Kyle VanderburgApril 28, 2012

MUTH5863-Advanced Orchestration

The Power of Orchestration in Ravel’s Boléro

Maurice Ravel’s best-known work, Boléro, is a straightforward work for orchestra that

keeps listeners engaged primarily through its orchestration. Originally written as a ballet,

Boléro consists of three significant elements; an ostinato that first appears in the snare drum

in measure one1, a quarter/eighth accompaniment that first appears in the violas and cellos

in measure one, and a sixteen-measure theme that first appears in the first flute in measure

five. Apart from the reorchestration of the theme, the only development of material is

through volume. The work begins with viola, cello, snare drum, and flute all playing

pianissimo, and crescendos by way of written dynamics (pp to ff) and instrumental density.

The work is almost entirely in the key of C major, except for a brief period of E major at

rehearsal 18 through the eighth measure of rehearsal 18. With the majority of musical

attributes in stasis, this allows Ravel to focus almost entirely on orchestration to create

tension throughout Boléro.

Structure

The main theme of Boléro (figure 2) is composed in such a way as to contrast with

the strict snare drum ostinato (figure 1). The ostinato is in strict time, with the metric feel

clearly established, and together with the quarter- and eighth-note accompaniment, serves

as a static pad upon which the main theme is presented. While this material is not the

primary focus of the work, Ravel’s treatment of it is similar to his treatment of the primary

theme. The theme is first presented in the snare drum, then moves to flute, to bassoon, and

with each repetition to louder and more numerous instruments.

Figure 1

1 All measure numbers/page numbers refer to the Kalmus Orchestra Library edition.

The main theme contrasts with the strict time seen in the accompanimental passages

in two rhythmic ways. First, the sixteenth-note triplets that appear in the ostinato are not

present in the theme, and second, the theme includes several instances of hiding the

barlines, as seen between measures three-four, four-five, seven-eight, and 10-11. This

provides tension between the two forces, in which the melodicism of the theme tries to

break free of the strict timekeeping of the accompaniment.2 As seen with the ostinato, this

theme first appears in the flute, and slowly moves through the orchestra, being passed

around increasingly louder instruments in larger numbers.

Figure 2

Orchestral Size

Ravel presents this material using an expanded orchestra. The score to Boléro calls

for, in addition to the standard orchestral instrumentation, oboe d’amour, English horn, E-flat

clarinet, piccolo trumpet, a saxophone section (consisting of sopranino, soprano, and tenor),

and celeste. This expanded palette of orchestral color (including one of the first instances of

2 Deborah Mawer, The ballets of Maurice Ravel(Burlington, Ashgate, 2006), 223.

saxophone usage in orchestral repertoire) allows Ravel to utilize new solo instruments and

blend unique combinations of new and old instruments.

Density of Orchestration

The chief way that Ravel creates interest in Boléro is through orchestral density.

Similar to the dynamic structure of the work, Boléro is orchestrated by slowly expanding the

size of the orchestra, creating a wedge-shaped form. For example, the primary theme first

appears in the first flute in measure five, moves to the first clarinet two measures after

rehearsal 1, continues to the first bassoon two measures after rehearsal 2, and makes its

way to increasingly louder, more numerous, and lower pitched instruments. From the

bassoon it is passed back to the clarinet (reh. 3 measure 3), to the oboe d’amour (reh. 4 m.

3), flute and trumpet (reh. 5 m. 3), tenor saxophone (reh. 6 m. 3), sopranino saxophone

(reh. 7 m. 3), flutes, horns, and celesta (reh. 8 m. 3). The textural crescendo builds in this

manner to the final iteration of the primary theme, which includes flutes, piccolo, trumpets,

piccolo trumpet, first trombone, saxophones, and first violins. While these instruments all

play the primary theme, they are not necessarily in the same key. For example, in the last

iteration of the tune, Ravel places the theme in thirds, creating a thicker sound.

Comparison to Advanced Orchestration Techniques

As part of this final project, the author composed a significantly shorter orchestral

work which, like Boléro , primarily utilizes a single theme. This shorter work, Palilalia3, was

composed prior to this analysis of Boléro , and used techniques covered in this course. For

example, Palilalia at times utilizes the klangfarbenmelodie of Berlioz4, while Boléro presents

the primary theme intact every iteration. While this technique was not used by Ravel,

several others presented in this course were utilized. Palilalia strives to keep the separation

of tone color in the beginning sections by reducing the primary theme to one player

(measures 5-20, 66-81), much like Ravel starts Boléro with the theme in the first flute

(measures 5-20) and then moves on to the first clarinet (measures 22-38). Additionally,

3 A speech defect marked by abnormal repetition of syllables, words, or phrases.4 Measures 85-95 in Palilalia, movement IV, measures 77-87 in Symphonie Fantastique.

portions of Boléro operate in the Brahmsian method of attempting to mask the barline (as

mentioned above, which is unsuccessful due to the steady ostinato rhythm), while Palilalia

plays with time in a similar method by including tied notes, beginning the melody on a weak

beat, stretto5, and infrequent time changes. Neither Palilalia nor Boléro appear to break any

new ground in unusual methods of orchestra writing, as both works are straightforward and

even pedestrian in their usual usage of usual instruments.

Boléro, as a study in orchestration, exemplifies many techniques of orchestration as

seen in the works of Debussy, Berlioz, Brahms, and Beethoven. However, due to the nature

of the work as being “a score without music6,” there are issues of form and musicality that

cannot be addressed through the work’s method of orchestration.

Maurice7 Ravel’s best-known work, Boléro, is a straightforward work for

orchestra that keeps listeners engaged primarily through its orchestration.

Originally written as a ballet, Boléro consists of three significant elements; an

ostinato that first appears in the snare drum in measure one, a

quarter/eighth accompaniment that first appears in the violas and cellos in

measure one, and a sixteen-measure theme that first appears in the first

flute in measure five. Apart from the reorchestration of the theme, the only

development of material is through volume. The work begins with viola,

cello, snare drum, and flute all playing pianissimo, and crescendos by way of

written dynamics (pp to ff) and instrumental density. The work is almost

entirely in the key of C major, except for a brief period of E major at

rehearsal 18 through the eighth measure of rehearsal 18. With the majority

of musical attributes in stasis, this allows Ravel to focus almost entirely on

orchestration to create tension throughout Boléro.

Structure

5 Though stretto was used to great effect by Debussy, it is somewhat less effective in Palilalia to obscure seams.6 Deborah Mawer, The ballets of Maurice Ravel(Burlington, Ashgate, 2006), 220.7 At this point, the essay simply repeats itself, over and over, in a slightly larger and/or different font. Not unlike Bolero.

The main theme of Boléro (figure 2) is composed in such a way as to

contrast with the strict snare drum ostinato (figure 1). The ostinato is in strict

time, with the metric feel clearly established, and together with the quarter-

and eighth-note accompaniment, serves as a static pad upon which the main

theme is presented. While this material is not the primary focus of the work,

Ravel’s treatment of it is similar to his treatment of the primary theme. The

theme is first presented in the snare drum, then moves to flute, to bassoon,

and with each repetition to louder and more numerous instruments.

Figure 3

The main theme contrasts with the strict time seen in the

accompanimental passages in two rhythmic ways. First, the sixteenth-note

triplets that appear in the ostinato are not present in the theme, and second,

the theme includes several instances of hiding the barlines, as seen between

measures three-four, four-five, seven-eight, and 10-11. This provides tension

between the two forces, in which the melodicism of the theme tries to break

free of the strict timekeeping of the accompaniment. As seen with the

ostinato, this theme first appears in the flute, and slowly moves through the

orchestra, being passed around increasingly louder instruments in larger

numbers.

Figure 4

Orchestral Size

Ravel presents this material using an expanded orchestra. The score to

Boléro calls for, in addition to the standard orchestral instrumentation, oboe

d’amour, English horn, E-flat clarinet, piccolo trumpet, a saxophone section

(consisting of sopranino, soprano, and tenor), and celeste. This expanded

palette of orchestral color (including one of the first instances of saxophone

usage in orchestral repertoire) allows Ravel to utilize new solo instruments

and blend unique combinations of new and old instruments.

Density of Orchestration

The chief way that Ravel creates interest in Boléro is through

orchestral density. Similar to the dynamic structure of the work, Boléro is

orchestrated by slowly expanding the size of the orchestra, creating a

wedge-shaped form. For example, the primary theme first appears in the

first flute in measure five, moves to the first clarinet two measures after

rehearsal 1, continues to the first bassoon two measures after rehearsal 2,

and makes its way to increasingly louder, more numerous, and lower pitched

instruments. From the bassoon it is passed back to the clarinet (reh. 3

measure 3), to the oboe d’amour (reh. 4 m. 3), flute and trumpet (reh. 5 m.

3), tenor saxophone (reh. 6 m. 3), sopranino saxophone (reh. 7 m. 3), flutes,

horns, and celesta (reh. 8 m. 3). The textural crescendo builds in this manner

to the final iteration of the primary theme, which includes flutes, piccolo,

trumpets, piccolo trumpet, first trombone, saxophones, and first violins.

While these instruments all play the primary theme, they are not necessarily

in the same key. For example, in the last iteration of the tune, Ravel places

the theme in thirds, creating a thicker sound.

Comparison to Advanced Orchestration Techniques

As part of this final project, the author composed a significantly shorter

orchestral work which, like Boléro , primarily utilizes a single theme. This

shorter work, Palilalia, was composed prior to this analysis of Boléro , and

used techniques covered in this course. For example, Palilalia at times

utilizes the klangfarbenmelodie of Berlioz, while Boléro presents the primary

theme intact every iteration. While this technique was not used by Ravel,

several others presented in this course were utilized. Palilalia strives to keep

the separation of tone color in the beginning sections by reducing the

primary theme to one player (measures 5-20, 66-81), much like Ravel starts

Boléro with the theme in the first flute (measures 5-20) and then moves on

to the first clarinet (measures 22-38). Additionally, portions of Boléro operate

in the Brahmsian method of attempting to mask the barline (as mentioned

above, which is unsuccessful due to the steady ostinato rhythm), while

Palilalia plays with time in a similar method by including tied notes,

beginning the melody on a weak beat, stretto, and infrequent time changes.

Neither Palilalia nor Boléro appear to break any new ground in unusual

methods of orchestra writing, as both works are straightforward and even

pedestrian in their usual usage of usual instruments.

Boléro, as a study in orchestration, exemplifies many techniques of

orchestration as seen in the works of Debussy, Berlioz, Brahms, and

Beethoven. However, due to the nature of the work as being “a score without

music,” there are issues of form and musicality that cannot be addressed

through the work’s method of orchestration.

Maurice Ravel’s best-known work, Boléro, is a

straightforward work for orchestra that keeps listeners engaged

primarily through its orchestration. Originally written as a ballet,

Boléro consists of three significant elements; an ostinato that

first appears in the snare drum in measure one, a quarter/eighth

accompaniment that first appears in the violas and cellos in

measure one, and a sixteen-measure theme that first appears in

the first flute in measure five. Apart from the reorchestration of

the theme, the only development of material is through volume.

The work begins with viola, cello, snare drum, and flute all

playing pianissimo, and crescendos by way of written dynamics

(pp to ff) and instrumental density. The work is almost entirely

in the key of C major, except for a brief period of E major at

rehearsal 18 through the eighth measure of rehearsal 18. With

the majority of musical attributes in stasis, this allows Ravel to

focus almost entirely on orchestration to create tension

throughout Boléro.

Structure

The main theme of Boléro (figure 2) is composed in such a

way as to contrast with the strict snare drum ostinato (figure 1).

The ostinato is in strict time, with the metric feel clearly

established, and together with the quarter- and eighth-note

accompaniment, serves as a static pad upon which the main

theme is presented. While this material is not the primary focus

of the work, Ravel’s treatment of it is similar to his treatment of

the primary theme. The theme is first presented in the snare

drum, then moves to flute, to bassoon, and with each repetition

to louder and more numerous instruments.

Figure 5

The main theme contrasts with the strict time seen in the

accompanimental passages in two rhythmic ways. First, the

sixteenth-note triplets that appear in the ostinato are not present

in the theme, and second, the theme includes several instances

of hiding the barlines, as seen between measures three-four,

four-five, seven-eight, and 10-11. This provides tension between

the two forces, in which the melodicism of the theme tries to

break free of the strict timekeeping of the accompaniment. As

seen with the ostinato, this theme first appears in the flute, and

slowly moves through the orchestra, being passed around

increasingly louder instruments in larger numbers.

Figure 6

Orchestral Size

Ravel presents this material using an expanded orchestra.

The score to Boléro calls for, in addition to the standard

orchestral instrumentation, oboe d’amour, English horn, E-flat

clarinet, piccolo trumpet, a saxophone section (consisting of

sopranino, soprano, and tenor), and celeste. This expanded

palette of orchestral color (including one of the first instances of

saxophone usage in orchestral repertoire) allows Ravel to utilize

new solo instruments and blend unique combinations of new and

old instruments.

Density of Orchestration

The chief way that Ravel creates interest in Boléro is

through orchestral density. Similar to the dynamic structure of

the work, Boléro is orchestrated by slowly expanding the size of

the orchestra, creating a wedge-shaped form. For example, the

primary theme first appears in the first flute in measure five,

moves to the first clarinet two measures after rehearsal 1,

continues to the first bassoon two measures after rehearsal 2,

and makes its way to increasingly louder, more numerous, and

lower pitched instruments. From the bassoon it is passed back to

the clarinet (reh. 3 measure 3), to the oboe d’amour (reh. 4 m. 3),

flute and trumpet (reh. 5 m. 3), tenor saxophone (reh. 6 m. 3),

sopranino saxophone (reh. 7 m. 3), flutes, horns, and celesta

(reh. 8 m. 3). The textural crescendo builds in this manner to the

final iteration of the primary theme, which includes flutes,

piccolo, trumpets, piccolo trumpet, first trombone, saxophones,

and first violins. While these instruments all play the primary

theme, they are not necessarily in the same key. For example, in

the last iteration of the tune, Ravel places the theme in thirds,

creating a thicker sound.

Comparison to Advanced Orchestration Techniques

As part of this final project, the author composed a

significantly shorter orchestral work which, like Boléro ,

primarily utilizes a single theme. This shorter work, Palilalia, was

composed prior to this analysis of Boléro , and used techniques

covered in this course. For example, Palilalia at times utilizes

the klangfarbenmelodie of Berlioz, while Boléro presents the

primary theme intact every iteration. While this technique was

not used by Ravel, several others presented in this course were

utilized. Palilalia strives to keep the separation of tone color in

the beginning sections by reducing the primary theme to one

player (measures 5-20, 66-81), much like Ravel starts Boléro with

the theme in the first flute (measures 5-20) and then moves on to

the first clarinet (measures 22-38). Additionally, portions of

Boléro operate in the Brahmsian method of attempting to mask

the barline (as mentioned above, which is unsuccessful due to

the steady ostinato rhythm), while Palilalia plays with time in a

similar method by including tied notes, beginning the melody on

a weak beat, stretto, and infrequent time changes. Neither

Palilalia nor Boléro appear to break any new ground in unusual

methods of orchestra writing, as both works are straightforward

and even pedestrian in their usual usage of usual instruments.

Boléro, as a study in orchestration, exemplifies many

techniques of orchestration as seen in the works of Debussy,

Berlioz, Brahms, and Beethoven. However, due to the nature of

the work as being “a score without music,” there are issues of

form and musicality that cannot be addressed through the work’s

method of orchestration.

Maurice Ravel’s best-known work, Boléro, is a straightforward work for

orchestra that keeps listeners engaged primarily through its orchestration.

Originally written as a ballet, Boléro consists of three significant elements; an

ostinato that first appears in the snare drum in measure one, a quarter/eighth

accompaniment that first appears in the violas and cellos in measure one, and

a sixteen-measure theme that first appears in the first flute in measure five.

Apart from the reorchestration of the theme, the only development of material

is through volume. The work begins with viola, cello, snare drum, and flute all

playing pianissimo, and crescendos by way of written dynamics (pp to ff) and

instrumental density. The work is almost entirely in the key of C major, except

for a brief period of E major at rehearsal 18 through the eighth measure of

rehearsal 18. With the majority of musical attributes in stasis, this allows

Ravel to focus almost entirely on orchestration to create tension throughout

Boléro.

Structure

The main theme of Boléro (figure 2) is composed in such a way as to

contrast with the strict snare drum ostinato (figure 1). The ostinato is in strict

time, with the metric feel clearly established, and together with the quarter-

and eighth-note accompaniment, serves as a static pad upon which the main

theme is presented. While this material is not the primary focus of the work,

Ravel’s treatment of it is similar to his treatment of the primary theme. The

theme is first presented in the snare drum, then moves to flute, to bassoon,

and with each repetition to louder and more numerous instruments.

Figure 7

The main theme contrasts with the strict time seen in the

accompanimental passages in two rhythmic ways. First, the sixteenth-note

triplets that appear in the ostinato are not present in the theme, and second,

the theme includes several instances of hiding the barlines, as seen between

measures three-four, four-five, seven-eight, and 10-11. This provides tension

between the two forces, in which the melodicism of the theme tries to break

free of the strict timekeeping of the accompaniment. As seen with the ostinato,

this theme first appears in the flute, and slowly moves through the orchestra,

being passed around increasingly louder instruments in larger numbers.

Figure 8

Orchestral Size

Ravel presents this material using an expanded orchestra. The score to

Boléro calls for, in addition to the standard orchestral instrumentation, oboe

d’amour, English horn, E-flat clarinet, piccolo trumpet, a saxophone section

(consisting of sopranino, soprano, and tenor), and celeste. This expanded

palette of orchestral color (including one of the first instances of saxophone

usage in orchestral repertoire) allows Ravel to utilize new solo instruments

and blend unique combinations of new and old instruments.

Density of Orchestration

The chief way that Ravel creates interest in Boléro is through orchestral

density. Similar to the dynamic structure of the work, Boléro is orchestrated

by slowly expanding the size of the orchestra, creating a wedge-shaped form.

For example, the primary theme first appears in the first flute in measure five,

moves to the first clarinet two measures after rehearsal 1, continues to the

first bassoon two measures after rehearsal 2, and makes its way to

increasingly louder, more numerous, and lower pitched instruments. From the

bassoon it is passed back to the clarinet (reh. 3 measure 3), to the oboe

d’amour (reh. 4 m. 3), flute and trumpet (reh. 5 m. 3), tenor saxophone (reh. 6

m. 3), sopranino saxophone (reh. 7 m. 3), flutes, horns, and celesta (reh. 8 m.

3). The textural crescendo builds in this manner to the final iteration of the

primary theme, which includes flutes, piccolo, trumpets, piccolo trumpet, first

trombone, saxophones, and first violins. While these instruments all play the

primary theme, they are not necessarily in the same key. For example, in the

last iteration of the tune, Ravel places the theme in thirds, creating a thicker

sound.

Comparison to Advanced Orchestration Techniques

As part of this final project, the author composed a significantly shorter

orchestral work which, like Boléro , primarily utilizes a single theme. This

shorter work, Palilalia, was composed prior to this analysis of Boléro , and

used techniques covered in this course. For example, Palilalia at times utilizes

the klangfarbenmelodie of Berlioz, while Boléro presents the primary theme

intact every iteration. While this technique was not used by Ravel, several

others presented in this course were utilized. Palilalia strives to keep the

separation of tone color in the beginning sections by reducing the primary

theme to one player (measures 5-20, 66-81), much like Ravel starts Boléro

with the theme in the first flute (measures 5-20) and then moves on to the

first clarinet (measures 22-38). Additionally, portions of Boléro operate in the

Brahmsian method of attempting to mask the barline (as mentioned above,

which is unsuccessful due to the steady ostinato rhythm), while Palilalia plays

with time in a similar method by including tied notes, beginning the melody

on a weak beat, stretto, and infrequent time changes. Neither Palilalia nor

Boléro appear to break any new ground in unusual methods of orchestra

writing, as both works are straightforward and even pedestrian in their usual

usage of usual instruments.

Boléro, as a study in orchestration, exemplifies many techniques of

orchestration as seen in the works of Debussy, Berlioz, Brahms, and

Beethoven. However, due to the nature of the work as being “a score without

music,” there are issues of form and musicality that cannot be addressed

through the work’s method of orchestration.

Maurice Ravel’s best-known work, Boléro, is a

straightforward work for orchestra that keeps

listeners engaged primarily through its

orchestration. Originally written as a ballet, Boléro

consists of three significant elements; an ostinato

that first appears in the snare drum in measure

one, a quarter/eighth accompaniment that first

appears in the violas and cellos in measure one,

and a sixteen-measure theme that first appears in

the first flute in measure five. Apart from the

reorchestration of the theme, the only

development of material is through volume. The

work begins with viola, cello, snare drum, and flute

all playing pianissimo, and crescendos by way of

written dynamics (pp to ff) and instrumental

density. The work is almost entirely in the key of C

major, except for a brief period of E major at

rehearsal 18 through the eighth measure of

rehearsal 18. With the majority of musical

attributes in stasis, this allows Ravel to focus

almost entirely on orchestration to create tension

throughout Boléro.

Structure

The main theme of Boléro (figure 2) is

composed in such a way as to contrast with the

strict snare drum ostinato (figure 1). The ostinato

is in strict time, with the metric feel clearly

established, and together with the quarter- and

eighth-note accompaniment, serves as a static pad

upon which the main theme is presented. While

this material is not the primary focus of the work,

Ravel’s treatment of it is similar to his treatment

of the primary theme. The theme is first presented

in the snare drum, then moves to flute, to bassoon,

and with each repetition to louder and more

numerous instruments.

Figure 9

The main theme contrasts with the strict time

seen in the accompanimental passages in two

rhythmic ways. First, the sixteenth-note triplets

that appear in the ostinato are not present in the

theme, and second, the theme includes several

instances of hiding the barlines, as seen between

measures three-four, four-five, seven-eight, and

10-11. This provides tension between the two

forces, in which the melodicism of the theme tries

to break free of the strict timekeeping of the

accompaniment. As seen with the ostinato, this

theme first appears in the flute, and slowly moves

through the orchestra, being passed around

increasingly louder instruments in larger numbers.

Figure 10

Orchestral Size

Ravel presents this material using an

expanded orchestra. The score to Boléro calls for,

in addition to the standard orchestral

instrumentation, oboe d’amour, English horn, E-flat

clarinet, piccolo trumpet, a saxophone section

(consisting of sopranino, soprano, and tenor), and

celeste. This expanded palette of orchestral color

(including one of the first instances of saxophone

usage in orchestral repertoire) allows Ravel to

utilize new solo instruments and blend unique

combinations of new and old instruments.

Density of Orchestration

The chief way that Ravel creates interest in

Boléro is through orchestral density. Similar to the

dynamic structure of the work, Boléro is

orchestrated by slowly expanding the size of the

orchestra, creating a wedge-shaped form. For

example, the primary theme first appears in the

first flute in measure five, moves to the first

clarinet two measures after rehearsal 1, continues

to the first bassoon two measures after rehearsal

2, and makes its way to increasingly louder, more

numerous, and lower pitched instruments. From

the bassoon it is passed back to the clarinet (reh. 3

measure 3), to the oboe d’amour (reh. 4 m. 3),

flute and trumpet (reh. 5 m. 3), tenor saxophone

(reh. 6 m. 3), sopranino saxophone (reh. 7 m. 3),

flutes, horns, and celesta (reh. 8 m. 3). The

textural crescendo builds in this manner to the

final iteration of the primary theme, which includes

flutes, piccolo, trumpets, piccolo trumpet, first

trombone, saxophones, and first violins. While

these instruments all play the primary theme, they

are not necessarily in the same key. For example,

in the last iteration of the tune, Ravel places the

theme in thirds, creating a thicker sound.

Comparison to Advanced Orchestration Techniques

As part of this final project, the author

composed a significantly shorter orchestral work

which, like Boléro , primarily utilizes a single

theme. This shorter work, Palilalia, was composed

prior to this analysis of Boléro , and used

techniques covered in this course. For example,

Palilalia at times utilizes the klangfarbenmelodie

of Berlioz, while Boléro presents the primary

theme intact every iteration. While this technique

was not used by Ravel, several others presented in

this course were utilized. Palilalia strives to keep

the separation of tone color in the beginning

sections by reducing the primary theme to one

player (measures 5-20, 66-81), much like Ravel

starts Boléro with the theme in the first flute

(measures 5-20) and then moves on to the first

clarinet (measures 22-38). Additionally, portions of

Boléro operate in the Brahmsian method of

attempting to mask the barline (as mentioned

above, which is unsuccessful due to the steady

ostinato rhythm), while Palilalia plays with time in

a similar method by including tied notes, beginning

the melody on a weak beat, stretto, and infrequent

time changes. Neither Palilalia nor Boléro appear

to break any new ground in unusual methods of

orchestra writing, as both works are

straightforward and even pedestrian in their usual

usage of usual instruments.

Boléro, as a study in orchestration, exemplifies

many techniques of orchestration as seen in the

works of Debussy, Berlioz, Brahms, and Beethoven.

However, due to the nature of the work as being “a

score without music,” there are issues of form and

musicality that cannot be addressed through the

work’s method of orchestration.

Maurice Ravel’s best-known work, Boléro, is a

straightforward work for orchestra that keeps listeners

engaged primarily through its orchestration. Originally

written as a ballet, Boléro consists of three significant

elements; an ostinato that first appears in the snare drum

in measure one, a quarter/eighth accompaniment that

first appears in the violas and cellos in measure one, and

a sixteen-measure theme that first appears in the first

flute in measure five. Apart from the reorchestration of

the theme, the only development of material is through

volume. The work begins with viola, cello, snare drum,

and flute all playing pianissimo, and crescendos by way

of written dynamics (pp to ff) and instrumental density.

The work is almost entirely in the key of C major, except

for a brief period of E major at rehearsal 18 through the

eighth measure of rehearsal 18. With the majority of

musical attributes in stasis, this allows Ravel to focus

almost entirely on orchestration to create tension

throughout Boléro.

Structure

The main theme of Boléro (figure 2) is composed in

such a way as to contrast with the strict snare drum

ostinato (figure 1). The ostinato is in strict time, with the

metric feel clearly established, and together with the

quarter- and eighth-note accompaniment, serves as a

static pad upon which the main theme is presented.

While this material is not the primary focus of the work,

Ravel’s treatment of it is similar to his treatment of the

primary theme. The theme is first presented in the snare

drum, then moves to flute, to bassoon, and with each

repetition to louder and more numerous instruments.

Figure 11

The main theme contrasts with the strict time seen in

the accompanimental passages in two rhythmic ways.

First, the sixteenth-note triplets that appear in the

ostinato are not present in the theme, and second, the

theme includes several instances of hiding the barlines,

as seen between measures three-four, four-five, seven-

eight, and 10-11. This provides tension between the two

forces, in which the melodicism of the theme tries to

break free of the strict timekeeping of the

accompaniment. As seen with the ostinato, this theme

first appears in the flute, and slowly moves through the

orchestra, being passed around increasingly louder

instruments in larger numbers.

Figure 12

Orchestral Size

Ravel presents this material using an expanded

orchestra. The score to Boléro calls for, in addition to the

standard orchestral instrumentation, oboe d’amour,

English horn, E-flat clarinet, piccolo trumpet, a saxophone

section (consisting of sopranino, soprano, and tenor), and

celeste. This expanded palette of orchestral color

(including one of the first instances of saxophone usage

in orchestral repertoire) allows Ravel to utilize new solo

instruments and blend unique combinations of new and

old instruments.

Density of Orchestration

The chief way that Ravel creates interest in Boléro is

through orchestral density. Similar to the dynamic

structure of the work, Boléro is orchestrated by slowly

expanding the size of the orchestra, creating a wedge-

shaped form. For example, the primary theme first

appears in the first flute in measure five, moves to the

first clarinet two measures after rehearsal 1, continues to

the first bassoon two measures after rehearsal 2, and

makes its way to increasingly louder, more numerous,

and lower pitched instruments. From the bassoon it is

passed back to the clarinet (reh. 3 measure 3), to the

oboe d’amour (reh. 4 m. 3), flute and trumpet (reh. 5 m.

3), tenor saxophone (reh. 6 m. 3), sopranino saxophone

(reh. 7 m. 3), flutes, horns, and celesta (reh. 8 m. 3). The

textural crescendo builds in this manner to the final

iteration of the primary theme, which includes flutes,

piccolo, trumpets, piccolo trumpet, first trombone,

saxophones, and first violins. While these instruments all

play the primary theme, they are not necessarily in the

same key. For example, in the last iteration of the tune,

Ravel places the theme in thirds, creating a thicker

sound.

Comparison to Advanced Orchestration Techniques

As part of this final project, the author composed a

significantly shorter orchestral work which, like Boléro ,

primarily utilizes a single theme. This shorter work,

Palilalia, was composed prior to this analysis of Boléro ,

and used techniques covered in this course. For example,

Palilalia at times utilizes the klangfarbenmelodie of

Berlioz, while Boléro presents the primary theme intact

every iteration. While this technique was not used by

Ravel, several others presented in this course were

utilized. Palilalia strives to keep the separation of tone

color in the beginning sections by reducing the primary

theme to one player (measures 5-20, 66-81), much like

Ravel starts Boléro with the theme in the first flute

(measures 5-20) and then moves on to the first clarinet

(measures 22-38). Additionally, portions of Boléro operate

in the Brahmsian method of attempting to mask the

barline (as mentioned above, which is unsuccessful due

to the steady ostinato rhythm), while Palilalia plays with

time in a similar method by including tied notes,

beginning the melody on a weak beat, stretto, and

infrequent time changes. Neither Palilalia nor Boléro

appear to break any new ground in unusual methods of

orchestra writing, as both works are straightforward and

even pedestrian in their usual usage of usual instruments.

Boléro, as a study in orchestration, exemplifies many

techniques of orchestration as seen in the works of

Debussy, Berlioz, Brahms, and Beethoven. However, due

to the nature of the work as being “a score without

music,” there are issues of form and musicality that

cannot be addressed through the work’s method of

orchestration.

Bibliography

Carse, Adam. The History of Orchestration. New York: Dover, 1964.

Mawer, Deborah. The Ballets of Maurice Ravel. Burlington: Ashgate, 2006.

Ravel, Maurice. Boléro. Musigraphic Publishers Ltd.