Ravel Menuet (extended version)

Hi to all,

This week I decided to revise and extend my orchestration of Ravel's piano menuet in C# minor.

The original is very short, and I thought a longer orchestration would work better.

Haven't put the slurs in yet, as it's still a work in progress.

Hope you enjoy!

(P.S. If anyone knows an orchestra who might like to perform this, do let me know! I have several other companion works that would go nicely with it.)

Menuet in C sharp minor (Ravel orchestration) #18 (score) #5.pdf

Edited Thursday at 06:53 PM1 day by Alex Weidmann

It seems very well orchestrated. Not over orchestrated and much clearity. Nice work. May I ask. How long have you been orchestrating for?
I am also practicing orchestration but recently took it more serious.

My only critique would perhaps be to use more extended techniques maybe? Like harmonics, Divisi, Mutes, Double stops and triple stops etc, play more around with textures maybe. But it's not really necessary. it's really good as is.

Edited Thursday at 05:42 PM2 days by Bjarke

13 minutes ago, Bjarke said:

It seems very well orchestrated. Not over orchestrated and much clearity. Nice work. May I ask. How long have you been orchestrating for?

About 3 years or so, on and off.

Started with my own works; but in the last few months I began orchestrating lesser known pieces by famous composers.

On 4/16/2026 at 6:37 PM, Bjarke said:

My only critique would perhaps be to use more extended techniques maybe? Like harmonics, Divisi, Mutes, Double stops and triple stops etc, play more around with textures maybe. But it's not really necessary. it's really good as is.

I have used all these extended techniques in other works; but I'm not sure they'd be appropriate here?

Is there anywhere in particular I might use them?

I did consider using harp glissandi.

Think they would work in this piece; but I'm not sure they'd be an improvement? More likely they would make the music worse rather than better.

Edited 22 hours ago22 hr by Alex Weidmann

This is a good attempt! Some thoughts:

• Probably just omit the piccolo and have a 2nd flute player double 29-32 with the 1st flute...or just omit the 2nd flute/piccolo all together

• Same thing with the 2nd clarinet. I would have 2 players, with the 2nd doubling on Bb and bass clarinet.

• Quirky (mostly unusual) thing I noticed is that you have the 2nd instrument plays higher range/melodic material than the first. For example Trumpet 2 plays the melody (with the higher range) in measure 14-20. Same thing in clarinets and bassoons around measure 33. Nothing wrong with it...just unusual.

• Brass scoring a little awkward. I personally would take out trombones and tuba, and maybe the 2nd trumpet away as well. I would've had both horns play the parts you have for Horn 2 and Trumpet 1, with the melody solely with 1 trumpet player in measure 14 onward

• Not a fan of the glockenspiel in bar 14. I think that counter-line can be played better with the harp and oboe combination instead of the harp doubling the trumpet

• Nit-picky, but I would also have the basses do a pizzicato in 11 and 13. I would also have the cellos do pizzicato in measure 14 until the pickup to 18. I personally would also double the cello line octave lower in the bass to broaden the depth of sound (this is probably not written in the original score, but would be a nice orchestration effect).

• The material reoccurring in 21 can be scored differently than what came before in 10. I would have the melody in maybe oboe or English horn...or maybe French horn, with the harmony in clarinet, bassoon and/or horns.

• The bassoon doubling at bar 30 seems a bit much, maybe divide in octaves? I would not have bass clarinet playing there.

• I would also have the harp strum out the chords (or arpeggiate them somehow) the last couple of bars

• Scoring in general from 28-31 is a bit awkward

In general, I think more care to the dynamic markings might also be good. I think I know why you did them (probably because of the audio mockup)...but just looks odd when there randomly fff in the passage where I think its suppose to be just f or mf.

I also disagree about the use of "extended techniques" in this piece. The most I would do is maybe have the strings muted.