BERLIOZ TREATISE ON INSTRUMENTATION PDF

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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 book discusses the various technical aspects of instruments, such as chromatic rangetone qualityand limitations. Here treatisse is far from our national habits, the government does everything for theatres, but nothing for real music.

Grand traité d’instrumentation et d’orchestration modernes, Op.10 (Berlioz, Hector)

The Roman Carnival overture is a good illustration. Composers must therefore be very careful to ask from the double-basses only insrtumentation is possible and where there is no doubt that the passage can be correctly played. The effect then becomes incomparably more powerful and beautiful. To me, it was particularly important to see what Berlioz thought of the viola. I help professional players play freely. At first some would only accept as music sequences of consonant harmonies, interspersed with beflioz few instrumentarion suspensions.

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. They have utilised with perfect understanding the diverse characteristics of this noble instrument to depict human passions and to reproduce the sounds of nature.

Messe solennelle Grande messe des mortsOp.

Treatise on instrumentation and orchestration by Hector Berlioz

Hence the following classification of the means currently available to him:. An orchestra with a thousand wind instruments, and a chorus of two thousand voices, if placed in an open plain will not have one twentieth of the musical instrumentatoon of an ordinary orchestra of eighty musicians and a chorus of a hundred voices carefully arranged in the hall of the Conservatoire. In the Symphonie Fantastique the cymbals are used only at the very end of the 4th and 5th movements the last chord.

This is what Beethoven has done in the following passage Example: How could one enumerate all the harmonic characteristics that each of these different groups might assume when combined with groups that blend or contrast with it! A timpani stick with sponge head, or a bass drum stick, is sometimes used to set a cymbal vibrating when suspended by its thong.

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Treatise On Instrumentation

Read, highlight, and take notes, across web, tablet, and phone. Pieces that have a sprightly character, that are vehement or petulant, display in my view when performed on the melodium the bad taste of the player, or the ignorance of the composer, or the ignorance and bad taste of both at once.

It is quite certain that the special effects obtained by this new type of orchestra could not possibly be achieved with any other forces. La Symphonie fantastique film.

SopranoAltoTenorBass etc. Suppose a mass of voices placed in the choir of a church, far away from the organ, and interrupting its chant to let the organ repeat it, in whole or in part; suppose even that the chorus, in a ceremony of a sad character, was accompanied by a lament alternating between the orchestra and the organ from the two extremities of the church, with the organ following the orchestra like a mysterious echo of its lament.

Then came the turn of modulations. Some went further and wanted to dispense altogether with any accompaniment, pretending that harmony was a barbarous invention. 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.

Mutes are normally used in slow pieces, but they are no less effective for quick and light figuration when the subject of the music calls for it, or for accompaniments in an urgent rhythm. It was left to Weber to discover the terrifying quality of these low notes when used to sustain sinister harmonies. The sound of the two piccolos comes out an octave above and therefore produces sequences of elevenths, the harshness of which is extremely appropriate in the context.

In such a context the sound of the piano has a delightful charm, full of calm and freshness, and is the very image of grace.

Treatise on Instrumentation

Selected pages Title Page. With illustrative full-score musical examples from works by Berlioz, Mozart, Beethoven, Gluck, Weber, Wagner, and others, and numerous smaller musical examples. The orchestra may instdumentation thought of as a large instrument that is capable of producing simultaneously or in succession a multitude of sounds of different kinds. It cannot be shaken to produce its sound except at well spaced intervals, that is about twice in a bar in a moderate tempo.

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The two lower strings, the C and G strings, insttumentation a smooth and deep sound which is admirably suited in such cases, but their low register means that they can only be given ln bass line that is more or less melodic, while the true singing parts must be reserved for the higher strings.

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. But there is nothing more brilliant, better defined and more devoid of shrillness despite their brilliance than all the notes of the upper octave.

When a musician was not capable of performing adequately a violin part, he turned to the viola. But this was probably of little consequence as far as composers were concerned. Viola players were always recruited from among rejected violin players. There can be no doubt treatlse the system of rehearsals needed for this gigantic orchestra: Assuming a composer had such resources at his disposal, in a vast hall organised for this purpose by an architect versed in acoustics and music, he would need to determine precisely before starting work the disposition and layout of this huge orchestra, and then keep them always in mind while composing.

Until Beethoven and Weberall composers, Mozart not excepted, have insisted either in confining it to the demeaning role of filling up, or in making it sound two or three rhythmic patterns, always the same, which are flat, ridiculous, and frequently jar with the character of the pieces where they occur.

In many orchestras these are the instrumenattion sticks used and this is a great pity.