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The study of orchestration / Samuel Adler.

By: Adler, Samuel, 1928- [author].
Material type: materialTypeLabelBookPublisher: New York : W.W. Norton & Company, [2002]Edition: Third edition.Description: xii, 839 pages : illustrations, music ; 27 cm.Content type: text Media type: unmediated Carrier type: volumeISBN: 039397572X (hardback); 978039395727 (hardback).Subject(s): Instrumentation and orchestrationDDC classification: 781.374
Contents:
Part one. Instrumentation -- The orchestra-: yesterday and today -- Bowed string instruments -- Construction -- Tuning -- Fingering -- Double, triple, and quadruple stops -- Divided strings -- Vibrato -- Glissando and portamento -- The bow -- Bowing -- Non legato -- Legato -- Special on-the-string bowings -- Special off-the-string bowings -- Trills and other coloristic effects using the bow -- Coloristic effects without the bow -- Mutes -- Scordatura -- Harmonics -- Contemporary string techniques -- Individual bowed string instruments -- Violin -- Viola -- Violoncello or cello -- Double bass -- Plucked string instruments -- Harp -- Guitar -- Mandolin -- Banjo -- Zither -- Scoring for strings -- Individuality within the ensemble -- Foreground--Middleground--Background -- Contrapuntal writing for strings -- Homophonic writing for strings -- Using the string choir to accompany a soloist -- Transcribing from piano to strings -- The woodwind choir (Reed aerophones) -- Construction -- Classifying woodwind instruments -- The principle of transposition -- Playing techniques -- The woodwind section of a symphony orchestra -- Scoring for woodwind instruments -- Individual woodwinds -- Flute -- Piccolo -- Alto flute -- Bass flute -- Oboe -- English horn -- Other members of the oboe family -- Clarinet -- "Piccolo" clarinet: Clarinet in D or E flat -- Bass clarinet -- Other members of the clarinet family -- Saxophone -- Bassoon -- Contrabassoon -- Scoring for woodwinds and woodwind-string combinations -- Introduction to brass instruments -- Individual brass instruments -- Scoring for brass, and brass combined with strings and winds -- The percussion ensemble -- Keyboard instruments -- Scoring for percussion with keyboard alone or in combination -- Part two. Orchestration -- Scoring for orchestra -- The orchestra as accompanist -- Transcribing for orchestra -- The preparation of score and parts -- Scoring for band or wind ensemble.
Holdings
Item type Current library Call number Status Date due Barcode Item holds
General Lending MTU Cork School of Music Library Lending 781.374 (Browse shelf(Opens below)) Checked out 08/03/2024 00205413
Total holds: 0

Enhanced descriptions from Syndetics:

Through two highly successful editions, The Study of Orchestration has set the standard for orchestration texts, providing the most comprehensive treatment of both orchestration and instrumentation. The Third Edition retains the elements that have made the book a classic while embracing new technology and responding to the needs of today's students and teachers.

Bibliography: (pages 797-805) and index.

Part one. Instrumentation -- The orchestra-: yesterday and today -- Bowed string instruments -- Construction -- Tuning -- Fingering -- Double, triple, and quadruple stops -- Divided strings -- Vibrato -- Glissando and portamento -- The bow -- Bowing -- Non legato -- Legato -- Special on-the-string bowings -- Special off-the-string bowings -- Trills and other coloristic effects using the bow -- Coloristic effects without the bow -- Mutes -- Scordatura -- Harmonics -- Contemporary string techniques -- Individual bowed string instruments -- Violin -- Viola -- Violoncello or cello -- Double bass -- Plucked string instruments -- Harp -- Guitar -- Mandolin -- Banjo -- Zither -- Scoring for strings -- Individuality within the ensemble -- Foreground--Middleground--Background -- Contrapuntal writing for strings -- Homophonic writing for strings -- Using the string choir to accompany a soloist -- Transcribing from piano to strings -- The woodwind choir (Reed aerophones) -- Construction -- Classifying woodwind instruments -- The principle of transposition -- Playing techniques -- The woodwind section of a symphony orchestra -- Scoring for woodwind instruments -- Individual woodwinds -- Flute -- Piccolo -- Alto flute -- Bass flute -- Oboe -- English horn -- Other members of the oboe family -- Clarinet -- "Piccolo" clarinet: Clarinet in D or E flat -- Bass clarinet -- Other members of the clarinet family -- Saxophone -- Bassoon -- Contrabassoon -- Scoring for woodwinds and woodwind-string combinations -- Introduction to brass instruments -- Individual brass instruments -- Scoring for brass, and brass combined with strings and winds -- The percussion ensemble -- Keyboard instruments -- Scoring for percussion with keyboard alone or in combination -- Part two. Orchestration -- Scoring for orchestra -- The orchestra as accompanist -- Transcribing for orchestra -- The preparation of score and parts -- Scoring for band or wind ensemble.

Table of contents provided by Syndetics

  • Preface (p. ix)
  • Part 1 Instrumentation
  • 1 The Orchestra--Yesterday and Today (p. 3)
  • 2 Bowed String Instruments (p. 7)
  • Construction (p. 8)
  • Tuning (p. 9)
  • Fingering (p. 10)
  • Double, Triple, and Quadruple Stops (p. 11)
  • Divided Strings (p. 12)
  • Vibrato (p. 14)
  • Glissando and Portamento (p. 15)
  • The Bow (p. 16)
  • Bowing (p. 17)
  • Non legato (p. 17)
  • Legato (p. 18)
  • Special On-the-String Bowings (p. 21)
  • Special Off-the-String Bowings (p. 26)
  • Trills and Other Coloristic Effects Using the Bow (p. 28)
  • Coloristic Effects without the Bow (p. 33)
  • Mutes (p. 39)
  • Scordatura (p. 40)
  • Harmonics (p. 41)
  • Contemporary String Techniques (p. 49)
  • 3 Individual Bowed String Instruments (p. 51)
  • Violin (p. 51)
  • Viola (p. 65)
  • Violoncello or Cello (p. 75)
  • Double Bass (p. 83)
  • 4 Plucked String Instruments (p. 89)
  • Harp (p. 89)
  • Guitar (p. 101)
  • Mandolin (p. 103)
  • Banjo (p. 106)
  • Zither (p. 108)
  • 5 Scoring for Strings (p. 111)
  • Individuality within the Ensemble (p. 111)
  • Foreground--Middleground--Background (p. 118)
  • Contrapuntal Writing for Strings (p. 133)
  • Homophonic Writing for Strings (p. 143)
  • Using the String Choir to Accompany a Soloist (p. 152)
  • Transcribing from Piano to Strings (p. 159)
  • 6 The Woodwind Choir (Reed Aerophones) (p. 164)
  • Construction (p. 164)
  • Classifying Woodwind Instruments (p. 165)
  • The Principle of Transposition (p. 167)
  • Playing Techniques (p. 170)
  • The Woodwind Section of a Symphony Orchestra (p. 177)
  • Scoring for Woodwind Instruments (p. 178)
  • 7 Individual Woodwinds (p. 180)
  • Flute (p. 180)
  • Piccolo (p. 189)
  • Alto Flute (p. 191)
  • Bass Flute (p. 193)
  • Oboe (p. 193)
  • English Horn (p. 199)
  • Other Members of the Oboe Family (p. 201)
  • Clarinet (p. 205)
  • "Piccolo" Clarinet: Clarinet in D or E[flat] (p. 211)
  • Bass Clarinet (p. 212)
  • Other Members of the Clarinet Family (p. 215)
  • Saxophone (p. 217)
  • Bassoon (p. 221)
  • Contrabassoon (p. 225)
  • 8 Scoring for Woodwinds and Woodwind-String Combinations (p. 229)
  • The Role of Winds in the Symphony Orchestra (p. 229)
  • The Variety of Orchestral Treatments (p. 238)
  • Homophonic Writing for Winds (p. 252)
  • Contrapuntal Writing for Winds (p. 261)
  • Using the Wind Choir to Provide a Contrasting Color (p. 270)
  • Using the Wind Choir to Double Other Instruments of the Orchestra (p. 276)
  • New Types of Articulations for Woodwinds (p. 283)
  • Special Effects (p. 288)
  • Transcribing from Piano to Winds and Strings (p. 291)
  • 9 Introduction to Brass Instruments (p. 295)
  • Composition of the Brass Section (p. 296)
  • Brass Instruments and the Written Orchestral Score (p. 297)
  • Overblowing and the Principle of the Harmonic Series (p. 298)
  • Crooks, Valves, and Slides (p. 301)
  • Range (p. 303)
  • Tone Production, Articulation, and Tonguing (p. 303)
  • Common Characteristics and Effects on All Brass Instruments (p. 304)
  • Mutes (p. 307)
  • Muting Devices Other Than Mutes (p. 310)
  • 10 Individual Brass Instruments (p. 312)
  • Horn (p. 312)
  • Trumpet (p. 325)
  • Cornet (p. 337)
  • Other Members of the Trumpet Family (p. 339)
  • Trombone (p. 340)
  • Other Members of the Trombone Family (p. 349)
  • Tuba (p. 349)
  • Other Members of the Tuba Family (p. 354)
  • 11 Scoring for Brass, and Brass Combined with Strings and Winds (p. 357)
  • Early Uses of the Brass Choir (p. 357)
  • Doubling of Brass Instruments within the Modern Orchestra (p. 363)
  • Homophonic Writing for the Brass Choir (p. 364)
  • Using the Brass Choir to Present the Melody (p. 375)
  • Contrapuntal Writing for the Brass Choir (p. 392)
  • Climactic Uses of the Brass Choir (p. 413)
  • Using the Brass Choir to Provide a Coloristic Effect (p. 424)
  • 12 The Percussion Ensemble (p. 431)
  • Historical Uses of Percussion Instruments within the Orchestra (p. 431)
  • Number and Distribution of Percussion Players (p. 433)
  • Notation of Percussion Instruments (p. 433)
  • Mallets, Beaters, and Sticks (p. 434)
  • Categories of Percussion Instruments (p. 435)
  • Instruments of Definite Pitch (p. 437)
  • Idiophones: Mallet Instruments
  • Xylophone (p. 437)
  • Marimba (p. 438)
  • Vibraphone (p. 439)
  • Glockenspiel (p. 440)
  • Chimes (p. 441)
  • Crotales (p. 442)
  • Steel Drums (p. 443)
  • Idiophones: Shaken or Stroked Instruments
  • Musical Saw (p. 443)
  • Flexatone (p. 444)
  • Crystal Glasses (p. 444)
  • Membranophones
  • Timpani (p. 445)
  • Roto Toms (p. 448)
  • Chordophones
  • Cimbalom (p. 449)
  • Aerophones
  • Whistles (p. 451)
  • Instruments of Indefinite Pitch (p. 452)
  • Idiophones: Metal
  • Cymbals: Crash, Suspended, Hi-Hat, Sizzle, Chinese, Finger (p. 452)
  • Triangle (p. 454)
  • Anvil (p. 455)
  • Cowbells (p. 455)
  • Tam-Tam and Other Gongs (p. 456)
  • Wind Chimes (p. 456)
  • Sleigh Bells (p. 457)
  • Bell Tree (p. 457)
  • Brake Drum (p. 457)
  • Thunder Sheet (p. 457)
  • Idiophones: Wooden
  • Wood Blocks (p. 457)
  • Temple Blocks (p. 458)
  • Claves (p. 458)
  • Castanets (p. 458)
  • Sand Block or Sandpaper Block (p. 459)
  • Maracas (p. 459)
  • Jawbone; Vibraslap (p. 459)
  • Guiro (p. 460)
  • Ratchet (p. 460)
  • Slapstick or Whip (p. 460)
  • Log Drum and Slit Drum (p. 460)
  • Hammer (p. 461)
  • Membranophones
  • Snare Drum (p. 461)
  • Tenor Drum (p. 462)
  • Field Drum (p. 462)
  • Bass Drum (p. 463)
  • Tom-Toms (p. 463)
  • Timbales (p. 464)
  • Bongos (p. 464)
  • Conga Drum (p. 465)
  • Tambourine (p. 465)
  • Quica; String Drum or Lion's Roar (p. 466)
  • Aerophones
  • Sirens (p. 466)
  • Motor Horns (p. 467)
  • Wind Machine (p. 467)
  • 13 Keyboard Instruments (p. 468)
  • Piano (p. 468)
  • Celesta (p. 475)
  • Harpsichord (p. 478)
  • Organ (p. 480)
  • Harmonium (p. 483)
  • 14 Scoring for Percussion with Keyboard Alone or in Combination (p. 486)
  • Percussion Layout in the Full Score (p. 486)
  • Percussion Section Setup (p. 494)
  • Uses of the Percussion Section (p. 497)
  • Part 2 Orchestration
  • 15 Scoring for Orchestra (p. 547)
  • The Unison-Octave Tutti (p. 548)
  • The Distribution of Foreground--Middleground--Background Elements within the Orchestra (p. 558)
  • Orchestrating a Melody or Primary Gesture (p. 599)
  • Using the Orchestra to Create Special Effects (p. 601)
  • 16 The Orchestra as Accompanist (p. 611)
  • The concerto (p. 611)
  • Accompanying the Vocal Soloist, Ensemble, or Chorus (p. 639)
  • 17 Transcribing for Orchestra (p. 666)
  • Transcribing from Keyboard or Small Chamber Combinations to Orchestra (p. 668)
  • Transcribing from Band or Wind Ensemble to Orchestra (p. 715)
  • Transcribing to Various Available Instrumental Combinations (p. 741)
  • 18 The Preparation of Score and Parts (p. 757)
  • The Orchestral Score Setup (p. 757)
  • The Reduced Score (p. 762)
  • The Condensed Score (p. 764)
  • Preparing Individual Parts (p. 766)
  • 19 Scoring for Band or Wind Ensemble (p. 772)
  • Scoring for Band (p. 772)
  • Band Versus Wind Ensemble (p. 773)
  • The Percussion Section within the Band or Wind Ensemble (p. 773)
  • The Band and Wind Ensemble Score Setup (p. 774)
  • Condensed Scores (p. 778)
  • Transcribing from Orchestra to Band or Wind Ensemble (p. 782)
  • Appendices
  • A Quick Reference Guides (p. 785)
  • Ranges of the Most Frequently Used Orchestral Instruments (p. 786)
  • Names of Instruments in Four Languages and Their English Abbreviations (p. 793)
  • Frequently Used Orchestral Terms in Four Languages (p. 795)
  • B Select Bibliography (p. 797)
  • Orchestration (p. 797)
  • Individual Instrumental Technique (p. 799)
  • The History of the Orchestra and of Orchestral Instruments (p. 802)
  • Band and Wind Ensemble Scoring, Film Scoring, and Commercial Arranging (p. 803)
  • Computer and Electronic Music (p. 804)
  • Acknowledgments (p. 807)
  • Index (p. 815)

Author notes provided by Syndetics

Samuel Adler has composed over four hundred published works, including five operas, six symphonies, twelve concerti, eight string quartets, and many other orchestral, band, choral, and vocal works. He has taught at the University of North Texas (1957-1966) and the Eastman School of Music of the University of Rochester (1966-1995), and is presently a member of the composition faculty at the Juilliard School of Music. He has authored several books, including Choral Conducting and Sight Singing. In 1993, Professor Adler was elected to the Chilean Academy of Fine Arts in recognition of "his outstanding contribution to the world of music as composer, conductor, and author" and in 1997 to the German Freie Akademie der Kunst. In 2001, he was inducted into the American Academy of Arts and Letters. As a conductor, he has appeared with many of the leading orchestras in the United States and abroad, and over fifty of his works are recorded commercially on major American and European labels.

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