Workbook Answer Key for

The Study of
Orchestration
Fourth Edition
Workbook Answer Key for
The Study of
Orchestration
Fourth Edition

Samuel Adler
Professor Emeritus, Eastman School of Music of the University of Rochester
Composition Faculty, Juilliard School of Music

B
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Contents

Preface vii
Test Yourself I: Strings 1
Worksheet 1: Clefs 2
Worksheet 2: Bowings 6
Worksheet 3: String Harmonics 7
Listen and Score 1–9 8
Worksheet 5: Harp 13
Test Yourself II: Woodwinds 14
Worksheet 7: Woodwind Transposition 15
Listen and Score 10–18 18
Test Yourself III: Brass 24
Worksheet 11: Brass Transposition 25
Listen and Score 19–26 27
Test Yourself IV: Percussion and Keyboard 34
Worksheet 22: Reducing a Full Orchestral Score to a Piano Score 36
Listen and Score 27–34 39

v
Preface

In this answer key, you’ll find solutions to the exercises that appear in the workbook that accompanies
The Study of Orchestration. The workbook features a range of exercises, including:
• Test Yourself activities, which gauge students’ comprehension of key concepts from the text.
• Worksheets, which provide opportunities to practice orchestrating. With this new edition, I’ve
added many new examples to be orchestrated. Quite a few of these examples are lengthy and can be
divided into several assignments if necessary. I have selected excerpts that lend themselves to discus-
sion about the advantages and disadvantages of particular orchestrations.
• Listen and Score activities, which ask students to identify instrumentation aurally and notate it. I’ve
also expanded the number of listen and score exercises. I urge instructors to assign as many of these
exercises as possible, since they are very useful for training students’ ears.
In addition to the answers to workbook exercises, this volume also includes two sample semester
plans, one for a single-term course and one for a yearlong course. I hope that instructors will find these
materials useful in designing their orchestration classes.

Samuel Adler
March 2016

vii
Plan for a Single-Term Orchestration
Course

I suggest organizing a single-term orchestration course as follows. Some instructors may prefer to begin
with woodwinds or brass rather than strings. The plan below assumes that the class meets twice each
week over thirteen weeks.
Week 1
Pre-assign Chapter 1 before the first class.
Session 1: Violin and viola (Chapter 3).
Session 2: Vibrato, glissando-portamento, and the various uses of the bow (Chapter 2).
Week 2
Session 1: Trills and coloristic effects without the bow plus the use of the mute (Chapter 2).
Session 2: Cello and double bass (showing how the concepts previously studied also apply to these
string instruments, Chapter 3).
Week 3
Session 1: Study harmonics (natural harmonics and “touch-4th” harmonics) for all the string
instruments (Chapter 2).
Session 2: Review Chapters 2 and 3 and discuss any remaining workbook assignments.
Week 4
Sessions 1 and 2: Ask each student to arrange two to three exercises for strings. Perform as many of
these as possible. Also, listen to examples in the text as well as passages from “additional passages”
discussed in the book (Chapter 5).
Week 5
Session 1: Continue scoring for strings and add discussion of the harp (Chapters 4–5).
Session 2: Introduce the woodwind choir, skipping the subject of transposition (Chapter 6).
Week 6
Session 1: The flute and oboe families (Chapter 7).
Session 2: The clarinet family and transposition (Chapters 6–7).
Week 7
Session 1: The bassoon family plus any remaining topics concerning woodwinds (Chapter 7).
Session 2: Assign exercises for scoring for winds and strings and listen to as many examples from the
book as possible (Chapter 8).
Week 8
Session 1: Listen to as many examples arranged by the students as possible. Use a string quintet if a
string orchestra is not available. Continue listening to examples from the book.
Session 2: Introduce brass instruments, skipping mutes (Chapter 9).
Week 9
Session 1: Horn and trumpet, including tonguing, ranges, mutes, and transposition (Chapters 9–10).
Session 2: Trombone and tuba families (Chapters 9 and 10).
Week 10
Sessions 1 and 2: Writing exercises for strings, winds, and brass.
Week 11
Session 1: Percussion. Watch videos or include live demonstrations of as many instruments as possible
(Chapter 12).
Session 2: The piano as an orchestral instrument; assign as many orchestration exercises as possible
(Chapters 13–14).
ix
Weeks 12–13
Listen to as much orchestral music as possible and analyze and perhaps reduce some scores. If possible,
during the final week there should be a reading of a full orchestral score by each of the students.
Discuss the preparation of scores (Chapter 18).
Other suggestions:
1. A
 lways assign the parts of the chapter to be discussed in class ahead of the session so that the student
will be somewhat acquainted with the subject. At the same time, encourage the student to listen to as
many examples in that chapter as possible.
2. C
 hapter 19 is of great importance, especially since band and wind ensembles are such an integral part
of our musical scene and the repertory is so very important. Therefore, I suggest that examples from
Chapter 19 be assigned as soon as the wind and brass chapters have been covered.
3. P
 lay as much music in class as possible. Live demonstrations are ideal, but the recordings are also
very helpful.

x
Plan for a Yearlong Orchestration Course

A yearlong orchestration course is the ideal. Here is my suggestion for organizing a 28-week course.
Week 1
Pre-assign Chapter 1 before the first class.
The violin: Construction, tuning, fingering including double stops. The bow and bowing: pizzicato,
muting, scordatura and harmonics (Chapters 2–3).
Week 2
The viola: Use the same formula as the violin so that after the tuning, fingering, and construction of the
viola, there is an opportunity to review all the bowing techniques and other subjects that are similar
or the same on both violin and viola (Chapters 2–3).
Week 3
The cello and the double bass: Since more successful harmonics can be used on these instruments, this is
a good place to explore the topic in depth (Chapters 2–3).
All the exercises in the workbook pertaining to individual string instruments should be assigned and
completed at the end of these three weeks.
Weeks 4–6
Scoring for strings with lots of performances and listening to the examples provided in the book. Assign
Worksheets and Listen and Score exercises in the workbook and the Listen and Score works. Discuss
transcribing from piano to strings (Chapter 5).
Week 7
Discuss the woodwind section of the orchestra and introduce transposition (Chapter 6).
Weeks 8–9
Introduce each woodwind instrument separately, making sure to demonstrate each one in class. If
players are not available, use the videos provided with the text. Try to get as many of the auxiliary
instruments for each section into live presentations. Keep discussing transposition and assign
Worksheets and Listen and Score exercises (Chapter 7).
Weeks 10–11
Scoring for winds and strings: Listen to student exercises in class and also listen and analyze the
examples in the book as well as some of the additional passages for study suggested in the text
(Chapter 8).
Weeks 12–14
Introduce and demonstrate all the brass instruments. Once again, assign as many exercises from the
workbook, including listen and score activities. Use the study of brass instruments again to practice
transpositions since that subject is often difficult to understand and apply, especially for students who
play non-transposing instruments (Chapters 9–10).
Week 15
Assign and perform orchestrations for brass, as well as brass combined with strings and winds
(Chapter 11).
Weeks 16–17
Discuss and demonstrate as many percussion instruments as possible. The provided videos should
help a great deal if some of the instruments are not available in your school. Assign and perform
workbook exercises (Chapter 12).
Weeks 18–20
Continue with percussion, and introduce plucked strings and keyboard instruments, paying special
attention to the harp (Chapters 4, 12–13).

xi
Weeks 21–24
These weeks should be devoted to orchestration rather than instrumentation, and as much time as
possible should be spent on score study and listening. The orchestra as accompanist can be discussed
here as well as choral ranges (Chapters 15–17).
Weeks 25–26
Explore writing for band. Listen to as many examples in the book as possible and write transcriptions
for band as assignments. Some of the exercises provided in the workbook to be transcribed for
orchestra should be used to transcribe for band (Chapter 19).
Weeks 27–28
Discuss preparation of score and parts and then review any remaining questions. Arrange for a band or
orchestra to perform student projects (Chapter 18).

xii
Workbook Answer Key for
The Study of
Orchestration
Fourth Edition
 Test Yourself I    1

TEST YOURSELF I 6. G string

7. Retuning the string of an instrument. On the
Strings violin: G-D-A-Eb
1. a. violin: G D A E 8. When what is played by the third finger in first po-
b. viola: C G D A sition is played by the first finger in third position.
c. cello: C G D A For example, in first position on the G string,
d. double bass: E A D G the first, second, third, and fourth fingers play
A-B-C-D, respectively; in third position on the G
2. Play passage on the D string only.
string these fingers play C-D-E-F.
3. G string
9. Two pitches that sound simultaneously.
4. G string
10. The notes of each double stop cannot be played on
5. D string adjacent strings.
11.
$GDJLR

9OQ &

9OQ &

9OD % &

9OF
" &

'%
" &

12. a. f rog: the lowest end of the bow, where the hand 15. Plucking the string instead of using the bow.
holds it.
16. One of the left-hand fingers plucks the string. It is
b. heel: the same as the frog.
indicated by a “1” over the pitch to be plucked.
c. tip: the point or upper end of the bow (furthest
away from the hand. 17. Con sordino
d. downbow sign: ≥  upbow sign: ≤
18. Senza sordino
13. A slight, expressive slide, sometimes unintention-
19. Touching a string lightly at a node on the string,
ally caused by position changes.
which produces an upper partial. For instance,
14. Glissando is an intentional slide that is notated touching the string halfway between the neck and
in the music and is played with a full volume of the bridge pro a pitch an octave higher than the
sound. open string.
20.
I
( ) IV IV
Vln. Vla. Vlc. D.B. III
? ?
( ) ( )
B
( )
& ( ) ( ) ( )&
( )
II
2    Workbook Answer Key

21. A harmonic that is produced by stopping the string at a particular pitch and then touching it lightly with
another finger at a node, usually a 4th higher.
22.
Vln. Vla. Vcl. ( )
?
( ) ( ) ( ) ( ) ( )
B
( )
&
( ) ( )

23. A violin stops the pitch with the first finger, then touches the node a 4th above with the fourth finger. The cello
stops the pitch with the thumb then touches the node a 4th above, usually with the third (or fourth) finger.
24. The overtone series.
25. a. b. c.

&

WORKSHEET 1

Clefs

1.
1
? c
3

B c
3

3
?
3 3

B
3
3
 Worksheet 1    3

2.
1
B 6
8

? 6
8
B

5
B

B ? B

3.
1
B C

B C
6
B

4.
1
Bc

&c
5 Ÿ~~
B
Ÿ~~
&
10
B

&
4    Workbook Answer Key

5. There are, of course, other bowing possibilities, but this one is a plausible one. (Similarly for Ex. 6–8.)
Quite slowly
1
3
& 4

B 3
4
6

&

6.
1 Andante con moto

B 68

? 68 B

6
B

B ? B

7.
1 Quietly moving

B 3
4
3
& 4
5
B

&
9
B

&
 Worksheet 1    5

8.
1 Slowly

& c

B c
6
2 c
& 4

B 2
4 c

9.
a.
1
B 4
Original 4

Transcription
B 4
4

4 B
& 4

5
B

b.
1
4
Original & 4

B 4
Transcription 4

B 4
4
6    Workbook Answer Key

&

B
7

&

WORKSHEET 2

Bowing

1. Since several different variations in bowing are acceptable here we do not provide any one version.
2.
Largo
? 3 sim.
a. Vlc. 4
? 3 sim.
b. 4
? 3 sim.
c. 4

3.
Andante sostenuto
1
3
a. Vln. & 4

&
 Worksheet 3    7

Andante sostenuto
1
3
b. Vln. & 4

&

4.

B 4
a. Vla. 4 3 3 3
&

B 4
b. 4 3 3 3
&

5.
1. d 6. r 11. i 16. p
2. a 7. t 12. f 17. k
3. b 8. q 13. o 18. m
4. g 9. c 14. h 19. s
5. l 10. e 15. j 20. n

WORKSHEET 3

String Harmonics

1.
1
6
& 8

6
& 8

&
( )
&
8    Workbook Answer Key

&
( )

&
2.

?3
8
Sul A Sul D

?3
8 &

3.

3
&4 B

& 43 B & B

LISTEN AND SCORE 1

Haydn, Menuetto al Rovescio, mm. 1–10 fig041

Menuetto al Rovescio

œ. œ.
## 3
œ œ œ ˙. œ œ œ ˙. œ œ œ
œ œ œ. œ œ œ œ ˙.
1

Vln. I & # 4 ˙.
## 3 ˙. œ œ. œ œ œ. œ œ
Vln. II & # 4 ˙. œ œ œ.
œ œ œ œ œ œ ˙. ˙ ˙.
˙. œ
Vla. B # # # 43 ˙ . ˙. ˙. ˙. ˙. ˙ ˙ œ ˙ œ ˙.

œ œ. œ. œ œ œ œ.
? # # # 43 œ œ œ œ œ œ œ
œ œ œ œ
œ œ
œ œ œ ˙ œ œ œ œ.
Vlc. œ
? ### 3 ˙ . ˙. œ Œ Œ Œ œ œ ˙ œ ˙.
D.B. 4
 Listen and Score 3    9

LISTEN AND SCORE 2

Haydn, Symphony No. 100 (“Military”), second movement, mm. 1–8

1
Allegretto

Vln. 1 & C

Vln. 2 & C

B C
div.
Vla.

Vlc.
?C
dolce

D.B.
?C

LISTEN AND SCORE 3

fig045
Grieg, Piano Concerto, second movement, mm. 1–8

Adagio. (‰= 54)

b b b 3 Con sordini j œ œœœ
& b 8 œ œ . œ œ œ œ . œ œ œ œ œ œ œ œJ œ . œ
1
b œ. œ œ œ œœ œ.
Vln. 1
œ œ. nœ œ œ œ J J
3

b n œ n œ œj.
& b b b b 38 j j
œ œ œ nœ œ œ . j œ œ œ
con sord.

œ œ œ œ œ œ bœ œ œ nœ
Vln. 2

j j j œ œ
B b b b b b 38 œj œ œ œ œ œ
œ œ œ.
œ œ œ œ œ œ
œ.
con sord.
Vla.
J J J J

? b b 3 con j œ œj œ œ j œ œ œ œ j
b b b 8 Jœ œ œ œ œ œ œ œ.
sord.
Vlc. œ œ J . J J

? bb 3 œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ j
D.B. bbb 8 J J œ. J J œ.
10    Workbook Answer Key

LISTEN AND SCORE 4

fig047
Vivaldi, Concerto Grosso, Op. 11, No. 4, second movement, mm. 105–111

œ. œ œ œ. œ
Largo e Spiccato

& b 12
œ. œ œ œ œ œ. œ œ œ œ œ œ bœ. œ œ œ œ . œœ
J œ
œ œ #œ œ
105 Solo

8 J œ
Vln. 1
J J J J
p
Solo

12 j j j j j j j
Vln. 2
&b 8 œ œ œ œ œ œ œ
J
œ œ
J œ œ œ œ
J œ œ œ œ. œ œ œ œ œ œ œ œ œ œ
p
Solo

j œ œ. œ œ œ
pianissimo

? b 12 œ œ #œ. œ œ nœ j
8 œ œJ œ œ œ
J
œ #œ
J
œ œ j J J œ œ. Œ.
Vlc.
Solo
œ
p
& b 12
. œ
8 œ œ œ œ œ. œ œ œ œ œ œ bœ. œ œ œ œ . œœ œ œ œ œ œ œ œ
J œ
œ œ #œ
Vln. 1 J J J J J
p
12 œ œj œ j j j j j j
pianissimo

&b 8 œ œ œ œ
J
œ œ
J œ œ œ œ
J œ œ œ œ. œ œ œ œ œ œ œ œ œ œ
p
Vln. 2

œ. œ œ œ œ œ. œ œ œ œ œ œ œ. œ œ œ œ œ
J œ. œ œ Jœ œ œ œ œ œ
pianissimo

Bb 12
8 J œ œ œ
Vla. 1 J J J J
p
œ. œ œ œ œ œ. œ œ œ œ œ œ œ. œ œ œ œ
J œ. œ œ œ Jœ œ œ œ œ œ
pianissimo

Bb 12
8 J œ œ œ
Vla. 2 J J J J
p
j œ œ #œ. œ œ nœ œ œ. œ œ œ
pianissimo

?b 12 œ œ œ j
8 J
œ œ
J
œ #œ
J
œ œ j J J œ œ. Œ.
œ
D.B.

p
Ÿ
œ. œ œ œ œ œ œ œ œ œ. œ œ #œ. œ. œ œ bœ. œ. œ #œ œ nœ œ. œ #œ œ.
œ œ J J ‰ œ .
108
Vln. 1
&b J
Solo

œ œ œ œ œœœ
Vln. 2
Solo
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
Vln. 1 &b
œ œ œ œ œœœ
Vln. 2 &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ

Vla. 1 Bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ
Vla. 2 Bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
 Listen and Score 7    11

LISTEN AND SCORE 5

Mozart, Divertimento, K. 247, Menuetto, mm. 1–12

Tempo di menuetto
1
3
Vln. 1 & 4

3
Vln. 2 & 4

Vla. B 43

Vlc.
? 43

D.B.
? 43

LISTEN AND SCORE 6

Schubert, Rosamunde, Overture, mm. 1–8

Allegro vivace
1

Vln. 1 & C !

Vln. 2 & C ! ! ! ! ! ! ! ! ! ! ! ! !

B C ! ! ! ! ! ! !
Vla.
! !
pizz.

Vlc.
?C

pizz.

D.B.
?C

LISTEN AND SCORE 7

Beethoven, Symphony No. 3 (“Eroica”), second movement, mm. 1–8

Adagio assai ( = 80)
1
2 sotto voce
Vln. 1 & 4

2
Vln. 2 & 4

B 2
Vla. 4

Vlc.
? 2
4

? 2
3 3 3
D.B. 4
12    Workbook Answer Key

LISTEN AND SCORE 8

Tchaikovsky, Serenade for Strings, Waltz, mm. 1–21

Moderato. Tempo di valse ( . = 69)

1
3
dolce e molto grazioso
Vln. 1 & 4
cresc.
3
poco cresc.
Vln. 2 & 4

Vla. B 43
poco cresc.

Vlc.
? 43 B ?
poco cresc.

D.B.
? 43
poco cresc.

riten.
11 a tempo
&
riten. a tempo
&
riten. a tempo
B

? riten. a tempo

? riten. a tempo

LISTEN AND SCORE 9

fig057
Dvorˇák, Cello Concerto, second movement, mm. 1–9

p
Adagio ma non troppo (‰= 108)
# 2.
& 43 ˙ .
1

œ œ œœ œ œ œ # # ˙˙ .. n n ˙œ ˙ œ œ œœ
5

˙. ˙ œ ˙ œ ˙.
p
Ob.

Z
b 3 ˙ œ . œ œ œ œ œ œ œ œj œ œ . œ œ œ œ œ œ œ. œ. œ ˙. œ œ œœ œ
b ‰ œ œ œ ‰
1.
Cl.
& 4 J
p Z p
(A) 5

˙ œ œ ˙.
? # 43 ˙˙
œ
œ ˙˙ ..
˙. œ œ˙ œ œœ ˙˙ œ
œ œ œ˙ œ œ ˙.
˙. œ
œ œ
p Z
Bsn.
 Worksheet 5    13

WORKSHEET 5

Harp

1.

a. D# C B Eb F# G# Ab b. D# C B# Eb F# Gb A c. Db C# Bb E Fb G A#
fig1029

œ bœ bœ
& fig1029

? #œ œ œ
#œ #œ ( b œ) nœ œ #œ œ bœ bœ bœ
œ (# œ) bœ œ bœ
&
œ œ œ
d.?D Cb B E# F G# Ab e. D C B# (or Bb) E F# G# A# f. D C# B E F# G A œ œ
& #œ ( b œ) nœ œ bœ #œ
œ (# œ) bœ #œ œ bœ #œ

? œ œ #œ #œ #œ œ #œ nœ œ
#œ nœ œ œ œ œ œ œ œ #œ œ
&

? œ œ #œ #œ #œ œ #œ nœ
#œ nœ œ œ œ œ œ #œ œ

fig1030
2.

œ nœ bœ œ bœ bœ n œ
bb œœ # # œœœ n n b œœœ n # nn œœœœ bb œœœ b b b œœœ bœ
Piano version Harp version
# œœ n n œœ # ˙˙ n b œœœ nb n œœœ œ #˙
&c œ # œœ b n œœ ˙ bb n œœœ b œœœ n ˙˙
#œ nœ b œœ bœ
œ
? c bœ
#œ
# œœ bn œœ n # œœ œœ b œ
#˙
˙˙ œ bœ
b b œœ b œœ nn œœ b œœ
#˙
˙˙
bœ œ #œ #œ bb œœ nœ bœ #œ

String version Harp version

˙ œ œ ˙˙˙ .. b nb œœœ n nn ˙˙˙ .. ˙
& c Œ ˙˙ # œœ # # # ˙˙˙ # n œœ # ## œœœ Œ ˙ # œœ # # ˙˙ # œœ ‰ j # œ œ # œ œ œ œœ # n#œœœ nn ˙˙ ..
3

. . Œ
3

˙ œ #˙ œ œ #œ œ n˙.
~~~~~~~

? c Œ #œ ˙. bœ n˙. Œ ˙ # œœ # ## ˙˙˙ œ œ ## œœ ˙. n˙.

œ #˙ œœ ˙˙ œ ˙. #œ
n˙.
Œ
˙ œœ

3. a. A major or f# minor
b. Ab major or f minor
c. E major or C# minor
d. Db major or bb minor
14    Workbook Answer Key

TEST YOURSELF II only one player. In many ways the word “solo” is
confusing in woodwind solo passages.
Woodwinds 14. A technique that uses special fingerings and at-
tacks to enable a woodwind player to play multiple
1. Flute, oboe, clarinet, and saxophone. The oboe
pitches simultaneously.
family is sometimes called the double reed family
because it also comprises the bassoons. 15. Key clicks; blowing air through the instrument
without sounding pitches; removing the reed
2. The lip position used to blow into the instrument.
or mouthpiece and simply blowing through it;
3. Blowing harder through the instrument so that special “bending” and portamento effects,
partials other than the fundamental are sounded. and so forth.
4. a. alto clarinet a4 16.
b. soprano saxophone d4
c. D clarinet (piccolo) bb3 a. piccolo
d. Eb clarinet (piccolo) a3
e. C clarinet
f. tenor saxophone
c4
d5
&
g. Bb clarinet d4
h. English horn g4 b. flute
i. alto flute f4
j. alto saxophone a4
5. a. alto clarinet eb3
&
b. soprano saxophone bb3
c. D clarinet (piccolo) d4 c. alto flute
d. Eb clarinet (piccolo)e eb4
e. C clarinet c4
f. tenor saxophone bb2 &
g. Bb clarinet bb3
sounding

h. English horn f3
i. alto flute g3 d. bass flute
j. alto saxophone eb3
?
6. Play a passage in one breath & &
sounding
7. By the lips and the jaw; by the throat muscles; by
the abdominal muscles; by a combination of throat e. oboe
and abdominal muscles.

&
8. Non vibrato, senza vibrato, sometimes “white
tone.”
9. Double tounging, “teke”; triple tonguing, “teteke” f. English horn
or “tekete”
?
10. A fluttering or rolling of a tone like a whir (per-
ceived perhaps like an unmeasured tremolo in & &
sounding
strings); Flatterzunge
g. all clarinets’ written range
11. a 2

&
12. 2.
13. It is used to designate a solo passage as being of
great importance or to alert both player and con-
ductor that this passage is the most significant one h. all saxophones’ written range
at a given moment. But this designation is super-

&
fluous because “1.” or “2.” will suffice to designate
a solo passage and assume that it will be played by
 Worksheet 7    15

19. A slight break in sound that occurs between Bb4

i. bassoon

and Bn4. Bb is played with no fingers covering any

? B holes while the Bn requires closing all holes except
the vent hole.

j. contrabassoon 20. Go below the lowest pitch in their range (strings

can do this with scordatura tunings); play loud

?
(sounding octave lower)
or soft in every part of their range (except for the
clarinet); sustain pitches or play extended passages
for an unreasonably long time without taking a
breath (oboes are able to play longer passages in
k. oboe d’amore one breath than the other woodwinds).

& sounding

17. Chalumeau, throat tones, and clarino

18. a. flute: weak but luscious, sweet with limited car-
rying power, clear and brilliant, a bit shrill.
b. oboe: thick and heavy, warm, reedy, and poign-
ant, thin but clear, pinched.
c. English horn: deep and rich, mellow and reedy,
thin and pinched.
d. bassoon: sonorous and dark, sweet but expres-
sive, thin but intense, thin and often pinched.

WORKSHEET 7

Woodwind Transposition

1.
a.

4
3 3
Sounding &4
3
E Cl. 3
3
4 3
&4
3
Written

b.

Written & 24
3 3 3 3
B Cl.

2
Sounding &4
3 3 3 3
16    Workbook Answer Key

c.

Sounding
? 68
Bs. Cl.
6
Written & 8

& 44
d.

Written

Engl. Hn.
4
Sounding &4

e.

2
Sounding &4
3
D Cl.

2
Written &4
3

& 43
f.

Written

A Cl.
3
Sounding &4

g.

Sounding & 98
Alt. Fl.

9
Written &8

& 44
h.

Written

Alt. Sax.
4
Sounding &4
 Worksheet 7    17

? 5
i.

Sounding 4
Ten. Sax.
5
Written & 4

& 24
j.
Written

Bar. Sax.

Sounding
? 24

Chopin, Nocturne, Op. 37, No. 1, mm. 1–7

1

Eng. Hn. & c

3
3 3
3

2 B Cl. & c

Bs. Cl. & c

2 Bsn.
? c
1.

Beethoven, Piano Sonata, Op. 27, No. 2 (“Moonlight”), second movement, mm. 8–16
9
3
Sop. Sax. & 4

3
Alt. Sax. & 4

3
Ten. Sax. & 4

3
Bar. Sax. & 4
18    Workbook Answer Key

LISTEN AND SCORE 10

Mozart, Divertimento in Bb, K. 270, second movement,

fig096
mm. 1–8

. .
Andantino
. . .j . . . . . . .j . . .
œ œ 1œ œ œ œ ‰ œ œ œ. œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ ‰ œ œœ œ œ œ œ œ œ
2 œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œœ œ œœ œ ..
& b 4 œ œ œ œœœœœœ œ ‰
J.
œ œ œœ
‰ J
œ œ
œ œ œ œ œ
.
Ob.
. . . .
p f
2 œ Œ Œ œ œ œ œ œ œ œ œ œ œ
‰ Jœ œœ œœ œœ œ ..
& 4 ˙ œ œ œ œ œ œ œœ
œ œ œ
Hn.

˙ œ
(F)

p f . .
p œ œ œ œ œ ‰ j œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ
? b 42 œ œ œ œœ œœ œœ œœ œ œ
œ
œ œ œ œ œ
œ. nœ ˙
œœœ œ
œ
œ
œ ..
Œ Œ . . Œ
J œ
Bsn.

p f

LISTEN AND SCORE 11

Mozart, Divertimento in Bb, K. 270, third movement,fig095

mm. 1–8

. Ÿ
Menuetto. Moderato
p . . Ÿ Ÿ
f
b 3 œ œœ . œn œ œ œ œ .
œ ˙. œ nœ œ n˙ œ .
œ. œ œ œ ˙ œ œœ œœ œ . œ
1
b
& 4
. œ œ Œ
Œ œ œ œ œ̇ . œ œ ˙. œ
˙ œ .
.
Ob.

. p . .
œ œ f
3 œœ œœ ˙˙ ..
& 4 ˙˙ œ œ œœ œ Œ Œ ˙. œ Œ œ ..
˙. œ œ
Hn.
(B b)
œ Ÿ
.œ œ ˙ œ
œ. œœ œœ œœ. œ ˙œ œ œ ˙. œ œ œ œ œ œœ
? b 3 œ Œ Œ
œœ œœ
œ œ œ œ œ ..
Bsn. b 4 œ œ œ œ Œ œ
p f
 Listen and Score 12    19

LISTEN AND SCORE 12

Mozart, Symphony No. 40, K. 550, third movement, mm. 48–68

Allegretto
49
3
Fl. & 4
cresc.

3
1.

2 Ob. & 4
cresc.

2 Bsn.
? 43 1.

3
Vln. 1 & 4

3
Vln. 2 & 4

Vla. B 43

Vlc.
? 43

D.B.
? 43

59

Fl. &

2 Ob. &

2 Bsn.
?

Vln. 1 &

Vln. 2 &

Vla. B

Vlc.
?

D.B.
?
20    Workbook Answer Key

LISTEN AND SCORE 13

fig100
Brahms, Serenade in A major, Op. 16, first movement, mm. 1–9

Allegro moderato
˙ ˙ ˙ # ˙˙ ˙ n ˙˙ œ̇
## ˙ ˙
1

& # C ˙
a2

Fl.

˙ p
˙ œ œ ˙ ẇ ˙ ˙˙ # ˙˙ ˙ n ˙˙ ˙˙
& C ˙ ˙ ˙˙ ˙˙ ˙˙ ˙ w˙ ˙
˙ ˙ ˙ ˙
Cl.
(A)

p
˙ œ œ ˙ ˙
? ### C ˙ ˙ ˙˙ ˙˙ ˙ ẇ œ œ ẇ ˙ œ n œ ẇ ˙˙
˙ ˙ ˙ ˙ ˙ ˙
Bsn.
˙ œ nœ ˙
p

LISTEN AND SCORE 14

Mendelssohn, Symphony No. 5, fourth movement, mm. 1–10

Andante con moto
1

2 Fl. & c
cresc.

2 Ob. & c
cresc.

2 Cl.
(C) & c
cresc.

2 Bsn.
? c
cresc.
 Listen and Score 15    21

LISTEN AND SCORE 15

fig104
Gounod, Petite Symphonie, first movement, mm. 16–25

Allegretto A
b
16

Fl. &b c ..
œ. œ. n œ . œ.
b
&b c œ Œ Ó .. ‰œ œœœ
p p
b c
2 Ob.

& b ..
œ
& c œ Œ œ œ .. œ œ. œ. œ œ œ œ. œ. œ œ. œ. œ œ œ œ. œ. œ œ œ œ œ œ œ. œ. œj ‰ œ. œ. œ œ. œ.
2 Cl.
p p
œ œ œ # œ œj ‰
(B b)

& c œ Œ œ .. œ. œ. œ œ œ. œ. # œ
œ œ œ. œ. œ œ. œ. œ œ. œ. œ . œ. œ. œ.
p p
c œj ‰ ˙ .. œ j œ œ œ. œ. œ œ. œ. ˙
& œ ˙ œ œ ˙ œ œ‰
2 Hns.
(B b) p p
& c Œ Ó .. œ œœ ˙
p
œ p . .
œ œ œ œ œ. œ. œ œ. œ. œ œ. œ. œ œ. œ. œ œ œ œ œ œ. œ. œ œ. œ.
? b
b c Œ .. œ J‰Œ œ
p p
? b
2 Bsn.

c . œ œ. œ. j ‰ Œ Ó
b œœ œ. œ. œ. œ. œ. . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ
œ. . .
p

.
œ œ œ œ. œ œ œ œ œ. œ.
bb
21

& Ó
.œ . . p
bb œ. œ œ. n œ œ œ œ. œ. œ. œ œ œ. b œ œ œ œ œ. œ œ œ œ. œ. œ œ œ œ. œ. œ ‰ Œ œ œ œ œ. œ. œ œ. œ.
& J J
p p
b b
&

œ. œ. œ œ. œ. œ œ œ. œ œ. œ. œ j
& œ œ. œ. œ œ. œ. œ ‰ Œ œ œ œ œ. œ. œ œ œ œ. œ.
p p
j‰ Œ œ œ j
& œ œ. œ. # œ œ. œ. œ œ. œ. œ n œ. œ. œ œ. œ. œ œ. œ. œ œ œ. œ. œ ‰ Œ
p p
& œ œ. œ. ˙ œ ‰
J ˙ œ œ ˙ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
p
j
& œ œ. œ. ˙ œ ‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
˙ œ œ ˙ œ. œ.
p
œ œ œ œ œ œ œ œ œ œ. œ. œ. œ œ. œ.
? b b œJ ‰ Œ œ œ. œ. Jœ ‰ œ Bœ œ
J‰Œ œ œ.
p p
? bb j ‰ Œ Ó œ. ‰ œ. œ. ‰ œ. œ. ‰ œ. œ. ‰ j ‰ Œ B œ œ œ œ. œ. œ œ. œ.
œ œ. J œ. J œ. J œ. œ œj
p p
22    Workbook Answer Key

LISTEN AND SCORE 16

Tchaikovsky, The Nutcracker ballet, Overture, mm. 122–129

122
2
1 & 4
cresc. - - - -
Fl.

2
2 & 4
cresc. - - - -

2
Picc. & 4
cresc. - - - -

2
& 4
cresc. - - - -
2 Ob.

2
& 4
cresc. - - - -

2
& 4
cresc. - - - -
2 B Cl.

2
& 4
cresc. - - - -

? 2
4
B
cresc. - - - -
2 Bsn.

? 2
4
B
cresc. - - - -
 Listen and Score 17    23

LISTEN AND SCORE 17

Fig 108-3
Tchaikovsky, “Capriccio italien,” Op. 45

6 >œ . >œ .
‰ ‰ œœ
1

&8 Œ. œ. œ.
R
ƒr
4 Hns.

6 Œ. ‰ ‰ œœ œœ .. œœ ..
in F
&8
ƒ > >
6 #˙. #œ. œ œ œ œ. #œ œ œ
a2

& 8 œ.
ƒ œ œœ œ. œ œ œ œ. œ. ˙.
4 Tr.
p
6
#œ. œ œ œ œ. #œ œ œ
in C

#˙.
a2

& 8 œ.
œ œœ œ. œ œ œ œ. œ. ˙.
p
ƒ
1 ? 68
2

? 68
3 Trb.

Tuba
? 68

>. r #˙.
& œœ . œœ #œ #œ œ.
9
‰ Œ. ‰ ‰ œ œ. œ. œ. œ # œ # œ .. œ. # ˙.
œ œ. œ. œ. œ R
4 Hns.
ƒ r
& œœ .. œœ ‰ Œ. ‰ ‰ r œ œ. œ. ˙.
in F

œ œ. œ. œ. œ #œ #œ. œ. #˙.
œ œ. œ. œ. œ
r ƒœ œœ . œœ . œœ . œœ # œœ # œœ .. œœ .. # ˙˙ ..
& Œ. Œ œœ œœ .. œœ .. œœ .. œœ œ . . . R
R
ƒ
r r
4 Tr.

Œ. Œ œœ œœ .. œœ .. œœ .. œœ # œœ # œœ .. œœ .. # ˙˙ ..
in C

&
œœ œœ .. œœ .. œœ .. œœ ƒ
? Œ. Œ R
œœ œœ .. œœ .. œœ .. œœ # œœ # œœ .. œœ .. # ˙˙ ..
1
R R
ƒ
2

? Œ. œ œ. œ. œ. œ r r
3 Trb.

3 Œ R œ œ. œ. œ. œ œ œ. œ. ˙.
ƒ
? Œ. Œ r r
œ œ. œ. œ. œ œ œ. œ. ˙.
Tuba

ƒ
24    Workbook Answer Key

LISTEN AND SCORE 18

fig110
Wilbye, “Adieu, Sweet Amaryllis,” mm. 1–7

Andante moderato
b U̇
&b c Œ œ œ œ ˙ ˙ œ œ #œ œ œ œ Œ œ œ nœ œ œ ˙ #˙ Œ œ
2 Trumpets F
bb c U
Œ œ œ œ ˙ Œ œ œ œ #œ œ Œ œ ˙ Ó
in C

& ˙ œ œ ˙
F
˙ j U
&b c #œ œ Ó Ó Œ œ Ó
œ. œ ˙ ˙ œ œ œ œ ˙
Horn

F
in F

˙ j U
? bb c #œ œ œ. œ ˙ Œ œ nœ œ #œ œ ˙ œ œ ˙ Ó
Trombone
˙
F œ
? bb c œ . œJ œ œ œ œ Ó U
Tuba Ó Œ Ó Œ œ ˙ Ó
F

TEST YOURSELF III 4. The sixteenth

5. Playing high enough to be able to use an entire
Brass
scale. Used in virtuoso trumpet and horn parts,
1. Because natural brass instruments don’t have especially of the Baroque period.
valves, they can only play the open notes of one 6. A U-shaped piece of pipe inserted into the original
harmonic series, while brass instruments with tube of a natural trumpet or horn. It changes the
valves can play the entire chromatic pass of their pitch of the instrument.
range.
7. The horn transposes a 5th down; the trumpet trans-
2. poses a 4th up.
a.

& 8. It opens additional tubing and enables the player

to play additional pitches in a new overtone
series.
b. 9. a. fi
 rst valve: The pitch of the entire series is low-

&
ered a whole step.
b. second valve: The pitch of the entire series is
lowered a semi-tone.
c. third valve: The pitch of the entire series is
c. lowered a tone and a half.
? d. first and third valves: The entire series is l
owered a 4th.
f. second and third valves: The entire series is
lowered a major 3rd.
d. f. first and second valves: The entire series is
? lowered a minor 3rd.
g. all three valves: The entire series is lowered a
tritone.
10. The position of the slide. Like the trumpet valve,
3. The trumpet, trombone, and tuba mouthpieces are the position of the trombone slide, going from
essentially of the same cuplike construction but positions I to VII, changes the fundamental by
different in size, whereas the horn’s funnel-shaped descending a half step.
mouthpiece makes it sound more mellow.
 Worksheet 11    25

11. Seven 22. a. in Bb: D4

12. Bb1, A1, Ab1, G1, Gb1, F, E
b. in C: C4
c. in D: Bb3
13. F - E - Eb - D - Db - C - (Bn) - Bb d. in F: G3
14. Bn1 23. F#3
15. It changes the tone quality of the sound and to an 24. Examples c. and e.
extent its dynamic.
25. It is a now obsolete instrument that resembles a metal
16. Straight bassoon but provides the bass voice of the brass sec-
tion, similar to a tuba. Its sound is more mellow than
17. Cup; harmon; whispa; solotone; bucket; plunger;
a tuba because the mouthpiece is more cupped.
hat or derby.
26.
18. A Wagner tuba is shaped like a horn and sounds

?
more like a horn than a tuba. Bruckner, C. Rouse,
Schoenberg, R. Strauss, Stravinsky.
19. The range; the euphonium goes down to Bb1 while
the baritone’s lowest note is En2.
20. 4 Hn., 3 Tpt., 3 Trb., and Tba. Some scores call for 27. The pitch designations refer to the fundamental
8 Hn., 4 or 6 Tpt., 4 or 6 Trb., and 2 Tba. pitch of these instruments as well as their size.
21. Bb alto is a high horn and transposes down a whole They are all non-transposing instruments.
step; Bb basso is a low horn and transposes down 28. The wider the bell, the more mellow the sound.
an octave and a whole step.
29. Either by manipulating the lips or with the valves.

WORKSHEET 11

Brass Transposition

& 43
a. 3
Written

F Tpt. 3
3
Sounding &4

& 43
b.

Written

B Tpt.

3
Sounding &4
 fig1051
26    Workbook Answer Key

4 œ#œ nœbœ œ œ nœ œ œbœ œbœ nœ bœ

? œb œ œ b œ œ ˙ œ œ b œ . œ n œ# œ œ
& Œ
c.
&4 œ #œ nœbœœ
œ
Written

3
F Hn.

4 bœbœœ œ
& 4 œ nœbœbœ œbœ nœ œ œbœ œbœ bœ œ œ bœ
b œ œ & Œ ˙ œ œ b œ . œ n œ# œ œ
? 3

œ nœ nœ
Sounding

6
d.

Sounding &8
A Tpt.

6
Written &8

e.

Sounding & 43
E Hn.

3
Written &4

f.

4
3 3
?
5
Written &4
F Hn.

4 ?
&4
3 3
Sounding

5
g.

Written &C
B Tpt.

Sounding &C

h.

3
Sounding &4
D Tpt.

3
Written &4
 Listen and Score 19    27

? 24
i.

Sounding &
F Hn.

2
Written & 4

& 68
j.
Written

E Hn.

6
Sounding &8

LISTEN AND SCORE 19

Dvorˇák, Symphony No. 9 (“From the New World”), second movement, mm. 1–5
1

E Hn. 1, 2 & c

dim.

C Hn. & c
dim.

c
a2
2 E Tpt. &
dim.

Trb. 1, 2 B c
dim.

Trb. 3
? c
a2

Tba.

dim.
28    Workbook Answer Key

LISTEN AND SCORE 20

Mussorgsky-Ravel, Pictures at an Exhibition, “Promenade,” mm. 1–8

1 Allegro giusto
5 6 5 6 5
1, 2 & 4 4 4 4 4
F Hn.
5 6 5 6 5
3, 4 & 4 4 4 4 4

5 6 5 6 5
1.
3 C Tpt. & 4 4 4 4 4

Trb.
? 5
4
6
4
5
4
6
4
5
4

Tba.
? 5
4
6
4
5
4
6
4
5
4

5
5 6 5 6
Hn. 1, 2 & 4 4 4 4

5 6 5 6
1.
Tpt. 1, 2 & 4 4 4 4

Trb.
? 5
4
6
4
5
4
6
4
? 5 6 5 6
Tba. 4 4 4 4

LISTEN AND SCORE 21

Berlioz, Symphonie fantastique, fifth movement, mm. 207–216

207
6
E Hn. 1, 2 & 8
6
C Hn. 3, 4 & 8
6
2 E Tpt. & 8

B 6
1 8
? 6
Trb.
2
3
8
 Listen and Score 22    29

LISTEN AND SCORE 22

fig136
Gabrieli, Sonata pian’ e forte, mm. 26–31

4 ˙. œ œ- œ- œ- œ- œ - œ- œ œ œ- œ- œ . -
œ œ- œ œ . œ # œ- œ- œ œ #œ œ
26

& 4 - # œ- œ œ # œ- œ- œ- œ J J
2 Tpts. f
44 ˙ . j
in B b

& œ ˙ Œ œ ˙. œ #œ. j œ- # œ- œ- œ œ œ œ nœ œ #œ
œ- œ . -
f
& 44 ˙ . œ -̇ ˙ œ œ œ . œ-j œ œ Œ œ œ œ œ bœ œ œ œ
2 Hns.
f
4
in F

& 4 ˙
˙. œ ˙ œ œ œ . œ- œ- œ œ ˙ ˙. œ ˙
œ
f -- -
Bb 4 Œ ˙ œ œ. œ- œ- œ- œ œ j œ œ œ œ- œ- œ- œ œ œ œ- œ œ #œ ˙ ˙ ˙
4 J - - œ . œ- - - -
f -
˙ . œ œ ˙ œ œ œ- n œ- œ œ ˙
? 4 œ ˙ œ œ œ œ œ œ.
2 Tbns.

b 4 œ J
f -
? 4 œ œ œ- n œ- œ- œ- œ œ œ ˙ œ œ œ. œ œ- œ œ œ œ nœ œ œ œ ˙
Bass
b 4 œ J
f
Tbn.

? 4 ˙.
b 4 œ ˙ œ . œ-j ˙ œ. œ- œ- œ œ ˙ ˙ ˙ ˙
˙
Tba.

f
30    Workbook Answer Key

LISTEN AND SCORE 23

Bartók, Concerto for Orchestra, second movement, mm. 123–156

lo stesso tempo
123
2
senza sord.
C Tpt. 1, 2 & 4

Trb. 1, 2
? 24

Tba.
? 24

2
always without snares

S Dr. 4

133

C Tpt. 1, 2 &

Trb. 1, 2
?

Tba.
?

S Dr.

144

1, 3 &
F Hn.

2, 4 &

C Tpt. 1, 2 &

Trb. 1, 2
?

Tba.
?

S Dr.
 Listen and Score 24    31

LISTEN AND SCORE 24

Beethoven, Symphony No. 8, second movement, mm. 1–7

Allegretto scherzando ( = 88)

1
2
2 Ob. & 4
sempre staccato

2
2 B Cl. & 4
sempre staccato

2 Bsn.
? 2
4
sempre staccato

2
2 B Hn. & 4
sempre staccato

2
Vln. 1 & 4

2 pizz.
Vln. 2 & 4

B 2 pizz.
Vla. 4

Vlc. ? 2
4
D.B.

2 Ob. &

2 B Cl. &

2 Bsn.
?

2 B Hn. &

Vln. 1 &

Vln. 2 &

Vla. B

Vlc. ?
D.B.
32    Workbook Answer Key

LISTEN AND SCORE 25

Mozart, Symphony No. 40, K. 550, third movement, mm. 7–14

Allegretto
7
3
Fl. & 4

3
a2
2 Ob. & 4
a2
3
2 B Cl. & 4

?
a2
3
2 Bsn. 4

3
2 G Hn. & 4

3
Vln. 1 & 4

3
Vln. 2 & 4

B 3
Vla. 4

Vlc. ? 3
4
D.B.
 Listen and Score 26    33

LISTEN AND SCORE 26

Weber, Euryanthe, Overture, mm. 13–25

13

2 Fl. & c

2 Ob. & c

2 B Cl. & c

2 Bsn.
? c

B Hn.
1
& c
2

E Hn.
3
& c
4

2 E Tpt. & c

B c

3 Trb.
B c

? c

Timp.
? c
34    Workbook Answer Key

19 1.

2 Fl. &

2 Ob. &

2 B Cl. &

2 Bsn.
?

B Hn.
1
2 &

E Hn.
3
4 &

2 E Tpt. &

3 Trb.
B

Timp.
?

TEST YOURSELF IV 4. The number of players necessary to perform the

piece; the number of instruments each performer is
asked to play.
Percussion and Keyboard
5. Timpani
1. a. idiophones: instruments that produce their Triangle
sound by striking the body of the instrument, Güiro
thereby vibrating the entire body of the instru- Snare drum
ment (triangles, cymbals, woodblocks, marim- Bass drum
bas, vibraphones, xylophones, chimes, etc.). Glockenspiel
b. membranophones: instruments that have a Xylophone
stretched skin or membrane over a shell, which Marimba
is struck by a hand, stick, or mallet (drums).
c. aerophones: instruments that produce their 6.
sound by blowing through a pipe (whistles and a. marimba

?
sirens).
2. A definite-pitch instrument sounds an exact writ- &
ten pitch; an indefinite-pitch instrument sound
an approximate pitch, or simply a high, low, or b. vibraphone
medium pitch.
3. For pitched percussion instruments, on a five-line &
staff. For nonpitched percussion instruments, on a
one-, two-, or three-line staff.
 Test Yourself IV    35

c. crotales 11. Mechanically, by raising or lowering a foot pedal,

or manually, by tightening or loosening the drum
& ) head; 30-inch, 28-inch, 25-inch, 23-inch, and
( 21-inch.
12. Tom-toms and timbales are drums that come in
d. xylophone
four sizes (two pairs of two drums each), graded
(sounding 8va)
from high to low in pitch. Tom-toms are higher in
& pitch than timbales because they are smaller and
have a shallower body. The timbales’ metal shell
produces a more piercing or metallic sound.
e. glockenspiel
(sounding 15ma) 13. a. triangle: metal beaters
& b. tom-tom: drumsticks, timpani mallets
c. cymbals: drumsticks, brushes, soft mallets
d. conga drum: hands, drumsticks, timpani mallets
f. chimes e. crotales: metal beaters

( ) 14. A chordophone, usually trapezoid shaped, laid flat

& on a table, with metal strings struck by leather or
wooden mallets. It has a four-octave range, with all
g. timpani chromatic tones available.

? ()
?
( ) 15.

h. roto toms
a. b.
? & ? ?
16. & &
sounds one octave higher

7. a. four-stroke ruff: (If the student puts E6 for the highest note of the
celesta, it is correct if they understand that only a
b. flam: few instruments go that high.)
17. Because of its inherent percussive quality (its ham-
mers strike the strings) the piano has been used to
c. drag:
give an added ping to individual notes or chords,
as well as to give a pizzicato effect by manually
or plucking the strings or hitting them with a mallet
d. roll: or beater.

÷ ÷
18. xylophones: 8va; glockenspiel, 15ma; celesta, 8va;
8. cro- tales, 8va
19. Various objects are either laid on top or stuck in
9. Finger cymbals are nonpitched; crotales are between the piano strings to alter the sound and
pitched. sometimes the pitch of the instrument.
10. Two strips of hard wood clapped together to
produce a hard stroke.
36    Workbook Answer Key

WORKSHEET 22

Reducing a Full Orchestral Score to a Piano Score

The piano scores for these exercises that we have provided here either have been reduced by the composer or have
been used extensively since the pieces were first written.
1. Mozart, Don Giovanni, Overture, mm. 1–21
Andante
1

& C
Pno.
? C
Strings

&

15

&
3 3 3 3

18 Tutti

&

2. Rossini, The Barber of Seville, Overture, mm. 1–17

Andante maestoso
1

& c
ƒ [ ] ƒ
? c &
?

‹
4 dolce

& ‹
[ ]
? ?
&
 Worksheet 22    37

&

10 dolce espress.

&

? &
ƒ

13

&

?
&

16

&
6

3. Beethoven, The Creatures of Prometheus, Overture, mm. 1–15

Adagio
1
3
& 4
ƒ ƒ
?3
4

&

?
38    Workbook Answer Key

4. Wagner, Tannhäuser, Overture, mm. 142–157

Tempo I
142

& C
G. Orch. ohne Pos.

? C ?
&

147

&

? &
?

153

&

fig1075
5. Verdi, Falstaff, Act II, Scene 1, end, at 25
25 Come prima (q = 100)
> œ œ œ œ
b b c œœœœ œ nœ œ œ >œ >œ >œ >œ >œ >œ j
œœ j >œ … >œ j >œ j >œ j >œ œ
j j j j j j j œ
& b œœ œ œ œ œ #œ œ œ œ œ œ

J
ƒ >œ >œ # >œ
j >œ n >œ >œ n >œ >œ b >œ n >œ
? b c
bb œ œ œ b œ n œ b >œ n >œ œ nœ œ bœ nœ œ œ #œ
œ œ œ bœ nœ bœ nœ œ nœ
> > > >

>œœ
œ. >œ œ
œ œ œ. œ œ œ œ. œ œ œ œ. >
œ. n œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. >œ œ j >œ >œ >œ >œ
œ œœœ œœœ œœœ œœœ œœ
(curtain)

bb b œ
j
U
& œ œ ww
> w
3 3

>œ
3

>œœ >œœ >œ >œ >œ

? bb œ ‰ œ >œœ œ œœœ U
b J &œ œœ œ œœ œ
?
J ‰ œJ ‰ œœœ ‰ œœœ ‰ œ œ œ w
> > >œ > >œ œœ
>
J J J œ
>
œ œ œ
> > >
w
 Listen and Score 27    39

LISTEN AND SCORE 27

Beethoven, Egmont, Overture, mm. 1–15

1
3
Fl. 1 & 2

3
Fl. 2 & 2

3
2 Ob. & 2

3
2 B Cl. & 2

2 Bsn.
? 3
2

3
F Hn. & 2

3
E Hn. & 2

3
F Tpt. & 2

Timp.
? 3
2

3
Vln. 1 & 2

3
marcato
Vln. 2 & 2

3
marcato
Vla. B 2

?
marcato
3
Vlc. 2
marcato

D.B.
? 3
2
marcato
40    Workbook Answer Key

Fl. 1 &
ƒ
Fl. 2 &
ƒ
2 Ob. &
ƒ

2 B Cl. &
ƒ

2 Bsn.
?
ƒ
F Hn. &
ƒ
E Hn. &
ƒ
F Tpt. &
ƒ
Timp.
?

Vln. 1 &
ƒ
Vln. 2 &
ƒ
Vla. B
ƒ
Vlc.
?
ƒ
D.B.
?
ƒ
 Listen and Score 28    41

LISTEN AND SCORE 28

fig1077
Schubert, Symphony No. 8 (“Unfinished”), second movement, mm. 1–19

Andante con moto

##
& # # 38
1

2 Fl.

##
2 Ob. & # # 38
# 38
2 A Cl. &
œœ .. œ œœ .. œ
? #### 3 œ . œ ‰ ‰
J
œ. œ ‰ ‰
J
2 Bsn. 8

38 œ . œœ .. œ ‰ ‰ œ. œœ .. œ ‰ ‰
& œ. œ œ. œ
J J
2 E Hn.

œ. œ. œ œ œ œ.
## œ œ.
Vln. 1 & # # 38 J ‰ ‰

## j
Vln. 2 & # # 38 œ. œ. œ œ
œ œ œ œ œ ‰ ‰ œ.

œ. œ. œ œ œ.
Vla. B # # # # 38 œ œ. œ ‰ ‰
J
œ œ œ œ œœ œ œ œ. œ œ
? #### 3 œ œ œ ‰ ‰ œ
Vlc. 8 J

? # # # # 3 œ. œ. œ. œ j‰ ‰ œ. œ. œ. œ œ j‰ ‰
pizz.

D.B. 8 . œ. œ. œ. . . œ. œ.
42    Workbook Answer Key

## œœ .. œœ .. n œœ
& ##
10

2 Fl. # n œœ .. n œœ ‰ J ‰ ‰
Í
## j
2 Ob. & ## œœ .. œœ .. n œœ ‰ ‰
Í
#
2 A Cl. & b œœ .. œœ ‰
Í
œ œ œ œj ‰ ‰
2 Bsn.
? #### B nœ. œ #œ œ

j
& œ. œœ ‰ ‰
œ.
2 E Hn.

.
#### œ œ œ œ œœœ œ
Vln. 1 & œ. œ. nœ. œ #œ œ J ‰ ‰ œ. nœ
Í
# ## j
& # œ. œ œ
œ œ œ œ œ. #œ. nœ. œ ‰ ‰
œ. nœ
Vln. 2
Í
# œ. œ œ œ n œœ .. j
Vla. B ## # #œ. œ. œœ .. œ ‰ ‰
J œ. nœ
œ œ Í œ. œ. œ. œ. œ. .
? #### œ œ œ
pizz.

œ œ œ. œ œ. n œ œ œ nœ
arco

Vlc. œ.

? #### œ
œ. œ. œ. ‰ œ nœ œ nœ œ œ nœ
arco

D.B. ‰
Í
 Listen and Score 29    43

LISTEN AND SCORE 29

Weber, Der Freischütz, Overture, mm. 25–31

25

2 B Cl. & c

?c
1.
Bsn.

?c
Solo

Timp.

Vln. 1 & c @@ @@ @@ @@ @@ @@ @@ @@ @@ @@ @@ @@

Vln. 2 & c @@ @@

Vla. B c @@ @@ @@ @@ @@ @@ @@ @@ @@ @@ @@ @
@

Vlc.
?c B

?c
pizz.
D.B.
44    Workbook Answer Key

LISTEN AND SCORE 30

Rossini, La Gazza ladra, Overture, mm. 4–13

Maestoso marziale
4

& c
ƒ
Picc.

& c
ƒ
Fl.

& c
ƒ
2 Ob.

& c
ƒ
2 A Cl.

2 Bsn.
? c
ƒ
E Hn. 1, 2 & c
ƒ
c
a2 a2
G Hn. 3, 4 &
ƒ
2 A Tpt. & c
ƒ
Bs. Trb.
? c
ƒ
Timp.
? c
3 3

Sn. Dr. c

Bs. Dr. c

& c
ƒ
Vln. 1

Vln. 2 & c
ƒ
B c
ƒ
Vla.

Vlc. ? c
ƒ
D.B.
 Listen and Score 30    45

Picc. &
3 3

Fl. &
3 3
a2
2 Ob. &
3 3 3 3
a2

2 A Cl. &
3 3

a2

2 Bsn.
?
3 3

E Hn. 1, 2 &

G Hn. 3, 4 &
a2
2 A Tpt. &

Bs. Trb.
?

Timp.
?
3

Sn. Dr.

Bs. Dr.

Vln. 1 &
3 3
3 3

Vln. 2 &

Vla. B

Vlc. ?
D.B.
46    Workbook Answer Key

LISTEN AND SCORE 31

Humperdinck, Hänsel und Gretel, Overture, mm. 1–21

1 Ruhige, nicht zu langsame Bewegung ( = 69)

4
2 Fl. & 4

4
2 Ob. & 4

4
2 B Cl. & 4

2 Bsn.
? 4
4

sehr weich

4
1
2
& 4
F Hn.
sehr weich
4
3
4
& 4

1 B 4
4
2
Trb.

3
? 4
4

Timp.
? 4
4

4
Vln. 1 & 4

4
Vln. 2 & 4

B 4
Vla. 4

Vlc.
? 4
4

? 4
D.B. 4
 Listen and Score 31    47

2 Fl. &

2 Ob. &

2 B Cl. &

2 Bsn.
?

cresc.

1
2
&
cresc.
F Hn.

3
4
&
cresc.

B
sehr weich
1
2

Trb.

3
?

Timp.
?

Vln. 1 &
subito cresc.

Vln. 2 &
subito cresc.

Vla. B
subito cresc.

Vlc.
?
subito cresc.

D.B.
?
cresc.
48    Workbook Answer Key

15

2 Fl. &

2 Ob. &

2 B Cl. &

2 Bsn.
?

F Hn. 1
2
&

1
B
2

Trb.

3
?

Timp.
?

Vln. 1 &

Vln. 2 &

Vla. B

Vlc.
?

D.B.
?
 Listen and Score 32    49

LISTEN AND SCORE 32

Mendelssohn, Symphony No. 4 (“Italian”), fourth movement, mm. 249–264

Presto dim.
249

2 Fl. & c

2 Ob. & c
dim.

2 A Cl. & c

2 Bsn.
? c

2 E Hn. & c

2 E Tpt. & c

Timp.
? c

& c
3
Vln. 1

dim.

c
pizz.
Vln. 2 &
dim.

B c
3
Vla.

dim.

Vlc.
? c
dim.

D.B.
? c
dim.
50    Workbook Answer Key

253 3
3

2 Fl. &

2 Ob. &
Soli 3 3 3 3

2 A Cl. &
legg.

2 Bsn.
?

2 E Hn. &

2 E Tpt. &

Timp.
?

Vln. 1 &

Vln. 2 &

Vla. B

Vlc.
?

D.B.
?
 Listen and Score 32    51

3 3 3
257 3 3 3
3

2 Fl. &
cresc. cresc.

2 Ob. &
cresc. cresc.
3
3 3 3 3

2 A Cl. &
cresc.
cresc.
3

2 Bsn.
?
cresc. cresc.

2 E Hn. &

2 E Tpt. &

Timp.
? 3 3

cresc.
3

Vln. 1 &
cresc.
arco 3

Vln. 2 &
cresc.

Vla. B
?
cresc.

Vlc.

?
cresc.

D.B.
cresc.
52    Workbook Answer Key

261

2 Fl. &

2 Ob. &

2 A Cl. &

2 Bsn.
?

2 E Hn. &

2 E Tpt. &

Timp.
?

Vln. 1 &

Vln. 2 &

Vla. B

Vlc.
?

D.B.
?
 Listen and Score 33    53

LISTEN AND SCORE 33

Mussorgsky-Ravel, Pictures at an Exhibition, “Gnomus,” mm. 19–27

˘ ˘
19 ˘
3
3 Fl. & 4
˘ ˘
3
1, 2 & 4
Ob.
3 ˘ ˘ Muta in Corno Inglese
3 & 4
˘ ˘
3
& 4
fl
B Cl.

3 ˘
& 4
˘ ƒ
Bs. Cl.

1. ˘ ˘
2 Bsn.
? 3
4
a2

ƒ
Cbsn.
? 3
4
ƒ
3
1.
1, 2 & 4
Hn. ƒ
3 3.
3, 4 & 4
ƒ
3 1. con sord. senza sord.
C Tpt. & 4

? 3
con sord. senza sord.
Tba. 4

Timp.
? 3
4

3
Xylo. & 4

3
pizz.
Vln. 1 & 4

3
pizz.
Vln. 2 & 4
pizz.

B 3
Vla. 4
? 3
pizz.
4
ƒ
Vlc.

? 3
pizz. unis.
4
ƒ
D.B.
54    Workbook Answer Key

LISTEN AND SCORE 34

Mussorgsky-Ravel, Pictures at an Exhibition, “Ballet of the Chickens in Their Shells,” mm. 1–8

Scherzo: vivo, leggiero

1
2
Fl. 1, 2 & 4

2
Ob. 1, 2 & 4

2
B Cl. 1, 2 & 4

Bsn.
? 24

÷ 2
Cymb. 4

2
& 4
Hp.
2
& 4

2
pizz.
Vln. 1 & 4

2
div.
Vln. 2 & 4

Vla. B 24

Vlc.
? 24

? 2
D.B. 4