Principles of Orchestration (Dover Books on Music)

But invention, in all art, is closely allied to technique, and technique can be taught. There follows two chapters on melody and harmony in strings, winds, brasses, and combined groups. In his course, he demonstrates such things as how to produce a good-sounding chord of certain tone-quality, uniformly distributed; how to detach a melody from its harmonic setting; correct progression of parts; and other similar problems.The first chapter is a general review of orchestral groups, with an instrument-by-instrument br

"Useless book, musical examples removed from Kindle version." according to N.D.. The Kindle version of this book is useless. There are no musical examples at all presented, although references to them are made in the text, they have been removed from the Kindle formatted version of this book.. One simple word Helpful! Jimmy Johnson I've been writing music for years, but have always dreamed of composing for Orchestras - small or large. This is definitely a good, handy book to have available, not matter what level of musical congregation for which you're writing.. I would recommend it to those who have some musical knowledge and Sarah E. I am enjoying reading this work by Rimsky- Korsakov. I would recommend it to those who have some musical knowledge and are interested in orchestration. However, for a reference material, I would recommend getting the print version. The kindle version has the tables removed from the text.

They are largely responsible for making this book the very special (and very useful) publication it is.This single-volume edition also includes a brief preface by the editor and extracts from Rimsky-Korsakov's 1891 draft and final versions of his own preface, as well as an appendixed chart of single tutti chords in the composer's works.. These excerpts are all referred to in the text itself, where they illustrate, far better than words, particular points of theory and actual musical practice. The last two chapters deal with opera and include discussion of solo and choral accompaniment, instruments on stage or in the wings, technical terms, soloists (range, register, vocalization, vowels, etc.), voices in combination, and choral singing.Immediately following this text are some 330 pages of musical examples drawn from "Sheherazade," the "Antar Symphony," "Capriccio Espagnol," "Sadko," "Ivan the Terrible," "Le Coq d'Or," "Mlada," "The Tsar's Bride," and others of Rimsky-Korsakov's works. This book, therefore, which differs from most other texts on the subject because of its tremendous wealth of musical examples and its systematic arrangemen