Treatise on Instrumentation (Dover Books on Music) [Hector Berlioz, Richard Strauss] on *FREE* shipping on qualifying offers. The most influential. Includes full-score musical examples from works by Berlioz, Mozart, Beethoven, Wagner, and others. Music Books | Music History and Theory – Books on Music; /; Treatise on Instrumentation By: Hector Berlioz, Richard Strauss. Book Source: Digital Library of India Item : Hector ioned.

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A new edition of the original Treatise was published in as volume 24 of the New Berlioz Edition. Hreatise is just good enough to set monkeys dancing and to accompany the tricks of conjurers, jugglers and swallowers of swords and snakes on public squares and at the dirtiest of cross-roads.

Treatise on Instrumentation

It is just a matter of knowing how to let them speak. This is trivial, and devoid of pomp and splendour.

Despite its proud and genuinely distinguished timbre, there are few instruments that have been insyrumentation debased as the trumpet. Behind all these fine combinations melody was non-existent. But to try to go beyond this would be to trespass on the territory of inspiration, where only instrumehtation is capable of making discoveries, because genius alone is able to range over it.

On the other hand the bass drum played pianissimo on its own is sinister and threatening provided the instrument is of large dimensions and well built ; it then resembles a distant cannon shot.

One berllioz learn what is suitable for the various instruments, what can or cannot be played on them, what is easy or difficult, and what sounds well or not. Unless one wishes to trample common sense and all artistic principles it is quite impossible to use hecyor instruments merely to provide the harmony. The need for runs of this kind hectod extremely rare, and we instrumentatin we have not yet come across it.

This may be the moment to point out the peculiar and very real delight for the ear of a multiplicity of unisons or of the simultaneous reproduction by a very large number of similar instruments of the sound they make. And yet the bass drum can be admirably effective when used intelligently. If the viola part cannot be written in a distinctive way it is better to use it to add volume hectod the sound of the cellos by having both parts written in unison and not an octave apart as far as the lower range of the instrument permits.


Spontini was the first to use it in his triumphal march in La Vestale and a little later in inxtrumentation few pieces in Fernand Cortezwhere it was well motivated. All rights of publication or reproduction of this material in any form, including Web page use, are reserved.

In a chorus of airy spirits, the composer has used two pianos for four hands. Then it was not possible at the time to write for violas distinctive parts which required from the players a normal degree of proficiency. The clarinet is not well adapted for music of an idyllic kind, it is an epic instrument, like the horns, trumpets and trombones. Side drums, like the timpani, can be used covered; but instead of covering the skin with a piece of cloth, players often merely loosen the snares, or insert a leather strap between them and the lower skin to check the vibrations.

From a poetical point of view, this art is as little susceptible of being taught as that of inventing beautiful melodies, fine gector of chords or rhythmic forms that have originality and power.

It is quite certain that the special effects obtained by this new type of orchestra could not possibly be achieved with any other forces. Read, highlight, and take notes, across web, tablet, and phone.

No other available instrument could produce this kind of harmonious flutter which the piano has no difficulty in rendering, and which the sylph-like character of the piece requires.

Given time, care and the necessary expenditurethis is how it could be done in Paris. La Symphonie fantastique film. It is rather like a bull escaped from its stable and treatiae in a salon. For further details see Berlioz: Hunting fanfares only sound joyful when they are played on hunting horns, a rather unmusical instrument, whose strident and brash sound does not in any way resemble the chaste and reserved voice of the horns.

On the other hand one can certainly demonstrate easily and with virtual exactness the art of making orchestras that are suitable for rendering faithfully compositions of every form and dimension. Sticks with a wooden head produce a harsh, dry and hard sound, suitable only for striking a violent blow, or for accompanying a noisy orchestral outburst.

Symphonie Fantastique bwrlioz, 1st movement, bar and following; 3rd movement, bar 3 and following; overture to King Learbar 38 and following, bar and following; overture to Benvenuto Cellinibar and following; Romeo and Juliet2nd movement, bar 81 and following; overture Le Corsairebar and following]. In particular it would have an incalculable melodic, expressive and treatiise power, a penetrating force like no beflioz, a prodigious sensitivity in all nuances whether in ensemble or in detail.


Hector Berlioz’s Treatise on instrumentation and orchestration

In the latter case the string instruments would be too weak to dominate the mass of instdumentation and brass instruments, and would serve to provide a harmonious bridge with the strident sounds of the orchestra of wind instruments. Beethoven sometimes used it in pairs, as with trumpets, but the established practice of writing it for three parts seems to me preferable.

Any well-organised concert orchestra must be set out in this way. Account Options Sign in. The best layout for performers, in a hall which is suitably proportioned in relation to the numbers involved, is to raise them one above the other by a series of tiers set out so in such a way that each row can project the sounds it makes to the audience without any intervening obstacle. Yet one may see in a host of otherwise fine scores the basses almost constantly doubled in unison with a single trombone.

When the cellos are playing a melody, it can sometimes be very effective to double them in unison with violas.

Treatise on Instrumentation

Nowadays violas are often divided into first and second. Messe solennelle Grande messe des mortsOp. Side drums are rarely appropriate except in large ensembles of wind instruments. Visit Virtual Sheet Music to learn more In his symphonies in B flat and C minor Beethoven made wonderful use of the timpani pianissimo; these superb passages lose a great deal if played with sticks without sponge heads, even though the composer did not specify anything to that effect in his scores.

It would convey the laments, whispers and mysterious sounds of virgin forests, the shouts, prayers, songs of triumph or lamentation of a people with an expansive soul, an ardent heart, and fiery passions. Pianissimo notes from the bass drum, when combined with cymbals in an andante and struck at long intervals, have a majestic and solemn quality. Viola players were always recruited from among rejected violin players. But in the thousand combinations that are possible with the monumental orchestra we have just described there would reside a harmonic knstrumentation, a variety of sounds, a succession of teeatise, which cannot be compared with anything that has been achieved in art to this day.