Orchestration

Conclusion, Acknowledgements and Bibliography

 

CONCLUSION

 

The most important conclusion to be drawn from our study of orchestration is that orchestration can bring out and enhance any aspect of the music. Once the composer gets into the habit of thinking about how timbre can mark and enrich important formal points, clarify and bring into better focus details of rhythmic design, enhance details of harmony and counterpoint, orchestration becomes what it should be for maximum artistic effect: an integral part of composition itself.

 

ACKNOWLEDGEMENTS

 

Various people have contributed importantly to this book. Guillaume Jodoin carefully and intelligently proofread the text, always asking pertinent questions. Marc-André Bougie suggested valuable examples. My colleague Sylvain Caron generously gave his time to read the text and made constructive comments. Daniel Barkely kindly helped with some of the score examples.

 

BIBLIOGRAPHY

 

  • Adler, Samuel. The Study of Orchestration. New York: W. W. Norton and Co., 1982.
  • Berlioz, Hector. Treatise on Instrumentation. New York: Edwin F. Kalmus, 1945.
  • Brindle, Reginald Smith. Contemporary Percussion. London: Oxford University Press, 1975.
  • Carse, Adam. The History of Orchestration. New York: Dover Publications, 1964.
  • Forsyth, Cecil. Orchestration. London: Macmillan, 1974.
  • Gevaert, F.-A. Cours Méthodique d’Orchestration. Paris: Henri Lemoine, 1890. (?)
  • Green, Elisabeth. Orchestral Bowings and Routines. Ann Arbor, Michigan: Campus Publishers, 1983.
  • Koechlin, Traité de l’Orchestration (4 volumes). Paris: Max Eschig, 1955. (?)
  • Liebowitz, René, and Maguire, Jan. Thinking for Orchestra. New York: G. Schirmer, 1960.
  • Mathews, Paul (editor). Orchestration: An Anthology of Writings. New York: Routledge, 2006.
  • Mckay, Creative Orchestration. Boston: Allyn and Bacon, 1969.
  • Piston, Walter. Orchestration. New York: W. W. Norton and Co., 1955.
  • Reed, H. Owen, and Joel T. Leach. Scoring for Percussion. New York: Belwin-Mills Publishing, 1978.
  • Read, Gardner. Orchestral Combinations. Lanham, Maryland: Scarecrow Press, 2004.
  • Read, Gardner. Thesauraus of Orchestral Devices.
  • Read, Gardner. Style and Orchestration. New York: Schirmer Books, 1979.
  • Rimsky-Korsakov. Principles of Orchestration. New York: Dover Publications, 1964.
  • Rogers, Bernard. The Art of Orchestration. Westport, Connecticut: Greenwood Press, 1970.
  • Schoenberg, Arnold. Coherence, Counterpoint, Instrumentation, Instruction in Form. Lincoln, University of Nebraska Press, 1994.
  • Tovey, Donald Francis. The Forms of Music. New York: Meridian Books, 1963.
  • Wellesz, Egon. Die Neue Instrumentation (2 volumes), Berlin: Max Hesses Verlag, 1928.

Contents

Presentation
 
Introduction: Why this book?
 
Preliminary considerations

  • Remarks on instruments
  • What is poor orchestration?

 
Basic notions, part 1

  • Orchestration and form
  • Rate of orchestral change
  • Degree of continuity/contrast
  • Interpreting the phrasing
  • Orchestration and dynamics
  • Register
  • Color
  • Sustained vs. dry sound
  • Fat vs. thin sound; unison doubling
  • Balance: simultaneous and successive

 
Basic notions, Part 2

  • Musical lines vs. instrumental parts
  • Planes of tone
  • Contrapuntal orchestration
  • The tutti

 
Orchestral accompaniment
 
Summary: What is good orchestration?
 
Appendix: some pedagogical ideas

  • Examples from a character glossary
  • Outline sketches as a teaching tool
  • Learning orchestration from the repertoire
  • Scales of contrast
  • Orchestral simulation

 
Conclusion, acknowledgements, bibliography
 
Character glossary