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McKay, Creative Orchestration

George Frederick McKay · section 29 of 111

Instrumental motion

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Do not take the supposed incapabilities of players and instruments too seriously. Challenge players with stimulating musical designs. Not all the instruments can play melody or long sustained tones, but all of them can be set into subtle or dramatic motion, and most players will respond with enthusiasm when given something to play which is alive and original in its motor action. Such "liveliness" is more a matter of imaginative pattern than of mere elaboration and complexity. Effective design should be the aim. Although vigor of motion and adroit rapidity will always stir a response, do not depend too much upon them. Simplicity and repose are also tonal virtues.

Basic types of instrumental motion are illustrated in the following examples. The expansion, development and combination of these elements will furnish an inexhaustible resource for the creation of orchestral patterns.

(a) the trill:
Fig. 98 · Play this example in the reader ▶
(b) the tremolo:
Fig. 99 · Play this example in the reader ▶
(c) reiterated staccato:
Fig. 100 · Play this example in the reader ▶
(d) staccato arpeggiation:
Fig. 101 · Play this example in the reader ▶
(e) legato arpeggiation:
Fig. 102 · Play this example in the reader ▶
(f) the run:
Fig. 103 · Play this example in the reader ▶
(g) wave pattern: (staccato) or (legato)
Fig. 104 · Play this example in the reader ▶
(h) reiterated rhythmic pattern:
Fig. 105 · Play this example in the reader ▶
(i) leaps:
Fig. 106 · Play this example in the reader ▶
(j) alternation of entrance:
Fig. 107 · Play this example in the reader ▶
(k) alternation of staccato and legato:
Fig. 108 · Play this example in the reader ▶
(l) expansion: (Strings) — A trill harmonically expanded
Fig. 109 · Play this example in the reader ▶
(m) development: (Woodwinds) — Development of legato arpeggiation
Fig. 110 · Play this example in the reader ▶
(n) combination: Moderato, (Brass), f marcato — Combination of the run, repeated rhythmic pattern, and alternation of entrance
Fig. 111 · Play this example in the reader ▶

Much of the glamor and individuality of the music of outstanding orchestrators comes from invention of patterns which seem fresh and attractive but which are derived from types of motion that are natural and typical. Fully developed knowledge in orchestral techniques requires much experience. Study various orchestral scores to see how the elements of design have been transformed into new and original patterns. Take advantage of every possible opportunity to hear orchestral music in rehearsal. Analyze the relation of instrumental motion to listening experience, and whenever possible discuss, with players, orchestral parts you have written for them. To know, experience; to learn, do.

Photograph (no printed caption): the conductor before the violin section, a marble statue on a pedestal behind the players.
Fig. 112 · See it in the reader