Orchestration As Adaptation
In a more general sense, orchestration also refers to the re-adaptation of existing music into another medium, particularly a full or reduced orchestra. There are two general kinds of adaptation: transcription, which closely follows the original piece, and arrangement, which tends to change significant aspects of the original piece. In terms of adaptation, orchestration applies, strictly speaking, only to writing for orchestra, whereas the term instrumentation applies to instruments used in the texture of the piece. In the study of orchestration – in contradistinction to the practice – the term instrumentation may also refer to consideration of the defining characteristics of individual instruments rather than to the art of combining instruments.
In commercial music, especially musical theatre and film music, independent orchestrators are often used because it is difficult to meet tight deadlines when the same person is required both to compose and to orchestrate.
Most orchestrators often work from a draft (sketch), or short score, that is, a score written on limited number of independent musical staves. Some orchestrators, particularly those writing for the opera or music theatres, prefer to work from a piano vocal score up, since it is required to start rehearsing a piece long before the whole is fully completed. That was, for instance, method of composition of Jules Massenet. In other instances simple cooperation between various creators are utilized, as does Jonathan Tunick when he orchestrates Stephen Sondheim's songs, or orchestrating from a lead sheet. In the latter case, arranging as well as orchestration will be involved.
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