by Professor Alan Belkin

Lesson 3C - Orchestrating a Crescendo

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Comments from Professor Belkin on Example No. 3C:
Improvements: Flute 1 now plays an octave higher than in the previous version. Adding even a bit of octave doubling is much more efficient for increasing volume than adding a lot of unison doubling. Note also the more varied part writing in the strings and elsewhere: again, less unison doubling overall. This makes for a less uniform and gray sound. The string lines have more leaps than previously; this is idiomatic, and creates more
resonance (each string continues to sound when playing on the adjacent one). The cymbal adds a bit of sparkle at the peak of each phrase. The trumpets are saved for the final accent, as are some easy double stops ("non-divisi")
in the strings.

How could this be improved even more?

©Alan Belkin, 2006