[Nikolai Rimsky-Korsakov] Ý Principles of Orchestration (Dover Books on Music) (English Edition) [urbanism PDF] Ebook Epub Download ✓ bricksnboho.co.uk

[Nikolai Rimsky-Korsakov] Ý Principles of Orchestration (Dover Books on Music) (English Edition) [urbanism PDF] Ebook Epub Download ✓ I wish the Look inside had gone a couple of pages further.
Layout problems, bad quality on the staff pictures, there are even Listen links on the textIt looks like somebody made an export of something and didn t even check it.
I purchased and read this book because of many recommendations from very different people, so clearly this is considered to be something of a cornerstone work in the world of orchestration books The remarkable thing about this book is that it really does not go very in depth about much at all The purpose of this book is to inspire the reader and to generate a specific class of thinking which can achieve some very powerful results when effectively put into practice while composing Some of the best things this book has to offer are ideas and concepts like knowing exactly what type and size of orchestra should be playing a work from the moment composing begins rather than composing 4 part harmonies and then arranging them for the orchestra This book is littered with similar words of wisdom.
The greatest drawback to this book is in my opinion not, as others have mentioned before, the exclusive use of Nikolai s own works, but rather the fact that the art of orchestration is explained too broadly This is not a good first book for a beginning orchestrator it s an incredibly fantastic second or third supplementary read about orchestration that should not be overlooked by anybody One example that stuck out to me was that Rimsky Korsakov began writing about orchestrating for the harp, and completely omitted clarification about the harp s pedals and how they function and how they may be a limiting factor when orchestrating He even mentioned that he would assume the reader is aware of the function of a harp s pedals Similarly there was little to no mention about the tuning mechanism of the timpani, and I m sure there are other examples that are just not coming to mind right at this moment All in all when it comes to details and practical methods for a beginner, Kennan s book is still my favorite.
My personal favorite part of this book is the last section about orchestrating for solo singers, or for a chorus, or for duets, trios, etc It seems as though some orchestration books forget that many composers write for singers, and the composer must take into account the voice that will be performing the work as well This book is different in that regard.
All in all this is a great book to read when a student or self taught orchestrator already has some knowledge about the orchestra, its limitations, and its quirks This would also be a good read for someone who would like to rekindle a bit of excitement when orchestrating just because it does not approach orchestration like a math problem I would definitely recommend it

Explanations of how to orchestrate various groups of musical instruments to create beautiful sounding symphonic arrangements Includes all the families of instruments plus vocals Principles can be applied with virtual orchestra sample libraries in a DAW on computer as well as real orchestras.
This Kindle edition and a slightlyexpensive one, too were rendered worthless through the disappearance of the important musical examples that take up so much of the book.
This is a great book I don t have any background in music and never studied it but what the author writes here is clear an understandable I had to jump on Wikipedia many times And I still can t fully understand the partitions but I am getting there I guess Almost done with the book itself.
Rimsky Korsakov s classic textbook is an extraordinarily helpful and eloquent explanation of both the basic and advanced principles of orchestration It s no mystery why it s stood the test of time.
To Orchestrate Is To Create, And This Cannot Be Taught, Wrote Nikolay Rimsky Korsakov, The Great Russian Composer Whose Genius For Brilliant, Highly Colored Orchestration Is Unsurpassed But Invention, In All Art, Is Closely Allied To Technique, And Technique Can Be Taught This Book, Therefore, Which Differs From Most Other Texts On The Subject Because Of Its Tremendous Wealth Of Musical Examples And Its Systematic Arrangement Of Material According To Each Constituent Of The Orchestra, Will Undoubtedly Be Of Value To Any Music Student It Is A Music Classic, Perhaps The Only Book On Classical Orchestration Written By A Major ComposerIn It, The Composer Aims To Provide The Reader With The Fundamental Principles Of Modern Orchestration From The Standpoint Of Brilliance And Imagination, And He Devotes Considerable Space To The Study Of Tonal Resonance And Orchestral Combination 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 ProblemsThe First Chapter Is A General Review Of Orchestral Groups, With An Instrument By Instrument Breakdown And Material On Such Technical Questions As Fingering, Range, Emission Of Sound, Etc There Follows Two Chapters On Melody And Harmony In Strings, Winds, Brasses, And Combined Groups Chapter IV, Composition Of The Orchestra, Covers Different Ways Of Orchestrating The Same Music Effects That Can Be Achieved With Full Tutti Tutti In Winds, Tutti Pizzicato, Soli In The Strings, Etc Chords Progressions And So On 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 SomePages 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 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 They Are Largely Responsible For Making This Book The Very Special And Very Useful Publication It IsThis Single Volume Edition Also Includes A Brief Preface By The Editor And Extracts From Rimsky Korsakov SDraft And Final Versions Of His Own Preface, As Well As An Appendixed Chart Of Single Tutti Chords In The Composer S Works