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Author: Frederick Corder Publisher: Forgotten Books ISBN: 9780331585629 Category : Music Languages : en Pages : 124
Book Description
Excerpt from The Orchestra and How to Write for It, Vol. 6: A Practical Guide to Every Branch and Detail of Modern Orchestration; Including Full Particulars of All Instruments Now in Use and Rules for Their Combination; With Numerous Exercises and Over Two Hundred Useful Examples From Modern Works The String Band is the most important section of the orchestra, being the most capable of expres sion and the least fatiguing to listen to. It is, therefore, to the orchestra what the diapasons are to the organ. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author: Frederick Corder Publisher: Forgotten Books ISBN: 9780331585629 Category : Music Languages : en Pages : 124
Book Description
Excerpt from The Orchestra and How to Write for It, Vol. 6: A Practical Guide to Every Branch and Detail of Modern Orchestration; Including Full Particulars of All Instruments Now in Use and Rules for Their Combination; With Numerous Exercises and Over Two Hundred Useful Examples From Modern Works The String Band is the most important section of the orchestra, being the most capable of expres sion and the least fatiguing to listen to. It is, therefore, to the orchestra what the diapasons are to the organ. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author: Carolyn Sloan Publisher: Workman Publishing ISBN: 0761176470 Category : Juvenile Nonfiction Languages : en Pages : 35
Book Description
Using one of the most famous works in classical music—Beethoven’s Fifth Symphony—here is the perfect way to introduce a young child to the world of classical music. This charming and interactive picture book with its panel of 19 sound buttons is like a ticket to a concert hall, taking readers on a journey from the exciting first moment when the musicians begin tuning up to the end of the first movement (attention newcomers: don’t clap yet!). At each step of the way, readers learn the basics of classical music and the orchestra: What is a conductor? What is a symphony? Who was Beethoven? The different aspects of music: melody, harmony, tempo, theme. And the families of instruments—strings, woodwinds, brass, and percussion. But the best part is that every critical idea is illustrated in gorgeous sound. The sound panel allows readers to hear the different parts of the symphony and voices of the music—the famous beginning of the Fifth, what a clarinet sounds like, the difference between a violin and a viola, what a melody is, and what harmony is. Kids will want to match their voices to the A note that tunes the orchestra, dance to the rhythmic passages—and, of course, sing along to da-da-da-daah!
Author: F. Corder Publisher: ISBN: Category : Languages : en Pages : 120
Book Description
From the Introduction.In most works on this subject it is assumed that the student is far advanced in the study of Counterpoint and Composition, besides possessing a cultivated car and an ability to imagine the quality and intensity of sounds from written notes. Eminently desirable as these qualifications are, experience shows that those who possess them are the few excellent musicians for whom a book on orchestration is of least importance. The less gifted, who may at one time or another write a song, a valse, a march, an operetta or a cantata and have an opportunity of getting it performed by a more or less complete orchestra (generally the latter}, these are the individuals who need most help and for whose use a practical manual should be chiefly designed.In England at the present day the following resources are most common: 1) The String Band, usually amateurs and mostly consisting of a quantity of indifferent violins, one or two violas and cellos and a hired double-bass. Occasionally it has a flute or some other wind instrument but it never becomes a real orchestra. This is to be found everywhere and composers should learn how to write for it. 2) The Theatre Band, consisting of from eight to thirty mixed stringed and wind instruments selected on the Darwinian principle -- that is, the survival of the strongest. This needs considerable skill to write for effectively. 3) The Brass Band: a growing power in the North of England. This needs so much special knowledge to write for that we must reluctantly leave it out of question. 4) The Wind Band, such as is found on piers and other open-air places of entertainment. About this all manuals are silent, but we shall endeavour to tell something about it. The less common kinds of orchestra are 5) The Full Band (so-called) such as is found at Promenade Concerts and the like. This is only the Theatre Band on a rather larger scale and is generally ill-balanced and with inferior players for the subordinate instruments." 6) The Small Orchestra, by which is meant the collection of instruments for which Mozart and Beethoven generally wrote, but with a generous preponderance of strings. 7.) The Full Orchestra, a thing only to be met with at the principal London and provincial concerts or festivals. Hitherto classes 6 and 7 have alone been considered in books on orchestration. We shall now attempt to supply the deficiency.
Author: Dave Black Publisher: Alfred Music ISBN: 1457412993 Category : Music Languages : en Pages : 357
Book Description
At last, an orchestration book tailor-made for the classroom musician on a budget. Any teacher, student or professional musician, whether a composer, orchestrator, arranger, performer or enthusiast will find this thoroughly comprehensive dictionary full of the most needed information on over 150 instruments. Designed for quick and easy reference, the Essential Dictionary of Orchestration includes those much-needed instrument ranges, general characteristics, tone quality descriptions, technical pitfalls, useful scoring tips and much more!
Author: Frithjof Haas Publisher: Scarecrow Press ISBN: 0810884186 Category : Biography & Autobiography Languages : en Pages : 297
Book Description
Jewish conductor Hermann Levi strove for excellence and recognition as a composer and conductor of classical music in 19th-century Germany. He unerringly devoted himself to the orchestral performance of works by the two major figures of the time: Johannes Brahms and Richard Wagner. In spite of the anti-Semitic atmosphere, Levi saw the conducting of Wagner's works as a major calling: one that pinnacled in the premier performance of Parsifal in Bayreuth. In this biography, newly translated into English by Cynthia Klohr, opera scholar and conductor Fritjof Haas surveys the life and work of this remarkable individual. Born of a long line of rabbis and raised on the ideals of political emancipation of Europe's Jews, Levi sought to break the social constraints and boundaries imposed upon him because of his religious heritage by the power brokers of the classical music scene. Like so many German Jews of his generation, Levi struggled nearly all his life to dissolve the battle between personal lot and social prejudice. Drawing on the wealth of material from the "Leviana" repository in Munich, Germany, Haas artfully weaves together Levi's personal history with his musical milieu to paint a portrait of this ambitious and ambivalent figure in the world of 19th-century German music. This work will be of special interest to musicologists, musicians, opera fans, classical music listeners, and historians and scholars of Judaic studies.
Author: Frederick Corder
Author: Frederick Corder
Author: Carolyn Sloan
Author: F. Corder
Author: Susan Hood
Author: Robert Levine
Author: Dave Black
Author: James Alexander HAMILTON (Writer on Music.)
Author: Harold Reeves (Firm)
Author: Frithjof Haas
Author: Los Angeles Philharmonic Orchestra