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P r o f e ssi o nal O r c h e s t r a t i o nT M : A P r a c t i c al H a nd b ook – F r o m P ia no t o S t r i n gs
Copyright ©2009 by Peter Lawrence Alexander
Alexander Publishing
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Alexander Publishing is the
Publishing division of Alexander University, Inc.
P r o f e ssi o nal O r c h e s t r a t i o n is a service mark of Alexander University, Inc.
Digital eBook edition published 2009
ISBN-13: 978-0-939067-47-3
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No part of this publication may be stored in a retrieval system, transmitted, or reproduced, in any way, including
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Cover design and layout by Caroline J. Alexander
Alexander, Peter Lawrence, 1950-
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Acknowledgements: A Word of Thanks
Preface: A Simple Idea
Introduction: Getting the Most Out of “From Piano to Strings”
Something to Avoid
Where and How to Start
The Audio Examples
How Labeled
Support Materials
How to Approach Formal MIDI Mockups
How Maurice Ravel Approached Transcription Work Why You Should Start With Strings First
Give It Time
Working With the Reference Chart of Keyboard Idioms
Conclusion
Chapter 1: Broken Intervals1. Broken Octaves
2. Broken Octaves With Embellishments
3. Broken Octaves Combined With Thirds
4. Broken Sixths
5. Broken Thirds
6. Broken Sixths and Thirds Combined
Chapter 2: Broken Chords1. Left-Hand Broken Chords in Close Position
2. Left-Hand Broken Chords in Open Position
3. Broken Chords Spaced for Two Hands
4. Broken Chords in Right-Hand With Implied Melodic Line
5. Broken Chords With Blocked Melodic and Rhythmic Patterns
6. Arpeggiated Chords
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Chapter 3: Melodic Lines & Figurations1. Large Melodic Skips
2. Outlining a Melodic Line
3. Dividing a Melodic Line
4. Melodic Lines Combined With Repeated Note Patterns
5. Melodic Settings: Contrasts, Comparative Strengths, and Repeated Phrases
Chapter 4: Implied Bass Parts
Chapter 5: Single–Note, Interval & Chord Repetitions1. Repeated Notes—Without Rests
2. Repeated Notes—With Rests
3. Repeated Intervals as Afterbeats
Chapter 6: Two– & Three–Part Music1. Homophonic
2. Polyphonic
3. Style Mixtures
Chapter 7: Spacing Problems in the Middle Register1. Large Harmonic Gaps
2. Sustained Notes, Intervals and Chords
Chapter 8: Contrast Problems Conditioned by Dynamics
Chapter 9: Voice Leading
Chapter 10: Obbligato or Added Secondary PartsArranged from Harmonic Progressions
Chapter 11: Antiphonal Effects
Chapter 12: Tremolo Types
Chapter 13: Dance Forms
APPENDIX I: Chart of String Unisons
APPENDIX II: String Ensemble Templates
Holberg Suite: For Piano Solo
Holberg Suite: For String Ensemble
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1. Broken Octaves
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1. Left-Hand Broken Chords in Close Position
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5. Broken Chords With Blocked Melodic and Rhythmic Patterns
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PROFESSIONAL ORCHESTRATIONTM . VOLUME I
The First Key: Solo Instruments & Instrumentation Notes
Peter Lawrence Alexander
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PROFESSIONAL ORCHESTRATIONTM . VOLUME 2A
The Second Key: Orchestrating The Melody
Within The String Section
Peter Lawrence Alexander
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How Ravel Orchestrated: Mother Goose Suite
Peter Lawrence Alexander
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