Author: Nikolay Rimsky-KorsakovPublisher:
ISBN:
Category : Instrumentation and orchestration
Languages : en
Pages : 524
Book Description
Principles of Orchestration
Author: Nikolay Rimsky-KorsakovPublisher: DigiCat
ISBN:
Category : Music
Languages : en
Pages : 436
Book Description
Principles of Orchestration, with Musical Examples Drawn from His Own Works is a book by a famous Russian composer Nikolai Rimsky-Korsakov, member of the group of composers known as The Five. The book presents a notable attempt to show all of the nuances of orchestration. The author describes everything one needs to know about arranging parts for a string or full orchestra. The book is concise, articulate and excels at being both a book of reference and a book of general knowledge.
Principles of Orchestration
Author: Nikolay Rimsky-KorsakovPublisher:
ISBN:
Category : Instrumentation and orchestration
Languages : en
Pages : 502
Book Description
Principles of Orchestration
Author: Nikolay Rimsky-KorsakovPublisher:
ISBN:
Category : Instrumentation and orchestration
Languages : en
Pages : 524
Book Description
Instrumentation and Orchestration
Author: Alfred BlatterPublisher: Cengage Learning
ISBN: 9780534251871
Category : Arrangement (Music)
Languages : en
Pages : 0
Book Description
The second edition features a new discussion of the bugle, information on percussion instruments of American and African origin, an extensively rewritten section on the organ, and the addition of Spanish terms to the existing English, French, German, and Italian. Appendixes on MIDI, guitar fingering, and guitar chords are new to the second edition, and the material on electronic instruments and electronic sound modification has been revised and expanded. The revision also includes nearly 100 new musical examples.
Principles of Orchestration
Author: Nikolay Rimsky-KorsakovPublisher: Courier Corporation
ISBN: 0486212661
Category : Music
Languages : en
Pages : 511
Book Description
In this affordable paperback reprint of an influential work of music theory, Rimsky-Korsakov, the great classical orchestrator, provides fundamentals of tonal resonance, progression of parts, voice and orchestra, tutti effects, and much more. This major document includes 330 pages of musical excerpts and extracts from Rimsky-Korsakov's 1891 draft and final versions of his Preface.
The study of orchestration
Author: Principles of Orchestration
Author: Nikolay Rimsky KorsakovPublisher: CreateSpace
ISBN: 9781517392284
Category :
Languages : en
Pages : 266
Book Description
Rimsky-Korsakov had long been engrossed in his treatise on orchestration. We have in our possession a thick note book of some 200 pages in fine hand writing, dating from the years 1873-1874, containing a monograph on the question of acoustics, a classification of wind instruments and a detailed description of the construction and fingering of the different kinds of flute, the oboe, clarinet and horn.
Principles of Orchestration
Author: Nikolay Rimsky-KorsakovPublisher:
ISBN:
Category : Instrumentation and orchestration
Languages : en
Pages :
Book Description
Principles of Orchestration
Author: Nikolay Rimsky-KorsakovPublisher:
ISBN:
Category : Instrumentation and orchestration
Languages : en
Pages : 485
Book Description
Principles of Orchestration
Author: Nikolay Rimsky-KorsakovPublisher: Createspace Independent Publishing Platform
ISBN: 9781537633541
Category :
Languages : en
Pages : 164
Book Description
Principles of Orchestration By Nikolay Rimsky-Korsakov Edited by Maximilian Steinberg English Translation by Edward Agate A Treatise on Orchestration Volume I Orchestration is the study or practice of writing music for an orchestra or of adapting music composed for another medium for an orchestra. For example, a work for solo piano could be adapted and orchestrated so that an orchestra could perform the piece. As regards orchestration it has been my good fortune to belong to a first-rate school, and I have acquired the most varied experience. In the first place I have had the opportunity of hearing all my works performed by the excellent orchestra of the St. Petersburgh Opera. Secondly, having experienced leanings towards different directions, I have scored for orchestras of different sizes, beginning with simple combinations (my opera The May Night is written for natural horns and trumpets), and ending with the most advanced. In the third place, I conducted the choir of the Military Marine for several years and was therefore able to study wind-instruments. Finally I formed an orchestra of very young pupils, and succeeded in teaching them to play, quite competently, the works of Beethoven, Mendelssohn, Glinka, etc. All this has enabled me to present this work to the public as the result of long experience.