Common Instrument Substitutions (Part 1)

Wouldn't it be wonderful to have that "perfectly" balanced instrumental ensemble every time your orchestra played in a worship service or special event? For most of us, that may never happen. Our biggest concern is having all the written parts covered by somebody, somehow!

In the next few articles I'll be discussing some common substitutions for typical church orchestra instruments. My disclaimer: This is not a "definitive" list by any means. It is merely a culmination of things that have worked for many others and me over the years. If you have a question, or, if you have a suggestion, feel free to send an Email to me at skirby@idlewild.org

Before we delve into the realm of substitution, we need to know a little about transposition. This will be key in knowing which instruments to substitute. An instrument range chart is also important in choosing substitutions. These charts are available at most music stores that deal in band or orchestral instruments.

Here is a quick glimpse of the transposition of common church orchestra instruments.

Strings
· All orchestral strings are written in concert pitch (piano pitch).
· Viola is written in alto clef (middle line of staff is middle "C").
· The Arco bass sounds one octave lower than written pitch.

Woodwinds
· Flute, oboe and bassoon are the only woodwinds written in concert pitch. The piccolo is written an octave below pitch (so the notes are on or near the music staff).
· The English horn is written in F. You must raise the pitch a perfect fifth and add a sharp to the key signature for it to reach concert pitch.
· The soprano and bass clarinets are written in Bb. This means you must raise the pitch one full step and add 2 sharps to the key signature for them to reach concert pitch. Eb clarinets (Eb soprano, alto and contra bass) must go up six steps and add 3 sharps to their key signature for them to reach concert pitch.
· The soprano and tenor saxophones are written in Bb. Use the same transposition as Bb clarinets. Alto and baritone saxophones are written in Eb. Use the same transposition as Eb clarinets.

Common Instrument Substitutions (Part 2)

In the last article I showed the transpositions for string and woodwind instruments commonly found in church orchestras. Here is the completion of the list - Brass and percussion.

Brass

· The traditional trumpet (and cornet), along with the piccolo trumpet, are written in Bb. Use the same transposition as Bb clarinets (up one whole step, add two sharps to the key signature). There are a few specialty trumpets (in A, C, Eb) that are rarely used in church orchestra literature today. If you have someone who plays these instruments, it's more than likely that they already know how to make their transpositions.
· The French horn in F is not an instrument from France. They used the word "French" to distinguish it from the English horn (how could you mix up those two?). They do have one thing in common: They are both written in F. You must raise the pitch a perfect fifth and add one sharp to the key signature to reach concert pitch.
· Trombones, tubas and baritones (reading in bass clef) are non-transposing instruments. The treble clef baritone reads in treble clef (obviously), is written in Bb and transposes like the bass clarinet (up one whole step, add two sharps to the key).

Percussion

· All percussion (membranophones and mallet keyboards) are non-transposing instruments.
· Orchestra bells sound one octave higher than written pitch.

As I mentioned in the last article, an instrument range chart is important in choosing substitutions. These charts are available at most music stores that deal in band or orchestral instruments.

Common Instrument Substitutions (Part 3)

Well, now that we've established the transpositions and ranges of the instruments, it is time (drum roll, please) to introduce the substitution chart. I will list the written instrument followed by the substitution instrument(s) and comments.

Violin - Electronic keyboard, flute

· There are many keyboards out today that will do a good job of "filling in" your violin section, as well as the rest of the strings. You will pay for quality. My top two keyboards for string sounds: Korg Triton (or Korg 01W) and Kurzweil PC 88 (or MX88). Kemke's Music has excellent prices on both of these items. Roland and Yamaha string patches sound artificial to me (this is highly subjective, but this is my article!). Also, the rate of looping is more obvious on long, sustained notes with the Roland and Yamaha machines.
· Flute can cover most of the parts above middle "C". No transposition needed.

Viola - Bb soprano clarinet

· You will see the clarinet family as great substitute instruments for many of the string family members. As a sub for viola, the clarinet utilizes the low register of the instrument, bringing a rich, full sound and giving needed support for your violins. Transposition: Alto to treble clef, up one whole step, add two sharps to key signature.

Cello - Bassoon, bass clarinet

· Bassoon needs no transposing. They can play right off the cello part.
· Some cello parts are tricky; so, if you use a bass clarinet as a substitute, make sure your player can handle the part! Transposition: Bass to treble clef, up ninth (octave and a whole step), add two sharps to key signature.

Arco (String) Bass - Bass clarinet

· This is a great substitution! It's a great range for the bass clarinet, and it really fills out your string section. Warning: Beware of the growling clarinetist! Be sure they play this part with a softer reed and rounder tone. Transposition: Bass to treble clef, up ninth, add two sharps to key signature.

Common Instrument Substitutions (Part 4)

One thing to consider when substituting for woodwinds - You may not need to find a substitute for that instrument for the entire piece. Woodwinds have more solo lines than any other section. Add cues for the solo lines in other parts.
Here are a few of the most common woodwind substitutions:

Flute - Electronic keyboard, clarinet

· Many electronic keyboard produce good woodwind sounds, particularly flutes and clarinets. No transposition needed. They can read right off of the flute part.
· The clarinet is a last resort substitute for the flute. In many cases, you will need to write the flute part down an octave for the clarinet to comfortably play the part. Transposition: up one whole step, add two sharps to the key signature.

Oboe - Flute, clarinet

· If a flute must cover the oboe part, play only the parts in range of the flute (don't change octaves). If there is a solo line for oboe and it gets close to the extreme range of the flute, you can experiment to see if it can be played an octave higher without losing the integrity of the arrangement.
· Clarinet is the better substitute for the oboe. Transposition: up one whole step, add two sharps to the key signature.

English horn - Oboe, clarinet

· English horn range is lower than the oboe, so be careful not to rewrite the part below the normal range of the oboe. Many of the English horn parts I've seen are solo lines. If the part goes below the oboe range, try raising the notes an octave. However, make sure you don't lose the integrity of the part (English horn parts are normally sardonic in nature). Transposition: down perfect fifth, add one flat to the key signature.

· The clarinet is a good substitute as well. Range is not a problem with the clarinet. Transposition: down perfect fourth, add one sharp to the key signature.

Clarinet - Flute, oboe

What instrument can you substitute for the most versatile instrument in your group? There's not a great substitute, only two average contenders.
· The flute will have problems projecting their sound in the normal clarinet range. Check to see if you can raise the solo lines an octave with out affecting the integrity of the solo. Transposition: down one whole step, add two flats to the key signature.
· The oboe is the better instrument to use as a substitute, but who has an extra oboe player? Again, I would write the solo lines in as cues to cover the "big" stuff. Transposition: down one whole step, add two flats to key signature.

Bassoon - Bass Clarinet, cello

· Bass clarinet is the best choice for substitution. Similar range, but bass clarinet does get thin in the upper register. Only use someone who plays very lyrical as bassoon parts should be played with a great deal of emotion. Transposition: bass to treble clef, up a ninth, add two sharps to key signature.
· Even though the cello is not in the same family, it's a good choice to cover solo lines. No transposition is needed. They can read it right off of the bassoon part.

Bass Clarinet - Bassoon

· Look back at the bassoon and reverse the process!

Common Instrument Substitutions (Part 5)

Here are some common substitutions for brass instruments.

Trumpet - Flute or clarinet

Although I've never personally needed a substitute for trumpets, I know others who have.
· Flute will work, but you will lose power if the notes are on the staff (it's low for the flutes). If you need support for notes above the staff, flutes work much better. Transposition: down one whole step, add two flats to the key signature.
· Clarinets are much better in the trumpet substitution role that the flute. There is no transposition needed for the clarinets. They can read right off the trumpet part.

F horn - Alto sax, Eb horn, trumpet (or flugel horn)

· Alto sax is a good substitute (or addition) for the F horn. Have your players use a softer reed and a smaller, hard rubber mouthpiece (as opposed to metal) to achieve a rounder "horn-like" sound. They can pull out their nuclear mouthpieces for your jazz or praise band. Transposition: up one whole step, add two sharps to the key signature.
· Eb horns are not as popular today, except in brass bands and garage sales. They look like a euphonium that shrank in the rain, but they have a wonderful tone (with a good player). They use the same transposition as alto sax.
· Trumpets can substitute in certain instances. Range is a big factor. A flugel horn has a fuller sound and works much better than a trumpet. Transposition: down a perfect fourth, add one sharp to the key signature.

Trombone - Tenor sax, baritone or euphonium

· Tenor sax is a good substitute (or addition) for trombone. As was mentioned earlier, use softer reeds and non-nuclear mouthpieces to achieve the desired orchestral sound. Transposition: bass to treble clef, up ninth, add two sharps to the key signature.
· Baritone (or euphonium) is an excellent substitution (and/or addition) for trombone. If they read bass clef baritone, they need no transposition. They can read right off the trombone part. If they play treble clef, use the same transposition as the tenor sax.

Tuba - Bari sax, bass clarinet, arco bass

· Bari sax is a good substitute, but range may be a problem. It is possible to raise the part up one octave when the part goes out of the bari's range. Just be careful not to interfere with the 3rd or 4th trombone part. Remember that nuclear mouthpiece thing; it could be worse with the bari sax! Transposition: Two ways to transpose! A good player can read the tuba part, think treble clef and add three sharps to the key signature. Or, go from bass to treble clef, up an octave and a major sixth, add three sharps to the key signature.
· Bass clarinet works well. As with the bari sax, range can be a problem if the tuba is written in it's lower register. Be sensitive to the other low brass parts. Transposition: bass to treble clef, up ninth, add two sharps to the key signature.
· Arco bass is a good substitute. It actually sounds an octave below written pitch, so range is compatible, except for the extreme low register of the tuba. Transposition: up one octave. It is better to rewrite the part as opposed to giving the bassist the tuba and asking them to transpose "on sight".

Common Instrument Substitutions (Part 6)

Well, we've reached the last orchestral family, percussion.

Mallet percussion - Electronic keyboard

· Even the lower end keyboards have decent xylophone, marimba and vibraphone voices. Orchestra bells and chimes (tubular bells) sound "cheesy" on low end keyboards. If you are planning to use keyboards for your percussion needs for an extended period of time, go with higher end equipment.

Timpani - Electronic keyboard, piano

· Most keyboards have ok timpani voices. Rolls can be played on the keyboard to resemble timpani rolls. Make sure you play the part in the right octave. No transposition needed.
· Many times major timpani solos (rolls, moving 1/8 notes) are usually cued in the left hand of the piano part. Omit if you have a timpanist, play it if you're lacking. It's better than not having the part played!

Auxiliary percussion (triangle, tambourine, shakers, mark tree, etc.) - Be creative!

· This may be the only section where you could build your own instrument! If there is a part that must be played, pick a good musician in your group to change instruments for that one song or part of the song. If you do not have any auxiliary percussion equipment at your church, start building your repertoire. Most of these instruments are reasonably priced and will last (if you put it under lock and key and buy quality instruments) for years and years. Don't buy everything all at once. Purchase on an "as-needed" basis.