ORCHESTRATION:

A NEW APPROACH
LA VALSE

NORMAN LUDWIN D.M.A.

Copyright 2019 by Norman Ludwin

All rights reserved, including the right to reproduce this book or portions thereof in any form whatsoever.
ISBN 978-1-4951-7174-1
MauriceRespighi
Ottorino Ravel
2
 Joseph-Maurice Ravel (March 7, 1875 – December 28, 1937) was a French composer known
especially for his melodies, masterful orchestration, richly evocative harmonies and inventive
instrumental textures and effects. Along with Claude Debussy, he was one of the most
prominent figures associated with Impressionist music.
 Much of his piano music, chamber music, vocal music and orchestral music is part of the
standard concert repertoire.

 Here is a link to a wonderful YouTube video performance by Leonard Bernstein with the
Orchestre National of France: https://www.youtube.com/watch?v=Fg2i2NB-i3o
La Valse
3
 Around 1920, Diaghilev commissioned Ravel to write La Valse (The Waltz), originally
named Wien (Vienna), which was to be used for a projected ballet. The piece, conceived
many years earlier, became a waltz with a macabre undertone, famous for its “fantastic and
fatal whirling”.
 However, it was rejected by Diaghilev as “not a ballet. It’s a portrait of ballet”. Ravel, hurt by
the comment, ended the relationship. Subsequently, it became a popular concert work and
when the two men met again in 1925, Ravel refused to shake Diaghilev's hand. Diaghilev
challenged Ravel to a duel, but friends persuaded Diaghilev to recant. The two never met
again.
LA VALSE MAURICE
1920 RAVEL
1875-1937

Instrumentation: Tambourine
Piccolo (3rd flute) Cymbals
Flutes Castanets
Oboes Tam-tam
English horn Tambourine
Clarinet in A Bells
Bass clarinet in A Crotales
Bassoons 2 harps
Contrabassoon Strings
4 horns in F
3 trumpets in C
4 trombones
Tuba
Timpani
Triangle
RAVEL, Analysis

Analysis
5
 Antecedent and consequent phrase
groupings for much of the melody
 Important to remember this was conceived
 The bass line is a proto typical waltz bass
as a ballet with variations line of primarily seconds and fifth, which
give the illusion of a stable diatonic
 Many sections are groups as repeated pairs harmony; this is contradicted by the
 Prevalent use of augmented chords chromatic turns of the melody and
extended harmonies of the accompaniment
 Contrasting sections vary from heavy to
light  The beginning of the work up to reh. 16 is
marked no louder than mf
 Many variations begin with an anacrusis
(upbeat)  Recurring accompaniment motives:
 {1} Triplets
 There are often transitions between each  {2}Eighth note duplet
variation which become more abrupt and  {3} A pedal
dramatic as the work evolves
 Extensive melodic linking and dovetailing
 Recurring gestures include:
 Chromatic scales
 Glissandos
RAVEL, Analysis

Main Themes
6

A Opening Bassoons

B Violas reh. 5

C Strings reh. 6

D Winds reh 8.
Categories

Categories
7

Bowing
Blending of
Balance and
Families
Phrasing

Doubling Dovetailing Highlighting

Expression Harmony
Form
Markings

Main Melodic
Tessitura Texture
Sections Linking
Form

Introduction

Tessitura
Tessitura
The third division of
Divisi a3 basses
the basses play two
open the work; this
accented pizzicatos
low tessitura insures
notes; this adds
that it will sound
focus and a sense of
like an indistinct
meter which has
rumble
been absent
Tessitura

The first melody [A]

is played by the
bassoons; low
tessitura
9
Melodic linking

The timpani and

harps provide the
missing third beat of
the basses pizzicato
rhythm

Harmony

Cellos enter with the

tremolo figure; half
step higher than the
basses and the lower
cellos; more blur by
Ravel
10 Form

The [A] melody

continues; still
fragmented

Expression markings

The divisi violins

enter marked sur la
touche-over the
fingerboard
producing a softer
less pointed sound
Harmony

Violas repeat the

pitches Cb-Db from
the bassoon melody
Texture

[A] Melody
11 continues in the
bassoons; with a
slight variation

Doubling

High strings in 3
octaves
12 Form

The end of the

bassoon melody Tessitura

The muted horns

play octaves F
natural; octaves are
in typical horn
spacing
Form

Bass clarinet and

clarinet melodic
linking with the [A’]
13 variation; repetition
of the first measure
of the melody and
not moving to the
half note

Harmony

Harp gliss into the

new section;
Bb,C,Db,E,F,Gb,A
harmonic minor
with a raised
fifth( minor lydian
mode)
Expression markings

Cellos marked Tessitura

pizzicato with slurs;
Viola with the
obviously a
indication to “play
publishing error
on the C string”; a
richer, darker tone
Texture

Clarinets move to a Form

harmonic sustaining The [C] melody
role
14

Form
Form
The cellos with a
Divisi violas present
triplet
the [B] melody ; the
accompaniment
gliss is a recurring
figure {1} that
important gesture
continues through
out the work
Harmony

Harmonic shift to D
major
Expression markings

Flutter tongue in the

15 flutes; causes the
FrrFrr sound; note
this chromatic scale
figure is a
recurring gesture

Doubling

2nd violins and

violas double the
[C] melody with the
flutes
Harmony

Flutes, oboe then

clarinets present
[B’] variation;
16 missing the first
beat

Harmony

Shifting from G
minor to F sharp
minor in the divisi
strings; against a E
pedal
Form

Melody [D] played

in a free canon by
the woodwinds
17

Tessitura

Interesting gliss in
the lower basses
Main section
Dovetailing
Key change
The bassoons lowest
18 note dovetails with
the basses entrance
at reh. A

Melodic linking
Form
The high basses
A half step to whole
begin a new
step trill connects
accompaniment
the transition to the
motivic canon {2};
next section
melodic linking with
the bass clarinet
19

Doubling

Melody [B] is
extended by one
measure and played
in unison by
bassoon and violas;
Melodic linking beautiful blend

Bass clarinet and the

top basses continue
with {2} canon;
dovetailing;
unusually the bass
part is more
important than the
cello part; note the
octave glissando
20

Expression markings
Form
Clarinet replaces the
top basses for one The melody [B’]
cycle of the canon; returns in bassoons
note the expressive and violas
hairpins
Texture

The bassoons,
21 cellos, and top Doubling
basses enter with a
Bassoon and viola
variation of the
return to the
{2}canon
melody [B]
22

Melodic linking

Clarinets, bass Doubling

clarinets, and basses Bassoons and violas
continue with continue with [B]
variations; note the melody
extended glissando
in the top basses
23

Form

Reh. 11 is very
similar to reh.10
except the harmonic
shift to D major
from E minor

Form

Reh. 10-[B]-E minor

Page 22-[B’]- D major
Reh. 11-[B] D major
Page 24-[B’] E minor
24

Form

Page 17 is very
similar to page 15
excepting the
harmonic shift to E
minor from D major

Form

Reh. 10-[B]-E minor

Page 22-[B’]- D major
Reh. 11-[B] D major ‘[
Page 24-[B’] E minor
25

Texture

The solo flute with a

variation of [D’] ;
melody moves down
chromatically
against a E pedal;
note the dovetailing
when the clarinet
ends its triplet

Tessitura

Constant glissando
between the top
basses and cellos; a
whole step apart
Form

Very quiet pp
section
26

Texture Texture
Colorful effect of High strings with
only glissandos in melody [C];
the harp and basses 2nd violins and
violas in octaves

Expression marking

Indication to the
strings to slowly
remove their mutes
Form
27
Clarinet one with
ascending triplet
passage {1}; this is
connected to the
Form
triplet first heard in
the cellos at This melody is the
Number 6 (yet unheard),
consequent of the
melody [C]; violins
doubled at the
unison by the flutes
28

Texture

Note the clever

alternating part
writing that enables
the clarinets to rest
as they play the
triplets

Form

The 2nd violins

begins an A pedal
that gains
importance{3};
horns 3 and 4 also
play A (in octaves)
29

Blending of families

A build up as both
the winds and
strings play the
melody [3]; strings
and winds with
different spacing;
octaves in 1st violins
and clarinets
Doubling

Triplet gesture {1}

30 with a variation as
an arpeggio;
evenly balanced in
two octaves

Form

An added triplet
ornamentation to the
melody [C] gives
the line an extra
boost; full triadic
harmony

Harmony
The bass line
appears to be V to I
but the harmony is
much more
complex; Ravel
does this illusion
many times in this
work D- E-/G E-/D E-/G D/G
Texture

{1} continues in the

winds as a two
31 measure phrase,
while the horns play
a one measure
diminution figure

Texture
Texture
The cellos with a
variation of the Repetition of the
triplet gesture {1} two measure
melodic fragment
but with changing
harmonies;
repetition used to
build up tension

E- B/A B+/A
Doubling

The previous string

melodic figure is
now passed to the
32 winds; in three
octaves

Texture

Strings continue
with the virtually
the same pitches;
top note remains
a B5

A- A#- B/D ------ E-

Form

A tutti orchestral
33 statement that ends
the first section of
this work; the dotted
rhythm four
measures before the
end of this section,
is a diminution of
the melody [D] and
is used frequently in
the next section of
variations

B-/A A9 A7 Dmaj
Reh # Mm. # count/Key Section Melody Accom. Misc.

18 8 D major A Oboe Pizz

SECTION II
19 8 D major A’ Flute Pizz 1st 4 measures
Ends F# minor the same, 2nd
different
34

20 8 D major A Strings WW

21 8 D major A’ Strings WW
Ends B minor

22 8 falling fifth B WW Pizz

sequences
23 8 falling fifth B’ Vlns/WW Pizz Continuing
sequences Repeat of 22 Oboe oboe solo
24 8 C minor A’’ Tutti Horns, low Melody of A
strings with pickup 8th
notes of B

25 8 F# minor A’’’ Vlns/WW Oboe End of oboe

solo

26 8 E minor b5 C-fortissimo Tutti Brass Extension of 8

notes

27 8 Chromatic over F- C Tutti Brass

Bb
28 6! Chromatic C’ Tutti Brass Extension
of 8 notes

29 10! Chromatic; C’’ Tutti Brass Climax with

cadence in Bb glissandos
PAC
Main section Main section Reh.18 to 29 is a series of variations
Form
Reh. 18 begins a
series of repeated Rhythmic note
variations; to begin groupings for two
35 the oboe is featured measures are 3-1-3-
with a full 8 1
measure melody [E]
Wonderful
orchestration touch Harmony
of the viola Observe that as
harmonic Ravel uses a B
dovetailing with the sharp in the oboe
oboe melody he repeats
that pitch in the
Expression markings bassoon and 1st
violins
Note the change of
pitches for the
timpani

Dovetailing

Arpeggios in the
accompaniment
{2}; why is there no
dovetailing between
Harmony
the 2nd vlns and
viola, but there is Compare the
between the violas melody, harmony,
and the 1st vlns? and bass line

c min7 A9 Bb7 b min7

G7/C# A7#9
Doubling
36
Reh. 19 is a largely
a repeat of reh. 18
with the addition of
the flute 8va the
oboe

Dovetailing

Dovetailing between
the cellos and the 2nd
violins but also
between the violas
and the solo oboe;
bass clarinet
doubles the cello
part D maj ----------------------------
Main sections Reh. 20 is a repeat of reh. 18 with a reversal
of the roles of strings and woodwinds

Doubling
Expression markings
Flute and clarinet
For the end of the doubled by the
37 harps; diminished
phrase, the flute is
replaced by the triads in two
English horn 8vb measure phrases

Doubling

1st violins and violas

with the melody;
note Ravel’s
preference for the
violas over the 2nd
violins

f# min7
Main sections
This section has a general build up of
activity and density

Texture

Note the split in the

38 flute and clarinet
parts

Tessitura

The 2nd violins play

a divided chord with
half strumming up
and the other half of
the section
downwards
Main sections Reh. 21 is a largely a repeat of reh. 20

39

Doubling

1st violins and violas

in octaves

Texture

The basses play an

octave E flat to
cover the cellos
coming from arco
Main sections Reh. 22 is a harmonic change to Bmin

Form

The ending of the

40 second part of this
melody always ahs
this arpeggio
figure in the
accompaniment

b min7
Main sections Contrast to a quieter, less dense texture

41

Melodic linking

Ravel’s two
measure phrase is
ingeniously doubled
and melodically
linked:
Vcl-bass clarinet
Violas-English horn
Oboe-Flute; always
dovetailed

E min a min a min d min g min

min
Harmonic patterns of a falling fifth (very common progression)
Main sections Build up and lessening of tension

Texture

42 Oboe solo returns

with a variation;
basses tacet to
lighten the texture

Harmony Doubling

Harmonic sequence Cellos and bass

continues down a clarinet continue
whole step their doubling;
excellent blend of
instruments

g min g dim f min F7b5 Bb7

43 Texture

Melodic linking Interesting splitting

in the flute and
Melodic linking
clarinet parts
between cellos and
the 2nd violins;
observe how Ravel
dramatically
changes the texture

Texture

Note how only the

2nd violins play the
pickup figure

Bb 7 Eb major c minor a minor

44

6
Texture
5
The clarinet plays
all six notes of the
scale but note how
Blending of families
Ravel divides up the
strings in 2 octaves; The one measure 8th
unusual two note note motive is
dovetailing expanded to
2 measures; with
five different
instrumentations

4
3
2

a min f#/c# f# minor

45
Texture

This solo finishes the

oboe that has been
featured since reh. 18

Expression markings

Indications for the

WW to change their
Form
instruments
Reh. 25 is a
combination of the
beginning of reh .24
(but down a
diminished fifth)
and end of reh. 23
(oboe solo)

f# minor
Main sections New tutti section “C”

46

Texture

A homorhyhmic Blending of families

hemiola played by The two measure
the brass and motive expands by
tambourine; first repetition to three
instance of the brass measures; clarinets,
playing bassoons, and low
independently strings

Melodic linking

Ravel changes the

8th note motive to
violas and 1st vlns;
before 24 is was
cellos and 2nd
violins
A7 Dmaj PAC eminb7/Bb
Expression markings

Observe the
conductor’s pattern
written in pencil on
the top of the score
47

Texture

The brass hemiola is

repeated by the
woodwinds

Blending of families Texture

The 8th note motive The reaction to the
repetition moves up buildup in the prior
through the measures is a low
orchestra; very downbeat and high
effective pitch band chord;
orchestrational descending
device glissandos in the
strings (becomes an
increasingly
important gesture)

cmin7 cmin7/f
48

Blending of families Tessitura

Finally the 8th note Low F2 in horn 4;

ascending motive is unison with the
answered with a basses and the
descending figure; bottom of their range
two octaves:
flutes and 1st vlns
clarinets and 2nd vlns

Dmaj/F ! Bb7
49

Form

Reh. 28 is a
repeat of reh. 26

Form
Someone added a
B flat pizzicato for
the basses here,
does it work?
Should
we change a
composer’s work,
even with the best
intentions?
Form

Extension by
sequence; contrary
50
motion between the
descending melody
and ascending
chromatic bass line

C7 Db7 Bb7/d Eb aug

51

Harmony

The end is a
perfect authentic
cadence in Bb

Ebmaj7 F aug F7(no 5th) Bb PAC

Reh # Mm. # count/Key Section Melody Accom. Misc.

30 8 Ab major 7 A 1st vln-glisses chr scale (4) Material from

SECTION III Vcl 5 and 6
31 8 F9 A’ Vlns chr scale (4) Horn pads
Cl

52

32 8 Ab major 7 A 1st vln chr scale (4)

3rd Flute 1st flute
1st cl
33 8 F9 A’ Vlns chr scale (4) Horn pads
Cadence Vcl
1st flute
34 New variation B Flute Vcl-bsn Compound
8 F major Cl melody
35 8 G major B’ Oboe Vcl-bsn
WW 2nd vln-horns
36 Forte section C Tutti Horns, low
8 G dim strings

37 8 F major C’ Low WW Brass

Low strings pizz

38 12 A pedal D Pizz strings chr scale (4) Extension

1st flute Transition
1st oboe
39 7 A pedal D’ oboe chr scale (4) Melodic
vlns Piccolo/flute/cl fragments
40 5! A pedal D’’ horns chr scale (4) Gradual
Bsn/cbsn descent to a
low pitch band
Main sections
New section of
variations
Contrast change

53

Texture

Tessitura Chr. scale

switches
Chromatic figure to 2nd vln
switched to the
flutes; low tessitura

Expression markings

Satirical variation of
the melody B;
note the sul Sol
Texture
indication
Vlns in
Form
thirds;
more
Chromatic figure satire?
played throughout
this section (4)
F9
Abmaj 7(9)
Doubling

The 3rd flute joins

the 1st violins 8va
with the melody
54
Dovetailing

1st clarinet dovetails

with the flutes

Blending of families

The 1st and 2nd flutes

(flutter tongue) join
the cellos with the
chromatic scale
motive; note the
clever division of
the flute parts;
Observe this figure
is marked piano
while the
melody is mf

Abmajor 7(9)
Doubling

Reh. 33 is the same

55 as reh. 31 with the
addition of the flutes
doubling the violins
8va; flute adds a
shine and edge to
the violins

Texture

The horn’s chords

act as “glue” and as
harmony

F9
Texture

Slight variation with

the clarinets
56 doubling the flute’s
chromatic scales

F9
Main section
New variation in the
oboe and clarinet;
hemiola

57
Doubling

Countermelody in
the bassoon and
cellos switching to
the unusual pairing
of horns and 2nd
violins!

Eb maj7 E7 Fmaj G7 C7

Highlighting

1st flute highlighting

the oboes

Blending of families

1st vln harmonics are

D5 with (oboe) and
D6 with (flute)

bdim/f gmin Fmajor

Texture

The flute and oboe

unison build the
climax to the next
58 section at reh. 36

Blending of families

The return of the

unison of the 1st horn
with 2nd violins

amin7b5 amin7 D7 Gmaj PAC

Reh. 36-37
The four measure pattern repeats four times
59
Bass notes Prevailing harmony Melody

G G minor Tutti rhythmic figure

C E7 Bass instruments with pizzicato

accompaniment
F F+/ C+ Continuation

1st and 3rd time: D centered eighth notes F+/ C+ Continuation

2nd time: D flat arpeggio triplets F+/ D-7/ Ab7 Tutti triplets

4th time: D flat/ C/F triplets F major 7th/ F Brass and string triplets
Main sections

New tutti section

C’’

60
Blending of families

Tutti orchestra;
this dotted figure at
36 is a key to this
whole work as it
propels the waltz
rhythm

Form

Observe the
differences in the
two similar
measures, both the
3rd measure of the
4 bar pattern:
the harmonies are
the same and the
brass parts but the
melody moves
upwards as opposed
to downwards and
includes 2nd violins
and oboes (in
unison)
F+ E+
61

Texture

Triplets moving in
contrary motion; the
high strings divisi
into 12 parts!
62

Harmony

This section ends in

F major but without
a clear cadence;
Ravel tricks us with
the C-F bass
movement
Main sections From 38-41 has a continuing A pedal
Main sections

38 has four measure

pattern that repeats
three times

63
Tessitura

The chromatic scale

(accompaniment 4)
in the first oboe and
flute; high tessitura
for oboe

Form

The dotted rhythmic

figure combined
with a tutti “A” in
five octaves

Blending of families

The “A” continues in

the bassoon, viola, and
cellos; note the cello
entering on beat two
and the pizzicato violas
64
Form
The first measure of
39 functions as an
elision; when one
measure overlaps
between two
phrases

Blending of families

Very colorful
doubling of the
muted trumpets,
harp, and pizzicato
violins; unique
timbre that Ravel
exploited
Form

Extension of the Dovetailing

triplet figure
Melodic linking and
dovetailing between
piccolo and flute,
65 and flute and
clarinet

Blending of families
Tessitura
The 2nd violins
double the flute and Interesting octave
oboe chord changes for the
viola in repetition
Tessitura

The real pitch of the

basses is the same
as the cellos; note
the indication sur Ré
66
Texture

Extension of the
triplet figure
downward in
register; clarinet-
bassoon-
contrabassoon-
bassoon

Blending of families

The strings and harp

all have only the
pitch A
Blending of families
67
The melody is
clarinet and cellos in
octaves; a very
Harmony resonant
combination
Melody appears to
reflect a bitonality
with the bass line;
A natural against
A sharp

D+

Harmony

Still an A pedal in
the violins; against
G# and A#

F#- B7/A C#7/D D/A Amaj/B D7/B

68

Harmony

This section moves

up a whole step
from the previous
measures

Tessitura
Ravel’s writing of
the string harmonics
is masterful;
observe the bass
part
Texture

The melody is in the

woodwinds and
slowly builds from
69 three instruments to
four (3 octaves)

Tessitura
Harmony
Note the stylistic
Modulation back to
octave leap in the
F major with a C
violas; the horns
pedal in the 1st
dovetail and finish
violins
the figure
70

Blending of families

Oboe in octaves
with the violas;
unusual mixing of
colors Tessitura

Close spacing the

the horns; smooth
voice leading

Blending of families

Violins in octaves
doubling with the
flutes, 2nd oboe, and
clarinets

E/D A7/D G-
Texture

Tutti in two octaves

with harmony;
71 violas unison with
the 2nd violins

Harmony

D major

C7 F+9 B-/D C+
Texture

The ending to this

72 section; wwinds and
high strings doubled
and in harmony

Harmony

PAC cadence ends

this section

B+7 E1/2 dim7 Gmaj7/A G+/A A-7 dom7 D

Variations Section
73 Reh Numbers Prevailing harmony Melody

46-47 Bb+ Solo strings; glissandos

48 4 measure sequence Db minor Woodwinds

49 Chromatic ascent Tutti build up

50-51 – new variation E major Solo flute and clarinet

52 E major-G major Woodwinds

53 Diminution C#-G Tutti climax

54 Recapitulation F minor Bassoons/ pyramid stacking

7 measures
55 F minor Flutes and oboes

56 F minor Clarinet and divisi cellos

57 Arpeggios in the strings Db major Violas; flutes

58 five measures Eb7 Woodwinds with chromatic scale

[4]
59 increasing density D#+ Fragments in the woodwinds
Main section

Variations with
solo strings; Main section
remember this is a Lighter texture as
ballet with pas de contrast
deux and solos
74

Dovetailing

Solo clarinet Tessitura

dovetailing to the Stopped horns
harp

Expression markings

Texture The melody in the

solo violins and
2 solo violins, two
cello; note the
violas, and one cello
espress marking in
the 1st violin

Texture

The solo viola and

cello hold their
notes over from the
previous section;
note the downward
glissandos
Bb+/F# F#/F
Main section

Continuation of
previous section

75

Tessitura Tessitura

Natural harmonics Note the sul Sol (G)

for the solo indication; for
instruments thicker timbre

G+
Form

Interesting use of
76 the hemiola rhythm;
3 division against 2

D7/C Cmin/maj F-7 Bb

Also B dim-----------
Main section
Main section
Key change to Bb
minor; melody shifts Four measure
to the woodwinds in sequence
77 two octaves; tutti
strings

Tessitura

Harp harmonics
sounds 8va

Expression marking

The glissando is
starting to become
more frequent and
extended

Db+/A
A7/Ab
Main section

Reh. 49 starts an
extension for nine
78 measures

Doubling

Doubled by the
flutes and oboes;
standard doubling

Chromatic ascent
Main section

Big tutti crescendo

to reh. 50; sudden
79
use of horns and
trumpets add a new
color, doubled by
flutes and 2nd violins

Main section

Elision of phrases
(overlapping); violin
Harmony
harmonics on the 2nd
Diminution begins beat becomes the
two measures new motif
before reh. 50
Main section

New variation Highlighting

featuring the
Melody in the
woodwinds
80 clarinet, the flute.
and the piccolo; the
oboe highlighting
the 2nd violin part

Main section

Classic Ravel
orchestration; clean,
Tessitura
elegant and
intelligent 1st violin harmonics
one octave above
Harmonics,
the oboe
pizzicato octaves,
alternating trills;
basses tacet

E major
Texture

Largely a
repeat of reh. 50

81

F# 7
82

Harmony

Bassoon and horns

with a dominant
pedal

A7
Doubling
Harmony
Woodwinds in three
Colorful harmonic octaves; bright
83 change to G 7 timbre

Tessitura

Interlocking
(traditional) spacing
in the horns;
sustaining chords
and acting as
wallpaper and
“glue”

D major over G7 with C# in the bass!

Blending of families

Beginning of a large
84 crescendo passage;
flutes, oboes,
English horn,
clarinets, and
trumpets

Texture

Observe the space

Ravel gives the
woodwinds by
having the strings
alternate their
density

G7/ C# G7
Form

Big crescendo Form

passage leading to
85 the recapitulation; The apex
diminution and becomes
hemiola a tutti E

G7/ C# G
Section VI
86 Reh Numbers Measure Count Prevailing Harmony Melody

54 Recapitulation 7 measures F minor-pyramid stacking Bassoons

1-3 Exposition In the strings
55 5 measures F minor Flutes and oboes
4 Exposition Muted horns enter
56 5 measures F minor Bass clarinet and divisi
4 Exposition cellos-new variation
57 9 measures Db major-triplets in the Violas then flutes
5 Exposition strings [1]
58 5 measures Eb7/Db+ -Woodwinds with Violins and violas (B)
chromatic scale [4] (tremolo)
59 8 measures F#/D# Fragments in the
increasing density woodwinds then clarinet
60 5 measures (4-1 A major/E-Pizzicato strings Bassoons
transition) Transition (low winds and
low strings)
61 7 measures A major/E-chromaticism Woodwinds joined by
violins
62 9 measures F# minor Woodwinds + high strings
Main section Main section

Recapitulation Abrupt transitions;

87 a major feature of
this work

Texture

Bassoons with the

solo melody (A); as
in the opening

Texture

Strings in a pyramid
form; build up and
release

Expression markings

Note the sur la

touche* indication;
at the point is the
most delicate part of
the bow

F minor
Doubling

The melody is in the

flutes and oboes (in
88 thirds); observe how
Ravel drops out the
2nd oboe when the
English horn enters

Tessitura

The muted horns

enter in octaves
reinforcing the F
tonality; power
range*
89

Doubling

Bass clarinet with

divisi cellos (in
thirds); new variation
(W) (descending
scale)
90

Tessitura
Tessitura
The flutes
Divisi violas with
take over the
melody (A) (in
melody (A)
thirds); sur Ut
(in thirds);
means on the C
note the
string for the fuller
hairpins and
tone
low tessitura

Tessitura

The cellos
are playing a
glissando on
their open C
string which
is consonant
with the
prevailing
Db major
Db major tonality
Tessitura Form
The ascending
91 One of few instance
triplet figure [4]
in this work of
returns; flutter
mixed meter; bass
tongue in the flutes
clarinet is the only
instrument involved.
Unusual to include
a rhythmic idea in
a work but use to
very rarely.

Tessitura

As the harmony Form

changes to Eb major Cellos with the
so do the cello’s triplet gesture [1]
glissando: now it is
with the open
G string

Eb/Db +
92
Texture
Harmony
Contrary motion
Key change to
between the flute
F# minor
and the clarinets

F#-/D#
93

Tessitura

The syncopated Expression markings

variation (W) we
En dehors means
first heard at reh. 50
“prominently” or
returns in the
bring out; useful to
clarinet; power
let player know their
range*
part is important

Tessitura

Colorful bass drum

roll through this
section
94

Blending of families

One measure
transition in the bass
instruments of the
orchestra; note the
slurs in the winds
Expression markings
but not in
Pizzicato chords are the strings
strummed quickly;
note the roll
indication

Tessitura

Viola has the

ascending chromatic
line

A/E
95 Texture

Tutti passage

Texture

The chromatic
ascending figure is
passed from the
cellos and violas to
the trombones;
building intensity
Doubling
96
Ravel likes the
first measure of
this melody played
two different
ways: one as
triplets in the
strings and two as
grace notes in the
winds. This lack of
precision
creates the texture
he is looking for

F# B-/F# A/B
-
Section VII
Reh Measure Count Prevailing Harmony Melody
97 Numbers
63 8 Similar to rhythm of 36 Diminished chords Low pitch band
Key change
64 4 Connected to 63 with a
pattern of A-A’-A (4-4-4)
65 8 Sequence beginning on E Woodwinds
diminished chords
66 5 Key change Bb Oboe
Scale runs
67 5 Chromatic Brass

68 6 Gb Flute-Strings
Low pitch band with scale runs
69 4 Eb- Piccolo-Strings-Flutes/
Low pitch band with scale runs Clarinets
70 4 Ab

71 5 Key change Bb Violin-Flute

Woodwinds and cello
72 7 Big crescendo G Violins
Woodwinds
73 8 Tutti G Horns-Trombones
Woodwinds-trombones-1st violins
98
Form
This section is very
similar to reh. 36 in
its rhythm and use
of a low pitch band
for the scale figures;
36 was G minor

D dim
99

Form

The four bar pattern

repeats at this point
with these measures
having a slight
variation; note the
contrary motion in
the last measure

Texture

Four way divisi in

the violins as they
play the complete
harmony; very thick
texture
100

Form

Reh. 64 is largely a
repeat of 63
101

Harmony

A contour sequence
that rises from E1
up to G# 2

E diminished scale
102

Texture

Another key
changes and
contrasting lighter
section; Ravel
removes the brass,
percussion, and puts
the high strings to
pizzicato

Bb
103

Doubling Texture

Melodic linking, Lyrical trumpet solo

and doubling in the with a variation (V)
strings; colorful mix on the main theme;
of 2nd and cellos note how Ravel
and violas and 1st brings in the brass
vlns, and clarinets section to support
and bassoons the trumpet
104

Tessitura

Primarily a low
pitch band in three
octaves; why
doesn't’t the violas
play the first two
notes of the motive?

Gb major
105

Blending of families

Ravel combines (W)

melody in the
violins and (V)
counter melody in
the piccolo,
clarinets, and 2nd
harp

Eb-
106

Blending of Families

The juxtaposition of
the two melodies
continues with the
woodwinds against
horn one and violas
(unison); brilliant
orchestrational
combination as
these two
instruments actually
share a very similar
range

Ab
107

Doubling

A new mixture of
instruments: oboe,
clarinet, bass
clarinet, bassoons
and cellos

Texture

The high strings

continue the (W)
melody; the viola is
a sixth below the
violins

G-
108

Texture

The woodwinds (in

two octaves) play a
variation of the
ascending scale that
the low pitch band
has been playing;
observe how Ravel
creates the
crescendo by adding
instruments

Expression markings

The high strings

continue the
melody; note the
sur G and C
indication

Eb-
Section VIII
Reh Measure Count Prevailing Harmony Melody
109 Number Activity Instruments
73 8 Tutti G mjnor Horns-Trombones
Woodwinds-trombones-1st violins
74 6 Transition E dominant (B in the bass)
Flutes-oboes-1st violins
75 8 Tonality shift E diminished (Bb in bass) Bassoons, horns, violas,
Woodwinds (descending chr scale) cellos
76 5 New section Transition key change to D major
Basses (one measure descending
chr scale)
77 8 Variation of Theme C Basses Bass clarinet-top cellos

78 8 Continuation Cello-sequencing chromatic Clarinet-violas

upwards
79 9 Continuation Starting in B minor upwards 2nd violins-violas (in thirds)
Clarinet-bass clarinet
80 8 Continuation Ab pedal Flutes-Clarinet-
Bassoons-E horn
81 8 Continuation Ab pedal Clarinet-2nd violins-violas
Oboes
82 8 Gradual accelerando Key change to E major-chromatic Flutes-1st oboe-violins
ascent
Oboe-Clarinet
110

Blending of families

A brilliant mixture
of trills in the
woodwinds,
trumpets, and
1st violins; one of
the most powerful
orchestral
combinations
111

Blending of families Doubling

The trills end with The brass with the
the descending melody; two octave;
chromatic scale power registers
112

Blending of families
Blending of families
The trills end with
the descending Melody in the low
chromatic scale register: bassoons,
horns, violas, and
cellos: 2 octaves
113

Harmony

Note the harp’s

triplets spell out an
E 7 b5 arpeggio
Main section Form

New section Transition

114

Texture

This figure is
derived from D;
played first by divisi
basses
115

Doubling

A variation of basic
theme C; bass
clarinet and divisi
cellos in unison

Harmony

This figure starts to

move upwards
chromatically
116

Doubling
Doubling
Melody C’ now
clarinet and viola;
an orchestral shift
in color

Texture

Figure D moves to
the violas
Texture

1st clarinet moves to

117 the accompaniment
role of figure 4

Texture

2nd violins and

violas state the C’;
note the indication
of sur Sol for
increased tone and
intensity; in thirds
118

Dovetailing

Figure 4 switches to
the bass clarinet;
dovetailing

Expression markings

The 1st violin finally

joins in on the C’;
also indicated sul
Sol and note the
glissando
Texture

119 The flutes in thirds

present C’ joined by
the oboes; low
register but thinly
scored

Main Section

Key change to Texture

Db major The D figure in
1st bassoon
120
Texture

The eight note

D figure shifts from
the English horn to
the 2nd oboe; note
the dovetailing

Blending of families

A flat pedal in the

contrabassoons,
timpani, and basses;
classic low register
blend
121

Blending of families

Ravel keeps
changing the
instrumentation for
his melodies; flutes,
English horn, 2nd
violins, and violas
Section IX
Reh Measure Count Prevailing Harmony Melody
122 Number Activity Instruments
82 8 Gradual accelerando to 85 Key change to E major-chromatic Flutes-1st oboe-violins
ascent
Oboe-Clarinet
83 8 More weight and volume Tutti

84 4 Building to climax Not stable Tutti

85 9 Tempo primo Key change to F major Brass section

One measure glissandos in strings
86 6 G major Woodwinds-violins

87 4 Sequencing up in min 3rds Not stable Woodwinds-violins-viola

Variation of R23
88 4 2 measure repetition-transition D7b5 Woodwinds-violins-viola

89 6 Sequencing of the figure at 87 Not stable Pyramid from basses

upwards
90 4 Transition-repetition of 88 up F#7b5 Woodwinds-violins-viola
major third
91-92 6 Repetition of 89 up a major Not stable Pyramid from basses
third upwards
93 9 Climax of this section Chromatic ascent starting at E Tutti
Repetition of the dotted figure major
Main section Form

Key change to Chromatic ascent

E major which builds tension

123

Blending of families Texture

Flutes, oboes, and The continuing

the high strings with eighth note 4 figure;
the developing note the accents on
C theme; high pitch the downbeats for
band in contrast to rhythm security and
some of the earlier to show phrasing
instrumentations
124

Blending of families
Texture
Ravel adds more
instruments as the The continuing
crescendo builds; 4 figure with more
this is the organic instruments adding
way to crescendo; weight
high tessituras
125
Form

Observe how Ravel

changes the six note
figure to four notes;
hemiola effect

Form

Diminution of the
bass half note figure
to single quarter
notes
Harmony

126 Key change to

F major

Form Form

Accelerando into Tempo primo with

reh. 85 with added all strings
percussion glissandos;
climactic moment
127

Blending of families

The brass are

featured with the
support of the
timpani

Harmony

Harmony is C#/C
followed by E/C;
another case of the
bass part not in the
same tonality as the
prevailing harmony
Harmony

G major key
128

Texture

All woodwinds and

the high strings for
three measures
129

Harmony

Sequencing up by
minor thirds; this
interval of a
ascending half step
then fifth is integral
to the whole work
130

Form

Two measure
repetition
131

Form

Sequence and
augmentation of the
figure we first hear
at reh. 26 (5);
moving upwards by
minor thirds
132

Form

Repeat of reh. 88 up
a major third
133

Form

Repeat of reh. 89 up
a major third
134

Form

Repeat of reh. 90 up
a major third with a
five measure
measure extension
135

Harmony

Over an E pedal
Ravel moves the
tutti orchestra up
chromatically
Section X
Reh Measure Count Prevailing Harmony Melody
136 Number Activity Instruments
94 8 Triplets (1) A major Woodwinds-violins-violas
Melody supported by the horns
95 8 Dotted figure repetition A pedal Tutti

96 4 Consequent of Theme C D major Woodwinds-violins-violas-

Ritard into 97 cellos
97 9 A tempo A pedal Woodwinds-violins-violas

98 8 Scale development (5) Bb major Woodwinds-trombones-

Coda strings
99 4 8 Continuation of chromatic G#b5 Woodwinds-violins-violas
Scales fff
100 8 Accel with triplet A# pedal Tutti
Building to the climax
101 9 Climax to the end A# pedal Tutti
Scale figures from 97(5) Ends on 2 octave D natural
Form

Reh. 94 is very
similar to reh. 16
excepting the
137 chromatic rising line
in the trombones
and tuba

Blending of families

The triplets
(1) in the
woodwinds and
cellos, supported by
the horns

Texture

Melody harmonized
by the high strings
Form

Reh. 95 is also very

similar the ending of
138 the first section
(reh. 17)
139

Harmony

Two measure
repetitions that
move to B minor
over D; the A pedal
and D in the bass
feels like a
resolution
140

Form

A contrasting
section that is
typical Ravel; all
instruments are
unison which
creates a thick,
strained texture
141

Form

Closing material
over an A pedal
(which “sounds
like” the dominant)
Main section

Coda

142

Blending of families

The figure (5)

develops in a two
measure phrase;
starts from a low
pitch band
143

Blending of families

Chromatic scale (4)

alternating with
reh. 26 two measure
phrase
144

Form

The work grows

increasing
chromatic including
contrary motion in
the scales; A# pitch
center
Form

Accelerando
145

Blending of families

The scales build up

to tutti chords A# 7
flat 5 (or half
diminished); note
the bassoons and
horns are the only
instruments to play
three notes a
measure
146

Expression markings

Tempo primo; tutti

orchestra playing
the crescendo swells
Texture

147 The woodwinds in

two octaves;
pentatonic scale
derived from
figure 5
148

Harmony

The third chord

from the ending is a
D augmented over
F#; last chord is a
D natural in two
octaves in the low
pitch band
149 5-About the Author
About the Author

Norman Ludwin
150
Award-winning composer Norman Ludwin holds a Doctorate in Composition from the Claremont Graduate University, a Masters in
Music from the California State University at Northridge and a B.F.A. degree from The California Institute for the Arts in Valencia.

He has been an instructor in the UCLA Extension Film Music Department since 2000 and at the Professional Musicians Local 47
since 2008.

Ludwin has been active for over forty years in the recording business, both as a bassist and an orchestrator. His recent orchestration
credits include the movies: Star Trek Into Darkness, Super-8, John Carter, and Priest. Ludwin’s bass playing credits include work
with artists including Michael Giacchino, John Williams, Jerry Goldsmith, Thomas Newman, Ron Jones, Danny Elfman,
Christopher Young, Jeremy Lubbock, Bruce Broughton, Maurice Jarre, Alan Silvestri, Mark Isham, Charlie Haden, Barbara
Streisand, Roger Kellaway, Darius Brubeck, Van Dyke Parks, Nancy Wilson, and David Foster.

He has written ten books on orchestration and film composition. Dr. Ludwin has given master classes and lectures at the University
of Maryland, BMI/ SCL In New York, Seattle Film Composers Alliance, Howard University, Musicians Union Local (9,47, 149 and
161), Bowie State University, Toronto Screen Composers Guild, Academy of Scoring Arts in Los Angeles, Ho Chi Minh City
Conservatory, China Conservatory in Beijing, Beijing Union University, Rangsit University in Thailand, the Hochschule in Munich,
Academy of the Arts in Zurich, the Conservatory of Music in Rovigo Italy , the University of Toronto, and Dalhousie University in
Halifax.

Email: [email protected]

Book web-site: www.musicnewapproach.com