Category: Music
examples referred to in Volume I. This plaintext version of the eBook contains only Volume I and the front matter of Volume II. To see and hear the musical examples in Volume II, see the HTML version.
examples referred to in Volume I. This plaintext version of the eBook contains only Volume I and the front matter of Volume II. To see and hear the musical examples in Volume II...
2. Chapter I.--General review of orchestral groupsA. Stringed instruments 6 B. Wind instruments: Wood-wind 12 Brass 21 C. Instruments of little sustaining power: Plucked strings 26 Pizzicato 27 Harp 27 Percussion instruments pr...
3. Chapter II.--MelodyMelody in stringed instruments 36 Grouping in unison 39 Stringed instruments doubling in octaves 40 Melody in double octaves 44 Doubling in three and four octaves 45 Melody in t...
4. Chapter III.--HarmonyGeneral observations 63 Number of harmonic parts--Duplication 64 Distribution of notes in chords 67 String harmony 69 Wood-wind harmony 71 Four-part and three-part harmony 72 Ha...
5. Chapter IV.--Composition of the orchestraDifferent ways of orchestrating the same music 97 Full _Tutti_ 101 _Tutti_ in the wind 103 _Tutti pizzicato_ 103 _Tutti_ in one, two and three parts 104 _Soli_ in the strings 10...
6. Chapter V.--Combination of the human voice with orchestra.Orchestral accompaniment of solo voices 119 General remarks 119 Transparence of accompaniment. Harmony 120 Doubling voices in the orchestra 122 Recitative and declamation 125 Or...
7. Chapter VI (Supplementary).--VoicesTechnical terms 132 Soloists 133 Range and register 133 Vocalisation 134 Vowels 136 Flexibility 137 Colour and character of voices 137 Voices in combination 139 Duet 139 Trios,...
8. Chapter I was completed by the author; it is published as it stands,save for a few unimportant alterations in style. As regards the other five chapters, I have tried to keep to the original drafts as far as possible, and have only made a few cha...
9. Chapter I.In larger orchestras, the number of first violins may amount to 20 and even 24, the other strings being increased proportionately. But such a great quantity of strings overpower...
10. Chapter II.Whether it be long or short, a simple theme or a melodic phrase, melody should always stand out in relief from the accompaniment. This may be done by artificial or natural means...
11. Chapter III.The art of orchestration demands a beautiful and well-balanced distribution of chords forming the harmonic texture. Moreover, transparence, accuracy and purity in the movement o...
12. Chapter IV.There are times when the general tone, character and atmosphere of a passage, or a given moment in an orchestral work point to one, and only one particular manner of scoring. Th...
13. Chapter V.In accompanying the voice orchestral scoring should be light enough for the singer to make free use of all the dynamic shades of expression without hardness of tone. In overflow...
14. Chapter VI (Supplementary).Among all the confused terms employed in singing to denote the compass, register and character of the human voice, there are four which may be said to represent elemental types:...