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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Henry Brant: Textures and Timbres | Presto Sheet Music
Simply coordinating attacks among instruments that produce tones in different ways is difficult. Your request to send this item has been completed. This makes for a big disconnect with the younger generations of musicians and composers who easily use in combination: Brant addresses the problem of balancing a progression where chords vary in number of tones p. This seems to preclude pointillist orchestrators like Webern, or even Mahler.
Henry Brant’s Textures and Timbres: An Orchestrator’s Handbook. | Daniel Goode
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His two types are:. The only question we need ask ourselves in this instance is can they do it. Add a review and share your thoughts with other readers. There is, I believe, an explanation. The benry requirements or preferences of your reviewing publisher, classroom teacher, institution or organization should be applied. Please enter the message. His texture categories pre-empt the usual first division of percussion into definite pitched and indefinite or unpitched instruments.
What do you think the effect will be on blending when these instruments are modulated by the large physical spaces separating them?
Textures and Timbres
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. Your rating has been recorded. Are we taking such things in, dear composer-orchestrators? English View all editions textues formats Rating: It is an unusual book.
Soft-headed mallets increase the clarity.
Your rbant has reached the maximum number of items. Linked Data More info about Linked Data. Once more we see his value of homogeneity put above its opposite.
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?
He tells us, for example, that to emphasize the dissonant intervals, keep them within the same timbre group—a forward-looking moment to open up dissonance to the same status as consonance in the project of orchestration. You are commenting using your WordPress. Cancel Forgot your password? In a live concert hall rendition, the listener will experience my imaginary Wind Group 1 above as a kind of spatial dissonance.
I would generalize the point to say that in any vertical harmonic array of instruments, blending is decreased by dissimilar attacks. Enter Henry Brant with Chapter 9: Please choose whether or not you want other users to be able to see on your profile that this library is a favorite of yours.
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Sure softer, uenry what an effect! Don’t have an account? The advantages of composing your own musical examples in a book of this kind are obvious: And by omitting wind vibratos. You may have already requested this item. But his point is that even with a simultaneous attack, a blend will not occur. It is texthres counter-part to the pizzicato chapter. Notify me of new comments via email. Juxtaposition of different timbre groups p.