1. Writing For Woodwinds Things to Think About…

2. Woodwinds  Think about the numbers you are writing for - what is the general make-up of a school band?  ALWAYS- think about the sound you would like to produce - All voices equal? Choir vs. Choir, lead voice over back ups? Think about dynamic contour and instrument color….  Think about the numbers you are writing for - what is the general make-up of a school band?  ALWAYS- think about the sound you would like to produce - All voices equal? Choir vs. Choir, lead voice over back ups? Think about dynamic contour and instrument color….

3. Woodwinds  Execution…  Can they play effectively at your tempo?  Can they play effectively at your dynamic?  Can they play the full line as marked? How does AIR factor in?  Can they execute the articulations (think about instrument characteristics)  Execution…  Can they play effectively at your tempo?  Can they play effectively at your dynamic?  Can they play the full line as marked? How does AIR factor in?  Can they execute the articulations (think about instrument characteristics)

4. Voicing  Alto Clarinet? Double either 3rd clarinet or Bass Depending on Voice strength  Clarinet Parts are usually split 3 ways  Saxophones are Flexible - either used as a Choir, as a sonority strengthener, as rhythmic background, Soloists, inner harmony  Alto Clarinet? Double either 3rd clarinet or Bass Depending on Voice strength  Clarinet Parts are usually split 3 ways  Saxophones are Flexible - either used as a Choir, as a sonority strengthener, as rhythmic background, Soloists, inner harmony

5. Voicing  Melody may be doubled in octaves  Avoid doubling the bass line above its original Pitch  Exception - more than an octave between the bass line and the next highest voice…  Melody may be doubled in octaves  Avoid doubling the bass line above its original Pitch  Exception - more than an octave between the bass line and the next highest voice…

6. Voicing  Think about using the double reed quartet: 2 oboes, 2 bassoons  May be used as a quartet in light passages - Its all about the color you want.  Lighter passages - Flute can carry the melody in the upper register  Think if your tutti passages are balanced, top heavy, or bottom heavy  Think about using the double reed quartet: 2 oboes, 2 bassoons  May be used as a quartet in light passages - Its all about the color you want.  Lighter passages - Flute can carry the melody in the upper register  Think if your tutti passages are balanced, top heavy, or bottom heavy

7. Voicing  Put largest Vertical intervals the lower the octave - Think Harmonic Series and Clarity  Close vertical space in the lower octave creates a muddy sound  Space voices evenly in the upper register and avoid large gaps.  Exception - octave between two top melodic voices  Chords should be voiced as completely as possible in each section  Put largest Vertical intervals the lower the octave - Think Harmonic Series and Clarity  Close vertical space in the lower octave creates a muddy sound  Space voices evenly in the upper register and avoid large gaps.  Exception - octave between two top melodic voices  Chords should be voiced as completely as possible in each section

8. Voice Leading/Re-voicing  Sometimes voice parts need to be shifted around due to range considerations. Ex. - a tenor/bass combination  Avoid awkward skips ( see ex no. 2 page 40)  Watch for Excessive Doubling of 3rds  Think about how you want to split voices or condense. 5 parts for 4 players? 7 parts for 12 players?  Sometimes voice parts need to be shifted around due to range considerations. Ex. - a tenor/bass combination  Avoid awkward skips ( see ex no. 2 page 40)  Watch for Excessive Doubling of 3rds  Think about how you want to split voices or condense. 5 parts for 4 players? 7 parts for 12 players?

9. Now Let’s Look at Some Scores…  Irish Tune  Dvorak Serenade  Strauss - Suite in B flat  Beethoven - Octet  Jacob - Old Wine In New Bottles  Irish Tune  Dvorak Serenade  Strauss - Suite in B flat  Beethoven - Octet  Jacob - Old Wine In New Bottles

10. Woodwind Project  Recording - March 11th  Instrumentation - 2 Flute, 2 Oboe, 2 B flat Clarinet, 1Bass Clarinet, 1 Bassoon, 1 alto sax, 1 tenor sax, 1 bari sax - Recruit PLAYERS! Sign up on my door.  Stay close to 2 mins if possible. This project can be closer to Transcription.  Lab Day Next Week  Woodwind Quiz - Next Week  Recording - March 11th  Instrumentation - 2 Flute, 2 Oboe, 2 B flat Clarinet, 1Bass Clarinet, 1 Bassoon, 1 alto sax, 1 tenor sax, 1 bari sax - Recruit PLAYERS! Sign up on my door.  Stay close to 2 mins if possible. This project can be closer to Transcription.  Lab Day Next Week  Woodwind Quiz - Next Week