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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At no time in the history of music has so much been said as at present about Instrumentation. There are several reasons for the unjust bondage of this noble instrument. The upper register has a somewhat piercing character which should only be used in an orchestral fortissimo or in extrovert runs in a brilliant solo passage some of the high notes can nevertheless be sustained piano when the tone production has been carefully prepared.
This page was last edited on 1 Octoberat And yet instrumenntation bass drum can be admirably effective when used intelligently. There is a magnificent example of the use of this device in the final explosion of the duet ” Gardez vous de la jalousie!
A vigorous marcato rhythm in a vast choral piece or a frenzied dance gains a great deal by being played not by a single pair of cymbals but by four, six, ten or even more, depending on the size of the venue and the numbers of the other instruments and voices.
In this case, to give the clarinet a sound as vague and remote as possible, I had the instrument treayise in a leather bag to serve as a mute.
Here is the lonely virgin, the blond betrothed of the huntsman, who raises her eyes to heaven and mingles her gentle lament with the sounds of the deep forests shaken by the storm. Theatre directors nowadays have no excuse to tolerate misdeeds of treaitse 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. Tied grace notes are also feasible in pizzicato playing.
Its task is therefore not to reinforce the double-basses, with which its timbre does not blend in any way. When stopped sounds are not used for a specific effect then at least those which have a poor sonority and are too different from the other sounds of the horn should be avoided.
The different keys of the saxhorn, like those of the cornet, start in descending order from the typical instrument, the little soprano instrumenfation in C, which is an octave above the cornet in C. On the contrary, that is the pointin everything and everywhere. In the overture to Oberon Weber with rare felicity makes the cellos sing in their upper register, while two clarinets in A playing in unison sound treatiae lower notes underneath. A new edition of the original Treatise was published in as volume 24 of the New Berlioz Innstrumentation.
Comments Have your say about what you just read! It possesses to the highest degree nobility and grandeur. But this doubling in the lower part is too weak and out of proportion to the upper part, and the result is a superfluous buzzing sound, which tends to obscure rather than enhance the vibration of the higher notes on the violins.
The Roman Carnival overture is a good illustration.
I cannot guess why. This has always been the case, and there is therefore no cause for surprise. Spontini was the first to treatlse it in his triumphal march in La Vestale and a little later in a few pieces in Fernand Cortezwhere it was well motivated. A violin section has power, lightness and grace, it can express sombre or joyful feelings, reverie and passion. In other projects Wikimedia Commons.
Treatise on Instrumentation – Wikipedia
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. But when I hear this instrument used to double three octaves above the melody of a baritone, to utter its shrill cry in the midst of religious harmonies, to add power and incisiveness to the upper part of the orchestra, from the beginning to bwrlioz end of the act in an opera, and all just for the sake of noise, I cannot help finding this style of instrumental writing flat, stupid, and in general worthy only of the melodic style to which it is applied.
One common practice to give great power to a passage for the violins is to have the first violins doubled by the seconds playing an octave below; but if the passage is not written too high it is much better to have all the violins playing in unison.
Many ignorant players, devoted to noise, make a deplorable use of these octave stops. But the joyful character of such tunes actually owes more to the melody than to the timbre of the horns. If the viola part cannot be written in a distinctive way it is better to use it to add volume to the sound of the cellos by having both parts written in unison and not an octave apart as far as the lower range of the instrument permits.
Whenever mysterious and softly threatening sounds are required, even in a forte passage, sticks with sponge heads should be used. The violins in particular can express a vast range of nuances that seem at first sight incompatible. This buzzing chaos, full of strange noises and hideous grunts, is completed or compounded by the other players, who are either more dedicated or more confident of their ability, berlioa who labour in a fruitless attempt to perform the passage entirely as written. This produces a rather prolonged metallic shimmer, sinister in quality though without the formidable power of a stroke on the tam-tam.
There are only few examples in his orchestral writing, and when he makes use of this instrumfntation is almost always for a special effect. Maybe it was just because of this reason that he was always very curious and imaginative about the endless possibilities offered by all instruments. I have said that the horn is a noble and melancholy instrument, and this is true despite those joyful hunting oh that are often mentioned.
Grand traité d’instrumentation et d’orchestration modernes, Op.10 (Berlioz, Hector)
I used them for the knstrumentation time in three parts, in the scherzo of a symphony [ Romeo and JulietQueen Mab scherzobar and following], above a fourth, non-harmonic, violin part which consists of a continuous trill on the lower note.
At first some would only accept as music sequences of consonant harmonies, interspersed with a few dissonant suspensions.
Views Read Edit View history. But is rare for Berlioz to give solo passages to the instrjmentation which give prominence to the instrument for its own tonal characteristics.
Treatise on Instrumentation
Instrumentattion for grouping them together, whether in small or large ensembles, and the art of treatsie and blending them so that the sound of some is modified by others, or in order to draw from the ensemble a special sound that none of them could produce in isolation or when combined with instruments of the same family — for that the only viable approach is to draw attention to the results obtained by the masters and indicate the methods they used.
The extreme delicacy of the harmonics is enhanced in this passage by the use of mutes; with the sound thus reduced the notes teeatise from the highest regions of the musical scale, which could hardly be reached by the use of normal violin sounds. The only exception that should be made is for those instruments that are excessively powerful or have a timbre that stands out because of its individuality.