|
|
|
|
Orchestration
|
| |
|
| |
Orchestration is the study or practice of writing music for an orchestra (or, more loosely, for any musical ensemble) or of adapting for orchestra music composed for another medium. It only gradually over the course of music history came to be regarded as a compositional art in itself.
There are two general kinds of adaptation: transcription, which closely follows the original piece, and arrangement, which tends to change significant aspects of the original piece.
Discussion
Ask a question about 'Orchestration' Start a new discussion about 'Orchestration' Answer questions from other users |
Encyclopedia
Orchestration is the study or practice of writing music for an orchestra (or, more loosely, for any musical ensemble) or of adapting for orchestra music composed for another medium. It only gradually over the course of music history came to be regarded as a compositional art in itself.
There are two general kinds of adaptation: transcription, which closely follows the original piece, and arrangement, which tends to change significant aspects of the original piece. In practice, however, the terms transcription and arrangement are often used interchangeably.
Orchestration applies, strictly speaking, only to writing for orchestra, whereas the term instrumentation applies to instruments used in the texture of the piece. In the study of orchestration — in contradistinction to the practice — the term instrumentation may also refer to consideration of the defining characteristics of individual instruments rather than to the art of combining instruments.
In commercial music, especially musical theatre and film music, independent orchestrators are often used because it is difficult to meet tight deadlines when the same person is required both to compose and to orchestrate.
Most orchestrators often work from a draft (sketch), or short score, that is, a score written on limited number of independent musical staves). Some orchestrators, particularly those writing for the opera or music theatres, prefer to work from a piano vocal score up, since it is required to start rehearsing a piece long before the whole is fully completed. That was, for instance, method of composition of Jules Massenet. In other instances simple cooperation between various creators are utilized, as does Jonathan Tunick when he orchestrates Stephen Sondheim's songs, or orchestrating from a lead sheet. In the latter case, arranging as well as orchestration will be involved.
Historically significant texts on orchestration
- Michael Praetorius (1619): Syntagma musicum volume two, De Organographia.
- Valentin Roeser (1764): Essai de l'instruction à l'usage de ceux, qui composent pour la clarinette et le cor.
- Hector Berlioz (1844): Grand traité d’instrumentation et d’orchestration modernes (Treatise on Instrumentation).
- François-Auguste Gevaert (1863): Traité general d’instrumentation.
- Charles-Marie Widor (1904) : Technique de l’orchestre moderne (Manual of Practical Instrumentation).
- Nikolay Rimsky-Korsakov (1912): ?????? ??????????? (Principles of Orchestration).
- Cecil Forsyth (1914): Orchestration.
- Charles Koechlin (1954–9): Traité de l'Orchestration (4 vols).
- Walter Piston (1955): Orchestration.
Current orchestration texts
- Samuel Adler (2002): The Study of Orchestration 3rd. ed., which includes invaluable CD audio samples of various lessons throughout the text.
See also
External links
- (full text with "interactive scores")
- by Kentaro Sato
- by Alan Belkin.
- by Andrew Hugill with The Philharmonia Orchestra. In depth information on orchestration including examples and video interviews with instrumentalists of each instrument.
|
| |
|
|
