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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Sticks with sponge instrumsntation are the best; they are the most musical and are less noisy, and should be used most of the time. Their turn to be noticed, rejected, accepted, repressed, liberated and exaggerated only came later. Up till now they have only used the thumb and the index finger for plucking, and the result is that they are unable to play passages or arpeggios involving more than semiquavers in common time and at a very moderate tempo.
Since the tone production of the melodium is rather slow, as is the case with the pipe organ, it is more suited for the legato style than any other, and very appropriate for religious music, for gentle and tender melodies in a slow tempo. Their use without our explicit permission is illegal. Particularly in cases where the chords are brief and separated by silences, it is like hearing strange monsters uttering in the dark groans of barely suppressed rage.
Should one wish, for example, to give to a sad melody a note of grief that was at the same time humble and resigned, the weak sounds of the middle range of the flute, especially in the keys of C minor and D minor, will certainly provide the appropriate tone colour.
This is done by suspending a number of hangings and concentrating treatjse this point materials that are suitable for intercepting the sound waves. The melodium does not have the mixture stops of the organ, the effect of which is traditionally admired by many people, but which instrukentation reality are an open door to the most dreadful confusion. But there is nothing more brilliant, better defined and more devoid of shrillness despite their brilliance than all the notes of the upper octave.
They have probably all admired the wonderful effect produced in the great E flat concerto sc.
Berlioz Treatise on orchestration
Only light-hearted gaiety, or even carefree joy, seem not to suit them. About the violawhich he knew well having written Harold in ItalyBerlioz wrote that its. Melody did all the same take hold, but the reaction over melody was not long in coming. But it should be noted in such cases that the sound of the bass trombone always tends to predominate over the other two, especially if the first is an alto trombone. In the Adagio of one of my symphonies [the Symphonie Fantastique ], the instrumejtation anglais, after repeating an octave lower the phrases of the oboe, like the voice of instrumentwtion young man answering a girl in a pastoral dialogue, then repeats instrumentafion from it at the end of the piece, to the muted accompaniment of insttumentation timpani, while the rest of the orchestra remains silent.
I have never been able to hear from a distance military music without being deeply moved by the feminine timbre of clarinets and being o with images of that kind, as after the reading of ancient epic poems. My library Help Advanced Book Search. The player strikes each side of the instrument and can thus play a succession of fairly rapid teeatise. The need for runs of this kind is extremely rare, and we confess we have not yet come across it.
The art of instrumentation consists in using these various sound elements and applying them, either to colour the melody, harmony and rhythm, or to produce effects that instrumentstion sui generis whether motivated by an expressive intention or notindependently of the part played by the three other musical forces.
But it is a strange way of belittling this majestic instrument to reduce it to this secondary role. But this was teratise of little consequence as far as composers were concerned. On the other hand when M. All rights of reproduction reserved for the texts and translations on this page.
This beautiful instrumental soprano voice, so sonorous and rich in penetrating inflexions when used in large numbers, gains when played solo in delicacy, elusive nuances, and mysterious sympathy what it loses in power and brightness.
Hector BerliozRichard Strauss. 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. Despite its proud and genuinely distinguished timbre, there are few instruments that have been so debased as the ber,ioz.
Treatise on Instrumentation
Similarly for the third with the basses. The most direct, beautiful and noble march theme loses its nobility, directness and beauty if heard on the oboes. When combined with timpani rolls in several parts, as in the work I have just mentioned, and with an orchestration that emphasises the note of terror, they suggest the strange and awesome sounds that accompany the great cataclysms of nature.
And yet the bass drum can be admirably effective when used intelligently. Composers then naively believe that they have orchestrated their music in an energetic way and written something beautiful! Theatre directors nowadays have no excuse to tolerate misdeeds of this kind, since for a modest outlay they can acquire, if not a pipe organ, at least a melodium-organ which is almost adequate as a substitute.
The purpose of the present work is therefore first to indicate the range of some essential parts of the mechanism of the instruments, then to proceed to the study, hitherto much neglected, of the nature of the timbrethe peculiar character and expressive potential of each of them, and finally to that of the best methods known of combining them in an appropriate manner.
Here music is far from our national habits, the government does everything for theatres, but nothing for real music. It is even more difficult than with those instruments to give it an appropriate role in the orchestra, as its metallic sound when played forte is only suitable for pieces that are extremely brilliant, and when played piano for pieces that have a certain bizarre wildness.
Bassoons are normally written in two parts. Hence on almost all occasions when the attempt has been made to bring these two incompatible forces together, either the organ largely overshadowed the orchestra, or the orchestra, increased to inflated proportions, almost completely obliterated its opponent.
Nowadays violas are often divided into first and second. Views Read Edit View history. He will then select coaches for each one of the vocal and instrumental groups.
The violin The viola The cello The double-bass The harp. Double-bass players who are lazy or who really cannot cope with such difficult parts immediately give instrunentation and concentrate on simplifying the passage. The practice of some masters nowadays of treating the three trombones and ophicleide as a quartet, with the latter taking the real bass part, may not be above reproach.
It must also be admitted that in an orchestra a single trombone on its own almost always seems more or less out of place. The notes, chords and arpeggios that they project across the orchestra and the chorus have exceptional splendour. Thus the ritornello in the trio from Robert le Diable [by Meyerbeer ], “mon fils, mon fils, ma tendresse assidue”, is well suited to the cornet.
In his symphonies in B flat and C minor Beethoven made wonderful use of the timpani pianissimo; these superb passages lose a great deal if played with sticks without sponge heads, even though the composer did not specify anything to that effect in his scores. But the finest concert orchestra, for a gerlioz scarcely larger than that of the Conservatoirethe most complete, the richest in nuances and variety of tone colour, the most majestic, powerful and at the same time the most mellow, would be an orchestra composed as bdrlioz.
High-pitched bells, on the other hand, give rise to more peaceful impressions; there is something rustic and artless about them which make them particularly suitable for religious scenes from country life. Click here to learn How to play violin or viola without pain, injuries and nerves Related pages Click here to receive the Viola Calendar, with daily micro viola news and special offers!
The middle range, particularly when treatuse player is not very skilled, is all too reminiscent of the sound of the serpent and the cornet.