn part is to be performed mezzo-forte

while the rest of the instruments play p the horn is not

outstanding, because its tones are stopped. The second

violins, violas, cellos, and basses execute tremoli in the

background. The four real parts are doubled to make fif-

teen parts.

Even though the piccolos have the same part as the

first violins in the same high register, the violins are

the predominating instruments because of their numbers.

The main part consists of a duet performed by two piccolos,

two oboes, one English horn, two bassoons, divided first

violins, divided violas, and the cellos. The voicing of

the parts is duplicated in the strings and woodwinds,

There are six real parts to thirty-two parts in all. It is

interesting to note that the cellos are voiced higher than

the lower violas, so that the cellos play unisons with the

higher violas. Ravel often doubles a part that is given to

the strings in another instrument, which would not usually

perform such a part; thus he obtains the desired tonal color.

Two clarinets at measure forty-four execute a cadenza,

and the violins pluck a chord on the first beat. The

6

divided cellos and divided basses play arco chords 1 2

while one harp sounds a chord mf. The marking in the harp

part does not mean that the harp will be the loudest of the

instruments playing, because the harp notes will only be

heard with any large degree of volume for only a very brief

instant,

There are in measures forty-six to fifty-three a solo

violin, a solo viola and a solo cello, playing in triple

octaves. Ravel here achieves a different tone color than

if he had used one solo instrument or the full section of

the string choir. The solo instruments and the left-hand

of the harp parts are to be performed pp while the rest of

the parts have the dynamic marking, Ep. The left-hand

parts of the harps are to be played louder than the right-

hand parts, so that the harmonics will sound with the same

intensity as the other parts. Here are five actual parts

doubled to make twenty-one. The divided violas are scored

an octave higher than the divided second violins.

Measures fifty-four and fifty-five consist of a caden-

za for two bassoons. This cadenza is a par allel to the

clarinet cadenza at measure forty-four, but the accompani-

ment is very different. In the first cadenza there was

only sustained chord accompaniment, and in this cadenza

there are a harp glissando, one solo violin executing ar-

peggios on harmonics, three soli violins executing trills,

and the cellos and basses sustaining chords.

61

Measure fifty-six to measure sixty-three is a very

brief restatement of theprevious material. The devices it

contains will be discussed later. Ravel produces an effec-

tive decrescendo on the last chord of "Prelude a la Nuit"

ith the use of harmonics in the strings.

Since there is more emphasis on rhythm in "Malaguena,"

Ravel has added, more percussion instruments than appear in

"Prelude a la uit. " In the first six measures of "Malaguena"

the bass clarinet assumes prominance with a figure coming in

evjrMy two bars and later reinforced at the octave by the

clarinet. The double basses have a technically involved

,izzicato osinato, appearing in the first twenty-eight

measures of th "IMalaguena." Measure seventy to measure

seventy-five is the same as the first six measures, except

that the clarinets play with the bass clarinet an octave

highEr.

For proper balance at measure seventy-six the cymbals

have the dram ic marking, - :hile the rest of the instru-

ments have 2_

Measures 115 to 124 is a short restatement of the

opening theme. It is orchestrated like measures seventy to

seventy-five, except <t second violin melodic ostinato

and a<pizzicato cello and bass part.

The tones of tio flutes and an English horn become the

predotminant timbre from the nineteenth measure to the tenty-

seventh. The ratio of real parts to doubled parts starts

at Dour to five and is built up to five to fourteen for

these eight easures. This type of instrumental4 crescendo

is frequen-t with Ravel's style. Measure twenty-eigbt of the

"Malaguena" has six real parts to seventeen parts in all;

an d t ze flute, Eg1ish io1n, oboe, and :pccolo timbre is

prevalent. Ravel, in the "Malaguena," does not seem to have

any set plan for the choice of orchestra tone colori-ng,

At measure eihty-ttwo ahe uses the flutes aid English horn

as the prominent instruments and at measure eighty-eight

he uses the flutes, English horn, oboe, a ed piccolo. In

measures ninety-two to ninety-seven the bassoons nd srrus-

ophone assume the tost importa:t role while at measure

ninety-eight the trrnpet tone Is predominant. Ravel uses a

sarrusopaone, an obsolete instrument mAde of brass that uses

a double-reed, as a snstltute r he cta bassoon. The

divided filst violi rtone predominates measure 103 while the

ores o t 'trumpets and horns do the same at 109, and then

later relinquish to the flutes and clarinets. The section

that appears at measure 115 starts ith the timbre of the

full orchestra, and gradually each instrument is eliminated

until only the bass clrinet, sarrnsophone, cellos, and

double bss are left. Ati measure 125 the timbre is trans-

ferred fro the trtupes )nd horns to the trobones. The

only place in "alagena" the string tones obtain predomi-

nance is at measure 131. ufea<sures 136 to 145 are an English

horn solo with n antiphonal effec t by the rest of

62

63

the orchestra, which starts at measure 142. At measure 146

there appears a descending chromatic scale moving from the

piccolo to the first flute, to the second flute, to the clar-

inet,to the bass clarinet, to the sarrusophone.

The ratios of the real parts to the doubled parts in

"Malaguena"l are as follows:

TABLE II

RATIOS OF REAL PARTS TO DOUBLED PARTSIN "MALAGUENA"

Measures Ratios

82- 87. * .* *,.4:5

88- 910. * - . . , . . . . . . . . . .* 5:14

9 2-.97 . * , , - - - *- . . . . . . 6:17

98-i02. - - - - - - - - . - - . . * . . . . . . . 8:28

103-108. * - - - - - - - * - - - . . . . . . . . . 8:10109-114-0 .0 . 0. 0- 0- 0 - -- -- -- -- -. 835115-124- - - - - - - - - - - -* - - -. . . . .15:27

131-135-. - . * . - . ..12:47136-141. . . . . . . . . , . . . * . . * . . . . . 7:71L 2-145* - .. - . . .. - . .6#010146-150.0.0 . 0 .0.0 . o..l -0-0- -0-0 - -0-0 - -0-0 - 5:12151-157. . .0 . .9 . . #. . 9. . .. .. 0:

Average: 7:19

The eight real parts that are doubled to make twenty-

six parts in all at measure 158, or the beginning of "Habanera,

are distributed among the strings, woodwinds, the two harps,

and the celesta.

There appears at measure 164 a horn and trumpet duet,

which goes into a woodwind soli with a string rhythmic ac.

copaniment. There are six.real parts, wnich are doubled

to make eleven in all. The section that starts at measure

171 has two ratios to be considered, and they are thirteen

to fifteen going to six to eleven. The ratio of real to

doubled parts in measures 176 to 181 is four to eight, and

in measures 182 it is seven to thirteen. In all of these

ratios the chord factor has not been taken into consideration,

only the different instrumental parts. Table number three

shows the complete picture of "Habanera" in regard to the

ratios of the real parts to the double parts.

TABLE III

RATIOS OF THE REAL PARTS TO DOUBLE PARTSIN "HABANERA"

Measures .Ratios

158-163 . . . . . . . . . . . . . . . . . 1:)26164-170 . . . . . . . . . . . . . . . . . 6:11171-172 . . . . . . . . . . . . . . . . . 1:61173 . . . . . . . . . . . . . . . . . . . .6:*11176-1i81......... 4:B182-186 -..--- :-. 7'13187-191. .* ..0 .. 0 .. 0 ... 6:9192-196 .* ..0 ..0 .0 ..0..0 . # .10#10 (7th chord)

197-200 *... ....0 .... 8:-18201-204 ....9 .... 0 ... 11:012205-208 ....a ... * ...16:37209-212 ...0 ...0 ... 0 ..19:26213-218 ---0 ...0 .. & ...5:*15

Average: 9:17

The ratios of the real parts to the doubled parts in

"Feria" are given in table number four. In several of the

sections Ravel has antiphonal effects, and in measures 245

to 250 the antiphonal parts are fragmentary. The arpeggio

antiphonal parts in measures 269 to 276 appear in the

strings. They are chords performed in duplet rhythm in

65

six-eight meter. All of the instruments participate in the

section, but some for only two beats and others longer so

tlere is an intricate weaving of the timbre of the instru-

me ts.

TABLE.IV

IATIOS OF REAL ?IRTS TO DOUBLED PARTSIT "FERIA"t

Ratios

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solosft ft ft ft ft ft ft . . . . ft ft ft ft .t ft ft ft ft .anitiphonal

solost t f f f f f f f f f f f f f f f f f f .antiphonal

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Measures

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219-2214225-231232--214235-2 4245-250

251-257258-264265-268269-276277-283284-288289-294295-306

307-316

317-320

321-326327-329330-333334-338

344-350351-354355-362363-36736 -372373-3 8

379-3 2383-39r391-395396-3994Co- o3

ft

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66

TABLE IV--Continued

Measures Ratios

4o4-407 . . * . . . . . . . . . . . . . . . . . . 7:+1408-409 . . . . . . . . . . . . . . . . . . . . . 741

Average: 8:29

There is a greater difference in the average ratio of

"Feria" than "Prelude a la Nuit," "Malaguena"t and "Habanera."

Ravel adds more instruments as he is building toward the

climax of the composition. The following shows the overall

approximate ratios of each section of Rapsodie Esp-gnole:

TABLE V

AVERAGE RATIOS OF REAL PARTS TO DOUBLED PARTS OFEACH SECTION OF RAPSODIE ESPAGNOLE

Section Ratios

"Prelude a la Nuit" . . . .5:17

"Malaguena" . . . . . . . .7:19

"Habanera" . . . . . . . .9:17

"Feria" . . . . . . * . . .8:29

The use of each choir will be discussed in the next

section. The woodwind choir in Rasodie Espagnole has six-

teen soli: seven soli with the brass instruments; nine

soli with the strings; one soli with harp; seven soli with

brass and strings(all in "Feria"); a reinforcement of a

brass soli; a reinforcement of a string soli; and seventeen

accompaniments. The woodwind solos and duets are clarinet

duet cadenza, a bassoon duet cadenza, a bass clarinet and

67

clarinet soli, a bass clarinet solo, a sarrusophone solo,

an English horn solo, two clarinet solos, and two flute

solos.

The brass choir performs eight soli, seven soli with

woodwinds and five accompaniments. Because of the differ-

ence in the characteristics of the brass instruments, they

will be considered separately. a Rapsodie Jsigole there

appear three horn soli, one horn solo, one horn soli with

the woodwinds, one horn soli with strings and twenty horn

accompaniments. The trumpets are not particularly suited

to accompanying chores, because of their penetrating ability.

Ravel uses the trumpets only once as background instruments.

The other tasks of the trumpets are one reinforcement ofa

clarinet soli, two solos, two soli, and three soli with

horn. The trombones perform, in the entirety of the compo-

sition, two accompaniments with the horns and one soli with

the bassoons.

The percussion instruments play the usual general role

of the rhythmic accompaniment, but the rhythm in Rasodie

Esp)gnole assumes more importance than usual, because of

the rhythmic characteristics of the composition. In nine-

teen passages the percussion take the rhythmic accompaniment,

and in other passages they play one soli with the woodwind

and brass instruments, three soli alone, three soli with

the strings, brasses and woodwinds. In the percussion

parts there appear five timpani rhythmic accompaniments,

68

tambourine reinforcement of trumpet solos, tambourine soli

with the woodwinds aid harp, two snare drum rhythmic accom-

paniments, a castanet rhytlmic accompaniment, and one casta-

net solo.

The harps play four chordal accompaniments, three arpeg-

gic accompaniments, one solid with strings, two sustained and

ostinato accompaniments, Eand the celesta has two ostinato ac-

companiments, asoli with strings, a soli with the flute, and

one solo.

The strings in JRasodie EE nole appear mostly as ac-

companying instruments. They have eleven soli parts as com-

pared to the woodwinds' sixteen. The strings start the

composition with a melodic and rhythmic ostinato, and a rhyth-

mic ostinato is heard in the string parts in eleven sections

of the composition, and there are thirty-three more string

accompeaniments, so it is easy to see the part that the strings

play in this composition.

For the instrumentation of his first large orchestral

work(Rapsodie Espagnole), Ravel uses two piccolos, two flutes,

two oboes, ax English horn, two clarinets in B flat, one bass

clarinet, three bassoons, one sarrusophone, four timpani,

bass drum, cymbals, triaIrle tambourine, and castanets,

snare drum, gong, xylophone, celesta, two harps, and strings.

In his later works he does not change his instrumentation, ex-

cept for a few additional instruments for special effects.

VA, A, -, t 7*, A m wo - - -.,t 1'. -- -4 , l

69

The special devices that Ravel uses in Lsodie

Espagvnole will now be discussed. In Raosodie E nole

Ravel has the piccolo double-tongue in three places and

triple-tongue once, and the flute has one double-tongued

passage and one triple-tongued passage. At measure 345

Ravel utilizes the flute's ability to execute harmonics.

Ravel always uses the instruments to the fullest, for

instance, he has extended the range of the oboe at measure

280 and 363 to three-line g, and then the range of the horn

is extended at measure 40,

In Rapsodie Espagnole the horns play nine passages

with stopped tones(most of these are sustained tone accom-

paniments), a triple-tongued passage, and two passages in

which they execute trills. Only once in Ra2sodie tspagnole

does Ravel use the muted tone of the trumpet, and the trum-

peters have to insert the mutes while they are playing.

Only once does he use the trumpet's facility for triple-

tonguing.

A look at the trombone part shows Ravel has extended

the practical range of the trombone lower at measures 314

and 330, and then at measure 369 the trombone executes a

trill. The most characteristic device of the trombone, the

glissando, is found in measures 327 and 408.

At measures 266 and 365 the celesta plays glissandi,

and at measure 266 the xylophone has one.

In his orchestral works Ravel seems to be striving to

make the harp parts more interesting, but the usual

70

characteristic device of the harp, the glissando, appears

in measures 28, 54, 100, 137, 224, and 289; and glissandi

in two hands in measures 257 and 353. There appears in

measures 142 and 316 chords in one hand, and in 8, 56, 176,

and 383 the harp plays harmonics. Double harmonics, triple

harmonics and quadruple harmonics are performed in measures

46, 355, and 357, respectively. In four instances in

Rapsodie pagnole the harmonics appear in both hand parts.

Ravel's harp uses homonyms(enharmonics) for the rapid

repetition of a tone in measures 39, 228 and 238. The har-

pists set the pedal of one note in sharp position, and the

pedal of the next higher note, in flat position, and by

plucking the tio strings in succession, they are able to

produce the same tone in fast repetition.

The string instruments produce more different tonal ef-

fects than the other instruments, because of the numerous

methods of causing the strings to vibrate.

The special orchestral devices that appear in the first

violins' part in Rapsodie Espanaole are saltando bowing; le-

gato bowing; pizzicato playing of arpeggios(appearing in

four different passages); bow tremoli(two times); sul tasto

glissandi(twice); sul tasto(four times); sul tasto tremoli;

natural harmonics notated on the exact pitch(twice); natu-

ral harmonics notated at the point on the string, where the

player places the finger; artificial harmonics, appearing

on a stopped string; divisi a three(four times); divisi a

71

four(four times), four soli violins(twice), a soli of three,

consisting of two violins and one viola, a soli, consisting

of one violin, one viol and two basses, double-stopped

unisons(twice), glissandi(five times), and notes played on

open strings(once).

In the second violin part Ravel calls for only two

types of bowing other than mode ordinaire(in the ordinary

way), and they are legato and saltando bowing, but in four

different instances the second violins play pizzicato ar-

peggios. At measure 206 there appears a left-handed pizzi-

cato. Ravel has the one note plucked with the left-hand so

the bow will not be out of position to execute the succeeding

notes. The performer would not have enough time to change

the position of the right hand from the pizzicato position

to the bowing. Also in the second violin part there are

two bow tremoli and one finger tremolo.

In measure 345 the second violins produce an unusual

timbre by using the wooden part of the bow to produce the

sound. Whenever the bow is drawn across the strings just

above the sounding box, the regular violin tone is produced,

but if the bow is drawn across the strings above the finger-

board, another timbre is produced. A tremolo with this

effect can be found in measures 334, 19 and 46; and non-

trenolo in measures 163, 323 and 103. Several passages of

harmonics, natural and artificial, appear in the first vio-

lin part, but only one in the second violin part. The

72

violins are divided into three parts three times and into

four parts twice.

Ravel uses the violin glissando numerous times in his

works, but only once in the second violin part in Rapsodie

Espagnole. It might be interesting to note before leaving

the second violin part that Ravel calls upon the second

violins to play open strings in measures 275 and 361.

The orchestral devices that appear in the viola part,

that concern bowing are legato bowing in measure one and

ninety-two, saltando bowing in measures 345 and 79, and

successive up-bows in measure twenty-eight.

At measures 79, 277, and 156 the violas perform pzzi-

cato arpeggios, and at measure 353 the strings are plucked

with the left-hand.

There are two types of tremoli executed by the violas.

One is made with the fingers, and the other, with the bow.

Tremoli made with the bow appear at measures 19 and 115,

and a tremolo made with the fingers at measure 251.

There is one solo for a viola in Lapsodie Esanole,

at measure 142, where there also occurs a solo violin and a

solo cello part, and the only other device for the viola in

the work is glissandi at measures 308, 136, and 325.

In the cello part there is one passage with successive

down-bows. There also appears three passages with arpeggic

pizzicato, one passage with left-hand pizzicato, one passage

with a bow tremolo, one passage with a sul ponticello

-Wlir

73

glissando, one with a glissando bowed in the ordinary man-

ner, two passages played sul tasto tremoli, six passages

with natural laronics, ore passage with artificial har-

monics, four passages with cello solos, two with cello soli,

four with portamenti, one with a glissando on harmonics,

one >ith a glissando to a harmonic, and one with open strings.

There appears in the double bass part three glissandi,

seven passages with natural harmonics, a sul tasto passage,

a sul tasto tremolo, a sul tasto glissando, and one passage

with successive down-bows, and there is one passage in

which the basses are divided into four parts.

Analysis of Orchestration of

Bolero

Bolero was written for the ballerina, Ida Rubinstein.

The scene of the ballet is a cafe, in zhich one solo dancer

is performing. Gradually the cafe fills with people. She

still dances alone until another dancer joins her, and

gradually everyone joins in the dance. Ravel has scored

the orchestra in a similar manner by adding instruments

gradually until all are performing.

Bolero is an interesting study of tonal color in the

orchestra. There are only four real instrumental parts in

the entire composition, but Ravel keeps it intriguing through

his varied use of the instruments. Bolero has two themes,

each sixteen measures long, appearing nine times, each with

no variation in the musical content. The interest of the

-- -, M

Piece relies entirely upon the instrmaentatior of ech section,

(The numbers used in this analysis ere placed at the begin-

ning of the sixteen-measure statements in the Durad ot Ci

publicat-Ion.)

The comPositior starts with a four-measure introduction

of the rhythinc ostinato. Between the sixteen-measure

statements of the themes are two-mea4sure vc aps. The same

melodic, rhythmic, and harmonic patterns appear over and

over again in the composition, but Ravel gives the two

themes , ,diierent tonal color each time they are repeated,

For instance, in the Irsu twenty measures the tone of one

flute is heard(it being one of the purest tones of the or-

chestra) on the first theme while the tambourine plays the

rhythmic ostinato, and the violas and cellos perform the

chord accompaniment. After the flute, the clarinet in

section one takes the same theme while the second flute

joins the tanbourilne on the rhythmic pattern. The cellos

and violnas continue with the harmonic accoaninent. The

bassoon then performs the second theme in section two in

its hihest possible register vith the harp added to the

harmonic accompaniment. After the E flat clarinet takes up

the second theme in section three, the oboe plays the first

theme in section four. The two bassoons alternate the

rhytin c pattern between themselves for a reinforcement of

tho ta bourine. ave Iprobably has the bassoons alternate

on the part in order to give the players a chance to rest.

The first theme in section five has the tone quality of

a combined flute and trumpet with the horn taking over the

rhythmic pattern from the bassoon. Here is the first time

the melody appears in more than one instrument. The trum-

pet and tambourine continue the rhythaic pattern in the

next appearance of the second theme while the tenor saxo-

phone performs the theme in its highest register. Ravel

next has the oboes and English horn on a staccato chord

background, reinforcing the string accompaniment. While the

muted second trumpet and taz bourine continue on the rhythmic

pattern, the soprano saxophone tales the second theme. One

horn, two piccolos, and the celesta make up the tone color

on the first theme in section eight, and the tambourine,

one flute in low register and one horn execute the rhythmic

pattern. Section nine has the tonal characteristics of the

two oboes(one is an oboe d'amour), the English horn, and

two clarinets on the first theme with one horn, one trumpet,

part of the divided second violins, part of the divided vio-

las, and the tambourine on the rhythmic pattern. Instead

of giving the violas and second violins the rhythmic pattern

on only one tone, Ravel has them perform the pattern on

broken chords. The rhythmic pattern in section 10 appears

in the first flute, second horn, tanmbourine, and divided vWa-

la parts, and the first trombone performs the second theme

in its highest register. The two flutes, the piccolo, the

two oboes, the English horn, two clarinets, end the tenor

- - - -

76

saxophone carry the second theme in section eleven, and the

fourth horn, first trumpet, tambourine, and the divided se-

cond violins carry the rhytimic patters. In section twelve

the divided first violins(octave apart) replace the tenor

saxophone hd English horn in the above ensemble, and the

ensemble changes from the second theme to the first With

only the first and second horns(octave apart) and the tam-

bourine on the rhythmic pattern. The English horn, the

tenor saxophone, and the divided second violins are added

to the group of instruments performing the first theme in

section thirteen. Now Ravel has added three-pArt harmony

to the melody with the same instruments that had the mono-

phonic melody carrying it. One flute, piccolo, oboe, English

horn, trumpet, the divided first violins(octave apart), and

the divided second violins(octave apart) have the second

theme in section fourteen While two horns(octave apart) and

the tambourire play the rhytMic ostinato. In section fif-

teen the flutes, piccolo, oboes, English horn, clarinets,

o0 atrombone, the soprano saxophone, divided first violins,

divided second violins, violas, and cellos return to the

harwnzed second theme with the four horns and the tambou-

rine on the rhythmiC pattern. The oboes, clarinets, second

violins, violas, and cellos are transferred to the rhythmic

Pattern in section sixteen, and the trumpets and tenor sax-

ophone are added to the ensemble, wich performs the first

theme. The instruments having the second theme in section

77

seventeen are the flutes, piccolo, soprano saxophone, tenor

saxophone, four trumpets, one trombone, and the divided first

violins, but there is no change in the instruments playing

the rhythmic pattern. Both the melody and the rhythanic pat-

tern are harmonized in the final section with thLe flutes,

piccolo, trumpets, one trombone, soprano and tenor saxophones,

and divided first violins or the melody; the oboes, clarinets,

horns, tambourine, divided second violins, divided violas,

and cellos on the rhythmic pattern; and the rest of the in-

struments, the bass clarinet, bassoons, contra bassoon, two

trombones, tuba, timpani, harp, and double basses perform

chordal background. Ravel, in the final section, has the

divided strings performing the different chord tones, but in

section sixteen he has them executing the chord tones as

quadruple stops. T last six bars have no melody like the

vamp at interludes and the beginning. The whole work is a

process of variety of tonal color and gradual building up of

the orchestration toward a huge climax.

Analysis of Orchestration of

Da .nis et Chlo 4

Norman Demruth says that a study of Daphnis et Chlo4

ould make a complete course in orchestration. 1

In "'Suite No. One" Ravel uses the woodwinds as the soli

instruments in a major part of the composition. One could say

lDemuth, 2p, SLt .,pp. 167-1680

T --

78

that the woodwind parts are merely melodic obligatos, being

performed above the very rhyt1mic string parts. The wood-

wind parts are more melodic than the strin parts, and the

woodwind instruments represent the cr.acters of the ballet.

The woodwind instruments appear as the soli inst ruments in

eighteen of the fifty-four sections and as soli instruments

wrth the strings in nineteen other sections. Four of the so-

li with the string in struments aie reinforcements of the

string part,

There are four.clarinet solos, two flute solos, one pic-

colo solo, and one oboe solo In "Suite 1o. One." In three

sections the woodwinds play a sustained accompaniment, id

in one of these sections part of the woodwinds trill their

notes for added color. Ravel usually uses the rest of the

woodwinds to accompany awoodwind instrument solo, and there

is one section in which he woodwinds play a rhythmic accom-

paniment, and two sections containing woodwind and brass soli.

Ravel has only one place in "Suite No. One" in which the

woodwind, brass, percussion, and string parts are duplicated

in all choirs. In section 121 there is a woodwind obligato

part being executed over a brass solid part.

The strings, in "Suite No. One,t" play twelve tremoli

chorda. accompaniments, two sustained chordal accoipaniments,

seven soli, eleven solid with the woodwinds(in one the wood-

winds and strings have different type parts), three rein-

forcements of woodwind soli or solos, one duplication of

79

woodw ind accompaniment, and seventeen rhythmic accorpaniments.

In most of "Suite No. One" the double basses perform a rhyth-

mic baccground.

he br-ss eecute eleven soli; four soli witi the wood-

winds one solid with .' GOtheoodwinds, strings, nd percussion;

twenty-one sustained chordal backgrounds(mostly in the horns);

one contrapuntal accoupaniment; eigt rhythmic accompaniments;

an laree chorda.I accowmpniments in "Suite No. One." There

are also two horn soli, one horn solo, one trumpet solo, one

trmCpet solP, and on ajepass< wee in h the tuba reinforces a

woodw1rd cAn6 sng sol. whenever the trumpet li playing,

it is usually a brass or trumpet solid or trumpet solo; with

its tremendous penetrating abIlity the trufnet will asiP

overbalarce the rest of the orchestra. Ravel overcomes this

tendency in three places by givin c the trumpets softer dynca-

m c marklrgs tha the rest o the instruments. This ho does

infrequently throughout all of his orchestrA wor1s.

:'or the nost part th percussioan perform only rhytlmic

200Oupcniments, but .avel in this composition uses the full

resources of the oercussion choir. In yDaphis et Chloe Ravel

uses twO types Of prcUSsion instrurents that a e not comon-

ly useC, the oliphone, which makes an eery wind sound, and

crotalesutque cymbals) that play a definite Ditch.

In only six places Ravel has the harps on arpeggios and

glissandi dJn the average orcestrator uses these devices

a majo z rt of the time. In most of "Suite No. One" the

1 1 - W

harps perform a rhytnmic cbordal accompaniment, and in two

sections there appear two melodic ostinatos; a different one

in each harp part being executed simultaneously.

The following tables show the function of each choir in

each section. A study of the tables will give an over-all

view of the instrumental color of the sections individually.

It is possible 'to tell in a glance at these tables the in-

stru'mental combinations, the unique or different tonal color-

ing, the type of accompaniment of each solo and soli passage,

and the approximate technical requirements. The word back-

ground usually indicates an ostinato or a similar effect,

whereas the word accompaniment indicates an appropriate c-

companiment of the solo or soli part. Table VIII shows the

special orchestra-1 devices of the instruMental technics as

used. by avel in the composition.

The most chracteristic part in the work is the "rip-

pling" background that appears in the high woodwind and string

Parts. Some o the most outstanding instrumental timbre in

the work are the combination of viol a nd clarinet and the

combin-tion of flute, G flute, oboe, English horn, violins

and violas. The rehearsal numbers used in this analysis ap-

pear in the Durand and company of Paris editions of Ravel's

composition. Presently there is no information available

concerning any other editions.

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TABLE VIII

THE DEVICES OF INSTR.U1MTAL TECHNIC FOUND INDAPHNIS ET CHLOE, SUITEN0, 2

Device Instrument Section

Double-tonguing

Triple-tonguing

Flutter-tonguing

Stopped-tones

Tre oli

Cymbals sounded with:bass drum sticks,sponge sticks

Glissandi and portmenti

Glissandi to a harmonic

Chord

Flute

Horn

Flute

H. orn

HornTrumpetGlockenspiel

Harp (in one hand)First violin

Second violin

Viola

Cello

Double bass

First violin

Second violinViolaCello

Harp (in one land)First violin

180

218220

156

176195177

221221221

192180201

155203216220203216174203216203216174220203216220

206211212212211

189216

104

TABLE VIII--Continued

Dev ce Instrument Section

Natural harmonics(octave above finda-mental)

Natural harmonics(major third)

Natural harmonics(perfect fourth)

Natural harmonics(perfect fifth)

Finger tremoli

Sul tasto

Divisi a 3

Div si a l4

Sul G

Harp

First violin

ViolinViolaCello

ViolinViola

Cello

Viola

Cello

First violinSecond violinViolaCello

First violinSecond violinViola

First violin

Second violinViola

Cello

First violin

Second violin

Viola

First violin

173176204174184210

155171171

155155178178

172178178

191191191191

183183183

190193193168176192199155

157180158168176180158

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1015

TABLE VIII--Continued

Deva ce _ _J nstrrent ction

Sul G (Continued)

Artificial harronlos(perfect fourth)

Harp Homonyras

Qons Etouffes(dampened)

Legato bowing

Saltando bowingC

Succ ssive up-bows

Arpeggic pizzicati

Pizzicato

Double-stopped uni sons

Second violin

First violinCello

In one hand

In two hands

Harp

First violinri

First violinSecond violinViola

First violinSecond violin

First volin

Second violin

Viola

G ello

Second volin

Viola

Mutes off gradually

106

Cello

195

171175

174176175

179181189

156

20,.204204

18D4184

175171181175181175181170171181

186

176180207

155- -- --- - -- I - - I - - - - . * I I- .- - - -- t- M- - " I W. -Immhkl 'I ... , I - -- ,- --- - -- --

107

a Analysis of Orchestration of

La Valse

L Valse contains most interesting instrumental color.

At the outset the double basses are divided into three parts,

two are muted tremoli, and the other is a pizzicato rhythmic

ostinaco on the lowest notes of their range. Tle tremoli

give the effect of sustained tones, but with more color and

interest. Mien the cellos enter they also are divided into

three parts consistIng of muted tremoli. The string parts

ar a pyramid shape with the double basses starting alone

and the other instruments grAdually added up to the first

violins, and then gradually they drop out. The two bassoons

play a duet with the strings acting as a background. These

same string parts serve as the background for a bass clarinet

solo and two-clarnet soli. Only the basses are divided into

two parts, and the cellos play mode ordinaire, whereas previ-

ously they performed sur la touche(sul tasto).

The violas play a duet at rehearsal number five with

cello arpeggic and double bass glissandic accorpaniment, but

at section six the string finger tremoli are changed to bow

treioli as accompaniment for a woodwind soli. These bow tre-

moli appear again in section sixty. At section twelve there

is another interesting instrumental combination consisting of

a flute solo reinforced by two horns, and appearing in the

accompaniment there are a bass clarinet trill and cello nd

double bass glissando.

108

Bavel has the flutes, clarinet and harp at section twen-

ty perform ann arpe g gic background for the string soli, which

is like the oboe solo at section eighteen, except for the

notes played as haronics. Throughout the entirety of the

work Ravel has rhythmic accompan-iment with these effects that

are being mentioned. These rhytlh ic accompaniments are char-

acteristic of the backgrounds that usually appear in waltzes.

In sections twenty-six to twenty-eight there appearss an in-

strumental crescendo effect moving from Xfull brass to the

woodwinds, and the section ends with all of the instruments

performing.

Sections twenty-six and twenty-nine show the unusual ef-

fect of a string glissandic accompaniment of a woodwind soli.

Moving on to section thirty the violins have a soli executed

on the G string only, and at section thirty-one the violin

solid becomes a duet with the second. violins. At section

thirty-two Ravel adds a flute to the violin soli with the

other flute and the cello performing an accompaiment consist-

ing of ascending and descending chromatic passages. As a

manner of tone coloring at section thirty-five Ravel has the

flute and first violin play their accompaniment on harmonics.

The first and second violins at section thirty-six and then

again at section siXty-three are divided into four parts vid

Play ftll chords.

Ravel has the violas execute a slur to a harmonic at sec-

tion forty-three, aid at section forty-six he hasca soli for

109

two violins and one cello with slurs to harmonics included

in the soli. At section fifty there is an interesting ver-

sion of a rhythmic accompaniment. On the first beats of the

measures the violas and cellos alterately enter ona trill.

On the second and third bests the first violins play harmonics,

and the second violins have quarter notes on the first and

second beats. Sections fifty-four and fifty-five are a re-

petition of the first of the composition.

Section fifty-seven consists of a viola duet with a bas-

soon tremoli ad divided cello arpeggio and glissandic accom-

paniment. One group of the cellos perform glissandi and the

otier, arpeggios.

Ravel adds color to the tonal combination of the piccolo,

flutes, oboes, clarinets, trumpets, and first violins by hav-

ing them perform tremoli while the harp performs glissandi in

section seventy-three, and then at section seventy-five the

tremoli are in the oboe, English horn, clarinet, and bass

clarinet parts.

There is no new material in sections seventy-four to

ninety-seven.

At ninety-eight Ravel has antiphonal effects, and table

IX shows the two antipnhonal ensembles.(See next pae.)

110

TABLE IX

ANTIP<(DUAL ESEPBLES IN SECTION 98IN LA VALSE

First Ensemble Second Ensemble

First violins(low register) First violins(high register)Second violins(low register) Second violins(high register)Violas PiccoloCellos FlutesDouble basses OboeEnglish horn(low register) English horn(high register)Clarinet(low register) Clarinet(high register)Bassoon TrumpetContra bassoonTromboneTub a

In the finale section Ravel has a very unusual effect,

the trumpets playing tremoli. These tremoli are 'also per-

formed by the violins.

Analysis of Orchestration of

Introduction and Allegro

Introduction and Allro was written for the harp ac-

copanied by flute, clarinet, first violin, second violin,

viola, and cello. This composition really gives a good ex-

ample of the full potentialities of the harp.

The piece opens with a clarinet and flute duet followed

by the entrance of the first violin, viola and cello, build-

ing up to the entrance of the harp on an arpeggio on C flat,

E flat, A natural, B sharp, and F sharp. The passage at the

fifth measure is important for the study of the use of en-

harmonics. Example Sixcteen gives this passage.(To be found

on the next page.)

o"MI

113

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"goals"

oe

Ex. 16--IEntrance of the harp

This passage goes into a viola and cello version of the pre-

vious clarinet and flute duet.

At the seventh measure the harp changes to C sharp, B

flat, G natural, F flat, E natural, and executes an arpeggio

at the tenth measure on A natural, C sharp, E natural, G nat-

ural, B flat, and at the eleventh measure tihe harp changes to

A sharp and I flat an'd performs a glissando ascending and de-

scending ad libitum.

The flute at measures thirteen to twenty-five executes

double-tonguing passages with thI clarinet on siilar pr

While t efirsot Violins play an arpeggi os in to, and th

rowWft TI1-1 Am -

112

secoLd vilins execute aQpizzicato accompaniment to the cello

solo. rhe harp enters at measure seventeen with a thirty-

second note ostinato, and then at measure nineteen the 2lute

and clarinet cWnane to a tremoli accoupirent for the violin

and viola soli and h:rp arpeggios, but the second violin and

cello turn to a broken chord ostinato.

Measures twenty-six to forty-three consist of a harp solo

containing mostly a elody and an arpeggic accompanirent in

the right hand, anid the melody doubled on harmonics in the

left hanid.

At measures forty-four to fifty-five the flute performs

a melody with the harp while the first and second violins

execute broken chords pIzzicito, and the viola and cello have

tremoli(finer and bow). Ravel uses a homony> at .measure

f ity-seve: to give reinforcement to the lowest note of -the

chord and in fifty-eight to facilitate rapid repetition.

Iarmonics appear in the harpar-t at -measure sixty-three.

Measures seventy-thr w through seventy-five, as shows in ex-

ample lumber seventeen, are a good xample of iting for the

harp.

113

Ing iry Ift a "Mau- -

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ex. 17--Measure 63

Thearp has, at measures eighty-eigit and ninety-two,

four-part glissando, and the first violin has a double-stopped

unison in a three-part prizzicato chord, anid then again at

measures 127 and 131 the harp has a three-Dart glisscado.

The melody at measure nainety-eight assumes the tonal

characteristics of harp hari monics. Throughout the entire

harp part Ravel has frequent four-part c' ords in the ri ht

hind and three-part in the left hand.

In measures 119 to 136 and 147 to 161 the theme is two

measures in length and appears repeatedly in different in-

struments, soreti-mes doubled a.t the octave in order to retain

Intores.

11+

1avel has in Measures 174 to 191 an interesting second

violin and, cello part, which is shovm in Part in example

eighteen. This part is played pizzicato and gives a feeling

of f our-four meter rather thaa three-four.

Ex. 18-Measr2s 14177**

Thehap cadenzaq, which starts at measure 210, is a sun-

Sry of the h rp technic in Introduction and A". There

ar arpgios; broken chord passae; a ch ordal an cmlodic

pasae glissandi; rapid repetition of notes first souded

as hmonics, an d then as natural tones; an a iclodic passage

pl;ad on ha.r monics th~ zlssadie accoimai ment.

Th fluta, oLarinet, muted violns, and violas perform a.

tremoji ccoizpaniient for the harp soli at section eigltaen.

The flutc Wn clai:net parts are~ 2akcd pa whila the m'uted,

strin gs' parts are. marked pg

At twen:ty -two &ave 1adds color to the strings' arpeggc

passa. Tie first violins and viols~ play ta arpeggios as

bow tramoli and the second violins ani cellos play triple

stops and tha raggios pizzicato. In the entiretyr of the

115

composition there appear quadruple stops in each string part

at one tIe or another.

Introduction and Allegro has a small instrumentation,

allowing the harp to be heard.

Analysis of Orchestration of

Sh herazade

Some of the unusual aspects of ShIherazade that concern

Ravel's technic of orchestration are the more frequent use of

the muted strings, a larger quantity of countermelodies in

the instrumental parts rather than his usual orchestral type

parts, and less use of brasses than in any other large or-

chestral work. There are in ShehJr ade, besides the solo

voice other solo instruments such as three oboe solos, one

violin solo, one cello solo, two flute solos, two solo flutes,

one English horn solo, and one clarinet solo. In the string

parts there are three finger tremoli, seventeen "Dow tremoli,

six pizzicato chordal accompaniments, and sixteen sustained

accompaniments. The instrumentation is noticeably thinner4

while accompanying the solo voice.

The purpose of the following table is to show at a glance

the orchestral color that Ravel uses to accompay the vocal

performance of the three poems, Sbhhrazade of T ristan Klingsor,

that he has set to music. The three poems are entitled "Asie"

(Asia), "La Flute Enchantee"(The Enchanted Flute), and "L'In-

different "(The Indifferent One).

116

The rehearsal nubers that are used. are taren from the

Durand and compny of Paris edition. The X in the voice col-

mn shows then the singer is performing. A thorough study of

this table will gve ai over-all conception of the instru-

mental color, orchestral devices cd general technic of the

instru ents. The harp is included Wih the percussion, in

the table, even though it is not percussion irstruent.

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Analysis of Orchestration of

Concerto pour Piano et Ochestre

The differences in the instramentation of Concerto p

Piano et Orcbestre and Ravel's most frequent instrunentation

Is one B flat clarinet and one E flat clarinet, instead of two

B flat clarinets and one E flat clarinet, no contra bassoon,

two horns instead of four, only one trmiipet as compared to the

usual three and one trombone, instead of the usual three.

At the first of Concerto sour Pian o et Orchestre the cel-

los play tremoli chords with one chord member executed as a

harmonic, and the piccolo has a solo. Vhen the piccolo has a

crescendo in its lowest register, it is reinforced by the flute.

In sections one and two the piano h'as glissandi.

Three measures before rehearsal number two the second

violins, violas, cellos ad basses perform detach4 bowing pas-

sages. This is found in Ravel's orchestrations but twice.

This is beLng performed with piano glissandi. The bassoon so-

lo that appears in section nine is in an eXtremely high reg-

ister.

In section siteen there appears in the first violin part

double-stopped octave glissandi, a three-easure trill is per-

formed by the violas and a six-reasure trill by the violins.

Sections twenty-two and twenty-three consist of a harp

cadenza over a chord of three cellos, later joined by three

irs Lviolins, one viola, three zore cellos, and two basses on

a soli.

127

In section twenty-four the piccolo, clarinet and trumpet

execute flutter-tongued passages. There appear, at section

twenty-five, arpeggios atd rapid chromatics passing continu-

ously around the woodwind section, ending with the oboe exe-

cuting oc'-ve lears.

There appears at section thirty-five a cymbal trill.

In the sections si to eight of the secon movement the

horn performs aa solo'at the top of its range.

I section five of the second movement the flute and pic-

colo execute a double-tongued passage.

The E flat clarinet, in its solo in section one of the

third movement plays as high as e-line a. At the first

of the third movement the violas and cellos haye successive

down-bows. The trombone performs glissandi in sections one

and eight, and sul testo appar in t e second violins, violas

and cellos.

Three measures after section nine the snare drum is to be

struck at the edge of the h1ead.

AQvel uses pizzicato quadruple ad triple stops quite

frequently in the string parts.

In section thirteen the cymbals are to be struck with the

snare dr u sticks, and dampelLed ar tones appear in section

The bassoons are called upon in sections fourteen and

fifteen to ee cut more diftielt technic al equirerments than

ts1. Tey perfoatrmalternatel on the lat, so It Will not

b(:-, ificl f'or eith-er ornc.

I27

Alncst hiP of the trumntts passages are uted in

ConcertoDor Piano etOrchostre, and pizzicato strings appear

rather frequently.

The orchestration of Concerto for Piano aa n Orchestra is

agmenta ry and )liht in character i'th the instrunentation

eing thin; to Alow the piano to be heard. The pino part is

in the form of an obligato to te fragmentary orches t ral solos

ach1 of the time, rather thain being melodic in character.

Analvsis of Orchestra-ion of .

Concerto for the Left Hand for Piano and Orchestra

R vel was commission' to write the Concerto for the

Left hand for Piano ad Orches t ra for Paul Witt renstein ,the

concert pianist who lost his right hald in World War I. This

is a most unusual composition for the poiano and extremely

di ficult.

The openi g section of the Concerto for te Left Hand

for Piano ad Orchestra las the unusu timbre of a contra

bassoon solo, double bass Alberti bass, and cello and double

bass sustained CCOmpirt The ra ange of the opening is

one of extremely low writing, made so by such low chords, the

unusual Alberti bass and a solo on the lowest instrument of

the orchestra.

The iano enters at section four with a long and extreme-

ly difficult cadenza.

In section seven the truUpet and horns execute double-

tonguing passages.

129

The second violins in section ten are divided and per-

form glissandi a fifth apart encompassing three octaves, and

then in eleven the violin performs a glissando to a harmonic.

At section fourteen the strings have quarter notes being

played with staccato eighth notes in the other instruments,

but the effect is similar in all of the instruments, because

the striged instruments sound the tones pizzicato. At section

eighteen the horns appear muted, and then after twenty-three

their timbre is changed to stopped horns.

There appears a flutter-tongued passage in the flute

parts at section twenty.

In section twenty-four the piano executes a trill to

ihich is added the first violin;then the piano is omitted and

tro horns, the first violins, the second violins, violas and

cellos perform the trill. After this the flute takes the

trill, and then the clarinet in A takes it.

At section thirty the first violins are divided into

three parts, and the second violins are divided into two parts.

The double basses are divided into three parts, and the first

and second violins and the basses play sustained harmonics.

The violas are divided into two parts: one it a pizzicato

part, and the other consists of an arpeggio of harmonics

sounded entirely on the C string. The cellos are divided into

tto parts: one is pizzicato chords, and the other consists of

an arpeggio of harmonics marked in the score to be on the G

string, but in reality is the series of harmonics playable

130

only on the C string thus appearing to be a case of a typo-

graphical error.

Section thirty-one is a muted trombone solo w ith snare

drm and pizzicato string accompaniment. Ravel at thirty-two

again uses the string sustained harmonics as accompaniment,

giving the rising sixteenth figures previously used on har-

monics in the viola and. cello to flute and clarinet.

At section thirty-four the violins are divided into

eight parts and in section thirty-five into six.

Ravel has a big climax building up to section fifty, a

piano cadenza, then another climax using the full orchestra

ends the composition.

Conclusion

Orchestration is an art and defies mathematical analysis,

The possibilities of orchestrating any one composition are

infinite. It would be impossible to sumiarize this thesis,

since it is a summary, out it is possible to restate the

highlights, giving a conception of Ravel's style. This is in-

sufficient to describe his over-all technic.

Ravel's style is typical of the French impressionistic

composers with the exception that Lavel extended the uses of

the instruments. The use of the strings on tonal patterns

rather than the melody, and the woodwinds on the melody is

characteristic of the style. The impressionistic composer

usually combined parts of different character, such as osti-

natos, with the melcdy in contrast to the contrapuntal style

of the classicists.

131

In transcribing a composition from the piano to the or-

chestra Ravel never transpos e, ocept in the case of trans-

posing instruments. He quite often ads sustained chordal

accompaniment in the orchestral version ad adds tremoli and

harmonics to the parts. He nearly always makes a greater

dogr a contrast in thc dynamics in the orchestral versions

than in the piano versions.

An unusual effect that Ravel uses is glissandi played by

four string instruments, each one starting on a different

atote. He makes extended use of tremoli in the instruments

that can perform in such a manner. Other devices that appear

in the stris 2re natural harmonics, artificial harmonics,

sul tasto tremolo, sul tasto glissandi, glissandi on harmonics,

portamenti, col legno, pizzicato, sul ponticello, finger tre-

moli, and slurs to harmonics. His harp parts contain consid-

erably more than the usual arpeggios and glissandi. He uses

the harp on chords, melodies, harmaonics, and rhythmic accom-

paniments.

Some unusual instruments that Pavel uses are the sarru-

sophone, ealiphone, and crotales(antique cymbals).

Ravel created what is considered really great orchestral

tonal color. The color tlat Ravel used could have been dif-

ferent, and wy 'he chose any particular in strurental combination

or coloring device for articular situation is the very es-

sence of his greatness.

3IBPLIOGRAPHY

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Boosey and Hilawkes, Pictures at an Exhibition, London, Booseyand Hawkes, 1942.

Collinson, Francis M., Orchestration for the Theatre, LondonJohn Lae and Company, 1941T

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