Editing Musical composition (section)

== Compositional instrumentation ==
{{Main|Instrumentation (music)|Arrangement (music)}}
The task of adapting a composition for different [[musical ensemble]]s is called [[arrangement|arranging]] or [[orchestration]], may be undertaken by the composer or separately by an arranger based on the composer's core composition. Based on such factors, composers, orchestrators, and arrangers must decide upon the instrumentation of the original work. In the 2010s, the [[Contemporary classical music|contemporary]] composer can virtually write for almost any combination of instruments, ranging from a [[string section]], wind and brass sections used in a standard [[orchestra]]s to electronic instruments such as [[synthesizer]]s. Some common group settings include music for full [[orchestra]] (consisting of strings, woodwinds, brass, and percussion), [[concert band]] (which consists of larger sections and greater diversity of woodwind, brass, and percussion instruments than are usually found in the orchestra), or a chamber group (a small number of instruments, but at least two). The composer may also choose to write for only one instrument, in which case this is called a [[solo (music)|solo]]. Solos may be unaccompanied, as with works for solo piano or solo cello, or solos may be accompanied by another instrument or by an ensemble.

Composers are not limited to writing only for instruments, they may also decide to write for [[human voice|voice]] (including [[choral]] works, some symphonies, [[opera]]s, and [[Musical theatre|musicals]]). Composers can also write for [[percussion instrument]]s or [[electronic instrument]]s. Alternatively, as is the case with [[musique concrète]], the composer can work with many sounds often not associated with the creation of music, such as [[typewriter]]s, [[Siren (alarm)|siren]]s, and so forth.<ref>{{Cite web|last=June 2020|first=Future Music03|title=Everything you need to know about: Musique concrète|url=https://www.musicradar.com/news/everything-you-need-to-know-about-musique-concrete|access-date=2020-11-03|website=MusicRadar|date=3 June 2020 |language=en}}</ref> In [[Elizabeth Swados]]' ''Listening Out Loud'', she explains how a composer must know the full capabilities of each instrument and how they must complement each other, not compete. She gives an example of how in an earlier composition of hers, she had the tuba playing with the piccolo. This would clearly drown the piccolo out. Each instrument chosen to be in a piece must have a reason for being there that adds to what the composer is trying to convey within the work.<ref>{{cite book|last1=Swados|first1=Elizabeth|title=Listening Out Loud: Becoming a Composer|year=1988|publisher=Harper & Row|location=New York|isbn=0-06-015992-8|edition=first|pages=25–26|url=https://books.google.com/books?id=cKoYAQAAIAAJ|access-date=9 October 2015}}</ref>