Peter Lawrence Alexander - Professional Orchestration Vols 1 - 2

Professional Orchestration

Автор: Peter Lawrence Alexander
Жанр/Тематика/Направление: Оркестровка и инструментоведение / Учебное пособие
Год выпуска: 2008
Издательство: Alexander Publishing
ISBN: 978-0-939067-18-3
Язык: Английский
Формат: PDF
Качество: Изначально компьютерное (eBook)
Количество страниц: 801+594+714 (2109)
Источник сканов: Найдено в Сети
Описание: Руководство по оркестровке для солирующих инструментов, групп струнных и духовых.

Содержание

Vol.1 - The First Key. Solo Instruments & Instrumentation Notes
Dedication
Thanks
Table of Contents
Foreword
Introduction
Chapter 1: String Section Overview Seating Plan
String Ensemble Sizes'
Writing Insights
Pizzicato
Basic String Ensembles
Unison and Octave Combinations
Chapter 2: The Violin: Basic Information Diagram - Parts of the Violin
Range Definitions
Score Examples
The Four Strings
Tone Quality
Chapter 3: The Viola: Basic Information Score Examples
The Four Strings
Tone Quality
Chapter 4: The Cello: Basic Information Range Definitions
Score Examples
The Four Strings
Tone Quality
Cellos On the Bass Line Without the Basses
Score Examples
Chapter 5: The String Bass: Basic Information Range Definitions
Score Examples
Fingering
Runs

21 Bass Writing Techniques
Score Examples
Chapter 6: Bowings, Effects, & Bowing Effects Basic Bowings
Effects
Effect Bowings
Score Examples
Chapter 7: String Stops General Comments
How Double Stops Work
How Triple Stops Work
How Quadruple Stops Work
The Violin
The Viola
The Cello
The Double-Bass
Score Examples
Imitating the Guitar or Balalika
Score Examples
Chapter 8: Divisi Standard Divisions and Score Markings
Number of Players Needed for Successful Divisi Writing
Score Paper Examples
Score Examples
Chapter 9: Muted Strings Score Examples
Chapter 10: Pizzicato Violin Pizzicato
Viola Pizzicato
Cello Pizzicato
Double-Bass Pizzicato
Special Types of Pizzicato
How Snap Pizzicato Works
Compositional Uses of Pizzicato
Score Examples
Chapter 11: Natural and Artificial Harmonics Labeling Notes for Natural Harmonics
The Overtone Series
Fingering and Notating Natural Harmonics
Tables of Natural Harmonics For Violins, Violas, Cellos, and Basses
Artificial Harmonics
Score Examples
Chapter 12: Woodwind Basics Orchestra Woodwinds: Seating and Doubles
Use of Woodwind Doubles
Rimsky-Korsakov Woodwind Color Chart
Dynamics, p-pppp, Within the Range Breaks
Dynamic Balance Chart
Psychological Characterization of Their Sound
Comprehensive Range Chart
Muting the Woodwinds
The Other Flutes: Alto and Bass
The Saxes
Standard Combinations of Woodwinds on the Melody
Multiphonics
Chapter 13: The Flute Dynamics and Flute Writing
Score Examples
Harmonics
Score Examples
Articulation
Score Examples
Chapter 14: The Piccolo Score Examples
Chapter 15: The Oboe Writing for Oboe
Score Examples
Articulation
Slurred Notes
Length of Breath
Transposing Oboes
Chapter 16: The English Horn Writing For English Horn
Score Examples
Chapter 17: The Clarinet Transposition Chart
Writing for Clarinet
Clarinet Range by Registers
Score Examples
Articulations
Guidelines for Shakes and Tremolos
The Alto Clarinet
The Small Clarinet
Jazz and Pop Uses of the Clarinet
Score Examples
Chapter 18: The Bass Clarinet Writing for the Bass Clarinet
Score Examples
Chapter 19: The Bassoon Score Examples
Writing for the Bassoon
Score Examples
Articulations
Length of Breath
Shakes and Tremolos
Chapter 20: The Contrabassoon Score Examples
Chapter 21: Brass Basics Mutes
Brass Section Sizes: Symphonic and Studio
Comprehensive Range Chart
Seating the Brass: Symphonic and Studio
Working With Older Scores
Special Brass Articulation Markings for Jazz/Studio Work
Writing for Brass
Chapter 22: The Bb Trumpet Trumpet Range
Score Examples With Trumpets
Score Examples
Articulation
Score Examples
Length of Breath
Trumpet Fingerings
Trills and Shakes
The Other Trumpets
Score Examples
Chapter 23: The Tenor and Bass Trombones The Bass Trombone
Contrabass Trombone
Articulations
Three Schools of Trombone Writing
Score Examples
Glissando
Chapter 24: The Tubas The Euphonium
F Tuba
The Contrabass Tuba
The Other Tubas
Articulations
Mutes and Shakes
Score Examples
Chapter 25: The French Horn Score Examples
The Great Blender
Speed of Articulation
Length of Breath
Shakes
Score Examples
Muted, Stops and Hand Notes
Score Examples
Gliss
Score Examples
Chapter 26: The Harp The Harp and Its Pedals
Score Examples
Enharmonics By Pedal Positions
Glissandos
Score Examples
Harp Arpeggios
Harp Harmonics
Score Examples
Sons etouffes
Score Examples
Shakes and Trills
Additional Harp Figures
Chapter 27: Piano, Organ, Celeste, & the Virtual Orchestra The Piano
Score Examples
The Organ
The Celeste
Score Examples
The Virtual Orchestra
Chapter 28: The Percussion Types of Studio Percussionists
The Symphonic Percussionist
Kinds of Percussion
Pitch Variance
Vibrating Characteristics
Timbre
Conventional Uses
Percussion Vibration
The Drum Group
Metal Percussion
Wooden Percussion
Other Percussion Instruments
Percussion: The Group
Bibliography
Scores

Vol.2a - The Second Key. Orchestrating the Melody within the String Section
Dedication
Table of Contents
Foreword by Garry Schyman
Preface: Unlocking the Secrets of Professional Orchestration
Composers Selected
Organization
Studying the Examples
Procedures For Testing the Examples
Too Much Work?
About the Book Itself
Conclusion
Introduction: Getting the Most Out of Volume 2A Each Technique Is Its Own Chapter
Make Effective Use of the Table of Contents
Techniques Explained
Build Your Recording Skills
Transpose the Parts and Reduce the Example to Sketch Score
Go To a Concert To Hear These Works Performed Live
Legend
Number the Players - Orchestral Weighting
Appendix II: Index of Score Examples
UNISON CH 1: Violins 1 + Violins 2
CH 2: Violins + Violas
CH 3: Violins + Cellos
CH 4: Violas + Cellos
CH 5: Violins 1 + Violins 2 + Violas
CH 6: Violins 1 + Violins 2 + Cellos
CH 7: Violins 1 + Violins 2 + Violas + Cellos
TWO-PARTS (Octaves) CH 8: Violins 1 - Violins 2
CH 9: Violins 1 (or 2) - Violas
CH 10: Violins - Cellos
CH 11: Violas - Cellos
CH 12: Cellos - Basses
CH 13: Violins 1 + Violins 2 - Violas
CH 14: Violins 1 + 1/2 Violins 2 - 1/2 Violins 2 + Violas
CH 15: Violins 1 - Violins 2 + Violas
CH 16: Violas + Cellos - Basses
CH 17: Violas - Cellos + Basses
CH 18: Violins - Violas + Cellos
CH 19: Violins 1 - Violins 2 + Cellos
CH 20: Violins 1 + Violins 2 + Violas - Cellos
CH 21: Violins 1 + Violins 2 + Violas - Cellos + Basses
CH 22: Violins 1 + Violins 2 - Violas + Cellos
CH 23: Violins 1 + 1/2 Violins 2 - 1/2 Violins 2 + Cellos
CH 24: Violins 1 + Violins 2 + Violas + Cellos - Basses
CH 25: Violins 1 + Violins 2 - Cellos
THREE-PARTS (2 Octaves) CH 26: Violins 1 + Violins 2 - Violas - Cellos
CH 27: Violins 1 + Violas - Cellos - Basses
CH 28: Violins 1 + Violins 2 + Violas - Cellos - Basses
CH 29: Violins 1 - Violins 2 - Violas
CH 30: Violins - Violas - Cellos
CH 31: Violins 1 - Violins 2 - Violas + Cellos
CH 32: Violins 1 - Violins 2 + Violas - Cellos
CH 33: Violas - Cellos - Basses
CH 34: Violins 1 + Violins 2 - Violas + Cellos - Basses
CH 35: Violins 1 + 1/2 Violins 2 - 1/2 Violins 2 + 1/2 Violas - 1/2 Violas + Cellos
CH 36: Violins 1 - Violins 2 - Violas + 1/2 Cellos
CH 37: Violins 1 + Violins 2 - Cellos - Basses
FOUR-PARTS (3 Octaves) CH 38: Violins 1 - Violins 2 - Violas - Cellos
CH 39: Violins 1 - Violins 2 + Violas - Cellos - Basses
FIVE-PARTS (4 Octaves) CH 40: Violins 1 - Violins 2 - Violas - Cellos - Basses
ABOUT DIVISIDIVISI IN OCTAVES CH 42: Violins 1 - Violins 1
CH 43: Violas - Violas
CH 44: Cellos - Cellos
CH 45: Basses - Basses
THIRDS: NON-DIVISI & DIVISI CH 46: Violins 1 & Violins 2 Non-Divisi & Divisi in Thirds
CH 47: Violins 1 or Violins 2 Divisi in Thirds
CH 48: Violas Divisi in Thirds
DIVISI IN SIXTHS CH 49: Violins Divisi in Sixths
CH 50: Violas Divisi in Sixths
SPECIAL COMBINATIONS OF OCTAVES, THIRDS, SIXTHS & TENTHSVIOLA & CELLO MINI-ENSEMBLE CH 52: Violas Divisi + Cellos Divisi in Sixths
THIRDS IN OCTAVES CH 53: Violins in