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Writing For Woodwinds

When arranging for woodwinds, it's essential to think critically about your ensemble's makeup and sound production. Consider the balance between voices, the dynamics you wish to achieve, and how instruments can execute articulations effectively. Pay attention to voicing techniques, such as avoiding excessive doubling and ensuring clarity in chords. Additionally, experiment with different combinations, like a double reed quartet, to explore sound color. Balancing harmony and melody while maintaining clarity will enhance your woodwind compositions.

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Writing For Woodwinds

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  1. Writing For Woodwinds • Things to Think About…

  2. Woodwinds • Think about the numbers you are writing for - what is the general make-up of a school band? • ALWAYS- think about the sound you would like to produce - All voices equal? Choir vs. Choir, lead voice over back ups? Think about dynamic contour and instrument color….

  3. Woodwinds • Execution… • Can they play effectively at your tempo? • Can they play effectively at your dynamic? • Can they play the full line as marked? How does AIR factor in? • Can they execute the articulations (think about instrument characteristics)

  4. Voicing • Alto Clarinet? Double either 3rd clarinet or Bass Depending on Voice strength • Clarinet Parts are usually split 3 ways • Saxophones are Flexible - either used as a Choir, as a sonority strengthener, as rhythmic background, Soloists, inner harmony

  5. Voicing • Melody may be doubled in octaves • Avoid doubling the bass line above its original Pitch • Exception - more than an octave between the bass line and the next highest voice…

  6. Voicing • Think about using the double reed quartet: 2 oboes, 2 bassoons • May be used as a quartet in light passages - Its all about the color you want. • Lighter passages - Flute can carry the melody in the upper register • Think if your tutti passages are balanced, top heavy, or bottom heavy

  7. Voicing • Put largest Vertical intervals the lower the octave - Think Harmonic Series and Clarity • Close vertical space in the lower octave creates a muddy sound • Space voices evenly in the upper register and avoid large gaps. • Exception - octave between two top melodic voices • Chords should be voiced as completely as possible in each section

  8. Voice Leading/Re-voicing • Sometimes voice parts need to be shifted around due to range considerations. Ex. - a tenor/bass combination • Avoid awkward skips ( see ex no. 2 page 40) • Watch for Excessive Doubling of 3rds • Think about how you want to split voices or condense. 5 parts for 4 players? 7 parts for 12 players?

  9. Now Let’s Look at Some Scores… • Irish Tune • Dvorak Serenade • Strauss - Suite in B flat • Beethoven - Octet • Jacob - Old Wine In New Bottles

  10. Woodwind Project • Recording - March 11th • Instrumentation - 2 Flute, 2 Oboe, 2 B flat Clarinet, 1Bass Clarinet, 1 Bassoon, 1 alto sax, 1 tenor sax, 1 bari sax - Recruit PLAYERS! Sign up on my door. • Stay close to 2 mins if possible. This project can be closer to Transcription. • Lab Day Next Week • Woodwind Quiz - Next Week

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