BERLIOZ TREATISE ON INSTRUMENTATION PDF
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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No need to add that in this system the bass drum is almost never used without the accompaniment of cymbals, as though these two instruments were by their nature inseparable.
No one before had suspected the peculiar affinity between two so very different instruments when used in this way. The percussion instruments together with the wind instruments. In addition to the dazzling colours which this multitude of different sounds could generate at any moment, there would oon harmonic effects previously unheard that could be produced:.
Up till now they have only used the thumb and the index finger for plucking, and the result is that they are unable to play passages or arpeggios involving more than semiquavers in common time and at a very berlloz tempo. Sticks with sponge heads are the best; they are the most musical and are less noisy, and should be used most of the time.
The fragmented melody is similarly accompanied by a tremolo on some of the strings, while the double-basses pluck intermittently a deep note and provide a heavy pulsation under the harmony, and the harp plays fragments of barely sketched arpeggios.
The player strikes each insstrumentation of the instrument and can thus play a succession of fairly rapid notes. When they were unable to think straightaway treafise a few notes to fill in the chords they quickly fell back on the inevitable indication col bassoand did so in such a careless way that the result was sometimes an octave doubling of the bass line which was incompatible either with the harmony, or with the melody, or with both at once.
Their quivering and thin tgeatise, which cuts through the rest of the orchestra, can be eminently suitable whether for feelings of extreme ferocity, combined with the shrill shrieks of piccolos and strokes on the timpani or the side drum, or for the feverish excitement of a bacchanal where joy turns to frenzy. The melodium does not have the mixture stops of the organ, the effect of which is traditionally admired by many treatlse, but which in reality are an open door to the most dreadful confusion.
For example to reproduce in a musical way the great images of the mass for the dead in a RequiemI have used four small orchestras of brass berliiz trumpets, trombones, cornets and ophicleides placed some distance from each other at the four corners of the large orchestra.
The violins in particular can express a vast range of nuances that seem at first sight incompatible. Musical directors should ban completely the use of these hybrid instruments, whose weak sound drains one of the most interesting parts of the orchestra of much of its instrumenhation and energy, especially in the lower notes. InRichard Strauss was asked to update intsrumentation text to include some modern instruments and included musical examples from Wagner, and in the updated Treatise with a new preface by Strauss was published in German.
In a single forte trombones in three part harmony, especially in their middle range, convey an expression of heroic pomp, of majesty and pride, which only a prosaic and vulgar melody could diminish or nullify. When a musician was not capable of performing adequately a violin part, instrumrntation turned to the viola.
They have therefore preserved its power, dignity and poetry. Instead, the strong beat of every bar is struck, the orchestra is crushed, the voices obliterated; nothing is left, neither melody, nor harmony, nor line; even the tonality barely emerges.
The sounds of the middle range have a proud quality tempered by noble tenderness, and are thus ideal for expressing insstrumentation and ideas of the most poetic kind. I believe I have already stated that it seemed to me impossible to explain how beautiful orchestral effects are invented, and that instrumenttion faculty, which practice and instrumentatiin observation probably help to develop, is, like the faculty of creating melody, expression, and even harmony, one of the precious gifts that the poet-musician, like an inspired creator, must have received from nature.
These and other examples I might mention seem to me altogether admirable. This is a mistake. It must also be admitted that in an orchestra a single trombone instrumengation its own almost always seems more or less out of place.
Treatise on Instrumentation – Hector Berlioz, Richard Strauss – Google Books
Hence its priceless ability to produce a distant sound, the echo of an echo, a sound like twilight. Then came the turn of modulations.
Sometimes the ophicleide is used to replace it, but its tone does not have the same depth as instrhmentation range is the same as that of the standard bassoon and not an octave lower; in any case its timbre is of a quite different character from that of the double-bassoon.
A brief discussion of conducting practices in Europe during Berlioz’s day. Examples from Gluck […].
Treatise On Instrumentation
The reason for this probably lies in the development of this branch of art, and perhaps also in the proliferation of critical opinions, varied doctrines, pronouncements whether reasonable or unreasonable, spoken or written, which is elicited by even the slightest works of the most insignificant composers.
Meyerbeer on his side needed to use a deep bell in F to give the signal for the massacre of the Huguenots, in the fourth Act of the opera of that name. On only one treatide has a composer thought it appropriate to use instrumetnation piano in the orchestra just like any other instrument, that is to make trextise contribute to the ensemble its own individual resources, for which there is no available instrumetnation.
Almost at once a new kind of pedantry arose: One may mention here that the usual practice in the orchestra is to divide the violins into two groups, first and second, but there is no reason why they should not each be subdivided further into two or three parts, depending on what the composer is trying to achieve. The lower notes of the oboe, which sound ugly when exposed, may be suitable in certain harmonies of an eerie and sorrowful character, when played together with the lower notes of clarinets and the low D, E, Ber,ioz and G of the flutes and the cor anglais.
Their turn to be noticed, rejected, accepted, repressed, liberated and exaggerated only came later.
And yet it would be interesting to try once to make simultaneous use of all the musical resources that can be assembled in Paris, in a work specially written for the occasion. The second coach will rehearse in the same way the first and second tenors.
There would only be between these two rival powers an alliance all the more sincere as neither would shed any of its dignity. Mutes are small devices made of wood which are placed on the bridge of stringed instruments to reduce their sonority, and which give them at the same time a sad, mysterious and gentle character; this can be used to good effect in every kind of music.
Online viola lessons and violin lessons via Skype. In some cases they would soften their brilliance, in others they would give warmth to the impetus of the music, by means of the tremolo which can lend a musical quality even to drum rolls by blending with them. Even if placed against the walls of the palace, the reflection will not be sufficient, as the sounds get immediately dissipated in every other direction.
It may preserve some of its character if given to the flutes, and will hardly lose anything if played by the clarinets. Portrait of Hector Berlioz by Achille Peretti Although he never was an expert player of any instrument, he had become such an instrumebtation of all instruments that he could write such a treatise.
It was no good for the innovator to say: But when eight, ten, twelve or more drums play rhythmic accompaniments or crescendo rolls in a military march, they can provide magnificent inatrumentation powerful support for wind instruments.