# Common Patterns in Orchestrations



## Bevo (Feb 22, 2015)

Just curious, what are some common patterns you have observed in orchestral scores, whether it's from studying them, or observing them during practices. I know alot of factors go into this, such as the the composer and his style, as well as the genre (symphony, overture, programmatic works, etc.) but when focusing on the Classical Era and the Romantic Era, what are some generic observations you have made? I know there are many differences in these eras, so please specify which you are referring to. I have noticed that in both eras, it common for the Bassoons to either double (if not become) the Bass line, and they also often double the Horns at times as well. But things like that, or when you've noticed that First and Second Violins play in unison and/or split. Thanks.


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## drpraetorus (Aug 9, 2012)

As a horn player, I have had my share of off beats and harmonies. However, since the start of the Romantic era, if a composer wants a heroic or triumphant sound, they turn to the horns, often the full section playing unison. In the 50's Horns have also become the go to sound for Western soundtracks.

How the West was Won; Alfred Newman





The Magnificent Seven; Elmer Bernstein, Elmer Bernstein conducting. Note the Horns in counterpoint with the strings on the second time through the melody.





The Cowboys; John Williams.


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## Bevo (Feb 22, 2015)

drpraetorus said:


> As a horn player, I have had my share of off beats and harmonies. However, since the start of the Romantic era, if a composer wants a heroic or triumphant sound, they turn to the horns, often the full section playing unison. In the 50's Horns have also become the go to sound for Western soundtracks.
> 
> How the West was Won; Alfred Newman
> 
> ...


I know they have greatly earned a higher... importance (for lack of a better word) in terms of melody. I noticed that, at least in the Classical era they were very often used to play the first and fifth of the chord currently playing to keep the harmony steady, and sometimes to stress the root of the chord a little more, they would split to Horn part, but have them play an octave apart. But yeah, interesting observations there.


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## Mahlerian (Nov 27, 2012)

Bevo said:


> I know they have greatly earned a higher... importance (for lack of a better word) in terms of melody. I noticed that, at least in the Classical era they were very often used to play the first and fifth of the chord currently playing to keep the harmony steady, and sometimes to stress the root of the chord a little more, they would split to Horn part, but have them play an octave apart. But yeah, interesting observations there.


The reason they didn't play melodies in the classical era is because they couldn't, without some difficulty. The natural horns that were in use were mostly restricted to the overtone series of a single key, while the later valved horns that Wagner and Bruckner used had the ability to play pretty much any chromatic note within a very large range.


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## Torkelburger (Jan 14, 2014)

You should pick up a copy of Rimsky-Korsakov's book _Principles of Orchestration._ He goes through an exhaustive long list of very common patterns/instrumental combinations observed in orchestral scores up to his time and analyzes the sound of each.


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## R3PL4Y (Jan 21, 2016)

The trombones and tuba often go for long periods without playing at all. Source: Personal experience


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## EdwardBast (Nov 25, 2013)

Torkelburger said:


> You should pick up a copy of Rimsky-Korsakov's book _Principles of Orchestration._ He goes through an exhaustive long list of very common patterns/instrumental combinations observed in orchestral scores up to his time and analyzes the sound of each.


Good suggestion! If I remember correctly, R-K also gives one answer to your "bassoon on the bass-line" question - sort of. He said to never give the basses their own line undoubled because they would be bound to futz it up!


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## TwoPhotons (Feb 13, 2015)

Yep, R-K's book is brimming with "tips and tricks" and common patterns regarding orchestration! (and since drpraetorus mentions John Williams, it is interesting to note that he learnt orchestration fundamentals from that book as well)

For example, another thing he says is that when the brass instruments make an entrance with other orchestral instruments, it is best if they enter either very softly or very loudly - if it's in between (e.g. mezzo-forte) their entrance comes across as a bit unwarranted and unpurposeful. However, if brass instruments (especially horns) are to enter on their own then it's fine to use a mezzo dynamic (e.g. if you're writing a chorale). 

Something else I read in another book about jazz orchestration - if you have one group of instruments playing the foreground and one group of instruments playing the background, the next foreground should not be played by the same group which played the background just before (and vice versa). Otherwise you have a sort of blurring of sections. 

But of course, there are always exceptions. If you're convincing enough, you can break any rule...I think.


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## manyene (Feb 7, 2015)

Triangles are even worse off - not much, even in the Brahms 4th Symphony and Liszt 1st Piano Concerto


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## R3PL4Y (Jan 21, 2016)

manyene said:


> Triangles are even worse off - not much, even in the Brahms 4th Symphony and Liszt 1st Piano Concerto


This is common practice in order to allow the triangle player the time needed to rest between different parts in which they must play, as the triangle is one of the most physically taxing instruments in the orchestra.


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