Editing Orchestration (section)

==In practice==
The term ''orchestration'' in its specific sense refers to the way instruments are used to portray any musical aspect such as [[melody]], [[harmony]] or [[rhythm]]. For example, a C [[major chord]] is made up of the notes [[C (musical note)|C]], [[E (musical note)|E]], and [[G (musical note)|G]]. If the notes are held out the entire duration of a [[bar (music)|measure]], the composer or orchestrator will have to decide what instrument(s) play this chord and in what [[Register (music)|register]]. Some instruments, including [[woodwinds]] and [[brass]] are [[Monophony|monophonic]] and can only play one note of the chord at a time. However, in a full orchestra there are more than one of these instruments, so the composer may choose to outline the chord in its basic form with a group of [[clarinets]] or [[trumpets]] (with separate instruments each being given one of the three notes of the chord). Other instruments, including the [[string instrument|strings]], [[piano]], [[harp]], and pitched [[percussion]] are [[polyphonic]] and may play more than one note at a time. As such, if the orchestrator wishes to have the strings play the C major chord, they could assign the low C to the cellos and basses, the G to the violas, and then a high E to the second [[violin]]s and an E an octave higher to the first violins. If the orchestrator wishes the chord to be played only by the first and second violins, they could give the second violins a low C and give the first violins a [[double stop]] of the notes G (an open string) and E.

Additionally in orchestration, notes may be placed into another register (such as transposed down for the [[string bass|basses]]), doubled (both in the same and different octaves), and altered with various levels of dynamics.  The choice of instruments, registers, and dynamics affect the overall [[timbre|tone color]].  If the C major chord was orchestrated for the [[trumpet]]s and [[trombone]]s playing [[fortissimo]] in their upper registers, it would sound very bright; but if the same chord was orchestrated for the [[cello]]s and [[string bass|double bass]]es playing [[sul tasto]], doubled by the [[bassoon]]s and [[bass clarinet]], it might sound heavy and dark.

Note that although the above example discussed orchestrating a chord, a melody or even a single note may be orchestrated in this fashion. Also note that in this specific sense of the word, ''orchestration'' is not necessarily limited to an orchestra, as a composer may ''orchestrate'' this same C major chord for, say, a [[woodwind quintet]], a [[string quartet]] or a [[concert band]]. Each different ensemble would enable the orchestrator/composer to create different tone "colours" and timbres.

A [[melody]] is also orchestrated. The composer or orchestrator may think of a melody in their head, or while playing the piano or organ. Once they have thought of a melody, they have to decide which instrument (or instruments) will play the melody. One widely used approach for a melody is to assign it to the first violins. When the first violins play a melody, the composer can have the second violins double the melody an octave below, or have the second violins play a harmony part (often in thirds and sixths). Sometimes, for a forceful effect, a composer will indicate in the score that all of the strings (violins, violas, cellos, and double basses) will play the melody in [[unison]], at the same time. Typically, even though the instruments are playing the same note names, the violins will play very high-register notes, the violas and cellos will play lower-register notes, and the double basses will play the deepest, lowest pitches.

As well, the [[woodwinds]] and [[brass instrument]]s can effectively carry a melody, depending on the effect the orchestrator desires. The [[trumpet]]s can perform a melody in a powerful, high register. Alternatively, if the trombones play a melody, the pitch will likely be lower than the trumpet, and the tone will be heavier, which may change the musical effect that is created. While the [[cello]]s are often given an [[accompaniment]] role in orchestration, there are notable cases where the cellos have been assigned the melody. In even more rare cases, the double bass section (or principal bass) may be given a melody, like, the high-register double bass solo in [[Prokofiev]]'s ''[[Lieutenant Kije Suite]].''

While assigning a melody to a particular section, such as the string section or the woodwinds will work well, as the stringed instruments and all the woodwinds blend together well, some orchestrators give the melody to one section and then have the melody doubled by a different section or an instrument from a different section. For example, a melody played by the first violins could be doubled by the [[glockenspiel]], which would add a sparkling, chime-like colour to the melody. Alternatively, a melody played by the piccolos could be doubled by the [[celesta]], which would add a bright tone to the sound.

In the 20th and 21st century, [[Contemporary classical music|contemporary composers]] began to incorporate [[music technology (electric)|electric]] and [[music technology (electronic and digital)|electronic]] instruments into the orchestra, such as the [[electric guitar]] played through a [[guitar amplifier]], the [[electric bass]] played through a [[bass amplifier]], the [[Theremin]] and the [[synthesizer]]. The addition of these new instruments gave orchestrators new options for creating tonal colours in their orchestration. For example, in the late 20th century and onwards, an orchestrator could have a melody played by the first violins doubled by a futuristic-sounding [[synthesizer]] or a [[theremin]] to create an unusual effect.

Orchestral instrumentation is denoted by an abbreviated formulaic convention,<ref>{{Cite book|title=Orchestral Music a Handbook|last=Daniels|first=David|publisher=Scarecrow Press Inc.|year=2005}}</ref> as follows: [[flute]], [[oboe]], [[clarinet]], [[bassoon]], [[Horn (instrument)|horn]], [[trumpet]], [[trombone]], [[tuba]]. More details can be contained in brackets. A dot separates one player from another, a slash indicates doubling. Timpani and percussion are denoted 2Tmp+ number of percussion.

For example, 3[1.2.3/pic] 2[1.Eh] 3[1.2.3/Ebcl/bcl] 3[1.2/cbn.cbn] tmp+2 is interpreted as:

* 3 flautists, the 3rd doubling on piccolo ("doubling" means that the performer can play flute and piccolo)
* 2 oboists, the 2nd playing English horn throughout
* 3 clarinetists, the 3rd doubling also on E-flat clarinet and bass clarinet
* 3 bassoonists, the 2nd doubling on contrabassoon, the 3rd playing only contra
* Timpani+ 2 percussion.

As an example, Mahler Symphony 2 is scored: 4[1/pic.2/pic.3/pic.4/pic] 4[1.2.3/Eh.4/Eh] 5[1.2.3/bcl.4/Ebcl2.Ebcl] 4[1.2.3.4/cbn]- 10 8 4 1- 2tmp+4-2&nbsp;hp- org- str.