Ravel Study - Part 1

Copyright 2009 Ron JonesRon Jones Productions, Inc.

All Rights Reserved

The Ravel Orchestral Study Group Los Angeles

MAURICE RAVEL Daphnis and hloe

Suites One and fwo

Study created and led by Ron Jones

Ravel Study Group Los Angeles

Study Notes

part 1

by Ron Jones

Welcome to the Ravel Orchestral Study Group Los Angeles

My name is Ron Jones. I am a professional composer with 40 years of professionalexperience composing, arranging and conducting all sorts of groups. The last 30years I have spent in Los Angeles scoring primarily TV and Film scores. I have felta deep desire ever since I was young to know how to create music like the greatcomposers we all know and love. In high school I ordered a copy of CoplandsAppalachian Spring and listened to it with my pocket score in hand. I wantedso much to know and understand how to create music I convinced my school to let me start taking college music theory and counterpoint classes. I wrote for everypossible group in my area such as choirs, bands, jazz groups, pep bands, and drum corps.

After college I wanted to come to Los Angeles to study with teachers that where thetop pros before returning to my Seattle home. That summer as I prepared to leavewith my wife Laree to attend the Dick Grove CAP program we went to see a film calledStar Wars. That shock my mind. I was amazed at what John Williams created for thescore. That score propelled me as I studied at Grove school. Before I graduated fromthe one-year CAP program I had scored part of an NBC movie and was composingunderscore for Hanna-Barbera under music director Hoyt Curtin.Though I had a great foundation, it was through working on hundreds of shows and then hearingthe Hollywood session orchestras play my cues that really taught me orchestration.

Even after all the work and many years I still feel there is much to learn and gaindeeper understanding both in composing and orchestration. I am always studyingscores and listening to all sorts of music. This has lead me to not only teach and lecturewhenever I can but to want to help create more of a community of learning andcommunications amongst the composers here in this very creative city.

The Ravel Orchestral Study Group is built on the purpose of people coming togetherto study great orchestral works in an open and down to earth way. Also, there is a great need due to the lack of specific, focused study of orchestration available. Onecan sit and study the orchestral literature without a group like this, but the humaninteraction and contact is both encouraging and motivating. One still must spenda lot of time over many years to really gain insight into orchestration and there isno easy short cut. This group is just, I hope a cool place with other like minded music,knowledge and creative thinking people who are also somewhere on that road. Ravelwho lived and composed in Paris at the beginning of the 20th century gained inspirationand encouragement from his friends and a wonderful atmosphere. I hope we can createsomething like that.

Welcome!

Ron Jones, leader

Our rst study will be the Dahpnis and Chloe orchestral Suites 1-2 by Maurice Ravel.

So you will need to get a copy of the score to study and a CD recording of these works.

We will be using the Dover edition of the Full Score.

Dover sells this study score for $17.95

I get my copies usually from www.sheetmusicplus.com

This is a great addition to your personal study scorecollection and a real must for you to be able to studythis orchestral masterwork.

Dahpnis and Chloe orchestral Suites 1-2 by Maurice Ravel

There are many recordings of Daphnis andChloe. I have several and have found theDeutsche Grammophone recording ofPierre Boulez conducting to be my favorite.Also it has La Valse by Ravel which we will be studying after Daphnis.

I would suggest getting a CD rather than payingfor an iTunes download. You will be tearing this sucker apart.

Stereo 447 057-2

Get these and start listening and tearing it apart. Always bring your score and a note book fortaking notes to each meeting.

MobileMe iDisk Help: Connecting to a MobileMe members Public folder

If you have a Mac or Windows computer, you can connect to a MobileMe members Public iDisk folder using a web browser. If you have a Mac, you can also connect to someones Public folder using Mac OS X.

After you connect, you can see, copy, and, depending on the access privileges chosen, add and remove les.

To connect to a MobileMe members Public folder, do one of the following:

From a Mac or Windows computer, open your web browser and type public.me.com/[MobileMeMemberName] in the browsers address eld. If youre asked for a name and password, type public in the Name eld, and then type the password in the Password eld.

If youre using Mac OS X version 10.4.11 or later, in the Finder choose Go > iDisk, and then choose Other Users Public Folder from the submenu. Type the member name of the person whose Public folder you want to open in the Member Name eld and then click Connect. If youre asked for a name and password, make sure public appears in the Name eld, and then type the password in the Password eld.

How to get course materials for the study group

All the course materials will be found at my intrinsync iDisk via your internet browser.

Follow the directions below.

The MobileMe member name= intrinsync

the password is= compgroup

Simply select the materials you need and drag them to your desktop or hard drive. This copys them to your computer.

Introduction to Maurice Ravel

Maurice Ravel was born in 1875 in the village of Ciboure in the beautiful Basque country of southern France. Joseph his fatherwas french but his family chose to be Swiss nationals. Josephwanted to be a concert pianist. He studied music as he grewup and attended Music Conservatory in Geneva. Joseph alsohad an equal gift for mechanics and invention and went onto become an engineer. He invented a gas powered enginewhich became the genesis of the automobile. Marie, RavelsMother was born and raised in Cibourne and instilled a deep love and appreciation in both Maurice and his younger brother,Edouard.

Everyday, upon returning from work, Joseph would play the piano lling the Ravel home with music.Young Maurice would stop whatever he was doing when his father played and come and listenwith his father. At seven, Maurice began to show signs of having a gift for music. So Joseph arrangedfor his son to begin to study the piano.

At age Fourteen, Ravel passed the addition and other musical requirements to be accepted as a studentat the National Conservatory of Music in Paris. Over time Maurice shifted from the goal of being aconcert pianist to focus on being a composer. Ravel had a solid foundation in music from these years oftraining and excelled in theory and ear training. He seemed to always have a streak of independencebuilt into his being. Overtime he began to demonstrate aspects of rebellion in his musical tastes andinterests. Ravels interest in the more revolutionary composers of the time created friction between the faculty and leadership of the Conservatory and himself.

Maurice looked outside the constraining system at school and found acceptance and support in thelarger world of art that was exploding all around him in Paris. He enjoyed the nightlife, the clubs and cafesof Paris. He had many friends and associates not only in music but in the other areas of the art andsocial scene. Ravel found this atmosphere highly stimulating to his music. He was friends with Debussy,Satie, Stravinsky and many other young artistic geniuses. Ravels personal traits and gifts and hisintellect was perfectly suited to the time and the city.

He composed rst for piano for which he created pieces that revolutionized the idiom. Ravel wasuent in creating all sorts of music for many instrumental and vocal congurations. Known for his in-novations, Ravels most lasting achievement is perhaps his high level of ability in the area of instru-mentation and orchestration. It is of signicance also that he considered composing and orchestration be separate acts in the process of creating a work. Ravels keen sense of rhythm has made all of hisSymphonic works to be turned into subjects for dance by ballet companies world-wide. Notable too,that his works composed for the Ballet have all become standards of great orchestral literature. He hasleft us with a rich and ingenious body of work that demonstrates his genius for mechanical invention, expressive and theatrical depth and mastery of the orchestra as few have achieved.

Recommended reading: Bolero-The Life of Maurice Ravel by Madeleine Goss Maurice Ravel by Gerald Lamer

About Daphnis and Chloe

Ravel composed Daphnis et Chloe (Symphonie Choregraphique) for ballet and orchestra between1909 and 1912. Commissioned by Serge Diaghilev for his Ballet Russe in Paris. The story is basedon Michel Folkines adaptation of a Longus Fable which takes place in mythical ancient Greece. Itsrst performance was given in Paris, June 18th, 1912 with Pierre Montreux conducting the orchestra.

Daphnis and Chloe followed the sensational works, The Firebird and Petrushka by young composer,Igor Stravinsky. These too where commissioned and produced by Diaghilev for the Ballet Russe. Thehighly scandalous performance of Stravinskys, Rite Of Spring which caused a riot followed Daphnisand Chloe a year later.

Ravel composed this work for ballet, orchestra and wordless chorus. The greatest attention to every detail was poured into the score as he created Daphnis and Chloe. He spent nearly a solid year juston the Bacchanale section near the end of the work. In his quest for perfection, Ravel found numerousways to improve and revise the score.

Though Daphnis and Chloe was acclaimed the nest French ballet and Ravels greatest masterpiece,it was not completely successful upon its initial performances. The ballet score and the two orchestralsuites derived from the work have attained over time the greatest success worldwide and belong to the standards of orchestral literature

How Ravel thought about studying and copying the worksof musical masters

Ravel taught that copying others works was of great value. He did not want young composers tolift scores literally. Instead, he felt that by studying the works of master composers one wouldlearn many aspects that would inspire and inform the composer helping to create something original and organically from him or herself. That the understanding one gains through study would not make the truly creative composer a rubber stamp, but that this knowledge would enhance and aid the young composers to express their ideas with newness. In other words, a creative composer can study Mozart and yet not copy Mozart. The creative composer will interpret and develop those ideas with new and innovative results. A composer who copies without reinter-peting something new is merely copying.

Good/Bad Right/Wrong in Orchestration and Artby Ron Jones

Before we dig into these great works it is worth dening value statements so we speakand learn with appreciation for a wide palette of possibilities. What do we mean whenwe say, Lets study Ravel because it is great orchestration? Does this mean all otherstyles and approaches are bad? Does this mean all of ones orchestration has to follow Ravels patterns to sound good? The answer is important and has various components to consider.

First, the simple answer to the question, Is Ravel the only way to sound right as you orchestrate?The answer is no.

There are many ways to do orchestration and many goals and shifting requirements. Sometimesyou need to create a muddy sound. Sometimes you need to express a harshness. Trying toapply Ravelian rules to all orchestration situations would not work. Art is Art. You as an artistcan do whatever you like with whatever you like at anytime. In Art there is no point to judginga work. It is what it is. So why study Ravel or any of the great masterworks to learn Goodtechniques and rules in the eld of orchestration?

The reason it to gain understanding from a master of this craft. When you listen to the masterworksyou hear the culmination and high plateau of musical achievement. It at out sounds great andby study one can learn ways to make things sound great. If you know how things work you canalways break the rules. If you do not know or understand how to make an orchestra sound greatat all you are doomed to an amateur less than competent capacity. Some rare individuals havein recent time made big careers in spite if their lack of understanding and ability. These sameuninformed artists typically employ orchestrators who do know how to handle an orchestra tomake there ideas a reality rather than a joke. In music as in anything you really are what you knowand what you can do.

What we are really seeking in this study is really to know and use optimal orchestral techniques.We want to know instrumentation and dynamic balance. We want to control color, intensity,expression and to shape with clarity and insight. Someone who knows nothing can create, but the chances of really greating something great is very low. Finally, you must have an informedtrained ear and brain so you can solve musical problems. Musical understanding will guide andshape your orchestration. To the extent that one blends all the forces and possibilities togetherwith what is uniquely inside of you as you create that is of most importance. Knowing the secretsthat the master orchestrators and composers developed and used is a very useful thing to have.

Orchestral Transparency and Plasticity: what the hell is this?and random thoughts and terms

There are a couple of terms you hear from time to time to disscussions of how a composer/orchestratorcreated an orchestration that is transparent? What is meant by this?

Websters Dictionary denitions:

Transparent-Clear enough to see through. Readily understood. Translucent.

Plastic (1) Capable of being molded (like clay). Pliable,maluable, adaptable.

Plastic (2) a synthetic or processed material that can be formed into ridgid objects or into lms or laments.__________________________________________

Pg.431. Orchestration by Walter Piston:

It goes without sayingThat The melody should not be overwhelmed in sound by its accompaniment. Skillfully managed, however, the accompaniment may be quite elaborate and still permit amelody played softly by one or two instruments to be perfectly heard. This is what is meant bytransparency in orchestral texture.

___________________________________________

Piere Boulez, Timbre and Composition

...I would underline that timbre, through composition, should intergrate itself totally with musical language in a multidimentional world where its specicity will be the measure of its importance.

_____________________________________________

Timbre-means Tone Color._______________________

Tessitura means the general lie of a vocal part, whether high or low in its average pitch.

---------------------------------------------------------------------------------------------------------------------Polyphony-Music that combines several simultanious voice-parts of individual design, in contrast tomonophonic music, which consists of a single melody, or homophonic music, which combines several voice-parts of similar, rhythmically identical design.

Harvard Dictionary of Music

INSTRUMENT TRANSPOSITIONS and RANGES

Ron Jones-Ravel Study Group

Transpositions

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Transpositions


Transpositions

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Transpositions

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.56J~9 So A-s irf Il ; I-fe--N 5'~J""''1 fW~d~~

REVERSE ENGINEERING: The hard way is the best way.

No one is forcing you to learn. No one is demanding you go beyond your current understandingof orchestration. I do not want to seem at all negative, but you will only get out what you are willingto put in. This rule is obvious in most areas of study and life. I want only a surgeon who has had manyyears of practice to operate on me. I do not want someone cutting into me that has little experience.The point is you really have to sit down and spend some long hours breaking things down. By reverseEngineering a score you open up everything and the score will teach you many deep lessons.From at least Haydns era the way you learned was by copying out each part my hand. Guess what?IT STILL IS!

So in addition to listening many times to a work both with a score in your hand and without, youreally must tear a score apart to gain the most from what it has to teach. I have put together areverse engineering form for your use. You can use it or not. Just make as many copies as you need. I suggest breaking down from transposed score to concert each separate section of the orchestra.Do the woodwinds all the way through a movement of the score. Then do all of the brass. Follow thatwith the percussion (and keyboards). Finally do the harp and strings. If there is a vocal group or choir do this last. You can do this while you are at a Starbucks or the beach. It is like being a copyist. Somuch of this process is more physical than mental. Just sit there and lay all the parts down on paper.It will be tedious and demand commitment. Do not try to kill yourself. It is like trying to get intoshape to run a race. Build up a little at a time. Gradually push yourself to be faster and nish more pagesper work session.

You will never nd time to do this, you must make time. Design your day so you have time to sit and concentrate. I know this is very tough, but know that there is no easy way to learn this. You might evenjustify not doing the reverse engineering by saying to yourself, I know all of this intellectually. Wellmaybe you are smart enough to know it intellectually. A runner may watch a race and say, yes I get it the fastest one wins. But that is very dierent than actually training to run the race and then actuallydoing it. So many smart people just miss the whole point by skipping through things. Never overestimateknowing something intellectually verses actual experience doing something. You need both to really getit into your being.

As a variation on Nikes slogan , Just Do It, I say, Just Do it and think it. Dont just think it. The brainhas evolved to chemically dissolve information it nds unimportant. Make knowing very physical andassign vital importance by doing it all the time. Then your brain will value it and make those skills availableand ready for action. The hard way is the best way. Maybe it is also the only way to really get it.

Ron Jones

See Reverse Engineering work sheet.

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Orchestral breakdown/reverse engineering Ron Jones Productions, Inc.

Composer '/lA c lZA--ue;..{.... Measures I to r ~

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Notes: '/. ) _ ~". {,A/C>c>}) VI ~ Page

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Orchestral breakdown/reverse engineering Ron Jones Productions, Inc. .., . ~ ---t o . . -

Score vf--G- {'(/bY; p?-, J .., Composer~~~'--=--'::...JlL,..


Scorej)t-G :r -I Composer 2-J~\....r Section/Part fA..) v-.J S Measures 2-") to ~L( Notes: Page

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Tricky Things-Daphnis and Chloe Suite 1 (Dover Score)

1. This is a transposed score. So to reverse engineer it detranspose it back to concert.

2. Piccolo sounds 8va higher than it is written on score.

3. Grande Flutes are normal C utes.

4. Flute in Sol is an Alto Flute in G. Transpose this down a perfect 4th.

5. Crazy Clarinets!

Use the blank Breakdown/Reverse Engineering form as a template.

Just make a batch of copies as you need them.

Keep a notebook with all your reverse engineering pages.

Refer to your notes as you compose and or orchestrate.

Get a copy of The Range and Transposition Guide for 250 Instrumentsby Robert Bornstien. A truely invaluable, quick reference for ndingthe ranges and transpositions of most instruments.

Get a copy of Instrumentation and Orchestration by Alfred Blatter.This is a solid up to date reference book for use as you orchestrate.

Import the CD audio of each Daphnis movement into ProTools orwhatever audio editing software you have. With score in hand cutup the audio by rehearsal sections. Then save these smaller chunksfor easy access and listening.


Page

Score___________________________ Composer________________________

Section/Part________________________ Measures_________to___________

Notes:

D

Everyone is dierent. We all have dierent brains, points of view, feelings and experiance.As you study look for the beautiful moments and not just the tools and mechanics oforchestration. Have a big slice of Aethetic Pie as you study. Yummy!

The ultimate experiance in Thinking and Learning occurs when out of the blueyou make a creative leap. All the sudden a new connection is made. This issomething wonderful and very powerful. May you have many leaps!

Another important layer of questions is contained in the Orchestral BreakdownForms. These questions help you focus on deeper, underlying structures of themusic. Print up a set of these three pages for each section you study and answeras best you can every question.

There is always a main point and a secondary element. This is in basic tearms,Melody and Accompaniment. Identify who is doing what and when.

This is an important tool to have, knowing how to load the Main Thing with TheOther Thing. That is possibly the core of orchestration. This exercise helps to raise awarenessand skill in this area. This is one tool you must have and use.

RJP Comp Group Orchestral Breakdown form Page 1.

Composition__________________ Composer______________

Section_________ Bars_______ to ________.

Overall style________________________________________

What emotion is being evoked in the music?

Who has the Main Thing?

Who has the Other Thing?

How does the construction of the melody help to evoke this compositions emotional componant?

Is the melody carried by one section or doubled by others? Is it in Unison? Is it in Octaves? Is itHamonized?

What about the tesatura the Melody is in. How does the tesatura help the Melody to stand out and Why?

RJP Comp Group Orchestral Breakdown p.2

What is happening in the accompanyment compositionally?

Who is carrying the Accompanyment and why does it work?

How does the tesatura in which the Accompanyment is placed help to support the Main Thing/Melody?Why?

Are the sections of the orchestra which carry the Accompanyment doubled or are they each doingtheir own thing? If so, Why?

Compositionally:

The Melody defines what scale? Tonality?

What is the Tempo?

Is there an overt, defined Rhythmic Pulse and or Groove? If so, What?

How does the accompanyment help to define the harmony?

How does the Accompanyment define the Rhythmic Pulse and or Groove?

Breakdown___________________

Section_______Bars_____to_______

THEMATIC MATERIALS

Music by

Copyright___________ Ron Jones (BMI)

Tpo=

RJP Comp Group-Breakdowns

Scales and Motifs

From__________________ _________________

SCALE or Scales

MOTIFS-Thematic material

A way to get into the FLOW of things

The mind has funny ways of looking atwork. Instead of saying I have to get some

pages done try moving some stones. Collect some stones, say three or so. Place

them to one side of where you work (Piano,table, computer area). When you nish a

page of reverse engineered score place onestone on the other side of your work area.When you have moved all the stones over

you are done or take a break and do it again.The brain nds moving stones easier than

complex pages of analysis to nish.

DAPHNIS AND CHLOE Suites I and II

A

Editor's Note Glossary

Contents

v .

Vl

Names of movements as listed on Boulez/Berlin Phil CD recording

Suite II

1 13 16

Lever duJour(!jvCJN hrcl~f Lwi) 69 Pantomime ( L-erlr) 108 .Danse Generale 07) ,q-,Jc~ &erlffi.,/r[ 144 ).

. J r/~e

From Dover score (C

Edi tor's Note Maurice Ravel (1875-1937) was already a composer of stature when approached by Sergei Diaghilev in

1909 to compose a ballet. The famous impresario of the Ballet Russe had already enlisted Mikhail Fokine to prepare a scenario and choreography based on the ancient Greek legend of Daphnisand Chloe by Longus. Fokine hoped for a score overflowing with "the resurrected music of Ancient Greece," and Diaghilev sched-.uled a premiere for the 1911 season in Paris. Ravel, w.ho had already shown interest in Greek themes in his vocal setting of Cing Melodies Populaires Grecques of 1906, accepted.

Knowledge of ancient Greek music had always been lacking, and an authentic score constructed from his-torical materials would have been impossible. Ravel, straddling Impressionism and Neoclassicism, reverted to his own imagination:

My intention was to compose a vast musical fresco in which I was less cOTlCerned with archaism than with faithfully repro-ducing the Greece of my dreams, which is very similar to that imagined and painted by the French artists at the end of the eighteenth century.

As was typical of his creative habits, Ravel allowed for a period of gestation, delaying work on the score until 19lO. The process was arduous, and by 1911 only three fragments were ready. These were released for concert performance and premiered at the Theatre du Chalet on April 2, 1911. Originally subtitled "Fragments Symphoniques," these three pieces would later come to be known as Suite 1.

Work resumed on the ballet, and Ravel made many changes to Fokine's story line, insisting that the cho-reography should follow the musical development. To emphasize this point, and perhaps assert himself over Fokine, the subtitle "Symphonie Choregraphique" was added to the score. Finally completed in April, 1912, the ballet was rushed into rehearsal and premiered under Pierre Monteux at the Theatre du Chalet on June 8, 1912.

Reviews of the production were disappointing, although Ravel's score was praised. "Ravel's art," wrote Emile Vuillermoz, "is astonishingly consolidated." Two more performances were given in 1912, and a small revival tour took place in 1913. When in London, Diaghilev omitted the chorus, angering Ravel and prompt-ing him to orchestrate an alternative version "sans choeur." Mter the 1913 season, Daphnis and Chloe disap-peared from the Ballet Russe's repertoire, sealing the final rift between the composer and impresario. That same year Ravel published the Suite II.

Like Bolero, the two concert suites from Daphnis and Chloe have enjoyed wider popularity in the concert halls than as ballets. Suites I and II are excerpted from the complete score, with the first comprising rehears-al numbers 70 through 130, and the second from 155 to the ending at 221.

From Dover score

Glossary a, all, to, in aeellmz, accelerando agill, agitlZ, agitato aillSi, thus, so on (m) mtimatll, becoming livelier mtiml, lively mtimtz, accelerando Ap/ltlUliee, Appendix assa, fairly altaqlle, attack (m) allJmmlmtl, broader all MOllO', a tempo alilns, other, Its all Ins, the

others atlmtl, before atI, with alJOir, have baglltfte, mallet beaucOllp, much bois, wood bouches, mouths ce, this, eeS, these cMa, rallentando changer m, change to, replace

with (winds), retune (timpani)

cbefs, first chairs cboeur, choir

commm~mtl, beginning, m commm~alll par, beginning with

corde, string COllrt, short d'abord, at first dmtse, dance Jaomttage, more de, of d&ul, beginning (m) dehors, prominently

dernin-e, last durin-e, behind, derrin-e Ia sci!le,

offstage doil, doivml, should dll, of the dllrmtl, throughout m, in, m 3, divisi in 3 meore, again, still mltotes, removed, mlwa,

remove pcmge, sponge d, and itoufJa, dampen flrr, be exicutiOllS, performances txpressij, expressive. fa, F famas, closed .!rapper, strike jeu ordinairr, jeu ord., j. ord., j. 0.,

ordinario, ord. jllSqll'a, jllSqll'/fIl, until, up to la, the . La, A, instrument in A laisser, allow langllellr, languor It, Its, the leger, light ligmmml, lightly; slightly Iml, slow, lento . libre, free 10m, far, distant lumin-e, light mail/ocbe, heavy mallet, bass-

drum beater mais, but milne, same mesurr, bar, meter mdta, attach

mi, E modil'l, moderato 1IIOi1lS, less 1II0001er, raise, retune 1110110', tempo, mow du dlbut,

tempo primo lie, not orcbeslre, orchestra ote:z, remove OII0trles, open par, by; par pllpilrr, one desk at

. a time' (m se) pertlalll, disappearing pesalll, heaVily PeU, little, 1111 peu, a little, peu a

peu, gradually pillS, more poillle, point, tip pos. nat., ord posies, in place pOllr, for, in order to prtcMmle, preceding prrndrr, take prmez, take, change to pro, near pnsque, almost (m) pnssanl, pressa, stringendo progmsioemml, steadily Pllis, then pllpilrr, desk, stand ralmti, ralmlissa, rallentando rapide, quick (m se) rapprocballl, coming

nearer rl, D, D string rrnversa, reverse rtflaraisSmtI, reappearing rlplique, cue ritablissa, restore, retune

rdmll, rrtma, meno mosso rroma, return rwlt, harsh, violent saliS, without

SCtH~ stage slloigHmtI, becoming more

distant seroira de, will serve as seult, alone si, B SiIlOll, other:wise sol, G, G string sOllnallirel, unstopped, ord. sOllple, supple, flexible sOlirdme, muted SOlltmu, sustained sllbil, subito; sudden suwa, follow sur, on temps, beat Iomber, fall loll, tone, II, 1011, semitone, loll

de La, instrument in A loucbe, fingerboard toujours, always, steadily lollS, 1000Ie, Ioliles, all Ins, very l1li, ulle, a, lIIIe a IlHe, one by

one lillis, in unison III, C, C string utiliser, use oibrrr, vibrate, ring oi{, lively vile, fast lJOir, see

From Dover score

Instrulllentation Piccolo-Petite Flute

2 Flutes-Grandes Flutes Flute in G-Flute en Sol

2 Oboes-Hautbois English Horn-Cor Anglais

Eb Clarinet-Petite Clarinette en Mib 2 Clarinets in A, Bb-Clarinettes en La, Sib

Bass Clarinet-Clarinette Basses en Sib 3 Bassoons-Bassons

Contrabassoon-Contrebasson

4 Horns.in F-Cors Chromatique en Fa 4 Trumpets in C-Trompettes en Ut

3 Trombones-Trombones Tuba

Timpani-Timbales

Tam-Tam Wind Machine-Eoliphone

Triangle Bass Drum-Grosse-Caisse

Cymbals-Cymbales Field Drum-Tambour

Tambourine-Tambour de Basque Celesta-Celesta

Crotales Glockenspiel-Jeu de Timbres

2 Harps- Harpes

Wordless Choir* Soprano

Contralto Tenor Bass

Violins (I and 11)-Violons Violas-Altos

Cellos-Violoncelles Basses-Contrebasses

*Orchestral parts contain Ravel's instrumeocal alternatives to the chorallioes.

Recommended Reading List p.1

Reference:

Range & Transposition Guide to 250 Musical Instruments Compiled and Edited by Robert Bornstein

Instrumentation and Orchestration by Alfred Blatter

Harp Scoring By Stanley Chaloupka

Range Finder for the Percussion Seeker: A list of Six Hundered and Fifty Percussion Instruments with their ranges by Emil Richards

Standardized Chord Notation by Carl Brant and Clinton Roemer

Orchestral Combinations: The Science and Art of Instrumental Tone-Color by Gardner Read

Thesaurus Of Orchestral Devices by Gardner Read

The Complete Arranger By Sammy Nestico

Advanced Techniques for Film Scoring (Book and CD) (Paperback) Earle Hagen

THE CARROLL KNUDSON CLICK TRACK BOOK (Out of Print, but there are some books that have similar info)

On the Track: A Guide to Contemporary Film Scoring, Second Edition (Paperback) by Fred Karlin

Contemporay Instrumental Techniques By Garner Read

Music Notation: A manual of Modern Practice by Gardner Read

Modern Music Notation by Garner Read

Arranging Concepts by Dick Grove (Any book by Dick Grove will prove invalualble)

Jazz Composition Theory and Practice by Ted Pease

Arranging for Large Jazz Ensemble by Dick Lowell and Ken Pullig

A Chromatic Approach to Jazz Harmony and Melody by David Liebman

Beyond Functional Harmony by Wayne J. Naus

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Recommended Reading List p.2

Orchestration-An Anthology of Writings Edited by Paul Mathews

Orchestration by Walter Piston

The Study of Orchestration by Samuel Adler

The Oxford Companion to Musical Instruments by Anthony Bains

Anatomy of The Orchestra by Norman Del Mar

Principles of Orchestration by Nikolay Rimsky-Korsakov

Ravel Study - Part 1

Documents

Transcript of Ravel Study - Part 1