Orchestration and Instrumentation Flashcards
6 cards from real BM or BMus Bachelor of Music practice questions. Tap to flip, then mark Knew It or Still Learning — missed cards come back until you master them.
Read the first 6 Orchestration and Instrumentation flashcards as text
An orchestrator is writing a passage for harp that requires a fast, sweeping sound across a specific set of pitches not belonging to a single standard diatonic scale. Which of the following is the most appropriate and idiomatic way to notate this effect?
Answer: Provide a pedal diagram or written pedal settings for the desired pitches and then use a standard glissando notation (wavy line) between the start and end notes.
The harp's pedals allow it to be pre-set to a specific collection of seven pitches per octave. A glissando will then sound only those pitches. The most effective and standard way to communicate a specific, non-diatonic pitch collection for a glissando is to provide the harpist with the required pedal settings either through a diagram or text (e.g., D♭ C♮ E♭ F♯ G♮ A♭ B♯). Once the pedals are set, a simple glissando line is all that is needed.
A composer wants to create a special string effect characterized by a glassy, ethereal, and overtone-rich sound. The instruction is to bow the string very close to the bridge. What is the correct Italian term for this technique?
Answer: sul ponticello
'Sul ponticello' is the Italian term meaning 'on the bridge.' Playing with the bow very close to the bridge restricts the fundamental frequency of the string's vibration and emphasizes the higher, more dissonant overtones, creating a characteristic glassy or metallic sound. 'Col legno' means to use the wood of the bow, 'sul tasto' means to play over the fingerboard (creating a softer sound), and 'pizzicato' is plucking the string.
A concert band score has a part written for Alto Saxophone in E♭. If the written note in the saxophone part is a G4 (the G above middle C), what is the sounding concert pitch?
Answer: E♭3
The Alto Saxophone is an E♭ transposing instrument, meaning a written C sounds as an E♭ a major sixth lower. Therefore, to find the concert pitch, one must transpose the written note down a major sixth. A major sixth below the written G4 is E♭3.
In the context of orchestral percussion, which of the following pairs correctly categorizes one idiophone and one membranophone?
Answer: Marimba and Bass Drum
Percussion instruments are broadly classified by how they produce sound. Idiophones produce sound through the vibration of their own body (e.g., marimba, xylophone, cymbals, triangle). Membranophones produce sound through the vibration of a stretched membrane or skin (e.g., bass drum, timpani, snare drum). The Marimba is an idiophone, and the Bass Drum is a membranophone.
A composer doubles a flute melody with a clarinet in unison to achieve a new composite timbre. This is an example of what kind of orchestration technique?
Answer: Unlike Doubling
Unlike doubling involves pairing instruments from different instrumental families or subsections to create a new, blended tone color. The flute (woodwind, no reed) and the clarinet (woodwind, single reed) have distinct timbres, and combining them in unison creates a hybrid sound. Like doubling would involve instruments from the same subsection (e.g., two flutes, or violin and viola).
When arranging for a brass section, a composer wants the trumpet to produce a quiet, dark, and subdued tone, often described as 'covered.' Which mute would be the most appropriate choice to achieve this effect?
Answer: Bucket Mute
The bucket mute (or velvetone) is filled with absorbent material and attaches to the outside of the bell. This design significantly dampens the sound, resulting in a soft, dark, and 'covered' tone, often compared to the sound of a French horn. A straight mute is brighter and more piercing, a cup mute is more subdued than a straight but not as dark as a bucket, and a Harmon mute produces a buzzy, metallic sound with the stem out.