جهت استعلام قیمت، خرید و مشاهده نمونه صفحه محصول، لطفاً از طریق پشتیبانی فروشگاه در واتساپ و تلگرام اقدام فرمایید.
by Nikolai Rimsky-Korsakov
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.