# Instrument Range and Characteristic Reference Chart



## Zedcars (Sep 22, 2019)

Hello,

About 14 years ago I made reference chart for common orchestral instruments. You might find it useful. It shows the instrument ranges, transpositions, dynamic curves, timbral characteristics, techniques and restrictions.

If printing, use A3 size only - it will be unreadable on A4 paper.

Also, it may look a bit untidy on the computer screen due to the way I created it (i.e. ledger line symbols rather than 'in-score' ledger lines). I do need to go in and sort that out at some point.

However, it is not a problem when printed.

https://www.dropbox.com/s/grkt6jrm4ragaw6/Instrument%20Reference%20Chart%20v6.1.pdf?dl=0
Kind regards,
Darren

P.S. If anyone wishes to edit this to make it more presentable, please PM me and I will send you the Sibelius file.


----------



## Willowtree (Sep 22, 2019)

I made a chart like this a few years ago too, but this is much more visually pleasing. 

I've only taken a quick glance, and while I have some minor disagreements this looks very good. Next time I teach this'll be very useful. 

It got me thinking, though. Asking students to make charts like this may prove a valuable teaching method. Hmm ...


----------



## Zedcars (Sep 22, 2019)

Willowtree said:


> I made a chart like this a few years ago too, but this is much more visually pleasing.
> 
> I've only taken a quick glance, and while I have some minor disagreements this looks very good. Next time I teach this'll be very useful.
> 
> It got me thinking, though. Asking students to make charts like this may prove a valuable teaching method. Hmm ...


Thank you. What are your minor disagreements if you don’t mind me asking?


----------



## Willowtree (Sep 22, 2019)

Zedcars said:


> Thank you. What are your minor disagreements if you don’t mind me asking?


Some of the additional comments seem a bit redundant. It says bassoons often double string melodies, but so does piccolos and flutes, and actually most instruments in the orchestra.

The differences between the Tenor Trombone and Bass Trombone are exaggerated, and their sound is much more similar than the Timbral Characteristics imply.

Also, some of the words used to describe timbre are very vague and don't provide meaningful information, such as "heroic", "ineffective", "unique", "introspective" or "tranquil".

I also have some disagreement over how the timbre of the strings is described. They're so highly variable based on the musician (all instruments are, but strings in particular) any description of timbre is going to be ultimately meaningless for strings. Generally speaking, the range isn't what's important, the performance is.

Again, some of these are very subjective, some is nitpicking, and some may be a wee bit harsh criticism. But on the whole, I think your chart is excellent and you did a far better job than I would have.


----------



## Zedcars (Sep 22, 2019)

Willowtree said:


> Some of the additional comments seem a bit redundant. It says bassoons often double string melodies, but so does piccolos and flutes, and actually most instruments in the orchestra.
> 
> The differences between the Tenor Trombone and Bass Trombone are exaggerated, and their sound is much more similar than the Timbral Characteristics imply.
> 
> ...


Fair comments. In my defence I relied heavily on Samual Adler’s Study of Orchestration; the timbral characteristics are all from that book (I have credited him on the reverse side). When I compiled the chart I really was still very ignorant (still am but less so!).

Also, I think I’d regard this as a guide only - experience and the musical context being some of the more important factors.

I will certainly review the chart, and can provide the Sib file if anyone wants to amend it for their own purposes.

I appreciate your input.


----------



## NoamL (Sep 22, 2019)

Very cool. I agree with your approach regarding the strings. They do each have their own unique characters and deciding which string to play a note on is a major consideration at all times for string players, a decision that's very often taken in context of what the musical material is.

Suggest this revision for cello -

C - Dark, rich, heavy, growly, more indistinct
G - Grave, resonant, substantial
D - most 'neutral' string, pleasant, warm, very clear
A - very bright, powerful, metallic, soaring


----------



## Willowtree (Sep 22, 2019)

NoamL said:


> Very cool. I agree with your approach regarding the strings. They do each have their own unique characters and deciding which string to play a note on is a major consideration at all times for string players, a decision that's very often taken in context of what the musical material is.
> 
> Suggest this revision for cello -
> 
> ...


This is a genuine question, not a jab at you, but are you a string player? Because, in my experience, having worked with plenty string players, while there is a quality to each string, the way the individual player uses the instrument is so much more important that any attempt at describing the timbre of each string is futile.

However, not all of the string instruments are so homogeneous. The Cello certainly does have a change of timbre depending on the string. What I'm arguing is that these cannot be appropriately explained with a few words. It's meaningless.

To give you an idea, I've seen plenty people describe the G and D strings of the Viola as dull and lifeless, yet I've seen just as many describe them as warm and rich.

Again, this is not a jab at you, and I respect your opinion and view and I have an open mind.


----------



## NoamL (Sep 22, 2019)

No offense taken at all  I played cello for 15 years & reached a college (not pro/symphony) level so my opinion is based on that.

I understand there is always the potential for ruffled feathers when a composer asks a musician or suggests to them that the instrument is controlling or limiting their capabilities as a musician. It's like the old joke of "Never ask a trumpet player how high they can play, or else they'll show you."

IMO it's ok to list these unique characteristics of ranges and then apply a global caveat for all instruments, something along the lines that "pro musicians spend their entire careers working on smoothing out the differences between notes and making their instrument sound ideally musical across all notes, dynamics and techniques." So these characteristics are not limiting or defining, but enabling & idiomatic.

On the cello pretty much any note can be played on your choice of 2 strings and players will weigh the convenience of playing the part as well as the resulting sound. But there are only two "controlling/limiting" phenomena I can think of here. First if the part is idiomatically an arpeggio where the left hand stays still as the bow crosses the strings, then there will be one "right" way to finger the part. Secondly if the cellos are asked to play an accompanying part, or any kind of musical material that is intended to be quiet and mild, you will see the cellists go quite high on the D string rather than cross over to the A and play a note that will sound too bright and penetrating.


----------



## sinkd (Sep 22, 2019)

Thanks for sharing this, Darren. It will be useful for my orchestration students to be able to refer to. I think I'll print out a big copy and put it on the wall.


----------



## Willowtree (Sep 22, 2019)

NoamL said:


> No offense taken at all  I played cello for 15 years & reached a college (not pro/symphony) level so my opinion is based on that.
> 
> I understand there is always the potential for ruffled feathers when a composer asks a musician or suggests to them that the instrument is controlling or limiting their capabilities as a musician. It's like the old joke of "Never ask a trumpet player how high they can play, or else they'll show you."
> 
> ...


And never ask a trombonist to play softer, they'll deafen you out of spite. 

Anyhow, that's a perspective I hadn't considered. I've spent all but 4 years of my life composing music, and I still learn to see things in new ways almost every time I talk to another composer or musician.

You've certainly given me something to consider.


----------



## zolhof (Sep 22, 2019)

Hi Darren, thanks for sharing. I love the idea and the fact that you left the PDF unlocked, so we can add our own notes. Do you know the Spectrotone chart?





I use that one a lot and I think they complement each other well. I much prefer the way you layered the instruments range and tonal characteristics. Maybe in a future revision, you could add colors and a tone/color combinations and balance guide, similar to the Spectrotone. Cheers!


----------



## dzilizzi (Sep 22, 2019)

Thanks for this, it is very useful.


----------



## Zedcars (Sep 22, 2019)

zolhof said:


> Hi Darren, thanks for sharing. I love the idea and the fact that you left the PDF unlocked, so we can add our own notes. Do you know the Spectrotone chart?
> 
> 
> 
> ...


Hello,

Yes I do have a laminated copy of that I got from the late Peter Alexander many years ago. It’s very good.

Adding colours is an interesting idea. Personally I think I prefer the simplicity of black and white, as colours tend to fade over time and it may be harder to read. However, I’m happy if others wish to adapt it for their own needs. Let me know by PM if you’d like the .Sib file.


----------



## OleJoergensen (Sep 22, 2019)

Zedcars said:


> Hello,
> 
> About 14 years ago I made reference chart for common orchestral instruments. You might find it useful. It shows the instrument ranges, transpositions, dynamic curves, timbral characteristics, techniques and restrictions.
> 
> ...


Thank you or sharing, it is generous of you!


----------



## Willowtree (Sep 23, 2019)

Zedcars said:


> Fair comments. In my defence I relied heavily on Samual Adler’s Study of Orchestration; the timbral characteristics are all from that book (I have credited him on the reverse side). When I compiled the chart I really was still very ignorant (still am but less so!).
> 
> Also, I think I’d regard this as a guide only - experience and the musical context being some of the more important factors.
> 
> ...


NoamL's response got me thinking, and after some consideration, while I don't precisely agree with the wording use for some of the timbre (even if taken from Samuel Adler, who of course is far more of an authority on this matter than I), I can see the value in it now.

I would also like to say, my criticism was not meant to imply you're ignorant by any means! I think on the whole the chart was excellent, and my disagreements were relatively minor.


----------



## TimCox (Sep 24, 2019)

Very cool, I have a chart made up of screenshots from the scoreclub's OTL course but this is a lot more self contained. I also need that Spectrotone chart! Gimme all the quick reference guides


----------



## Emanuel Fróes (Apr 5, 2022)

Zedcars said:


> Hello,
> 
> About 14 years ago I made reference chart for common orchestral instruments. You might find it useful. It shows the instrument ranges, transpositions, dynamic curves, timbral characteristics, techniques and restrictions.
> 
> ...


yes , it is absolutely useful  thx


----------



## liujiaye (Apr 5, 2022)

Hello, can you share your sibelius file with me?


----------



## liujiaye (Apr 5, 2022)

I feel very good when I see the Instrument Reference Chart you released! If you want to edit it into different languages to learn, I hope you can provide sibelius file! Thank you very much!


----------



## Zedcars (Apr 6, 2022)

liujiaye said:


> I feel very good when I see the Instrument Reference Chart you released! If you want to edit it into different languages to learn, I hope you can provide sibelius file! Thank you very much!


I PM’d you the Sib file.


----------

