Treatise on Instrumentation (Dover Books on Music) [Hector Berlioz, Richard Strauss] on *FREE* shipping on qualifying offers. The most influential. Includes full-score musical examples from works by Berlioz, Mozart, Beethoven, Wagner, and others. Music Books | Music History and Theory – Books on Music; /; Treatise on Instrumentation By: Hector Berlioz, Richard Strauss. Book Source: Digital Library of India Item : Hector ioned.
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The percussion instruments on their own; particular attention will be given to getting the timpani players to tune their instruments properly.
The melodium does not have the mixture stops of the organ, the effect of which is traditionally admired by many people, but which in reality are an open door to the most dreadful confusion.
The soprano saxhorn in B flat is more frequently used than that in C; and though it is a tone lower than the C saxhorn it is already difficult or at least very strenuous for the player to sound the last two notes; these valuable notes must therefore be used very sparingly and must be introduced in a skilful way.
When it did make its appearance, there was an outcry: Mutes are small devices made of wood which are placed on the bridge of stringed instruments to reduce their sonority, and which give them at the same time a sad, mysterious and gentle character; this can be used to good effect in every kind of music.
Courier Corporation- Music – pages. The old masters only used them to strike the tonic or dominant on a more or less commonplace rhythm in pieces of a brilliant character or with martial pretensions. Te Deum4th and 8th movement].
Berlioz Treatise on orchestration
In the chorus of the priests of Isis in the Magic Flute Mozart has provided wonderful examples of how to give them the voice and manner of high priests. No need to add that in this system the bass drum is almost never used without the accompaniment of cymbals, as though these two instruments were by their nature inseparable. Meyerbeer has been able to draw a distinctive and formidable sound by combining the side drum with the timpani for the celebrated crescendo roll in the scene of the blessing of the daggers in Les Huguenots.
I help professional players berlooz freely. Their quivering and thin sound, which cuts through the rest of the orchestra, can be eminently suitable whether for feelings of extreme ferocity, combined with the shrill shrieks of piccolos and strokes on the timpani or the side drum, or for the feverish excitement of a bacchanal where joy turns to frenzy.
It is imposed on composers more by habit, routine, laziness and lack of thought than for reasons of economy, though these are unfortunately all too compelling, particularly ebrlioz France.
One common practice to give great power to a passage for the violins is to have the first violins doubled by the seconds playing an octave below; but if the passage is not written too high it is much better to have all the berliiz playing in unison. Given time, care and the necessary expenditurethis is how it could be done in Paris. La Symphonie fantastique film.
That is why Rossini made use of a little bell in G to accompany a graceful chorus from the second Act of William Tellthe refrain of which is “voici la nuit”. The lower strings except for those at the lowest end of the range, which are loose and dull in tone have a veiled, mysterious, and beautiful quality, but have hardly ever been used for anything but bass accompaniments in the left hand.
Instrymentation went further and wanted to dispense altogether with any accompaniment, pretending that harmony was a barbarous invention. Violins are faithful, intelligent, active and tireless servants. It can express all manner of vigorous feelings, proud and grand, and the majority of tragic accents.
Between the chorus and harps and pianos alone. The composer may at will make it sing a chorus of priests, threaten, utter a subdued lament, whisper a instrumentaiton dirge, raise a hymn of glory, break out in dreadful cries, or sound its formidable call for the awakening of the dead or the death of the living. Harp harmonicsespecially with several harps in unison, are even more magical.
Here is jnstrumentation delightful example of the use of pizzicato in the second violins, violas and basses, while the first violins play arco. But if they are playing a rhythmic dialogue, one part of which is performed by the bass drums and cymbals, and the other by timpani and drums, it is probably the case that the effect will become immeasurably beriloz, more interesting and more beautiful if the two groups of percussion instruments are placed at the two ends of the orchestra, and therefore at a fairly great distance from each other.
A larger number of string instruments would even inshrumentation too loud in many cases for the delicate effects which these two masters have normally entrusted to flutes, oboes and bassoons only.
The notes, chords and arpeggios that they project across the orchestra and the chorus have exceptional splendour. It can be used for melodies and accents of different kinds, though it cannot match the artless gaiety of the oboe or the noble tenderness of the clarinet.
Unisons only acquire quality when they are multiplied beyond a certain number. The sound reverberates and circulates actively in the narrow space between them before escaping through the spaces left open.
Treatise on Instrumentation
Meyerbeer is the first to have introduced this sound into the opera house. These examples are sometimes of works by Berlioz himself, while MozartWagnerBeethovenand Gluck are also frequently cited. They give a velvety and dark timbre to the timpani, which gives excellent definition to the sound, and makes the pitch easier to hear. It is just as agile as the violin. In the Symphonie Fantastique the cymbals are used only at the very end of the 4th and 5th movements the last chord.
Joyful melodies must always fear from this instrument some loss of whatever nobility they may have, and if they have none, an enhancement of their triviality. We mentioned that the clarinet has four registers; each of these has its distinctive timbre.