To Add to Wish List, choose from options to the left classa-button-group a-declarative a-spacing-none data-actiona-button-group roleradiogroup.To Add to Wish List, choose from options to the left classa-button-text a-text-left rolebutton.To this end, this set of compact discs has been created especially for this revised edition, comprising every music example from the literature reproduced in the book, professionally recorded.Compact disc technology allowed the teacher or the student to zero in on the exact example or excerpt under discussion at any given moment.
For comprehensiveness, conciseness, and contemporaneity, The Study of Orchestration remains without peer. In order to navigate out of this carousel, please use your heading shortcut key to navigate to the next or previous heading. Samuel Adler The Study Of Orchestration Cd Download One OfDownload one of the Free Kindle apps to start reading Kindle books on your smartphone, tablet, and computer. The machine learned model takes into account factors including: the age of a review, helpfulness votes by customers and whether the reviews are from verified purchases. As I tell my students, its not so much who is playing a line, it is who is playing a line in a given place--and the only way to learn what an instrument sounds like in its various registers is to hear it there. Especially helpful are passages like Adlers discussion of woodwinds in the symphony orchestra (Chapter 8) in which several possible orchestrations of a single musical passage are illustrated, discussed, and presented on CD, allowing readers to recognize and judge for themselves the relative quality. It is this, that much in orchestration is not particularly wrong or right, and that there are many many ways to score a particular passage, that makes orchestration so difficult to teach; and Adler is sensitive to the issue. But any book of this scope is likely to have some problems, and this is no exception. Samuel Adler The Study Of Orchestration Cd Series As ItFirst, Adlers discussion of the trombone glissando (chapter 10) is inadequate and separated by several pages from his discussion of the overtone series as it relates to the trombone. Given that the way a trombone glissando works is inseparable from the overtone series, this seems strange indeed. The situation is compounded by Adlers example from Bartoks Concerto for Orchestra, of which he says The following glissando, first for the bass trombone, then for the tenor, is perfect, since it extends from seventh to first position. Any trombone player will tell you that in fact Bartok got it wrong, and the bass trombone glissando is impossible without doing some serious cheating. On the bass trombone using an attachment in F or E one can only play a perfect 4th, not a tritone, in that particular harmonic; and bass trombonists have come up with all kinds of ingenious tricks to play this devilish passage which looks so easy to the ill-informed. While this little quirk of the trombone isnt really very important in the grand scheme of orchestration it makes me wonder how many other instrumental quirks have gone unnoticed. More important, however, are some oddities of Adlers observations and discussions of the examples he chooses. In chapter 11, in the unit on the brass choir as a homophonic unit, Adler exerpts a passage from Hindemiths Noblissima Visione.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |