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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Fischer- Instrumentation and orchestration – pages. He shows, for example, which accordion stops intensify the effects of the other winds by putting octave duplications outside their ranges.

Textures and Timbres by Henry Brant – Orchestration Online

In his manual, published posthumously in a year after he died at 95, he makes absolutely no mention of the significant 20 th Century advances in acoustics like formantsor psychoacoustics like auditory streaming. Textures and Timbres focuses on the study of acoustic instrumental tone-qualities, offering comprehensive systematic procedures for balancing and mixing them, both in harmonic and linear contexts.

Subjects Instrumentation and orchestration. In consequence, many of the new works he heard at orchestral concerts Find a copy online Links to this item Inhaltsverzeichnis.

Textures and Timbres is the result of a single conception that began in boyhood and continued as a lifelong pursuit: You are commenting using your Facebook account. 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.


Don’t have an account? Email required Address never made public. At age twelveHenry Brant began keeping notebooks of orchestral combinations. Chapter 17, Extreme Registerspoints out that auditory perceptions in these registers becomes more difficult at fortissimo dynamics, but is very good at lower levels p. So, a conservative moment in Brant. Sure softer, but what an effect! Brant and many other modernist and even late Romantic composers choose for very knowledgeable reasons to do this kind of micro-marking themselves.

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To coin a word: Email to a Friend. The E-mail Address es field is required. Please enter recipient e-mail address es. It is an unusual book. The process was closely interwoven with Brant’s entire career, running parallel to it.

Textures and Timbres

What is the intention and what is the effect? This is not an easy book to use. You must have JavaScript enabled in your browser to utilize the functionality of this website. I wanted to rebel because of the concrete gesture needed to play these sounds puts them in different worlds. Juxtaposition of different timbre groups p.

Textures and Timbres by Henry Brant

WorldCat is the world’s largest library catalog, helping you find library materials online. This site uses cookies. For example the Cape Breton fiddling accompanied by guitar was originally used if no piano was available, but became an acceptable sound in its own right. The E-mail message field is required. This seems to preclude pointillist orchestrators like Webern, or even Mahler.


Fischer- Instrumentation and orchestration – pages 0 Reviews timvres Fill in your details below or click brxnt icon to log in: Some would argue that the conductor should make micro adjustments to the dynamics in the context of performance.

Yet his percussion examples often use vibraphone which with its damper and motor are just about fully sustaining instruments.

This could be a modernist henrg of his, but probably is statistically true, since piano in the orchestra is a modernist addition.

Textures and Timbres

He takes up rolls of 2, 3, and 4 pitches. Take the branr range of the piano—the range of the solo and jazz repertoires. You can count on three fingers such recent examples of composer-written orchestration books.

An Orchestrator’s Handbook is an absolutely vital tool for composers and conductors. I would generalize the point to say that in any vertical harmonic array of instruments, blending is decreased by brsnt attacks.

You are commenting using your Twitter account. Read, highlight, and take notes, across web, tablet, and phone. Cancel Forgot your password? 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.

Genry the materials for Textures and Timbres are consistendy based on real-life experimentation, the writing necessarily occupied several decades.