1. Download the file ScoringProject3_Menotti.zip from the Canvas Scoring Project #3 – Menotti assignment page. Ignore this step if you’re doing the “Your Choice” option.
2a. Open the ScoringProject3_Menotti_to_score.sib file, OR, use the ScoringProject3_Menotti_to_score.mxl file and open that up in Finale.
2b. OR, open the “Your Choice’ selection.
3. Listen to the selection you’ve chosen. What is its’ musical structure? Where are the phrases? Cadences? What are the harmonic progressions? What are the key centers or tonicizations? How will you extend the piece and your scoring of it in the blank bars at the beginning and the end? How will your melodic and harmonic groupings, as outlined below, express on the musical structure?
4. Add an introduction or prologue to foreshadow your orchestration/structure of the main material. Conclude with an extension or epilogue that recalls the orchestration/structure of your arrangement.
5. Orchestrate your chosen selection as follows:
a. For the woodwinds, score for 2 flutes, 2 oboes, 2 clarinets in A, and bassoons. Use at least two auxiliary instruments from piccolo, alto flute, English horn in F, clarinet in Eb, bass clarinet in Bb, and contrabassoon. For the mallet percussion, pick at least 4 from the following instruments: xylophone, marimba, vibraphone, glockenspiel, crotales and chimes. Additionally, score for celesta, piano, 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 fff. Include crescendo and decrescendo markings. Remember the unique registral characteristics of each of the instruments in regard to dynamics.
c. For the woodwinds, apply articulation markings entirely consistent with your chosen selection’s notation. If you are using the Menotti excerpt, don’t change his articulation. If you’ve chosen a different selection, be sure that you use varied articulations for greater expression and interest in the woodwind material. Be sure to allow for the breathing needs of each woodwind player. Apply at least 2 idiomatic woodwind techniques as you wish, but be creative! Be sure you notate them correctly.
d. For the strings, apply bow markings entirely consistent with your chosen selection’s notation. If you are using the Menotti excerpt, don’t change his articulation. If you’ve chosen a different selection, be sure that you use varied articulations for greater expression and interest in the string material. Indicate down bows and up bows. Apply at least 3 idiomatic string techniques as you wish, but be creative! Be sure you notate them correctly.
e. For the harp, use correct pedal markings. 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! Apply at least 2 idiomatic harp techniques as you wish, but be creative! Be sure you notate them correctly.
f. Use the mallet keyboard percussion and celesta and piano to add color to your various melodic and harmonic groupings outlined below.
g. Create at least 1 melodic grouping of woodwinds; 1 melodic grouping of harp, mallet percussion & keyboards; and 1 melodic grouping of strings. At least two of them must include octave or more doublings, while the remaining 1 may be unison doublings. Then, create 2 melodic groupings of these different groups together as combined melodic groupings. Completely rotate the main foreground melodic material between these various melodic groupings. Use dovetailing technique and vary the rotations from 1 to 2 to 3 or 4 beats. You must rotate at a minimum of once every bar.
h. Create new melodic middleground material, either counter melodies or melodic fragments, and rotate them between at least 2 of your combined melodic groupings from item G above.
i. Create 1 harmonic grouping of woodwinds; 1 harmonic grouping of harp, mallet percussion & keyboards; and 1 harmonic grouping of strings. Then, create 2 harmonic groupings of these different groups together as combined harmonic groupings. Organize your groupings to utilize all 4 chord structures of juxtaposing, interlocking, enclosing and overlapping. Use the original harmonic background material, or embellish it slightly as you wish, and rotate it between your various combined harmonic groupings.
j. Your chordal structures should be extensions of the original harmonic background material and must be distributed between at least 2 to 4 octaves throughout your arrangement. Do not have any registral conflicts between your melodic material and chordal structures.
k. Hint – your melodic and harmonic groupings may be the same instrumentation!
l. Use a minimum of a 3 octave range for every single instrument.
m. DO NOT create any new rhythmic material.
n. For tempi, use the indicated metronome marking.
o. 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.
5. Upload your completed Finale or Sibelius score as a compressed zip file at your Scoring Project #3 – Menotti or “Your Choice” assignment page (at Canvas) labeled: ScoringProject3_MenottiScore_YourName.zip or ScoringProject3_YourChoiceScore_YourName.zip
6. Then, click on the Menotti or “Your Choice” Discussion link, also at Canvas, and submit a formal analysis of your notated and scored version describing your orchestration choices in relation to your music theoretical analysis of the piece (Item #3 above). What are your various instrumental melodic groupings? Why? What are your various instrumental harmonic groupings? Why? In other words, why did you orchestrate it the way that you did? Minimum word length: 500-word count.
DUE: Your completed notation score Monday, 4/1, at 11:59 p.m.
Next, realize your completed notation score with EastWest instruments in a ‘3-Stage’ process as demonstrated in class and lab and detailed here.