QcCowboy

LESSON 2 Important Note

Because an instrument CAN play something in theory, does not mean that you must have it do so.

Remember that the art of orchestration is that of rendering the best possible result, the most satisfying blend of instruments at hand.

Just because you know a horn player who tells you "well, I can play a high E above the staff", that does not give you carte blanche to do so.

Extreme ranges on ALL instruments should be used ONLY when you fully understand the diffficulty of doing so.

Part of the problem with becoming accustomed to using extreme ranges is that the young orchestrator tends to consider them "normal" parts of the instrumental arsenal, and over-uses them.

I have seen symphonies by certain young composers where the horns were expected to play continuously above the staff. This was justified by the composer using the above-quoted comment.

This is not successful orchestration.

Write FOR the instrument, not against it. Difficulty for difficulty's sake is not going to give the best result. Nor is difficulty brought about through ignorance.

Remember also that the "ideal" range of each instrument contains its most usable notes, notes that will blend best, will carry well, and will be characteristic of that instrument's timbre.

If you go to meet an instrumentalist, don't fixate on "what's the highest note you can play".
When you have the good fortune of having a musician demonstrate their instrument for you, ask them about ALL of the ranges.
Ask them to play excerpts from pieces within those ranges. Don't just ask the musician to "play the highest note". Out of context you will actually know LESS about that highest note than if you heard it within a musical phrase as written by a composer.