Big tutti - Orchestral effects - Philipp Dangas

General information about „Tutti“

When the whole orchestra develops its sound power, one speaks of a „Tutti“. A tutti is realized in sentence conclusions, in thematic high points or in dynamic contrast formations.

The instrumentation of a tutti passage depends on various factors. From the relationship to the formal structure or the number of participating instruments. In general, instruments with a short sound duration are also suitable for a "tutti". Such instruments are e.g. B. a harp, a timpani or a drum.

The "tutti" is often performed in f [Italian: forte = "loud"] and in ff [Italian: fortissimo = "very loud"]. However, a "tutti" is also possible in p [Italian: piano = "quiet"]. In order to achieve a full and uniform overall sound, prerequisites must be met. The ratios of the sound groups, in relation to the positions, as well as the timbres must be observed. The position of the instruments used should be comfortable and sound powerful.

Big tutti

First of all, it is useful to distinguish between a big and a little tutti. In a "Big tutti" all the instruments sound. That is, all the strings, woodwinds, brass, and other instruments in the orchestra simultaneously. In addition, the "tutti" can be subdivided. The number of participating instruments is not important.

Big tutti s part of the „symphonic world music“

The division into "dynamic—chordal tutti" and "thematic tutti" is convenient. The “dynamic—chordal tutti” is about developing sonority and sonority. The “thematic tutti” is about an f [Italian: forte = “loud”] or ff [Italian: fortissimo = “very loud”] version of the theme.

Big tutti demonstrated by way of example

In the following example we see a "chordal tutti" without a melodic core content. The "chordal tutti" is designed for tonal development. All wind instruments have sustained tones and the strings present a distinctive thematic figure. The timpani indicate the basic movement.