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Partitions
- Accordeon
- Alto
- Banjo
- Basson
- Carillon
- Chansons pour les enfants
- Chant classique
- Choeur
- Choeur et orchestre
- Clarinette
- Clavecin
- Contrebasse
- Cor
- Directiepartituren
- Ensemble
- Ethnic instruments
- Etnische tokkelinstr.
- Flûte à bec
- Flûte et piccolo
- Guitare
- Guitare basse
- Guitare électrique
- Hafabra
- Harmonica
- Harmonium
- Hautbois et cor anglais
- Herpe
- Jazz et improvisation
- Kamermuziek gemengd
- Keyboard
- Luth
- Mandoline et mandole
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Musique de chambre
- Fluit en gitaar
- Historical instruments with strings
- Instruments historiques à vent
- Kamermuziek blazers
- Kamermuziek blazers (diverse zonder piano)
- Kamermuziek blazers met piano
- Kamermuziek houtblaaskwintet
- Kamermuziek koopjes
- Kamermuziek koperkwintet
- Kamermuziek strijkers (zonder piano)
- Kamermuziek strijkers met piano
- Kamermuziek strijkkwartet
- Various ensembles without piano
- Various ensembles with piano
- Musique du monde
- Musique pop
- Opéra
- Orchestre
- Orgue
- Orgue electronique
- Percussion
- Piano
- Real books
- Saxophone
- Shows et films
- Songbooks
- Trombone et trombone basse
- Trompette
- Tuba et euphonium
- Ukulélé
- Violon
- Violoncelle
- Solfège et théorie de la musique
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Livres sur la musique
- Compositeurs
- Esthétique musicale, philosophie
- Facsimilés
- Histoire de la musique
- Instruments
- Koopjes
- Literature- livres audio
- Littérature – fiction
- Littérature – non-ficton
- Livres pour enfants
- Musiciens
- Musicologie
- Musicothérapie
- Musique et culture
- Notation musicale
- Pédagogie
- Pratique de la performance
- Styles de musique
- Technique musicale et électronique
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Accessoires
- Accessoires alto
- Accessoires basson
- Accessoires clarinette
- Accessoires contrebasse
- Accessoires cor
- Accessoires flûte
- Accessoires flûte à bec
- Accessoires guitare
- Accessoires hautbois
- Accessoires mandoline
- Accessoires piano
- Accessoires saxophone
- Accessoires trombone
- Accessoires trompette
- Accessoires violon
- Accessoires violoncelle
- Anches pour clarinette
- Anches pour saxophone
- Baguettes de direction
- Cordes pour alto
- Cordes pour banjo
- Cordes pour contrebasse
- Cordes pour guitare
- Cordes pour guitare basse
- Cordes pour guitare electrique
- Cordes pour mandoline
- Cordes pour ukelélé
- Cordes pour violon
- Cordes pour violoncelle
- Eclairage
- Métronomes et accordeurs
- Protection auditive
- Pupitres
- Software
- Cadeaux et papeterie
Principles of Orchestration
- Auteur/Compositeur
- Nicolai Rimsky-Korsakoff
- Éditeur
- Dover Publications
- Article
- Livre
"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
composer.
In 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 problems.
The 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 some 330 pages 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 is.
This single-volume edition also includes a brief preface by the
editor and extracts from Rimsky-Korsakov's 1891 draft and final
versions of his own preface, as well as an appendixed chart of
single tutti chords in the composer's works.
Reprint of the 1922 edition.