1. Download the file ScoringProject2_Debussy.zip from the Canvas Scoring Project #2 – Debussy assignment page.
2. Open the ScoringProject2_Debussy_to_score.sib file, OR, use the ScoringProject2_Debussy_to_score.xml file and open that up in Finale.
3. Listen to the piece. What is its musical structure? Where are the phrases? Cadences? What are the harmonic progressions? What are the key centers or tonicizations?
4. Use the ‘to score’ file and orchestrate the work as follows:
a. For the woodwinds, score for piccolo, 2 flutes, 2 oboes, english horn in F, 2 clarinets in A, bass clarinet in Bb, 2 bassoons, and contrabassoon. Additionally, score for harp and a five-part string orchestra: violin I, violin II, viola, violoncello and double bass.
b. Supply dynamics throughout to provide ‘dynamic variety’ to your scoring, with a range from ppp to f. Include crescendo and decrescendo markings. Remember the unique registral characteristics of each of the instruments in regard to dynamics.
c. For the woodwinds, apply distinctive articulation markings OFTEN for expressivity, and do not slur more than 2 beats together (except for bar 15). Include staccato and/or tenuto markings alone, staccato and/or tenuto markings with slurs, slurs emphasizing the beat, and slurs obscuring the beat (over the beat). Be sure to allow for the breathing needs of each woodwind player.
d. Apply distinctive bow markings OFTEN for expressivity, and do not bow more than 2 beats together (except for bar 15). Indicate down bows and up bows.
e. Use at least 8 of the following string techniques as described in Adler, Ch. 2 – Bowed String Instruments: detaché, louré, staccato, spiccato, jeté or ricochet, trills, fingered tremolo, bowed tremolo, undulating tremolo, sul tasto, sul ponticello, pizzicato, col legno, artificial harmonics, or natural harmonics. Be sure that you notate them correctly!
f. Use correct pedal markings in the harp part as detailed in Adler, Ch. 4 – Plucked String Instruments. Begin with a pedal diagram at the first harp entrance. Allow time for pedal changes and indicate them in the score either by letter or with a new harp diagram. Be sure that you notate your harp pedaling correctly!
g. Use at least 3 of the following harp techniques as described in Adler, Ch. 4 – Plucked String Instruments: glissandi, prés de la table, sons étouffés, bisbigliando, or natural harmonics. Be sure that you notate them correctly!
h. Create 3 to 4 melodic groupings of woodwinds with & without strings in combination. At least half of them must include octave or more doublings, while the remainder may be unison doublings. Completely rotate the main foreground melodic material between these 3 to 4 melodic groupings of woodwinds with & without strings in combination.
i. Create 3 to 4 harmonic groupings of woodwinds with & without strings in combination. Organize your groupings to utilize both interlocking and juxtaposing chord structure types. In addition, use at least 1 of the other chord structure types: enclosing and overlapping. Use the original harmonic background material and rotate it between at least 3 to 4 or your harmonic groupings of woodwinds with & without strings in combination.
j. Use a minimum of a 2 octave range for every single instrument.
m. For tempi, begin at the indicated metronome marking. After that, vary the tempo as you wish.
k. Notation: be certain that your notated score accurately reflects the beat. Sibelius or Finale may incorrectly choose note values or beaming in a manner that obscures the beat, so be sure to fix those problems.
Optional:
l. Create new melodic middleground material (counter or secondary melodies or melodic fragments) and rotate them between 2 or 3 of your melodic groupings of woodwinds with & without strings in combination.
m. Create new rhythmic material by rhythmicizing the chordal structures in at least 2 or 3 different instances.
5. Upload your completed Finale or Sibelius score as a compressed zip file at your Scoring Project #2 – Debussy assignment page (at Canvas) labeled something like this: ScoringProject2_Debussy_YourName.zip
6. Then, click on the Debussy Discussion link, also at Canvas, and submit a formal analysis of your scored version describing your orchestration choices in relation to your music theoretical analysis of the piece (Item #3 above). What are your 3-4 instrumental melodic groupings? Why? What are your 3-4 instrumental harmonic groupings? Why? In other words, why did you orchestrate it the way that you did? Minimum word length: 500-word count.