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.
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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.
He will have a preliminary rehearsal to instruct them on how to direct the sectional rehearsals that are entrusted to them. The percussion instruments together with the wind instruments.
In his treatise there is a description for each instrument, including the orchestra as an instrument among the new instruments. Unless one wishes to trample common sense and all artistic principles it is quite impossible to use such instruments merely to provide the harmony.
This means that the old system of double-bass players who simplify their partsa system widely adopted in the old instrumental school and exposed to the dangers we have indicated, is nowadays completely rejected. The need for runs of this kind is extremely rare, and we confess we have not yet come across it. It renders these admirably in cantabile passages.
This lack has resulted in numerous more or less clumsy mutilations and arrangements of the original scores. But it is a strange way of belittling this majestic instrument to reduce it to this secondary role.
Nothing has such voluptuous sadness as a mass of cellos playing in unison on the A string, and nothing is better suited to expressing tender and languorous melodies. Three trombones poorly used will seem noisy and unbearable, while a moment later, in the same hall, twelve trombones will astonish the public through their noble and powerful harmony. The effect produced by such sustained chords is very remarkable, if the subject of the piece calls for it and it integrates well with the rest of the orchestral writing.
The timbre of low-pitched bells is appropriate only for scenes of a solemn or tense character.
Berlioz Treatise on orchestration
But this would involve something very different, and the composer who wanted to show off the prodigious and innumerable resources of such an instrument would certainly have to perform a novel task.
A small and flimsy vaudeville orchestra can be noisywhere a great mass of musicians properly deployed will be extremely gentle and, even in its most vehement outbursts, will produce the most beautiful sounds. This betrayal will be even more obvious and reprehensible if it involves, for example, the A clarinet [which alone could play a low C sharp]. He must first appoint two assistant conductors who when beating time in the general rehearsals must constantly keep their eye on him so as to communicate the tempo to the masses that are too far away from the centre.
The first and second violins separately, then all the violins together. 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 so different in character and temperament.
Grand traité d’instrumentation et d’orchestration modernes, Op.10 (Berlioz, Hector)
They have therefore preserved its instrumentatiob, dignity and poetry. Treatiae can be seen that in this ensemble of performers choristers do not predominate. It is just as agile as the violin. The normal practice is to write two parts for cornets, often in two different keys. The Menuet des Follets from the Damnation of Faust may be mentioned as an example of the varied use of the instrument in the course of the same piece].
This sad murmur and the faint sound of this solo, reproducing a melody already heard in an earlier piece, have always struck audiences deeply. Home Viola Calendar What’s New?
Treatise on Instrumentation
It blends easily with the rest of the harmony, and even the least skilful composer can at will give it a prominent role or make it play a part that is useful though inconspicuous. It serves then to complete trumpet chords, and to contribute to the orchestra groups of notes, whether diatonic or chromatic, which because of their speed would be unsuitable for trombones or horns. But if they are properly composed, well drilled and well conducted, and if they are playing real music, they should be called powerful ; in truth, the difference between these two words could not be greater.
What virtuoso players attempt in this style of playing, in their fantasias and variations, is hardly likely to demonstrate the opposite. It should however be mentioned that M. It cannot be shaken to produce its sound except at well spaced intervals, that is about twice in a bar in a moderate tempo.
The notes, chords and arpeggios that they project across the orchestra and the chorus have exceptional splendour.
The effect has a stabbing, lacerating quality, like a dagger blow. Sound reflectors are indispensable; they are isntrumentation arranged in different ways in any enclosed building. The reason for this probably lies in the development of this branch of art, and perhaps also in the proliferation of critical opinions, varied doctrines, pronouncements whether reasonable or unreasonable, spoken or written, which is elicited by even the slightest works of the most insignificant composers.