ODESSA
Orchestral Distribution
Effects in Sound,
Space and Acoustics

An Orchestral Recording for the Study of Orchestral Blending

Montreal, September 29th and 30th, 2018

Researchers :

 Martha de Francisco, McGill University
(sound recording - Tonmeister)

Jean-François Rivest, University of Montréal
(conductor)

Caroline Traube, University of Montréal
(musical acoustics and psychoacoustics)

Malte Kob, Detmold University  of Music
(hall acoustics)

Stephen McAdams, McGill University
(music cognition)
Director the ACTOR project


Tchaikovsky Symphony No. 6 “Pathétique”
(1893)


Orchestration analysis (coming soon) Orchestral recording microphone placements (coming soon)

Orchestration analysis (coming soon)
Orchestral recording microphone placements (coming soon)

Movement I, mm.305-325: Continuous recording to allow the musicality to flow at the start of the session.

Tutti example.


Orchestration analysis (coming soon) Orchestral recording microphone placements (coming soon)

Orchestration analysis (coming soon)
Orchestral recording microphone placements (coming soon)

Movement I, mm.305-309: How a poetic demand from the conductor can change the orchestra's playing.

Tutti: playing “normal”

Tutti: playing like a “Bridge of Ice”


Orchestration analysis (coming soon) Orchestral recording microphone placements (coming soon)

Orchestration analysis (coming soon)
Orchestral recording microphone placements (coming soon)

Movement I, mm.305-313, hyper-romantic counterpoint, a study of orchestration strata

Sections 1: Horns, Trombones, Tuba, Timpani, Viola, Cello, Contrabass: harmony only

Sections 2: Oboe, Clarinet, Bassoon, add Viola, Cella at m.309: contrechant only

Sections 3: Flute, Violin I & II, add oboe (311), add clarinet (312): melody only

Tutti: full orchestra


Orchestration analysis (coming soon) Orchestral recording microphone placements (coming soon)

Orchestration analysis (coming soon)
Orchestral recording microphone placements (coming soon)

Movement I, mm.89-97, perception  of individual violins or of a section of violins

One violin

Two violins

Three violins

Four violins

Six violins: starts to sound like a section

Violin I, all: front desk leading

Violin I, all: rear desk leading


Orchestration analysis (coming soon)  Orchestral recording microphone listening excerpts

Orchestration analysis (coming soon)
Orchestral recording microphone listening excerpts

Subject 5: Movement I, mm.170-185, counterpoint and orchestration as a way to enhance energy

Strings : strings only, thematic and motivic counterpoint

Winds and brass only

Tutti: full orchestration


Orchestration analysis (coming soon) Orchestral recording microphone placements (coming soon)

Orchestration analysis (coming soon)
Orchestral recording microphone placements (coming soon)

Movement I, mm.284-304, hyper-romantic counterpoint and the building of a climax

Sections 1: Winds (no fl), horn, trumpet, trombones, tuba, timpani: harmony+ counter-subject

Sections 2: Flute, violin I, violin II, viola, cello: melody alone

Tutti

Tutti (extended section)


Orchestration analysis (coming soon) Orchestral recording microphone placements (coming soon)

Orchestration analysis (coming soon)
Orchestral recording microphone placements (coming soon)

Movement III, mm.330-end, percussion studies (Gran Cassa and Timpani)

Sections 1: timpani + G.C. only

Sections 2: timpani + G.C. + brass

Sections 3: only winds and strings

Tutti: full orchestra


Orchestration analysis (coming soon) Orchestral recording microphone placements (coming soon)

Orchestration analysis (coming soon)
Orchestral recording microphone placements (coming soon)

Movement III, mm. 196-256, study of contrast: pointillistic motives vs linear horizontal ascending energy lines

Tutti


Orchestration analysis (coming soon) Orchestral recording microphone placements (coming soon)

Orchestration analysis (coming soon)
Orchestral recording microphone placements (coming soon)

Movement III, mm. 221-229, alternating sections

Sections1: Strings

Sections2: Woodwinds

Tutti


Orchestration analysis (coming soon) Orchestral recording microphone placements (coming soon)

Orchestration analysis (coming soon)
Orchestral recording microphone placements (coming soon)

Movement IV, mm.19-23, composite violin line (only violins)

Violin II

Violin I

Violins I&II: violin II leads

Violins I&II: Even

All strings: in musical context


Orchestration analysis (coming soon) Orchestral recording microphone placements (coming soon)

Orchestration analysis (coming soon)
Orchestral recording microphone placements (coming soon)

Movement IV, mm.1-18, woodwind timbre addition and reduction, harmonic tension and release

Woodwinds (mm.4-18)

Tutti