Orchestration book. Read 3 reviews from the world's largest community for readers. For its time the most comprehensive treatment of the subject. — New. CECIL FORSYTH. Author of “Orchestration," "Music and Nationalism," "The English Musical. Renaissance," and "A History of Music" (Stanford-Forsyth). Orchestration (Dover Books on Music) [Cecil Forsyth] on musicmarkup.info *FREE* shipping on qualifying offers. For its time the most comprehensive treatment of.
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Misc. Notes, This is the first edition. A second edition, , has been reprinted by Dover with an introduction by William Bolcom. Purchase. Scores. CECIL FORSYTH .. Orchestral instruments are, as a rule, grouped together under the . Fortunately, almost all orchestral instruments produce musical sounds. Topics: Instrumentation and orchestration contain more metadata about the original images and the derived formats (OCR results, PDF etc.).
Then in Monteverdi made a well-known suggestion for the orchestration of his opera Orfeo. And as "For its time the most comprehensive treatment of the subject. And as the Baroque era unfolded, the concept of orchestrations began to evolve, achieving a notable clarity and the acceptance of a keyboard instrument as an integral part of the ensemble. Toward the middle of the 18th century, stylistic changes in instrumental music, e. Finally, in the early 18th century, increasing awareness of the importance of internal balance, certain ideals of blended sound, and firmly established instrumental characteristics enabled orchestration to take its place as an academic discipline beside harmony and counterpoint.
The individual instruments differ so much in the shapes of their pipes and their methods of tone-production that it is better to deal with these points under each instrumental heading. In any case, only a very brief historical sketch is given.
Just sufficient information is supplied to enable the student to understand clearly the origin of the instrument and the principal changes which it has undergone in construction and treatment. Composers too-often look upon orchestral instruments as cleverly manufactured toys springing from nowhere. Most of these instruments, however, have a very respectable family history. And this family history should be of interest, because, in almost every case, the modern instrument, under all its paraphernalia of rings, bolts, and bars, preserves intact the distinctive characteristics of its ancient progenitor.
A seventeenth century Horn-player, if we could resuscitate him, would probably be considerably astonished at the Horn-playing which he would hear at a present-day Symphony-concert. But if he were a good Horn-player, it would not be many weeks before he would be quite competent to " make one " in the orchestral quartet.
Under the separate instrumental headings, such as "Violin," " Oboe," and so on, the student will find precise technical details and examples of the orchestral use of the instrument.
The technical details, especially in the case of shakes and tremolos, have been presented within the smallest possible space.
When printed in extenso, they are often enough to make a fair-sized book. Bekker is strictly old-school, but his information is excellent and his view on the modern direction of orchestration quite generous and informed. And yet its perspectives are novel, and many bits of advice are priceless. It opens with a rare section on the science of tone production, and leads from there to a top-down analysis of the orchestra in score order: winds, brass, percussion, harp, and strings.
Saxophones are placed after this in order in the book, rather than right next to their single-reed progenitors, the clarinets, probably because of their use in marching bands along with saxhorns.
Interestingly, the authors spend a whole chapter discussing jazz style and arranging, which does them enormous credit. Their idea of modern jazz is Glenn Miller, and this tragic lack of hipness was not updated when the book was revised. So I can recommend it as a supplementary text, with the caution that its data is a bit on the weathered side.
One good point is its obsession with phrasing and bowing, going into great detail about both. I do NOT recommend any of them as basic text for orchestration! Buy, borrow, or trade a copy of Piston if you want to get started. The information and outlook in the books below belongs to another period in time. That is its enormous, precious value.
Grand Treatise on Instrumentation by Hector Berlioz, updated by Richard Strauss To read this book is to step deep into the history of orchestration and instrumentation. Available in the original French, and of course English and German. There may be some copyright restrictions for the Strauss edition in the European Union.
Orchestration by Cecil Forsyth This book laid the foundation for all other English-language orchestration manuals, both in organization and in wit. It left a deep imprint on a whole generation of American and English orchestrators.
Principles of Orchestration by Nikolai Rimsky-Korsakov Many orchestrators still feel this information is relevant today, and if you do a Google search you will find sites that have recorded the samples and offer courses based around the original text.
Every serious orchestrator must read this book, and should own a copy.
His book was created as a supplement to the by-then outdated Berlioz Grand Treatise above. Some of these values have changed, but most are essentially the same. Always check with a modern manual before following his advice, though.
And it costs a bundle. Yet it provided the notational standard for Sibelius and possibly other notation software as well. A truly terrific book, but not for everyone including me. Music Notation in the Twentieth Century by Kurt Stone This is the Piston of music notation: clear, concise, well-laid-out, and memorable. I use it frequently. It has an approach that seems more aware of certain American music publishing conventions than the Gould text below. Its sections on percussion, harp, and brass special techniques are especially clear and detailed.
Clean, clear, concise, and precise. If you see a copy at a yard sale, snag it! But Google around for some other guides — Berklee has a couple, I think.
So it deserves a place on your shelf as well. Some readers find the introductory history of film composing to be a bit of a bore. For that, read a book like one of those I list below. Film Score: View from the Podium by Tony Thomas This book is likely to be hanging around gathering dust in your public library. Absolutely essential reading for getting some historical perspective.