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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trxtures An Orchestrator’s Handbook is an absolutely vital tool for composers and conductors. This could be a modernist tick of his, but probably is statistically true, since piano in the orchestra is a modernist addition. It could be said that this is a stylistic property of his music in general.

Search WorldCat Find items in libraries near you. Account Options Sign in. He takes up rolls of 2, 3, and 4 pitches. In horizontal contrapuntal writing p. His justification for doing so is repeatedly shown in examples. His primary categories pre-empt the usual first division of percussion into definite pitched and indefinite or unpitched instruments. Create a free website or blog at WordPress.

Home About Help Search. It is the counter-part to the pizzicato chapter. Textures and Timbres is the result of a single conception that began in boyhood and continued as a lifelong pursuit: Where there timbrs common tones in the same voice in succession, and you want to keep uniform articulation among the voices: No eBook available Amazon.


And also, complexly, with overtone structure, but he never texthres anything acoustically, so this has to be our own analysis. Please enter your name. My library Help Advanced Book Search.

Henry Brant: Textures and Timbres

And by omitting wind vibratos. Instruments producing staccato attacks only. You may have already requested this item. On the other hand, examples sought out in great music impress the point more forcibly because their whole message is served by inspired orchestration. Second, the examples can be tailored exactly to the point at hand, without extraneous distracting musical contents. As you can see, he mixes up traditional families, even including strings in Timbre 1.

Finding libraries that hold this item English View all editions and formats. This long, page Chapter 38 is devoted to Bowed Strings. By about a third of the way through the book, one notices they are becoming ever more detailed, longer, complex and rich in sonic qualities.

Textures and Timbres by Henry Brant – Orchestration Online

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Yet his percussion examples often use vibraphone which with its damper and motor are just about fully sustaining instruments. What do you think the effect will be on blending when these instruments are modulated by the large physical spaces separating them? Remember me on this computer. His two types are:.


He shows how to add octaves-pairs in a contrasting timbre p. But his point is that even with a simultaneous attack, a blend will not occur. Where will you find these outside of a well-stocked conservatory, or in a movie city with movie budgets to hire any number and types of instrumentalists?

Since strings are the core of the modern symphony orchestra, his account repays close attention.

Textures and Timbres by Henry Brant

Read, highlight, and take notes, across web, tablet, and phone. Here is his text on wind instruments, verbatim: Internet resource Document Type: Please enter the message. Composition finally, definitively merges with orchestration p. I would generalize the point to say that in any vertical harmonic array of instruments, blending is decreased by dissimilar attacks. For example, Chapter 3, Harmonic Balance begins: The E-mail Address es you entered is are not in a valid format.

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