6. Orchestration & Instrumentation

This section explores how the composition was orchestrated for a large ensemble using Western-style methods. Firstly, the general moods of selected parts of the piece will be analysed, including a discussion of the orchestration techniques that were used. Then, the piano writing will be explained in detail, and the interaction between the piano and the orchestra will be evaluated.

It was stated by Berlioz (1948) that “(t)he orchestra may be considered a large instrument capable of playing a great number of tones simultaneously or in succession; and its power is moderate or gigantic according to the proportionate use of all, or only part of the resources available (...)”. This makes the orchestra an ideal medium expressing moods and emotions. The Fantasia does not follow any exact story, but the various sections do each have moods, which the listener is free to interpret. This section will analyse the role of the orchestra at selected parts of the composition.

Taking the first bars of the piece as an example, the orchestra is used to give a punchy feel. Firstly, the pentatonic sequence starts in a low register, before gradually rising to higher pitched instruments. This introduces most of the instruments, and gives the listener an idea of the size and scale of the orchestra. The strings are marked spiccato (a technique where the bow is bounced on the strings), giving a fast and clean attack. A steady tempo and accents on every beat create a bold rhythm. The chords on beat five of bars 1 - 2 have no thirds, giving a powerful openness to the harmony, while the timpani adds further accentuation. The strings play pizzicato for these chords, which is analogous to the predominantly plucked Japanese instruments. The ‘Bartók pizzicato’ effect is used on some notes to add to the forcefulness, which was inspired by the Japanese shamisen technique of letting the strings snap against the neck. Finally, the use of time signature changes also gives the introduction part of its character. It immediately suggests that the music is a modern composition, and not just a pastiche. All of these elements combine to create a forceful opening, which serves the purpose of introducing the instruments and the Japanese influences.

A contrasting mood can be found at bars 48 - 61. This passage is the first time that the Ōshikichō theme is heard, and it is very sparsely orchestrated. It uses muted strings to give a soft sound, along with harmonics on the cellos. There is very little bass in the passage, and the string accompaniment is quiet. The piano plays light chords and the triangle accents occasional beats. The purpose of this is to stop the music from becoming too static. The violins smoothly and quietly continue the previously heard semiquaver pattern, which keeps the music flowing forwards. The melody is heard high up on a solo bassoon. This is an uncommon choice for a melody instrument, but it fits well with the sparse orchestration, as the other instruments are not conflicting over space in the frequency spectrum. The melody is a mix of legato and staccato articulation, which stops the theme from becoming too heavy or too light. Overall, the orchestration here creates a delicate, yet majestic mood, which is characteristic of a small Japanese ensemble. The theme could have been more richly orchestrated, however, it follows on well from the preceding piano solo, and sparse orchestration provides scope for the theme to be expanded on in later sections of the composition.

Many sections of the piece are broad and expressive. These sections often consist of one of the main Japanese inspired themes, with an orchestral texture underneath. These textures create a more interesting and rich accompaniment than simple block chords. A selection of these accompanying textures can be seen in figures 27 - 31.

The semiquaver texture shown in figure 22 is used during many of the Ōshikichō theme repeats. After suggestions by the project supervisors, the dovetailing technique was used to make this passage as smooth as possible. In this example, the flutes are echoing the oboes and clarinets a beat later. This gives a more secure performance, as there is never a point where every player is stopping to breath. Dovetailing can also be found in bars 50 - 61, 174, 214 - 228, and many other places.

Figure 22. Woodwind semiquaver texture from bar 97

Figure 23 shows a texture in the string section consisting of alternating thirds and fourths (from bar 261 - 266). This is a simple but effective texture, as it gives the music a driving force. In addition, bars 261 - 266 contain the sho chords displayed in figure 20. The two textures at this point complement each other, as there is a good balance of static chords and movement. A similar texture appears in bars 366 - 371, this time with triplet quavers in the string section.

Figure 23. Texture in the string section from bar 261

Figure 24 displays the staccato woodwind texture from bar 342. This passage was originally semiquavers throughout, but by removing some of the notes, the texture becomes less repetitive. Additionally, accents were used on different beats for each instrument, again adding interest. As with the previous example, the purpose of this texture is to provide a driving rhythm that gives a steady momentum to the music.

Figure 24. Staccato woodwind texture from bar 342

Figure 25 shows fast runs distributed amongst the woodwinds from bar 374. The note distribution here makes the passage easier to play, as well as giving a more interesting texture due to the different tone colours of the instruments. The speed of these notes gives a majestic sparkle, especially when combined with the broad chords in the string section, and the slow melodic lines on the horns and trumpets.

Figure 25. Fast woodwind runs from bar 374

At bars 202 - 205 and 210 - 213 an aggressive and dramatic mood is created. This is largely achieved by having the whole orchestra playing together at fortissimo. There is a very wide pitch range in these bars, to give a full sound. For example, the tuba, bass trombone and divided double basses provide deep and accented bass, while the piccolo, flutes and violins give a high shrillness. The cellos play in high register to give a harsh, nasal sound. The percussion and large discordant piano chords add to the drama. To make the texture less static the low woodwinds play on alternate beats to the low brass. This technique retains the steady crotchet rhythm (Ōnori), while stopping the sound from becoming too muddy and undefined. Bars 210 - 213 also provide examples of instrument doubling. For example, the flute runs are doubled at the octave by the piccolo, and the first violin melody is doubled an octave lower by the cor anglais (and also by the highest notes of the piano chords). In a loud passage such as this, doubling is essential to ensure that important phrases can be clearly heard.

At the end of the piece (bar 382 onwards), the full forces of the orchestra are used to create a lively climax. The melody is played by the first violins, which are doubled at the octave to help them rise above the rest of the orchestra. High semiquavers in the piccolo, flutes and oboes, combined with offbeat stabs from the trumpets, create a rhythmic and triumphant accompaniment. The middle register instruments are responsible for providing the bulk of the harmony, while the low brass accents the bass notes. At the very end of the Fantasia, there is a large crescendo, as well as a gradual rise in pitch as more and more instruments are playing. Demisemiquavers create an intricate flourish, leading to the final two chords.

The piano part is a major component of the piece. It serves a number of purposes, which include: adding virtuosic interest, providing interplay with the orchestral instruments and supporting the orchestral textures. This section will give examples of the piano being used in these various ways.

Firstly, there are a number of passages for solo piano in the composition. Most of these solos use a style of piano writing that is similar to that of the romantic era. The use of rich harmony, sonorous bass notes, virtuosic arpeggios/broken chords and counter melodies are common attributes to this style of writing. Figure 3 shows the piano solo at bar 141. Broken chords split between the hands form an accompaniment for the melody, which is played in octaves for clarity. The passage is sustained and legato throughout, adding to the tender and lyrical quality. Having a solo instrument also gives the advantage of flexible rhythm, as there are no concerns about synchronisation with the other performers. This aspect helps to make the passage more expressive and it accentuates the romantic style of the piano writing. Figure 26 shows an alternative repeat of the theme from a later point in the same section. In this example, the right hand plays large arpeggiated chords which provide the bulk of the harmony. The left hand is responsible for supplying the bass, but it also has an inner melody part. This adds movement, and increases the complexity and interest of the passage. This type of repetition with embellishment is a common compositional technique, and it allows themes to be heard again (which is necessary if the listener is to digest it all) without fatigue.

Figure 26. Romantic style piano writing

Figure 27 gives an additional demonstration of how melodies can be passed between the hands - with the left hand playing the melody and the right hand providing the accompaniment, and then vice versa. This example also shows how the full range of the piano can be used to create a sonorous effect.

Figure 27. Transferral of melodic lines between the hands, and usage of the full piano range

The piano cadenza between bars 295 - 317 makes extended use of the koto tunings described in section 5.4, and elaborates the Ichikotsuchō theme. However, figure 28 shows how the piano writing becomes less romantic, and moves into a more contemporary style. This is achieved through greater harmonic and rhythmic complexity. This style of writing gives a contrast to the previous parts, and the new material helps the piece structurally towards the closing sections.

Figure 28. Contemporary piano writing

When the piano is playing with the orchestra, there is often a musical interplay. For example, at bar 162, the melody is heard on the cello with a woodwind accompaniment, which is followed by a piano interpretation. After this, the soloist and orchestra join together, with the strings reflected in the left hand of the piano, and the woodwinds in the right. This section gives the effect of a light hearted competition and its resolution. Similar interplay is shown in figure 29. In this example, the piano plays the melody while the orchestra provides the accompaniment, before the orchestral texture takes over. Then, the piano returns to play the melody and the accompaniment on its own.

Figure 29. Interplay between the piano and orchestra

Figure 30 is an example of a more unified relationship between the piano and orchestra. The oboe and cor anglais play scales for portions of the bars, while the piano plays scales at alternating moments. This creates a tight-knit accompaniment and it keeps the momentum going during the build-up to the proceeding dramatic section.

Figure 30. A unified relationship between the piano and orchestra

A final use of the piano is to support the orchestral textures. The piano at bar 79 (see figure 31) is effective as the tone colour of the piano does not interfere with the other instruments, especially as everything is being played in a high register. The arpeggios add movement to an otherwise static accompaniment, and they provide continuity with the semiquaver motion that is heard before and after this section. Bar 342 (figure 32) again uses arpeggios to add movement to the accompaniment. Septuplets are used to give a more flowing and majestic feel, while still integrating tightly with the accented woodwind semiquaver accompaniment.

Figure 31. Supporting textures in the piano part (1)

Figure 32. Supporting textures in the piano part (2)