Abstract
<jats:title>Abstract</jats:title> <jats:p>Although Tailleferre’s elevation of orchestration is central to her compositional style, it is not known how she highlights this aspect in her music. This chapter argues that Tailleferre elevates orchestration to the level where it is a primary vehicle for form, which is exemplified through an analysis of her Ballade for piano and orchestra (1920). We categorize Tailleferre’s orchestration effects using the Taxonomy of Orchestral Grouping Effects. We investigate patterns of Tailleferre’s orchestration effects to study what types of commonalities there are between the movements, whether there are noticeable differences in approach to orchestration between movements, and whether specific orchestrational devices are used in moments of formal importance.</jats:p>