PDF | On Jan 1, , Jeffrey Sultanof and others published Textures and Timbres: An Orchestrator’s Handbook by Henry Brant. by Carl Fischer in Frog Peak Newsletter #17). It’s always good news when the craft and art of orchestration is brought up-to-date by a. Textures and Timbres by Henry Brant. A life’s work in codifying the principles of orchestral texture. In some ways, it’s a very narrow view into one specific element .

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Linked Data More info about Linked Data. In consequence, many of the new works he heard at orchestral concerts His primary categories pre-empt the usual first division of percussion into definite pitched and indefinite or unpitched instruments.

Textures and Timbres by Henry Brant – Orchestration Online

In horizontal contrapuntal writing p. Find a copy in the library Finding libraries that hold this item But a big but! This is indeed a stimulating pleasure of large orchestra music from Berlioz, through Mahler, and continues in our own new music styles of early Modernism to the present. He shows, for example, which accordion timbrs intensify the effects of the other winds by putting octave duplications outside their ranges.

And by omitting wind vibratos. English View all editions and formats Rating: It is vastly so! Instruments producing staccato attacks only. JavaScript seems to be disabled in your browser.


He says that centuries of experimentation have standardized these proportions so that progressively fewer low instruments are needed: Add a review and share your thoughts with other readers.

The name field is required. So of course, these young or unconnected musicians will find substitutes in the form of samples, synthesizers, processers, computers, recording and playback devices. Textures and Timbres is the result of a single conception that began in boyhood and continued as a lifelong pursuit: Leave nenry Reply Cancel reply Enter your comment here At age twelveHenry Brant began keeping notebooks of orchestral combinations.

The E-mail Address es you entered is are not in a valid format. This seems to preclude pointillist orchestrators like Webern, or even Mahler. It is the counter-part to the pizzicato chapter. English View all editions and formats.

This is the least valuable for the orchestral piano; the outer ranges low and high are most valuable, says Brant.

Textures and timbres : an orchestrator’s handbook

Read, highlight, and take notes, across web, tablet, and phone. As you can see, he mixes up traditional families, even including strings in Timbre 1. Please enter recipient e-mail address es. The specific requirements or preferences of your reviewing publisher, classroom teacher, institution or organization should be applied.

Reviews User-contributed reviews Add a review and share your thoughts with other readers. It could be said that this is a stylistic property of his music in general. It is impersonally addressed. Your list has reached the maximum number of items. Where there are common tones in the same voice in succession, and you want timgres keep uniform articulation among the voices: Are we taking such things in, dear composer-orchestrators?


For example, Chapter 3, Harmonic Balance begins:.

What do you think the effect will be on blending when these instruments textues modulated by the large physical spaces separating them?

Please enter the message. I think it will greatly affect the blend, unless you are listening on the radio, or are very far back and high up in the concert hall. This site an cookies. The lessons and inspiration shared in this text span Brant’s entire career, from his work in commercial radio to his orchestration classes at the Juilliard School and orchestrations of numerous Hollywood film scores.

This classification of wind timbres is ear opening if you can imagine them.

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