Playing Orchestra Reductions

"Preparing the Reduction: Key Factors to Consider Before Playing"

1. Tone (Timbre): Vary finger placement and articulation speed

---hard tips deliver an immediate attack while fleshy pads cushion and delay the note.

a. Piercing: piccolo, trumpet, oboe

b. Tender and airy: flute, harp

c. Round and warm: clarinet, horn

d. Nasal: oboe

e. Dark but slightly piercing: bassoon

f. Present and distinctive but warm: trombone, euphonium

g. Bright and brilliant: violin

h. Warm but slightly dark: cello, double-bass

2. Connection between notes (legato)

a. Finger legato vs. non legato

b. Use of pedal

3. Articulation (speed and length of note)

a. Immediate: percussions, piano

b. Sound production lag due to the mechanism: strings, woodwinds and brasses

c. Thin and extremely tender: harp

d. Pizzicato: Modify shape, length, and character

4. Dynamics (mood)

a. Determine by the character and role of the instruments, not by literal dynamic markings

b. Consider the timbre of the instruments

5. Pianistically viable vs. unviable: reduce, add, or rewrite parts

6. Pacing/timing (rubato)

a. Orchestral rubato --- not pianistic rubato

b. Be a conductor

7. Tutti

a. Short vs. long version

b. Musically and harmonically adherent cuts

8. Pedal: Imagine hearing it in the concert hall

a. Apply creative pedaling: mixed sounds, long, half, quarter pedals, or no pedal

b. Seek feedback from listeners.

9. Adjust items 1 to 8 based on historical background, style, and period performance practice.

10. Embrace the creativity of being a one-person orchestra with two hands!