Index Chart of Orchestral Blending

Instrument Technique Bore/strings body size (N) Wave/Partials (Q) TFU [R] Dynamics (S) Range (T) Group (U) Semiblends
1 Violins (at least 4) bowed ideal size sine, bright 1(pp-mp), 2(mf-ff), .5 and .75 for solo Pp-f (sul II or III), pp-ff (sul I or IV) G3 on up Bowed sul IV. 2X1Y; sul III. 3X5Y; sul II. 4X6Y; sul I. 7X4Y Most
2 Violas (at least 4) bowed undersized sine, tame 1(pp-mp), 2(mf-ff), .5 and .75 for solo Pp-f (sul II or III), pp-ff (sul I or IV) C3 on up Bowed sul IV. 2X1Y; sul III. 3X5Y; sul II. 4X6Y; sul I. 7X4Y Blending
3 Cellos (at least 4) bowed ideal size sine, bright 1(pp-mp), 2(mf-ff), .5 and .75 for solo Pp-f (sul II or III), pp-ff (sul I or IV) C2 on up Bowed sul IV. 2X1Y; sul III. 3X5Y; sul II. 4X6Y; sul I. 7X4Y
4 Double Bass (at least 2) bowed undersized sine, tame 1(pp-mp), 2(mf-ff), .75 and .9 for solo Pp-f (sul II or III), pp-ff (sul I or IV) E1 on up Bowed sul IV. 2X9Y; sul III. 2X1Y; sul II. 3X2Y; sul I. 4X3Y
5 Vibraphone bowed, or soft mallets trem , motor off Thick bar sine, bright 1 per note Pp-p 1. F3-C5 2. C#5-F6 Bowed 1. 2X3Y; 2. 3X4Y
6 Marimba bowed, soft mallets trem Thick bar sine, tame 1 per note Pp-p 1. F3-C5 2. C#5-F6 Bowed 1. 2X3Y; 2. 3X4Y
7 Crotales bowed, or soft mallets trem thin 'bar' sine, bright 1 per note Pp-p Bowed 7.5X8Y
8 Flute cylindrical sine, rich 1 1. pp-mp, 2. p-mf, 3. p-f, 4. mf-ff, 5. ff 1. C4-Db5, 2. D5-Bb5, 3. B5-G#6, 4. A6-C7, 5. C#7-D7 WW1 1.+2. 3X1Y; 3. 4X6Y; 4.+5. 7X7Y
9 Piccolo cylindrical sine, rich 1 1. pp-mp, 2. p-mf, 3. mf-ff, 4. f-ff, 5. ff 1. D5-Db6, 2. D6-G#6, 3. A6-C#7, 4. D7-Bb7, 5. B7-C8 WW1 1.+2. 7X8Y; 3.+4.+5. 8X8Y
10 Alto Flute cylindrical sine, rich 1 1. pp-mp, 2. p-mf(mild) 1.G3-Ab4, 2. A4 on up WW1 1. 1X2Y; 2. 5X3Y
11 Bass Flute cylindrical sine, rich 1 1. pp-mp, 2. p-mp, 3. p-mf(mild) 1. C3-E3, 2. F3-Db4, 3. D4 on up WW1 1. 1X2Y; 2. 5X3Y
12 Eb Clarinet cylindrical, dbl rnd trip square, tame 1 1. pp-mp, 2. pp-mf, 3. p-f, 4. mf-ff 1. G3-D4, 2. Eb4-Db5, 3. D5-Eb6, 4. E6-Bb6 WW1 1.+2. 4X6Y; 3.+ 4. 7X7Y
13 Bb Clarinet cylindrical, dbl rnd trip square, tame 1 1. pp-mp, 2. pp-mf, 3. p-f, 4. mf-ff 1. D3-A3, 2. Bb3-Ab4, 3. A4-Bb4, 4. B4-Bb5 5. B5-E6 WW1 1.+2.3X4Y; 3. 9X4Y; 4. 4X6Y; 5. 7X7Y
14 Bb Bass Clarinet cylindrical, dbl rnd trip square, tame 1 1. pp-mp, 2. p 3. p-f 1. Bb1-F2, 2. Gb2-Ab2, 3. A2 on up WW1 1.3X4Y; 2. 9X4Y; 3. 4X6Y
15 Bb Contrabass Clarinet cylindrical, dbl rnd trip square, tame 1 1. pp-mp, 2. p 3. p-f 1. Bb0-F1, 2. Gb1-Ab1, 3. A1 on up WW1 1.3X4Y; 2. 9X4Y; 3. 4X6Y
16 Bassoon conical saw, tame 1 pp-mp Bb3-Bb4 (maybe high as D5) WW1 4X1Y
17 Horn Fiber mute conical square, tame 1 pp-mp 1. G3-G5 2. G#5-C6 WW1 1. 1X5Y; 2. 5X6Y
18 Violins (at least 4) art/nat harmonics ideal size sine, rich 1, .5 for solo pp-mp G4 on up WW1 8x8y
19 Violas (at least 4) art/nat harmonics undersized sine, rich 1, .5 for solo pp-mp C3 on up WW1 8x8y
20 Cellos (at least 4) art/nat harmonics ideal size sine, rich 1, .5 for solo pp-mp C2 on up WW1 8x8y
21 Double Basses (at least 2) nat harmonics undersized sine, rich 1, .5 for solo pp-mp E2 on up WW1 8x8y
22 Oboe conical saw, bright 1 1. mf-ff, 2. p-f, 3. pp-f, 4. mp-mf 1. Bb3-Eb4, 2. E4-C#5, 3. D5-D6, 4. D#6-G6 WW2 1.+2. 5X3Y; 3. 6X4Y; 4. 7X7Y
23 English Horn conical saw, bright 1 1. mf-ff, 2. pp-mf(mild) 1.E3-G3, 2. G#3-G5 or up WW2 1. 5X3Y; 6X4Y
24 Eb Clarinet cylindrical, dbl rnd trip square, bright 1 Pp-ff G3-D4 WW2 4X6Y
25 Bb Clarinet cylindrical, dbl rnd trip square, bright 1 Pp-ff D2-A2 WW2 3X4Y
26 Bb Bass Clarinet cylindrical, dbl rnd trip square, bright 1 Pp-ff Bb1-F2 WW2 3X4Y
27 Bb Contrabass Clarinet cylindrical, dbl rnd trip square, bright 1 Pp-ff Bb0-F1 WW2 3X4Y
28 Bassoon conical saw, bright 1 1. mf-ff, 2. p-f 1. Bb1-Eb2, 2. E2-A3 WW2 4X1Y
29 Contrabassoon conical saw, bright 1 1. mp-ff, 2. p-mf 1. Bb0-Eb1, 2. E1-Bb2 WW2 1. 2X5Y; 2. 1X2Y
30 Horn metal mute conical square, tame 1 Pp-mf 1. F3-F4 2. F#4-C5 WW2 1. 1X9Y; 2. 5X3Y
31 Horn hand stopped conical square, tame 1 Mp-f 1. F3-F4 2. F#4-C5 WW2 1. 1X9Y; 2. 5X3Y
32 Trumpet metal straight mute cylindrical saw, tame 1 1.pp-f, 2. mf-ff 1. Bb3-F5, 2. Gb5-Bb5 WW2 1. 6X9Y; 2. 7X9Y
33 Trumpet cup mute cylindrical saw, tame 1 Pp-mf Bb3-F5 WW2 4X9Y
34 Trombone metal straight mute cylindrical saw, tame 1 1.pp-f, 2. p-mf 1. Bb2-A3, 2. Bb3-Bb4 WW2 1. 6X9Y; 2. 7X9Y
35 Trombone cup mute cylindrical saw, tame 1 Pp-mf Bb2-Bb4 WW2 4X9Y
36 Bowed Strings (at least 4, 2 for DB) sul pont trem varies sine, varies ~1, ~.5 for solo Pp-p Any/varies WW2 9X9Y
37 All brass and ww, pitch perc trem fluttertongue varies varies 1, 2, or 4/varies varies varies WW2 9X9Y
38 Horn legato conical square, bright 2 pp-mf(mild) 1. F#3-F4 2. F#4-C5 WW3 1. 2X1Y; 2. 1X5Y
39 Sax legato conical square, bright 2 pp-mf(mild) all written F4-D6 WW3 bari: 1X2Y lwr, 5X3Y upr; ten/alto: 5X3Y lwr, 6X4Y upr; Sp/Sprnino 6X4Y lwr, 7X7Y upr
40 Trumpet bucket mute, legato cylindrical saw, tame 2 p-mf(mild) Bb3-F5 WW3 4X9Y
41 Trombone bucket mute, legato cylindrical saw, tame 2 p-mf(mild) Bb2-Bb4 WW3 4X9Y
42 Tuba mute or embouchure equiv, legato conical square, tame 2 pp-mf(mild) A1-F3 WW3 3X2Y
43 Trumpet open, full cylindrical saw, bright 4 1.pp-ff, 2. mf-ff, 3. f 1. Bb3-Eb4; 2. E4-Bb4, 3. B4-F#5; 4. G5 on up, 5. E3-A3 (slow and sus) WW4 1. 1X9Y; 2. 5X9Y; 3. 6X9Y; 4. 7X9Y; 5. 9X9.5Y
44 Fluegelhorn open, full conical saw, tame 4 Pp-ff Bb3-Bb5 WW4 2.5X4.5Y
45 Trombone open, full cylindrical saw, bright 4 1. p-ff, 2. pp-f, 3. mf-ff (F trigger) 1. E2-E3, 2. F4-Bb4, 3. B4-D5 on up 4. E1-Bb1 (F trigger slow and sus) WW4 1. 1X9Y; 2. 5X9Y; 3. 6X9Y; 4. 9X9.5Y
46 Tuba open, full conical square, bright 4 1. p-ff, 2. p-mf, 3.mp-ff 1. F1-F3, 2. Gb3-C4, 3. Bb0-E1 (slow and sus) WW4 1. 2X1Y; 2. 1X4Y; 3. 9X9Y
47 Euphonium, Tenor Tuba open, full conical saw, tame 4 1 p-f, 2. p-f, 3. p-mf 1. C2-Eb2, 2. E2-Bb4, 3. B4-D5 WW4 1. 2X1Y; 2. 1X4Y; 3. 4X6Y
48 Baritone Horn open, full cylindrical saw, tame 4 1 p-f, 2. p-f, 3. p-mf 1. C2-Eb2, 2. E2-Bb4, 3. B4-D5 WW4 1. 2X1Y; 2. 1X4Y; 3. 5X6Y
49 Horn open, full conical square, bright 2 1. pp-ff, 2. mf-ff, 3. p-mf, 4. p-mp 1. F#3-F4 2. F#4-C5; 3.C5-F5 4. Bb1-E3 (slow sus), 5. E1-A1 (slow sus) WW4 1. 2X1Y; 2. 1X5Y; 3. 5X6Y; 4. 9X9Y
50 Sax open, full conical saw, bright 2 1. f-ff, 2. mp-f, 3. pp-f 1. Bb3-B3, 2. C4-E4, 3. F4-F6 (all written) WW4 bari: 1X2Y lwr, 5X3Y upr; ten/alto: 5X3Y lwr, 6X4Y upr; Sp/Sprnino 6X4Y lwr, 7X7Y upr
51 Piano thick string sine, tame 1. 2 TFU, 2. 1 TFU per note, 3. 2 TFU 1. pp-ff, 2. pp-mf, 3. pp-f 1. A0-C2, 2. C2-C6 (play in octaves for 2 TFU), 3. C6-C8 Pitch Perc 1. 2X1Y; 2. 3X5Y; 3. 7X7Y
52 Celesta thin string sine, tame 1 tfu per note Pp-ff 1. F3-B3 2. C4-B4 3. C5-B5, 4. C6-B6, 5. C7 on up Pitch Perc 1. 2X1Y; 2. 3X5Y; 3. 4X6Y; 4. 7X4Y; 5. 8X8Y
53 Harp non arp, no gliss 1. thick strng, 2. thin sine, rich 1 per note, dry highs, wet lows. 1.+2. p-mf, 3-5. p-f 1. Cb0-E2, 2. F2-B3, 3. C4-B5, 4. C6—B6, 5. C7-F#7 Pitch Perc 1. 2X5Y; 2. 1X3Y; 3. 6X4Y; 4. 4X7Y; 5. 7X8Y
54 Harpsichord thin string sine, rich ~1 per note if in octaves, .5 if not. 1. p-mf, 2. p-f Pitch Perc take from piano
55 String family pizz ideal or undersized (viola) sine, tame 1, .5 if solo P-f Pitch Perc sul IV. 2.5X1.5Y; sul III. 3.5X5.5Y; sul II. 4.5X6.5Y; sul I. 7.5X4.5Y
56 Double Basses (at least 2) pizz undersized sine, tame 1-1.5, .5-.9 if solo P-ff Pitch Perc sul IV. 2.5X9Y; sul III. 2.5X1.5Y; sul II. 3.5X2.5Y; sul I. 4.5X3.5Y
57 Xylophone hard mallets thin bar sine, bright 1 per note P-f Pitch Perc 6X7Y
58 Glockenspiel hard mallets thin bar sine, bright 1 per note P-f Pitch Perc 3X7Y lower, 4X8Y upper
59 Glockenspiel medium mallets thin bar sine, bright 1 per note pp-mp Pitch Perc 3X7Y lower, 4X8Y upper
60 Crotales medium mallets thin 'bar' sine, bright 1 per note Pp-mp (any louder prevents OT reinforcement) Pitch Perc 7.5X8Y
61 Marimba normal mallets Thick bar sine, bright 1 per note Pp-mf Pitch Perc 2X3Y lower, 3X4Y upper
62 Marimba soft felt timpani mallets Thick bar sine, bright 1 per note pp-mp Pitch Perc 2X3Y lower, 3X4Y upper
63 Vibraphone normal mallets Thick bar sine, bright 1 per note Pp-mf Pitch Perc 2X3Y lower, 3X4Y upper
64 Vibraphone Soft yarn mallets Thick bar sine, bright 1 per note pp-mp Pitch Perc 2X3Y lower, 3X4Y upper
65 Tubular Bells/Chimes prefer quieter Thick bar sine, bright 1 per note pp-f 1. F3-B3, 2. C4-F4, 3. F#4-B4, 4. C5-F5 Pitch Perc 1. 2.5X1.5Y; 2. 3.5X5.5Y; 3. 4.5X6.5Y; 4. 7.5X4.5Y (
66 Timpani normal felt timpani mallets, prefer higher pitches sine, bright 1-4.5 Pp-mp (won't blend if louder) Pitch Perc 3X5Y
67 Timpani wooden mallet, muted, near rim sine, tame 1 to 3.5 Pp-mf (won't blend if louder) Pitch Perc 3X5Y
68 All non pitch perc sine or noisy ~1-~4 per instrument stroke Perc mark down at least one dynamic
69 Timpani (nonblending) normal mallets, struck near center sine,rich ~1 - ~7 Pp-ff The bigger size timpani can reach 7 tfu at ff Perc 3X5Y mark down at least one dynamic
70 Bass Drum sine, rich ~1 - ~8 Pp-ff At ff, bigger size BD's in certain halls reach 10 tfu Perc 9.5X9.5Y mark down at least one dynamic
71 Cymbals (preferably sus) sft flt timp mllts or jazz brsh, strike @ bell, trem noisy but stochastic ~4-~20 Pp-ff at bell Perc 9.5X9.5Y Tremolo cresc-decresc swells for vairable stochastic resonance effect Least
72 Cymbals (preferably sus) nyln tip snr stk, strike @ rim noisy ~4-~20 Pp-ff at rim Perc 10X10Y tremolo cresc Blending