Author: Dave Black
Publisher: Alfred Music
Published: 2005-05-03
Total Pages: 357
ISBN-13: 1457412993
DOWNLOAD EBOOK →At last, an orchestration book tailor-made for the classroom musician on a budget. Any teacher, student or professional musician, whether a composer, orchestrator, arranger, performer or enthusiast will find this thoroughly comprehensive dictionary full of the most needed information on over 150 instruments. Designed for quick and easy reference, the Essential Dictionary of Orchestration includes those much-needed instrument ranges, general characteristics, tone quality descriptions, technical pitfalls, useful scoring tips and much more!
Author: William Lovelock
Publisher: Collins Educational
Published: 1968
Total Pages: 180
ISBN-13:
DOWNLOAD EBOOK →Author: Frederick Corder
Publisher:
Published: 2009-05
Total Pages: 124
ISBN-13: 9781104500788
DOWNLOAD EBOOK →This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
Author: Frederick Corder
Publisher: London : R. Cocks ; New York : E. Schuberth
Published: 1896
Total Pages: 132
ISBN-13:
DOWNLOAD EBOOK →Author: Peter L. Alexander
Publisher: Alexander University, Incorporated
Published: 2009
Total Pages: 693
ISBN-13: 9780939067930
DOWNLOAD EBOOK →Alexander details dozens of woodwind and brass writing techniques previously known by only a few top professional film orchestrators, composers, and arrangers which are applicable to both live performance and MIDI mock-ups.
Author: F. Corder
Publisher:
Published: 2020-05-04
Total Pages: 120
ISBN-13:
DOWNLOAD EBOOK →From the Introduction.In most works on this subject it is assumed that the student is far advanced in the study of Counterpoint and Composition, besides possessing a cultivated car and an ability to imagine the quality and intensity of sounds from written notes. Eminently desirable as these qualifications are, experience shows that those who possess them are the few excellent musicians for whom a book on orchestration is of least importance. The less gifted, who may at one time or another write a song, a valse, a march, an operetta or a cantata and have an opportunity of getting it performed by a more or less complete orchestra (generally the latter}, these are the individuals who need most help and for whose use a practical manual should be chiefly designed.In England at the present day the following resources are most common: 1) The String Band, usually amateurs and mostly consisting of a quantity of indifferent violins, one or two violas and cellos and a hired double-bass. Occasionally it has a flute or some other wind instrument but it never becomes a real orchestra. This is to be found everywhere and composers should learn how to write for it. 2) The Theatre Band, consisting of from eight to thirty mixed stringed and wind instruments selected on the Darwinian principle -- that is, the survival of the strongest. This needs considerable skill to write for effectively. 3) The Brass Band: a growing power in the North of England. This needs so much special knowledge to write for that we must reluctantly leave it out of question. 4) The Wind Band, such as is found on piers and other open-air places of entertainment. About this all manuals are silent, but we shall endeavour to tell something about it. The less common kinds of orchestra are 5) The Full Band (so-called) such as is found at Promenade Concerts and the like. This is only the Theatre Band on a rather larger scale and is generally ill-balanced and with inferior players for the subordinate instruments." 6) The Small Orchestra, by which is meant the collection of instruments for which Mozart and Beethoven generally wrote, but with a generous preponderance of strings. 7.) The Full Orchestra, a thing only to be met with at the principal London and provincial concerts or festivals. Hitherto classes 6 and 7 have alone been considered in books on orchestration. We shall now attempt to supply the deficiency.
Author: Frederick Corder
Publisher:
Published: 2017-08-21
Total Pages: 132
ISBN-13: 9781375764773
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