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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It is enough to examine any of his works to lay bare ttreatise limited skill in this respect […]. All the more so as composers usually do not have the excuse of an original rhythm which they might want to enhance and bring out over subsidiary rhythms.
Nothing can compare with the penetrating gentleness of the E string of some twenty violins in the hands of experienced players. There are only few examples in his orchestral writing, and when he makes use of this it is almost always for a special effect. The result is that they dominate instead of blending with the whole, and the instrumental writing becomes shrill and harsh instead of being sonorous and harmonious.
The more numerous the harmonic notes, the more striking the effect.
But there is a further point. This odious commonplace has now been abandoned at last. 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.
It was no good for the innovator to say: 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 ]. A melodium played by a sensitive musician can and should introduce there harmony and civilisation, and bring about in time the disappearance of those grotesque howls which are still the concomitant of religious services.
In the latter case the string instruments would be too weak to dominate the mass of clarinets and brass instruments, and would serve to provide a harmonious bridge with the strident sounds of the orchestra of wind instruments. This is the place to draw attention to the importance of the different points of origin hcetor the sounds.
Treatise on instrumentation and orchestration by Hector Berlioz
Sometimes the ophicleide is used to replace it, but its tone does not have the same depth as its range is the same as that of the standard bassoon and not an octave lower; in any case its timbre is of a quite different character from that of the double-bassoon.
Some went further and wanted to dispense altogether with any accompaniment, pretending that harmony was a barbarous invention. GluckBeethovenMozart, WeberSpontiniand a few others have fully understood the importance of the role of the trombones. Side drums, like the timpani, can be used covered; but instead of covering the skin with a piece of cloth, players often merely loosen the snares, or insert a leather strap between them and the lower skin to check the vibrations.
Beethoven sometimes used it in pairs, as with trumpets, but the established practice of writing it for three parts seems to me preferable. The lower pair of hands executes a fast rising arpeggio in triplets, which is answered in the second half of the bar by another, descending arpeggio in three parts played by a piccolo, a flute and a clarinet, above which there is a shimmering double trill in octaves from the upper pair of hands on the piano. Ordinary rhythms, devoid of melody, harmony or tonality, or of anything that constitutes real music, but intended solely to provide a beat for soldiers on the march, become exciting when performed by a mass of forty or fifty drums on their own.
Hector Berlioz’s Treatise on instrumentation and orchestration
With illustrative full-score musical examples from works by Berlioz, Mozart, Beethoven, Gluck, Weber, Wagner, and others, and numerous Hunting fanfares only sound joyful when they are played on hunting horns, treatuse rather unmusical instrument, whose strident and brash sound does not in any way resemble the chaste and reserved voice of the horns.
These and other examples I might mention seem to me altogether admirable.
I therefore believe that in the majority of cases it is better to do without this instrument than to replace it in this way. For technical reasons it is not possible to reproduce the vocal examples, but the purely instrumental examples are now almost all instrumenyation on a page trdatise Predecessors and Contemporaries.
Should it be absolutely necessary to use the oboes in a piece of this kind to give more body to the harmony and increase the power of the wind section, then instrimentation least the parts should be written in such a way that their timbre, unsuited to this style of music, should be completely covered by the other instruments and should blend with the ensemble so as to be unobtrusive.
On the contrary, by being relegated to the central and lowest point of the hall, in front of the footlights and on a horizontal plane, the players are deprived of most of the advantages that derive from the layout I have described for concert orchestras.
Treatise on Instrumentation – Wikipedia
On the contrary, that is the pointin everything and everywhere. But the drawbacks of tolerating this state of affairs are becoming increasingly obvious, and gradually the viola, like other instruments, will cease to be entrusted to any but competent berlizo.
The tone of the cellos then acquires a very rounded and pure quality without ceasing to predominate.
In the case of drums, bass drums, cymbals and timpani, for example, if they are used all at once to play certain rhythms in the commonplace manner, they can remain grouped together. Here music is far from our national habits, the instrumentatoin does everything for theatres, but nothing for real music.
Treatise On Instrumentation
But this was probably of little consequence as far as composers were concerned. Examples of this are the solo in the scherzo of the Pastoral symphony [ example: Such is the case with the passage from the storm of the Pastoral Symphonywhich conveys so well the suggestion of a violent wind charged with rain and of the dull rumbling of a squall.
They therefore associated them almost always with the trumpets. It would erupt like a volcano. Hector BerliozRichard Strauss.