Textures and timbres: an orchestrator's handbook
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
C. Fischer
2009
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Classification of instruments in groups according to tone-quality -- Groups of closely related instrumental timbres -- Harmonic balance -- Volume -- The arrangement of timbres in harmonic situations -- The arrangement of timbres in contrapuntal situations -- Dissonance -- Consonance -- Unisons -- Octaves and double octaves -- General types of musical material -- Uniformity in the number of notes in successive chords -- Uniformity in articulation -- Vibrato -- The termination of long notes -- Joints and separations -- Extreme registers -- Which comes first, composing the music or choosing the timbres? -- The piano as a pitch guide in preparing musical material for orchestration -- Equivalents of the piano's damper pedal -- Simulated bell timbres -- Wind timbres -- The four wind-timbre groups, studied separately -- The four wind-timbre groups in combinations -- Percussion timbres -- Classification of percussion instruments by dynamic range -- Definite-pitched percussion -- Indefinite-pitched percussion -- Definite- and indefinite-pitched percussion together-- The roll -- Composing for percussion -- Definite-pitched percussion with winds -- The piano as an orchestral instrument -- Pizzicato timbres -- Pizzicato group and piano staccato -- Pizzicato group and definite-pitched percussion with piano staccato -- Pizzicati in unison with winds (groups I, II, and III) -- The bowed strings -- Wind-groups I and II with bowed strings -- Bowed strings with horns and saxophones (wind-group III) -- Bowed strings with open trumpets and trombones (wind-group IV) -- Bowed strings with open tuba and euphonium (wind-group IV) -- Tutti formations -- Epilog |
| Beschreibung: | XII, 257 S. Notenbeisp. |
| ISBN: | 9780825868276 |
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| 500 | |a Classification of instruments in groups according to tone-quality -- Groups of closely related instrumental timbres -- Harmonic balance -- Volume -- The arrangement of timbres in harmonic situations -- The arrangement of timbres in contrapuntal situations -- Dissonance -- Consonance -- Unisons -- Octaves and double octaves -- General types of musical material -- Uniformity in the number of notes in successive chords -- Uniformity in articulation -- Vibrato -- The termination of long notes -- Joints and separations -- Extreme registers -- Which comes first, composing the music or choosing the timbres? -- The piano as a pitch guide in preparing musical material for orchestration -- Equivalents of the piano's damper pedal -- Simulated bell timbres -- Wind timbres -- The four wind-timbre groups, studied separately -- The four wind-timbre groups in combinations -- Percussion timbres -- Classification of percussion instruments by dynamic range -- Definite-pitched percussion -- Indefinite-pitched percussion -- Definite- and indefinite-pitched percussion together-- The roll -- Composing for percussion -- Definite-pitched percussion with winds -- The piano as an orchestral instrument -- Pizzicato timbres -- Pizzicato group and piano staccato -- Pizzicato group and definite-pitched percussion with piano staccato -- Pizzicati in unison with winds (groups I, II, and III) -- The bowed strings -- Wind-groups I and II with bowed strings -- Bowed strings with horns and saxophones (wind-group III) -- Bowed strings with open trumpets and trombones (wind-group IV) -- Bowed strings with open tuba and euphonium (wind-group IV) -- Tutti formations -- Epilog | ||
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Datensatz im Suchindex
| _version_ | 1804143380681195520 |
|---|---|
| adam_text | VI
Table of Contents
Foreword
...............................................................................................................................
IX
Acknowledgements
................................................................................................................
Xl
About Henry Brant
...............................................................................................................
x
Part One: General Premises
Chapter
1:
Classification of Instruments in Groups According to Tone-Quality
................2
Chapter
2:
Groups of Closely Related Instrumental Timbres
..............................................4
Chapter
3:
Harmonic Balance
...............................................................................................5
Chapter
4:
Volume
..................................................................................................................9
Chapter
5:
The Arrangement of Timbres in Harmonic Situations
...................................11
Chapter
6:
The Arrangement of Timbres in Contrapuntal Situations
..............................12
Chapter
7:
Dissonance
..........................................................................................................13
ChapterS: Consonance
........................................................................................................15
Chapter
9:
Unisons
...............................................................................................................16
Chapter
10:
Octaves and Double Octaves
...........................................................................22
Chapter
11:
General Types of Musical Material
..................................................................25
Chapter
12:
Uniformity in the Number of Notes in Successive Chords
............................31
Chapter
13:
Uniformity in Articulation
...............................................................................34
Chapter
14:
Vibrato
..............................................................................................................35
Chapter
15:
The Termination of Long Notes
.....................................................................38
Chapter
16:
Joints and Separations
......................................................................................39
Chapter
17:
Extreme Registers
.............................................................................................41
Chapter
18:
Which Comes First, Composing the Music or Choosing the Timbres?
........43
Chapter
19:
The Piano as a Pitch Guide in Preparing Musical Material for
Orchestration
.....................................................................................................................44
Chapter
20:
Equivalents of the Piano s Damper Pedal
.......................................................46
Chapter
21:
Simulated Bell Timbres
....................................................................................49
Part Two: Timbre Groups and Combinations of Tone-Qualities
Chapter
22:
Wind Timbres..
.................................................................................................54
Preliminary Observations
..............................................................................................54
General Summary
...........................................................................................54
The Pipe Organ in Wind-Group Textures
....................................................................55
The Accordion in Wind-Group Textures
.....................................................................55
Chapter
23:
The Four Wind-Timbre Groups, Studied Separately
........]]......... .... ............56
Wind-Group I: Flute Timbre
......................................................................................56
Wind-Group II: Oboe Timbre
.......................................
ZZ.Zľľľ^ZľľZľľZ.l
66
Wind-Group III: Horn Timbre
.................................
!ZZZZ!ľľľľZľľľľZľZľ
77
Wind-Group
IV:
Trumpet Timbre
........................
ZľľZZZZ
Z!Z!
. . . . .. 82
Chapter
24:
The Four Wind-Timbre Groups in CombinationsZ!!!!!!!. !!!! !!!!!!!!!!!!!!!!!!!!!!!
92
Wind-Groups I and II Together
.................................................. 92
Wind-Groups I, II and III Together
..................
ZZZZZZľ
....... ......................... 99
Wind-Groups I, II and IV Together
......................
!ZZZZ
.......................................109
Chapter
25:
Percussion Timbres
.......................
ZZ.Z.ZZZ.
......................................119
Preliminary Observations and Classification
.......
ZZ iZZilZ !
. ................
ľ Z
119
General Characteristics
....................................... ....................................................
jjg
Classification of Percussion Instruments by Pitch
ľľZľľľľ
................................120
TXT6
vu
Chapter
26:
Classification
of
Percussion Instruments
by Dynamic
Range
......................121
Chapter
27:
Definite-Pitched Percussion
...........................................................................123
Chapter
28:
Indefinite-Pitched Percussion
........................................................................133
Chapter
29:
Definite- and Indefinite-Pitched Percussion Together
................................137
Chapter
30:
The Roll
..........................................................................................................140
Definite-Pitched Percussion
........................................................................................140
Indefinite-Pitched Percussion
.....................................................................................143
Two-Pitch and Four-Pitch Rolls
...................................................................................144
Chapter
31:
Composing for Percussion
.............................................................................147
Chapter
32:
Definite-Pitched Percussion with Winds
.......................................................149
Chapter
33:
The Piano as an Orchestral Instrument
.......................................................152
The Piano as a Percussion Instrument of Definite Pitch
...........................................153
Imitative Counterpoint
................................................................................................157
Chapter
34:
Pizzicato Timbres
...........................................................................................159
Chapter
35:
Pizzicato Group and Piano Staccato
.............................................................168
Chapter
36:
Pizzicato Group and Definite-Pitched Percussion with Piano Staccato
......172
Chapter
37:
Pizzicati
in Unison with Winds (Groups I, II and III)
..................................181
Chapter
38:
The Bowed Strings
.........................................................................................187
Positions of the Five String Sections on the Stage
.....................................................187
Fullness/Thickness in String Textures
.......................................................................190
Divisi
Strings
.................................................................................................................194
Four-Part Counterpoint for Two Violin Sections
.......................................................194
Contrapuntal Textures
................................................................................................198
Harmonic Formations (Free Diatonic)
......................................................................200
Harmonic Formations (Dissonant)
............................................................................202
Special Timbres
............................................................................................................205
Smallest String Choir
...................................................................................................212
Chapter
39:
Wind-Groups I and II with Bowed Strings
....................................................214
Chapter
40:
Bowed Strings with Horns and Saxophones (Wind-Group III)
..................222
Chapter
41:
Bowed Strings with Open Trumpets and Trombones (Wind-Group IV)
... 229
Chapter
42:
Bowed Strings with Open Tuba and Euphonium (Wind-Group IV)
..........231
Chapter
43:
Tutti
Formations
.............................................................................................233
Conventional
Tutti (f)...........................................................................................
233
Parallel Chords
.......................................................................................................237
Epilog
...................................................................................................................................242
Appendices
Appendix
1:
Ranges of the Four Individual Strings of the Bowed Violin, Viola,
Cello and Bass
..............................................................................................................243
Appendix
2:
Alternatives for
Col Legno Battuto..............................................................
245
Appendix
3:
Nineteenth- and Twentieth-Century Tendencies in Orchestration
..........246
Appendix
4:
Expanded Unisons (Supplementary to Wind-Groups I, II, III and IV,
specifically to Chapters
22, 23
and
24).......................................................................251
Appendix
5:
Contrasted Nasal Timbres (pp) in Combination
........................................257
TXT6
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| spelling | Brant, Henry 1913-2008 Verfasser (DE-588)128683147 aut Textures and timbres an orchestrator's handbook Henry Brant Orchestrator's handbook New York, NY C. Fischer 2009 XII, 257 S. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Classification of instruments in groups according to tone-quality -- Groups of closely related instrumental timbres -- Harmonic balance -- Volume -- The arrangement of timbres in harmonic situations -- The arrangement of timbres in contrapuntal situations -- Dissonance -- Consonance -- Unisons -- Octaves and double octaves -- General types of musical material -- Uniformity in the number of notes in successive chords -- Uniformity in articulation -- Vibrato -- The termination of long notes -- Joints and separations -- Extreme registers -- Which comes first, composing the music or choosing the timbres? -- The piano as a pitch guide in preparing musical material for orchestration -- Equivalents of the piano's damper pedal -- Simulated bell timbres -- Wind timbres -- The four wind-timbre groups, studied separately -- The four wind-timbre groups in combinations -- Percussion timbres -- Classification of percussion instruments by dynamic range -- Definite-pitched percussion -- Indefinite-pitched percussion -- Definite- and indefinite-pitched percussion together-- The roll -- Composing for percussion -- Definite-pitched percussion with winds -- The piano as an orchestral instrument -- Pizzicato timbres -- Pizzicato group and piano staccato -- Pizzicato group and definite-pitched percussion with piano staccato -- Pizzicati in unison with winds (groups I, II, and III) -- The bowed strings -- Wind-groups I and II with bowed strings -- Bowed strings with horns and saxophones (wind-group III) -- Bowed strings with open trumpets and trombones (wind-group IV) -- Bowed strings with open tuba and euphonium (wind-group IV) -- Tutti formations -- Epilog Instrumentation and orchestration Orchestration (DE-588)4172713-7 gnd rswk-swf Instrumentation (DE-588)4027219-9 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Instrumentation (DE-588)4027219-9 s Orchestration (DE-588)4172713-7 s DE-604 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020646258&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Brant, Henry 1913-2008 Textures and timbres an orchestrator's handbook Instrumentation and orchestration Orchestration (DE-588)4172713-7 gnd Instrumentation (DE-588)4027219-9 gnd |
| subject_GND | (DE-588)4172713-7 (DE-588)4027219-9 (DE-588)4151278-9 |
| title | Textures and timbres an orchestrator's handbook |
| title_alt | Orchestrator's handbook |
| title_auth | Textures and timbres an orchestrator's handbook |
| title_exact_search | Textures and timbres an orchestrator's handbook |
| title_full | Textures and timbres an orchestrator's handbook Henry Brant |
| title_fullStr | Textures and timbres an orchestrator's handbook Henry Brant |
| title_full_unstemmed | Textures and timbres an orchestrator's handbook Henry Brant |
| title_short | Textures and timbres |
| title_sort | textures and timbres an orchestrator s handbook |
| title_sub | an orchestrator's handbook |
| topic | Instrumentation and orchestration Orchestration (DE-588)4172713-7 gnd Instrumentation (DE-588)4027219-9 gnd |
| topic_facet | Instrumentation and orchestration Orchestration Instrumentation Einführung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020646258&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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