Music 251A: Seminar in Orchestration, Spring, 2003

A framework for the study of texture in works of Ravel I

(Page numbers from Dover Eds.)

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1)How is a one-line figuration treated?

Tombeau de Couperin, "Prelude," (piano, P. 60, orch. P. 3).

From this idea a woodwind complex is developed.

2)The accompaniment: chords

a)Doubling, spacing, and weight:

Tombeau de Couperin, "Forlane," (piano P. 68, orch., P. 20).

Valses nobles et sentimentales, (piano, P. 23, orch. P. 61).

b)Contrasts: extensions of the same examples a dozen measures later.

Valses nobles.. II opening. (piano P. 26, orch. P. 74).

III, (piano, P. 31, orch. PP. 86-87).

3)Cadences:

Tombeau, "Prelude," (piano, P. 64, orch, P. 19).

" "Minuet," (piano, P. 81, orch, P. 47).

4)Activation of accompanimental texture:

Valses nobles.. III (piano, P. 29, orch., P. 81.

5)Tutti passage:

Valses nobles.. IV (piano, P. 33, orch., PP. 92-93).

6)Extreme (low) register):

La Valse, opening.

Concerto for the Left Hand, opening.

7)Why were the "Toccata" and "Fugue" not in the orchestral version?

Certain keyboard figurations remain on the keyboard (discussion of fixed-decay properties).

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Students will apply these criteria using different Ravel examples in the next Ravel class.