Bringing the study of orchestration practice into the 21st century and developing new tools for analyzing, creating, and teaching orchestration

This page contains just some of the examples of the multi-microphone recording of the rehearsal, which was realized with more than 50 microphones used in a combination of close microphone pick-up and ambient recording.

For each subject, there is an Overview section which has the final mix of the orchestra, the tonmeister’s balance between all mics. Each following Excerpt section has example recordings from the various micrcophone arrays, as well as the final mix for each of the studies.

Subject 2: MOV. I, bars 305-309: How a poetic demand from the conductor can change the orchestra’s playing

Subject 3: MOV. I, bars 305-313: Hyper-romantic counterpoint, a study of orchestration strata

Subject 4: MOV. I, bars 89-97: The perception of individual violins or of a section of violins

Subject 5: MOV. I, bars 170-185: Counterpoint and orchestration as a way to enhance energy

Subject 6: MOV. I, bars 284-304: Hyper-romantic counterpoint and the building of a climax

Subject 8: MOV. III, bars 330 to the end: percussions study (G.C. and Tim.)

Subject 9: MOV. III, bars 196-256: Contrast between pointillistic motives and linear horizontal ascending energy lines

Subject 10: MOV. III, bars 221-229: Alternating sections between strings and woodwinds

Subject 11: MOV. IV, bars 19-23: Composite violin line (only violins)

SUBJECT 5: Overview

Counterpoint and orchestration as a way to enhance the energy
MOV. I, bars 170 (4th beat)
to 185 (4th beat)


Subject 5, Excerpt A: strings only, thematic and motivic counterpoint

Subject 5, Excerpt B: Winds and brass only

Subject 5, Excerpt C: Tutti; full orchestration





Subject 8, Excerpt A: Timpani and Bass Drum only

Subject 8, Excerpt B: Timpani and Bass Drum + brass

Subject 8, Excerpt C: Only winds and strings

Subject 8, Excerpt D: Tutti; full orchestration




Subject 10, Excerpt A: strings only

Subject 10, Excerpt B: Winds only

Subject 10, Excerpt C: Tutti; full orchestration