Sinopsis
Learn how orchestration truly works, from the brass section’s strengths to smart score layout, with practical guidance for students and composers.
This classic primer explores how brass and other instruments contribute to color, balance, and texture in orchestral work. It cautions against overusing loud brass effects while showing how quiet, effective writing can be accomplished with a small group of instruments. The book also discusses historical approaches to instrumentation and why modern scores sometimes lean too heavily on certain sections. An appendix offers guidance on the common ways scores are arranged, helping readers read and write music more efficiently.
Designed for students and aspiring composers, it emphasizes practical technique, ear training, and study of great masters. It presents clear examples and commentary to help you understand how to use each instrument legitimately and to create musical impact with thoughtful planning rather than sheer volume.
- Why natural horns and trumpets can be valuable learning tools before using valve instruments
- How to achieve variety and color without excess noise
- How to compose for small ensembles and still create memorable effects
- Different methods for arranging instruments in a score and reading complex parts
Ideal for readers of music history and orchestration, especially those studying or practicing composition and score reading.
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Reseña del editor
Excerpt from Instrumentation
In the selection of Illustrative passages the author has been guided by the desire to render his work useful, as far as possible, to those who might have in their libraries other treatises on Instrumentation. He has therefore endeavoured to avoid quoting extracts already given by Berlioz and other authors and he has in every instance selected examples from scores in his own library, and not from other instruction-books, for the purposes of illustration. It has always appeared to him a curious thing that although Mendelssohn is, from the purity and fine taste displayed in his instrumentation, one of the best possible models for the young composer, hardly any of the treatises previously published contain so much as one illustration taken from his works. His scores have therefore been somewhat freely drawn upon for the present volume. The author's general plan has been to quote from works less accessible to the student, rather than from those which he could easily procure for himself.
It would be dishonest not to acknowledge the many valuable hints which the author has Obtained from the treatises of Gevaert and Lobe - two of the best works on Instrumentation ever written. Those who have a knowledge Of the French and German languages are strongly advised to consult these books for themselves. They will find there much useful information conveyed in a singularly clear and interesting form.
In Spite Of the care which has been expended on the present book, the author dares not flatter himself that no important inaccuracies or omissions will be found in it. It is indeed almost inevitable that, in a work containing such a multiplicity Of details, errors will creep in.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Reseña del editor
Excerpt from Instrumentation
The paucity of books in our language on the subject of Instrumentation has always appeared to the present writer a matter of surprise. On the Continent many excellent treatises have been published, such as those of Berlioz and Gevaert in French, and of Lobe and Marx in German; but with the exception of the translations of Berlioz, and of Czerny's "School of Practical Composition" (the third volume of which treats, it must be confessed rather superficially, of orchestration), we have scarcely anything in English beyond such elementary details as may be found in Musical Catechisms. The present Primer is an imperfect attempt to supply the deficiency.
In writing: this book the author has more than once had occasion to remark that under no circumstances can Instrumentation be taught from an instruction-book; and in completing his work he feels this even more keenly than in commencing it. It is by no means with unqualified satisfaction that he looks at the result of his labors. The subject is so rich in details, and there is so much that ought to be said which it has been impossible to say within the limits of a primer, that the author feels that many parts of his subject (especially those discussed in Chapters VI, VII, and VIII) have been dealt with in a manner so summary as to be inadequate to their importance. Want of space must be the excuse - it is hoped not altogether an insufficient one.
An apology appears needful for the very fragmentary nature of the quotations given from the scores of the great masters. In many cases these do not exceed three or four measures; it would have been impossible to render them more complete without greatly enlarging the size of the work.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Instrumentation (Classic Reprint)
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Paperback. Condición: New. Print on Demand. This book is a comprehensive guide to the art of orchestral instrumentation, offering a deep dive into the unique characteristics and capabilities of each instrument within the orchestra. It explores the historical development of orchestral writing, contrasting the methods of earlier composers like Handel and Bach with those of later composers, highlighting the changing emphasis on the use of wind instruments. The authorââ â¢s primary aim is to guide the aspiring composer in mastering the nuances of orchestrating for each individual instrument, from the subtle interplay of string sections to the distinctive timbres of the woodwind and brass instruments. It delves into the complexities of balancing tone, achieving contrast, and employing color to create the desired emotional and musical effects. The author also analyzes examples from the works of great masters, such as Mozart, Haydn, and Beethoven, as well as more recent composers like Mendelssohn and Wagner, to illustrate both traditional and innovative techniques. The book's insights provide invaluable guidance for those seeking to elevate their understanding and mastery of orchestral composition, offering a foundational framework for creating music that is both technically proficient and artistically resonant. This book is a reproduction of an important historical work, digitally reconstructed using state-of-the-art technology to preserve the original format. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in the book. print-on-demand item. Nº de ref. del artículo: 9781330870532_0
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Instrumentation (Classic Reprint)
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