Introduction | Subject 4.1 | ODESSA I

SUBJECT 4.1 | Introduction

Study of Counterpoint and Strata

Subject 4.1 is from Tchaikovsky’s Symphony no. 6. mov. i, mm. 305-313. The goal was to study orchestration strata as contrapuntal layers.

• Example A is the harmony only: Horns, Trombones, Tuba, Timpani, Oboes (m. 309-311), Clarinets in A (m.309-311), Viola, Cello, Contrabass.

• Example B is the contrechant only: Oboe, Clarinet, Bassoon, add Viola, Cello at m.309

• Example C is the melody only: Flute, Violin I & II, add oboe (m. 311), add clarinet (m. 312).

• Example D is the original orchestration

Subject 4.1, Example A

Orchestre de l’Université de Montréal

Subject 4.1, Example B

Orchestre de l’Université de Montréal

Subject 4.1, Example C

Orchestre de l'Université de Montréal

Subject 4.1, Example D

Orchestre de l'Université de Montréal

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Subject 4.1 | Example A

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Subject 4.1 | Example B

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Subject 4.1 | Example C

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Subject 4.1 | Example D1

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Subject 4.1 | Example D2

ODESSA

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ODESSA I — Montreal

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Overview

1. Perception of Violin Section

2. Counterpoint and Energy

3. Counterpoint and Climax

4.1. Counterpoint and Strata

  • Introduction

  • Practicalities

  • In-Depth

  • Orchestration

4.2. Study of Poetic Affect

5 Study of Contrast

6. Alternating Sections

7. Study of Percussion

8.1. Blend, Addition and Reduction

8.2. Study of Composite Lines