Conclusion, Acknowledgements and Bibliography




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.




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.




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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