Orchestration is effective only when it is clear or definite. Conversely, it is not effective when the result is confused or vague. Clarity in orchestration results from positive (definite) organization of sounds and structures by means of certain types of control. Each of these types of control will be explained and illustrated. Following each explanation a study project will be outlined, to be used as a guide to experimentation.
The exercises written for completion of these projects need not be long. A few measures will suffice to try out each principle. The object is to do many exercises in order to achieve experimentation over the total range of basic technique.
Write the exercises in actual sound, in reduced score — with the woodwinds at the top, brass next to the top and percussion and strings placed at the bottom (woodwinds, brass, percussion, strings).
After you have written and heard your own example, search through the works of some of the master composers — particularly such recent composers as Bartók, Stravinsky, Hindemith
and Prokofiev — to see how they have applied the same technique.
Those with less experience in music writing may prefer to search out piano music to arrange as exercises. This is quite acceptable, but it should be kept in mind that it may take more time to search out a suitable example to arrange than to write a few measures directly adapted to the project. Also, it is more of an adventure to write your own original example. The simplest of diatonic harmony will suffice for testing out the various techniques.
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