Treatise on Instrumentation (Dover Books on Music) [Hector Berlioz, Richard Strauss] on *FREE* shipping on qualifying offers. The most influential. Berlioz was one of the first composers to deal greatly with orchestration. In this treatise he talks about what the different sounds that instruments make (tone. Includes full-score musical examples from works by Berlioz, Mozart, Beethoven, Music History and Theory – Books on Music; /; Treatise on Instrumentation.
|Published (Last):||2 April 2013|
|PDF File Size:||18.98 Mb|
|ePub File Size:||8.49 Mb|
|Price:||Free* [*Free Regsitration Required]|
The only exception that should be made is for those instruments that are excessively powerful or have a timbre that stands out because of its individuality. Online viola lessons and violin lessons via Skype. Its tone quality is so distinctive o it is not necessary in an orchestra to have exactly the same number of violas as of second violins.
The player strikes each side of the instrument and can thus play a succession of fairly rapid notes. No less terrifying in their lugubrious resonance are the exposed strokes of the gong, as M. The sounds of the second octave can be very suitable for pieces of a joyful character, and the whole dynamic range can be used.
Treatise on Instrumentation – Wikipedia
His treatise was meant to indicate the range of the instruments, and part of their mechanism ; examine their timbretheir character and range of expression ; and study the best-known methods for combining them. Bassoons are normally written in two parts. It is very characteristic, even when only those two instruments are used, but the impact can be increased by a sharp stroke on the timpani together with a brief chord on the remaining instruments.
He will then select coaches for each one of the vocal o instrumental groups. For many years composers have complained of the awkward obligation, caused by the lack of a third timpani sound, to avoid using the instrument in chords which did not include either the tonic or the dominant; no one ever asked whether a single berloz might not play on three timpani.
But he has been equally successful in giving the instrument passages of a sad or desolate character. In his score the composer must therefore indicate the layout that he thinks is instrumentatioh. Care should be taken in this case to provide numerous tuning forks in the orchestra; this is the only way to preserve exactly the correct pitch of a crowd of instruments that are insrtumentation different in character and temperament. 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 instrukentation written too high it is much better to have all the violins playing in unison.
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 instrumentatio will become immeasurably better, more interesting and more beautiful if the two groups of percussion instruments are placed at tfeatise two ends of the orchestra, and therefore at a fairly great distance from each other.
Hector Berlioz’s Treatise on instrumentation and orchestration
Courier Corporationinstrumrntation Music – pages. Te Deum8th movement; the original version of the Royal Hunt and Storm from Les Troyens was written for saxhorns, which nowadays are replaced by horns, trumpets, and cornets; the same applies to the great finale the Trojan March of Act I of Les Troyens ].
I believe I have already stated that it seemed to me impossible to explain how beautiful orchestral effects are invented, and that this faculty, which practice and reasoned observation probably help to develop, is, like the faculty of creating melody, expression, and even harmony, one of the precious gifts that the poet-musician, like an inspired creator, must have received from nature.
The effect has a stabbing, lacerating quality, like a dagger blow. Meyerbeer is the first to have introduced this sound into the opera house.
It possesses to the highest degree nobility and grandeur. The conductor should proceed as follows in his analytical work. The best layout for performers, in a hall which is suitably proportioned in relation to the numbers involved, is to raise them one above the other by a series of tiers set out so in such a way that each row can project the sounds it makes to the audience without any intervening obstacle.
Hence the following classification of the means currently available to him:. Hector BerliozRichard Strauss. Harp harmonicsespecially with several harps in unison, are even more magical.
The brilliant effect produced by military bands in some streets of large cities supports this statement while appearing to contradict it. A vigorous marcato rhythm in a vast choral piece or a frenzied dance gains a great deal by being played not by a single pair of cymbals but by four, six, ten or even more, depending on the size of the venue and the numbers of the other instruments and voices.
The percussion instruments together with the wind instruments. Their effect is enhanced and ennobled treafise proportion to the numbers used; a single side drum, particularly when used in an ordinary orchestra, has always seemed to me trivial and vulgar. When blended with the lower notes of clarinets and bassoons over a tremolando of the double basses, the lower notes of the cor anglais produce a rteatise and special sound, eminently suitable for giving a beerlioz colour to musical ideas where fear and anguish predominate.
But to write for it as has been done these last fifteen years, where it is introduced in every ensemble, in every finale, in the instrumentatiin chorus, in dance tunes, even in cavatinas, this is the height of insanity and, to call things by their name, of brutality.
I help professional players play freely. My library Help Advanced Book Search. Hunting fanfares only sound inxtrumentation when they are played on hunting horns, a rather unmusical instrument, whose strident and brash sound does not in any way resemble the chaste and reserved voice of the horns.
It is equally suitable for martial ideas, for cries of fury and vengeance, and for songs of triumph. The assistant conductors and orchestral coaches will rehearse on their own, following the same method:. That is the reason why open air music does not exist. It is quite certain that the special effects obtained by this instrumenration type of orchestra could not possibly be achieved with any other forces.
A few random examples: The instrument requires harmony, or at least the unison of the other members of its family for its various qualities to manifest themselves completely. The first coach will rehearse on their own the first sopranos, then the second, then the first and second together.
They can also be used to excellent effect in symphonic music, even in vigorous passages, whether played by all the string sections together, or by only one or two parts. The expressive qualities of its tone stand out so clearly that in those very rare cases when composers of the past have given it a prominent role the instrument has never failed to live up to expectation.
The first and second violins separately, then all the violins together. The sounds of the middle range have a proud quality tempered by noble tenderness, and are thus ideal for expressing feelings and ideas of the most poetic kind.