little tutti - orchestral effects - Philipp Dangas

little tutti - orchestral effects

General information about the tutti

When the whole unfolds its power of sound, one speaks of a tutti. A tutti is realized in sentence conclusions, in or also in thematic high points.

Various factors must be considered when orchestrating a tutti passage. and also the number of participating instruments. Instruments with a short sound duration can also be used for a “tutti”. Meant instruments are e.g. B. a timpani or a drum.

It is not uncommon for the „tutti“ to be performed in f [Italian: forte = “loud”] and in ff [Italian: fortissimo = “very loud”]. A "tutti" is also possible in p [Italian: piano = "quiet"]. A uniform overall sound is achieved when certain conditions are met. as well as the timbres, in relation to the sound groups must be observed. The position of the instruments used should be powerful and comfortable.

little tutti

First of all, it is necessary to distinguish between a little tutti and a big „tutti“. A little tutti makes it possible to use only a part of the instruments available in an orchestra. The brass can only partially play along.

In another case, for example, the woodwinds can all or only partially play along. In all cases, the musical character and pitch of the passage in question is decisive. A little tutti fulfills these conditions, because these factors determine the type and number of participating instruments.

little tutti as part of the „symphonic world music“

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

little tutti demonstrated by way of example

In the following example we see a "little tutti" in which some of the woodwind and brass are not involved. At the beginning all wind instruments have sustained tones. The string orchestra enlivens the tonal surface for the thematic guidance of the 1st violins. The 3 groups (woodwind, brass and strings) achieve a self-contained effect. Basic requirement for the “Tutti” to come into play.

In addition, there is an increase in the "tutti" (both dynamically, in terms of timbre and in terms of the number of participating instruments). It unfolds after 8 bars in a "big tutti".

Downloads for the [ Orchestral effects:  little Tutti ]

Music by Ludwig van Beethoven
Sound file for the score „Egmont - Opus 84“ 
Download size: 169 Kilobytes
PDF file for the score „Egmont - Opus 84“ 
Download–size: 185 Kilobytes

Note on the score with an example of the [ Orchestral effects: little tutti ]

Two graphics follow, each with a score excerpt. Excerpts from the "Egmont - Opus 84". Composition by Ludwig van Beethoven. An example of instrumentation technique: little tutti. The graphics can also be enlarged. They are Link-Sensitive [Clickable].

Example of the big tutti Example of tutti pizzicato