a eae eh ae 2S 248: Ot) 46h Ton THE STUDY OF ORGHESTRATION rt ' THIRD EDITION ear or ej YANO lyfe) ai, A fe] i q | 4 AA ESS RALi SR eR ek PN eel me ee a eee th ee ee be ee aul eee Ll GE ee ea tr mee cts Bee rae lo} Rees de ee ee he reas a Be SE cork sh Sao A ramet cent tr er mer er rt ere COBO be taba eeuisp it SOE DOR SL eee ell ee Le ee RR EL SCL Eee Ey ee é Pe OC ge oe ra ee eee ober ee Ree SL aes Ue ee De ec) See EE MR eae oat ests ee ree Mae Ce a A eae Rees ea eRe tL Ea eee eee td re ae Se be ee cae ar eed er Mc ite ee Mel En anther ede eee 7 Eee et Cea a eta oe eee S eera acct et ac tea acer Coron e ucte ie) ese eee Cen a sec i ee Sea eee ed saN 978-7-61096-367-5 Tmt 7878109654 Fa PoeLRARKS RBS REBAR 4: Hh THE STUDY OF ORCHESTRATION (2) B87 - Wee S SAMUEL ADLER “FA BR = ae aa SR mt a DD ame HH mh HE ES MR aLHB TER B (CIP) Ba Alab A a. FA (32) OH; SOP SR. Ate. ake FRE BEM NEEL, 2010.5 ISBN 978 —7 -81096 - 347 ~3 1.OR- WOE Oe MORK RAHM WV. D614. 4 PE MASE tH CLP BCH He7 (2010) 8 063308 THE STUDY OF ORCHESTRATION by Samuel Adler Copyright © 2002, 1989, 1982 by W. W. Norton & Company, Inc. CHINESE SIMPLIFIED language edition published by CENTRAL CON- SERVATORY OF MUSIC PRESS, Copyright © 2010 AG SCTE NAR SERA TR ICS KF. O1 - 2010 - 2450 (A) & Be Reem (FH) & tee ERRATA Be a a & PETE 2787x1092 EK 16 FF EK: 16.5) 2 Test 36a 6 4 ES) : 2010 46 5 J] 1 he 2010 5 HB 1 RED : 1=2,000 AF : ISBN 978 -7 81096 ~347 -3 : 220.00 76 (JE BIAT) RteREH Sastre se REDE AL ACRE GARR OLA AT 43 BAR: 100031 KATH: (O10) 66418248 66415711 (fH)CONTENTS RoMD Me TR WR PARLRR (543 ) FURR BSP (544) FAP. 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BS PRR EE RAS ; 594Bae AteeARE AT, MSR ALE COME RAN ERS ADVE ATI, A FT PLL ae SE RARER) OR HR; SU, SRI ES RRA SOS, ee a eae SF fe HAS, HIRES, MEF, HR, AE, SHE )\SRE, KE, WE. RE. ARR, BAHK ERAS RM. ALF DE HSL GSR ARE RA NE FB ZT A BE A Ro BHRBVGLAE ARR SBE, BERBER W RRR AIIET 0 2. AL VERSE , ORL SRI aAL BET Le aE A Le Dr RE DARL RNR. RAMS 5 EMER AAA: Thi 4 Raw. RR ER AEA A ESE — PRE, FAY 16 SEAR ah 32 BEPC AR AE AT RF Es — ae TAB. UNREST ES — RR, HA AT TE TRIS ATA, MB AE EMSRS RI, TEE Re ARIAL AS AUB HF BEALE 3. CHERREPHREE, WYRE ROBIE ARRAS, RMBS E814, REIMAN OOF) PERNA, MRSS ARRON PM GAF 2 PTR PE- MBAR AS BI , FEL AAPL Be Ze Mnf HEA EET ISOS HUA: (FLERE), Fb, ARR: —— ng , FA FE SE RDA FE Th a PR BOR BIZ (Sforzandi) BA/GIVH (forte subito piano) ALRF SAREE TRAE — TR RRL, ORME AL TB BYP YF BE HEE AG EHR HREREM HEP, ELAR ERAABATE. FREY, & RRB AEH 1S—36 HT, 1. RRM SEROKREAA (PURI SIS CBZ) BAR EOIFT HA) 5 2. AMG RARE If) FIRS FZ IE AEs 3. TARTAR RR STARE 4 PREDRA SARE OR AHE 595a AE A536 RMR: PEFR DAE HELE BIR Jet EIT BO Fa TEAL — PI OS — TE AE, LE MAMAS EERE ZT, Be s)sady dh LA5 —4 SY SR MAS] EA ABEL, DN FEUER RAR AER TH) BEEPS, 4A BEDRAILS ARSE BFE. KOERAT RAAB ED. HI IS—37 ASRAN RMA ERB: Mia. de ie 3A a vin 2 scm EUKER TEAL ASL Ar BLS EFUB LEAR i ZI OTD PB SO BOR Hl 2 BAT A CH TE, ERR ASE AEDHSE IB AK (fA 1S—380), BRARORIT SE — PAA ABI CH) 1S 38b) WIS 88 RLATHH BH: [woe] a IR PAAR, Presto 596Sth PTAA RA b. abe Re AR-tTES8 BPR LORMAN RRT o ALEHE P1539 HAH CHE: (S| ben out i } {sounding ARMM RBALATHE BI15—-40 ARH AHEM: (Saar) cur aun Mile pe tet tO ? ed em ? AMAR SARS bit EAP BRM EHE RAMEN AAE PRR ES ORAL 2 RE HIS — 41 HHERH ARMM ERE: i \ i A —— ™ Set 597BERR ERE LE, ENRERTAERRE LRN RELEM HOE LA SB My GARR ABS ROAD). CHCA, ROT WLR RAR, (ELAR eee HA) A SAE BE Ay, We ER aT rh A OT RRB A Bee SCAR PEMCAE SOFT AS Fl BB Ay BEA A he CBE ARE A AAO (BH 1S—40) , FR + LAPSE FS PA BA Pa EO HS eH Ae GARE BM Bb Klangfar- benmelodie (8X, BN “FIER MEA” )D, LARA EEF Um BY BF oh ae wh A LO FD Si LF AR ARE OA SEH ELBA AG SF CAS DY 7 BE H1S—42 ABET RMA: SRSA LH BPE AE AOR AR Lb AIR AR HE 19 HHA 20 USCA HE BRAY AAR OR — SS AR OAS A], ETI ah SHEE, RARE ARR Fa T SAR Se Aa HE He CAE OE HE EAE REP ORR, IER TEE BURA CCPH), BITE Ah 21 98 — RAT 14 A. EA BT 35 ~ 39 Ay W. RAHM TAB, HERBOTARMEB—-PARAEF MAS T= FEED 1S—43 AMI CRD, (Op.21) Hea: eo 6) FREER fii PA AB AEA aR, AEB 1S — 44a AIP BR, HE ER, MAUL ERE TRB TAA RRA, MATRA. 2S ~7 Ay H, PRERURAT STE, PNR, —NASH. Ake APO ete D Klangfarbenmelodie —iAS¢% BA —7T ES OE HA MO RBRE E. (ERM, TE AE ETE AL FA RRR A AE 598tHe ATRAD RB , THMORAWERAM WE SERNMER RDF, ENR EAA Sabre A, RRARERERTAA, ALPS OMT REOMERE EAR, AT WERTH EP REE, BUA REPT TO, ARAMAIC SE, ARCSREEP RAT. NFR EBL, TL BER Tk — HAAR, BREE LIT HB SUA BEEN PAIS — 44 eR: CRED, Op.21, RI~14 HF: 8. Ait: Ruhig sehreitend (J = ca. 50) 1 2 2 4 6 4 ? eo, He 2a P 0) hit? (2) ip. °F P ? ol 599RB ok aE be Bit: a hae Ve + Seber esi Hes i. ve WeHt TR APRADRS HOS ae a ERC RE AMT EE ES, ET ATA EARN CIC. BEE HOH RL ER 1S COREE ALE) RATE SMS. SEPT E AA DA ESR AEA EER AS, MELEE BEA 20 thee Ht Ph RA RAFT CSTE BD vr BE (OEE CR BA 2 9 HR. RS THA: eB: Beethoven, Symphony No.4, first movement Beethoven, Symphony No.7, fourth movement Haydn, Symphony No. 104, first movement Haydn, Symphonie Concertante in Bb major, first movement Mozart, Symphony No.36 (“Linz”), last movement EIR UD. Rerlioz, Roman Carnival Overture Bizet, Symphony No. 1, first movement Mendelssohn, A Midsummer Night's Dream, Overture Rossini, La Gaza ladra, Overture Schubert, Symphony No.8, second movement Schumann, Symphony No.4, last movement WLETR BGI; Brahms, Variations on a Theme by Haydn Bruckner, Symphony No.4, Scherzo Bruckner, Symphony No.9, first movement Chabrier, Espana Dukas, L'Apprenti sorcier List, Les Préludes Mahler, Symphony No. 1, first movement Mahler, Symphony No.5, first movement Rimsky - Korsakov, Suite from Le Cog d'or Saint - Sens, Danse macabre R. Strauss, Don Juan R. Strauss, Tod und Verklairung Tehaikovsky, Romeo and Juliet Overture 601RBEAA Tehaikovsky, Symphony No.4, finale Wagner, Siegfried, Funcral music Wagner, Tannhdiuser, Overture and Venusburg musie EV RUR : Debussy, Jeux Debussy, La Mer, last movement Debussy, Nocturnes, “Nuages” and “Fetes” Falla, Suite from The Three ~ Cornered Hat Ravel, Piano Concerto in G major Ravel, Rapsodie espagnole 20 tHe FU: Barber, The School for Scandal Overture Barték, Dance Suite Barték, Piano Concerto No.2, last movement Berg, Lulu Suite Berg, Three Pieces for Orchestra Britten, Four Sea Interludes from Peter Grimes Copland, Music for the Theater Harris, Symphony No.5 K. A, Hartmann, Symphony No. 6 Hindemith, Die Harmonie der Welt Hindemith, Sinfonia serena Piston, Symphony No.4, second movement Prokofiev, Piano Concerto No.3, first movement Prokofiev, Symphony No.5, first movement Schoenberg, Five Pieces for Orchestra, Op. 16 Schoenberg, Gurrelieder Sessions, Symphony No.2, first movement Shostakovich, Symphony No. 1, first movement Shostakovich, Symphony No. 15, first movement Stravinsky, Concerto for Piano and Winds Stravinsky, Feu d' antfice Stravinsky, Petrushka 602HTER Varese, Amériques Vaughan Williams, Symphony No.4 Bach - Webern, Ricereare ( pointllistic scoring) Webem, Six Pieces for Orchestra, Op.6 20 thc mAs J. Aadams, Harmonielehre D. Amram, Triple Concerto L, Andriessen, De Staat M. Babbitt, Correspondences P. Boulez, Rituel in Memoriam Maderna P. Boulez, Le Soliel dex eaux E. Carter, Double Concerto (piano and harpsichord) P. Maxwell Davies, Prolation J. Druckman, Prisms M, Feldmann, Structures for Orchestra 1 Fine, Symphony No. 1 H.W. Henze, Symphony No. 8 B. Kolb, Grisaille H. Lazarof, Concerto for Orchestra G. Ligeti, Atmospheres G. Ligeti, Lontano S. Mackey, Tile J. MacMillan, Concerto for Piano and Orchestra B.Madema, Aura D. Martino, Concerto for Saxophone and Orchestra W. Mathias, Symphony No.2 0. Messiaen, Réveil des Oiseaux 0. Messiaen, Turangalila ~ symphonie T. Musgrave, Concerto for Orchestra A.Part, Tabula Rasa K. Penderecki, Symphony No.2 (Christmas Symphony) G. Perle, Three Movements for Orchestra A. Pettersson, Symphony No. 6 C. Rouse, The Infernal Machine 603 HR EAIRBA P. Ruders, Clarinet Concerto ‘A. Schnittke, Symphony No.4 G. Schuller, Seven Studies on Themes of Paul Klee W. Schuman, Credendum J.Schwantner, Sudden Rainbow R. Shapey, Symphonie Concertante A. Singleton, Shadows H. Smith, Riswal and incarnations K.H. Stockhausen, Hymnen T. Takemitsu, Visions M. Tippett, Symphony No.2 L. Xenal Metastasis B B.B. Zimmermann, Stiliness and Return BSW SRM: In this list we provide only one work per composer: J. Adams, Violin Concerto S. Adler, Flute Concerto S. Albert, River Run D. Asia, Symphony No.2 M. Babbin, Relata I €. Baker, Bead Game S. Barber, Medea L. Bassett, Echoes from and Invisible World R. Beaser, Concerto for Piano and Orchestra L. Bemstein, Symphony No.2, “‘The Age of Anxiety” W. Bolcom, Symphony No.5 J.Cage, Atlas Eelipticalis E. Carter, Variations for Orchestra G. Chadwick, Symphony No. 3 Chen Yi, Symphony No.3 M. Colgrass, As Quiet As A. Copland, Symphony No. 3 J. Corigliano, Symphony No. 1 H. Cowell, Saturday Night at the Firehouse 604RTEE P. Creston, Symphony No.2 D. Crockett, Melting Voices G. Crumb, Of Time and the River D. Diamond, Symphony No. 4 J.Druckman, Windows D. Del Trediei, Final Alice D. Erb, Symphony of Qvertures L. Foss, Time Cycle (full orchestra version) D. Freund, Radical Light H. Hanson, Symphony No. 2 J. Harbison, Symphony No.2 R. Harris, Symphony No.3 S. Hartke, Concerto for Violin and Orchestra S. Hodkinson, Sinfonia Concertante A. Hovhaness, Mysterious Mountain K. Husa, Symphony No.2 Imbrie, Symphony No.3 C.lves, Symphony No.4 K. Kennan, Three Pieces for Orchestra , Symphony No.2 Musie for Cello and Orchestra M. Kupferman, Symphonic Odyssey FE, Laderman, Symphony No. 5 L. Larson, Symphony; Water Music B. Lees, Concerto for String Quartet and Orchestra J.A. Lennon, Symphonic Rhapsody W. McKinley, Three Poems of Pablo Neruda C. McTee, Cireuits P. Mennin, Symphony No. 5 J.K. Paine, Symphony No.2 S. Paulus, Symphony in Three Movements V. Persichetti, Symphony No.4 W. Piston, Symphony No.6 M. Powell, Modules S. Ran, Symphony No.1 605 PA EDTERE B. Rands, Canto del Sol S.Reich, Music for a Large Ensemble G. Rochberg, Symphony No.2 N. Rorem, Symphony No.3 C. Rouse, Symphony No. 2 C. Ruggles, Sun - Treader G. Schuller, Of Reminiscences and Reflections W. Schumann, Symphony No.3 J. Schwantner, Concerto for Percussion and Orchestra R. Sessions, Symphony No. 1 H. Shaper, Symphony for Classical Orchestra Bright Sheng, H’un M. Shrude, “Into Light” S.Silver, Three Preludes for Orchestra R. Starer, Cello Concerto S. Stucky, Dreamwaltzes R. Sierra, Idilio C. Theofanidis, On the Edge of the Infinite A. Read Thomas, Vigil for Cello and Orchestra Tan Dun, Death and Fire V. Thomson, The Plow That Broke the Plains F. Ticheli, Radiant Voices M. Torke, Hestatic Orange J Tower, Sequoia C. Ung, Spirals R. Ward, Symphony No.6 G. Walker, Variations for Orchestra R. Wernick, Visions of Terror and Wonder D. Welcher, Prairie Light J.Zaimont, Symphony No. 1 E. Zwilich, Symphony No.1 606BANS ARNE RM RRIMEA TER, TRUER, HOE PEW Th Se RATE EER, tO AA, 46 1600 AE HT, ONT BAR CE SD HH EO a AB AR TE. BA, GLEE RAAU ERA IA, 3A 1000 452 SABE T BERIT HES BEER OME M2, DREMEL RARAE REE, URI R EE. LETRA Pea BAMA AS FF a TF Bek — i EO MA — EV HERES IT HE, BRA a eh Se tN A RACE AC SE, PE TR CE RIE MT BRR IATE a TEE ASE AID BE PE, BAT) SE BA AF a BE A es a, 2 A ETE. 7 ARS HA AT SE At 2 FR Ei, RR FE AE SHO BA Oh EB BA TB FIN. th 2 ith Veit 1 aR SAB ESS A. FE 1900 FEZ AT, HOE A se A wa BARS, AE AE RRA BY BRR BRB ES IE, LAS SA HE BE ZB FUT EA SP BY GF a BE AT ALG, SABE AY A BA PSR ST WA BOGE ST BR AT Coo HH tH THE A RRS DU Se A RRA YP PE Ae OBA A SR BS Ee INS, as EE AL, HL BABE — MGR AES, 2 Rg BS RR wh SBD EXHET. DEAT RARER RESRRRAKKR TMS Hi, FE CR 5 AB EAE RBA BYE SEB Sh EBS SP KR, OR A ARTE RE A BATT PERT Bh He Ht FYE BEE VET EE A es eR, NG Ee A AR PB 9 AA BUFO UE GSB. SATE AE a yf fe HE he BY A A PE eB SAM. ER WT, BRAVERMAN IEALA 1. BURMA 2. RF OFS AIEEE AY A FH 3. RUE OTE, Aa ALR A Bs 607Wek aE 4. RAITT, (ARF AE HK FI); S. AUB A RE RR RO EHS 6. LSA AH, PEARS AURAL KS AMS MRALAM AA BTA FT EY TAS tl. EMRE S| ARSE RE, EMAC AEM, PUR SLARIARRS, HALTER AE Gb US HE PRBS RM, MNES AE BRA, AA ROLLER. Sl APZF RI RAM ERT LE TE “FE” AAS AY RR HE, AUER RG, LA RSE SER. (A—-TSLAUN HA FEE AEB Ce iB HEE BE) IF SBS.) PIE NSA, CME RAH) Op. 40, I~ AF: Andante VDA SR ZF Pen BL BSA BAB TS AS AR A A ARUBA TAM, tL TRE AUR OA BBABAR ERE RRR 2 FH: (MEDEA), HOH, HI ~A HT: [etna] Andantino grazioso (.)= 120) 7 te fo a a RRM AR MEERA DOF ARA LTT. GIG, HTB ERIS oy PSS SRR 185 ~ 193 “yi. RFRRASRURAY RNAS RE MH Se EE AR, BAN ee, RES a AMANDA, SUEUR DEEN ARN eo The, RATE CB ESS HD FP AS Ue PS | ATE EAP; SEE RS CER NB EA HE Fe WE UR MAES, SAPS EAP RGR 609RRR PS PRAM: (HME RAY, Allegre non troppo © molto muestoso i, MINIT AY: eo - ae RR. 4, BEER BEASTIE aR A FER Be SE A, RAE SB) 10 i BRI SANSA BER A Ni BS HAE TBA A STI TEE BEE AEA, TCH RE AE AE THES, ULES — IR RRR AINA, AE TE A EAE I RE, AB HE SAHRA HEBEL, LER — TS EP 16 ANTE, iE RR 10 RATA. URES ABS LD PRT: & 8 FIR ARUN Pe PH RE eat, BEE RATBARIE)S SSN, TOGA 2H. LARS: AW-6 EMERALD DP RERRES: & ital 5. CERT BURA TATA FPA SY TART TT FESR ARP GREET UNOS ETL, SHE RS A HR ER PF eR, AR PE 157RRARE FRINGE AAS FRAG A DTC PRA AL ik A A EH PO AT, HITED BAER TL, LAER NAY. HER TERR SET, Spt EE TERR ABP hi FES EE A A IH 6. Bat — BRC AURIS, AM EUMT ERE. ORAM EEA eR PEE FELL PE IS FEA, SAY RA AURA th AS ZANE Ro Sb, BENE, GEA. PW—7 ERR E: 7. TAMAR, WER. AG. PR, RE SMSO, boot REO AIR RAE A RETESET IE BERS, ESR AR BE HE RL Se a TE RN ROREY, SAGA. GL, MRAM RMR, EE HERR HAE, BAER ERE Sia AE eT RAED; MERA EMA, PRIOR AR. PPR aE Ee PER ATRL IL, ANAT BELA HS AIRE AUS — BEEP ERT PE iis TTT, RRR AC HA AE EAT EE TL BARE. APR TA Be AB TEP oR, DAMA TE REM ae HERE TERT RRR RCE) PATER, BURA AT BHC, STM, BE SCALAR FT PAGRE HE SE HEATH, BIE BE ARE a BN A BO PS PE OL Allo 8. LAP SAPS aise: a. ROTTS", 15™, SAR ice TATE ba b. AMET ARR, TLRS. ARR RRS Be eB ALBA B—-8 ARRAS: wv c. fil “sim.”, “sempre stace.” il “sempre legato” 4% 77 Hat ZW MIRE FUL. 758RTAR Rib pee H18—-9 KAR TPHKE: oF Senupre stace: 9. ZEEE SO TTR TRAE AT RA IN STS AW0 ENTREE Re: a. Sih: foe 1 SS wt bh. Pith: t x v ~ (pee HAM 3X20 thle 80 FEAR FEM, JAR RAL ANS EAN EES ST TB A TP TS AT HAT FRI RUA FB EAT EE A PE) Be, TT I RAT YAS M19 AIG SSB NY EE HOR SH EE ET ODA, EE A HE, Peek. PSTD, PEGG, PAS RRA SR TRESS EE] — FHT BRE FS HL RNSAUP AF: PI ARB PEM AES, oo pee aS BAIS ASR AE RE AE EARNERS Ses SR A] a TB BL, BED TEA ANAT ASAT RCS MR TT, PET SLATS EAE Had TE SO HR, AR AL eH BH TRL: 759RELKE ANG—A12 RHE HO RAS OR o eee —_ a: eee TALS AO AEOLEE AU ZBTTE AS TEE A OP RGGI FY BRS, RR OR 4 BE AB POE ARERR S. BE, REI RCH. WAS ALM RSMAS: = eee, TE, ASE SE RLF Sit ANB 14 ETT A HLAT i ay ie RO A MBSE: = gece o -S SSE SPH RALTEMI STE, BATU TRAE. ERE EAGT BE OE DEFT OF HT HBG Eh BE a i FUMES, ete He EE SE Ae A BEE NE AF, GE ABTS Ih OT ST eS EB eS 2 PE HS PRB RE, PRT, RRL PE SR PRB, eh TEM MERLE “RE” OAR. LE Eb, Se E ADH Tt FARO F (PRA) SEB A be a, EE BAR Bw HE A, MEUM HL TERS MLR a, LUA TDS. PS RK A te AP BR HTH. W115 “RE” EM ARS 760B+A® Ste oete BOAATET, ZEM—TTIN RBA —ANORIM, ERAT. HRA ERI WRAERL—F5, WITETT ED ADRES ALAS, RN LR BESET SLB 18—16) , HET POLAR FI SURE, PLM ARETE A Eh HL, BWAG ASTHMA TER: <=] A RAAB LPR MEE 5 EET ORT HA RC, zo AIRE, BOAT BiH OE — FEY TE BR APT AB OB — “Wie” BPR RRA. 1. ABATE SG eu a Ret 2. JERSE SCE AREER RE EAA HM IK AP EME HS BUSS — UCHR TESS AE ME, ENT PR at ALES OR IRS ATE EBD. MURR EMBCbs DSS, AVS RTA - BARNS 0 — AE BS GHW RICE FAY (The Norton Manual of Music Notation, New York; W. W. Nor- ton, 1987), RADIORT FSH, KPR-ERWHLE HHA: Bochm, Lazlo. Modern Music Notation New York; G. Schirmer, 1961. Donato, Anthony. Preparing Music Manuscript. Englewood Cliffe, N. J.: PrenticeHall, 1963. Read, Gardner. Music Notation. Second Edition. New York: Crescendo Publishers, a Divi- sion of Taplinger Publishing, 1969, __. Modern Rhythmic Notation. Bloomington: Indiana University Press, 1978. Risatti, Howard. New Music Vocabulary. Urbana: University of Illinois Press, 1975. Stone Kurt. Music Notation in Twentieth Century. New York: W.W. Norton, 1980. Warfield, Gerald. How to Write Music Manuscript. New York: Longman, 1977. RHPA, ERTS TRS RAT AMT) Purse Bill. The Final Premier; Mastering the Art of Music Notation with Finale 2000, 2d ed. 761Keene San Francisco; Miller Freeman Books, 2000. Computer Music Journal. Computer Music Foundation. Cambridge, Mass. ; MIT Press. Electronic Musician. Overland Park, Kans. ; Prime Media Information Group. Keyboard Magazine. San Mateo Calif. SHES TIP FT BUBB BER SCRE TAS, BAKU RE He AY BTA eee tH A HEE 762BINS ASTURSKSRRE BREE OLEFERTTAB EL SRNR EHR, LILA PT AB ARG AS TRB RAAB. MEARE RSAT RACK HMMA: (FHP Z, hE SL TEAR PEDP DY 20 ee Se FAY EE RDS: AE UE HRT PR ER REKNTRZ—. RAYE ERTS DER CRE LATHE HMO” ZF PART BELAY ER WSS PRL A ES A PZ, BAER RE RA OAS 5 GFL, 10 OER ICE OR a A HB WE, SPLARENER. RIVE, Gre ibhM Cz) PA Me mBN STEAM (A) S18). TERRI, NR BALES A 9 A EE Fh, RAR IH. ER RBA ACE ASLEORETACRARSZMMAMELA, LARA MAA, ATE, REAR RS, ICRA RARER, MBAR 8c). — ADK BR, MS, FAME RT REMASTER IE FAL, BUR TUAMGERS. Bob, REE RRA POR ATE F607 HH LB ABT ATRRARES HE RAREZARAEWAR RET, EARS EM, fein RBREREME DER PRP REEL RBS, ELMER, KE MSARER RH, WH - KARP AT SESE RABY EM “AEARBARCAE” (bandstration) 3X —-WESTE 1952 EE BIS LTE + ZAR ABEAK. MST AT—-*8RE: HRAE. ARERR MEANT ROA, FRR TP D SMA MBM «AR: (ERS) (Arkadelphia, Ark, Delta publications, 1988), p.1 763ERR PROBA, EARS. BTL. BU RRR STS, FURR. PRPRTNENERA RS MAMAS, TRO Tl CEL IWIL TARY, BUTE B) TR Ne AER SEP AR PE EB AE A A AL SRG CETH AE Ae HLL SLND ETE Se AAT A RA CS, ALF HM 89 SE DC we ME RE FR AL, BORIS TE ah, PE aE A HEEB RAL PG LS BE RD a, BRE A — SRR RAI PERS . TE HN Raa BS RAD PES, FEHR — ae ea APR A EY HE, SPEDE RAE AR SC FR EAS EA 3 RL CP, UN DS TOA. POMS. WI. WME. SRB AT AR: BD 4, 4 4. 4 4, 4, 4, L+pere.), GRATER EM. LTRS; (RRA ER, RUDE SI RSER SRE, HE AR SRR PT RTP IT TK HOLE EH a A BW ER MS Pe — A IE ALERT OARNE, AAMT RSP RR, TES SE, APT DATE EI ETE “solo”, WIFE AR “NSE EE, PSEA NT SS HET ZE, HT UR “wun”, APRA A SE ER MAE RABESAABR PURI R BURA SPs dt RA RAPT RAE BIE, WATE SSI, PERE LT THRETERA, BRE TROR ERE Eh TTT. BROT ATTT cE SE, FE FRPABL, FARR ES REE AR, Ae ES REA Te RAT] CRAP. AB, THRAETRS TRA RE RAE PT SIE 20 tit SURPASS, SPER SAR ARATE iB. SK SEK EAA LT APPIN (EAT, AR, ARE BEE, A MRS); Be TELA Sh, FEAR A RE BREE SR HS ITT. Hh, FT ee ARAL BEE LAA SE RH DER AUT LO BEAN LH AR a ER UE EAT AN, A EAR. BR + BE DRUGS. AIDA PER ER ARIE AY PE. GK ZIG, AT A — Ae Ea OUP A TORE RARE, RAS SEA RRS IM. PRAIA Mee Ab Ae BE Sh HLA. SRS UOT LES, BA EE RBA AEE SR Ae EE ET EAE LSE — APR FERIA AVR Rs BS A A Sia — HE ALR DAFOE RR AE TEE ES PEPER BAW EY OR Se ER A a BE FBLA Se RRABAT 2 B20 BER | ARIA AE AR PEE ST TAH FEIT BEE RDM PES ME CY A 56K 764BRIAR PRRRRT ROARS HOW ERASER PERS (Eh th Pi BE REE, ee RR Ze Rit AVBCIEETT TAR PY RBBEUE. (AVR, TT BPH, REE, Be a THEE AT A, MEA ET, AER ARE EE eR REE Ze tp BRAEKE PIF (MG) 17—15a Al 17—18a) , SRA CSET (ED A EET) HRA (Bop — say D1 aE aH) Be BRM CRAB) Be E iar EE Me BP ea MEE AR EIT Me BL Be B Be EB ae F DS ROP EE TRIAS KERRERS ROD RAE RB sae KA GHAR) REE GH WITT, HORE I) Be B SRE Be BRE GH = tS) Be E Uae SET Ke BE (KB) BEB RSE CERT EA) Be E OBESE TT BEB RR ENTE Be E (ET eT MBS GEN AAAS a) BBLS CHEATERS HERB) FES CES AONB: AM LAT AB E BS) Ke KERMIT (ABTA RB) 765eoane RS FR TER GARR OTHE) PROS RE RR KL A 2 (EET) RAE BEE SRE BPR TARE | SEH 2 RES Cee ae AEs EE KE RE TE 1 TY ES 2 Pe MT UP EE Ea AVS CE 1) AVG 2 (HH 2) NS 3 BS 3) Fas! FaS2 KEL KE? KES EMRE (T.C.)O EMRE S (B.C. )@ {RE (KS) (REE ERR qa 1: PE. AB. MS. KE O RAS @ Aas 166HtAR APKIAT RRR FTE 2: GBB. AR, GR, AR. SPER. NER H.R, AO BREE TRARIRE (AABRRA— TRE, BURR EO) see Pe aR AWN REDE, TAH, CEM A SEM 964 Hal EAT DN EY RTT, BATT RE ee th OE fh PPE AF C Mf 1 AZ 2 Mei 2 MEH 2 RA 1 AZ AE KAKA ERE We B SEE 4 ie B SEAT 1 4 ie BREE 2 2 Ee 2 Ae BRE RE We B ARG BE Be E Cc Be SE EF Be Bee re TE ee AGE eS 2 Ti BS 24K BANG I 2 BEB AG 2 2 BEB ve 3 Fas 3 PKS 1 2 3 MRIS 3 4 ENEH-S 1 M2 (T.C.) EGS 1 ANZ (B.C); TE 24S (1) (ERE 767RB eAE eR 2 PHT dR I 2 PTR 2 VAP SRY EH AAR Se SR BAB TEED AI FRAGA itaHBTA APADRERORER a Ok RRR, CONE MER. EE ROTI RIE Bi. ORT, RRR AEE BURA ABA AEE, ELD Jy — MSS AY BE SDA REE SR Oe EP REBIF AAS, TET AMOR CAMA). RT, MESH, OA 1 ROCA MHL ae PB LE BSA ATER, BLE NY 6 ERS (HRA RED BARRETT AON. IL, SUAS EET ma A a TT AGH. BOHOET RM, URE, ART. PRM. DSBS, BOTHER SRE, KPA RRIE, KS TAS. MMR ZIM “RET” (reeds) —inl FE MG Ab AEM? THR HRA; SP TATE BOR ORT PCE AEE” — Hal. tn FRAC BEAT HP Hh BARE, TREY PAR RIL TR AR SAMS PH, LER R BE, SA READ TORRE TERA, FT AEE, Pe, we eae aA eT RAB 192 CHE: (ORR), DARREL: SAAR: a I~, Bright Mareh tempo High Reds ve; Brass oro + \cymate Buse bras, 769ReEKA crescendo ym BD. v frescendo t db, H29~ 38: 20BTAE ARAVMERCRES RE (KH LRA Mm) ERBR MERLE RIMMER PE, SLIT ARES. ai PA RMU ZA, CLF AT US Se HA EH AWS BRK ARE: (RAMERAM), BRL ERRATA: a BI~6 Ne Andante maest 94 Poe col Bras by ‘iL GL, At wea Sane. bP - > Hen Fo itty ts act tay a uw rend & Bar Cora Trp Honk. Bells ™Bek bo RSIS we Pe Fe, EC, ‘aid Bens, Be CL 2 2 ra af i Ba, Sing Bs, Toe 772RAR APKARPROR ME FRESE Rf th Bis a SA BR BRB Em ESRELAWERER EDERAL, ERR DI ER LAER. BIE, WAT CARES RAM TERNS RE, WM, CHER RMR BORA RAM, BA FAR, UKE RAT, RERTRAR ERE. ETAL, AF SESE BE 2S SHR RT Be LAT, TEL REA EME BL. AE RR AE EE TT AAR EE, RRA REA BARR ATL FA. A MER HT AEE AE, TR RB ERT LPARE Pi AAC LE ER AP A YR RAR RS. ATT, BFR ARORA HED A, Pe AR RT, AR, TA TRARY, HAFREKE AGEL. BHR AARNE RR, FEIN AMF RESRMER ARATE. RAE ERA BA, SRD RE BORE AIA BE TE | SUGAR RR KA. AN, HITE, IAS WSs, SHE, CANRARR ENG, ACCRA RN ERR OAS. AM, FR fas FE ROR Hy OPE AR EO, TT OT A ARERR ARR SK, RO Fe SCAT ALERT EN AS BEE HE BE AEH BAB EER WA Sad HH AR BACHE ES HEE SA A I TAT RR, A STE ARE EE | ATAU SEIT EAB A SEIU EB PR BP 3 AGERE RH. HER, CRMARATAY, PRAMAS WR A AK RIE Filo SHUM, AAs Aa BE Si OA Atm a AS Se fk A ARG BBA, CELSO Aa A ee FV ODA A ETE RRE BPARRENHF HERA a, ROTORS TPA BS ee Dl — 480 te A RE RBA AR BE IR BA BPE a RH CHAM) (GVI7—1S BIG 7—17) ANIA ¢ EE ESE), Hi 430 Alb CH] 1718 EG 17—20) RPA sh HT WR AC HB TS HE, PA PRATT TU STE FEE Hh BE MOAT 9 EF BA HES TE GI at ATTA FE a ASH ot eH A. TERA TEE (017—16 o Ab), PAPA RBRRSE, EAR BA RICA BO SR A ME Be FE SRRGED MASSE, BIR, PEMA CEM RL TP RET RR, BAAR 3RBA ER TES BE, GRIN SE 1 AIDES NARA EE SR TLR RAE ah, RAM. GEREN He 17190 FAT bo, FRAT TAT LAT fi ACH 9 PA BA aL EO SB TS FS 1), CEREBRAL ae RA = AS 24 NRE), Te RRP Re ARR REWAZE. (FAUTEIE GL 17—20a AT b HABE BR, PS AE BI AE AR TAT ML IEE CBee Be PRR OR (MARAE) MERIAL: Ze 106 ~ 113 Ah, He CEPR AR HS HOMME; 458 125 ~ 128 bes, PE BLeET IPRA EBSP. 1% 113 ~ 120 Aa, Fe PRA SATRE ERE LAND USHA, CERT AR a AE DE AR A FEM BDI ES, ARG TA RE. DQG ASTRA, PRRE RRR WAR RE EE WIT AL OARS, TERESA LSA TET ER RR PR UCR AE WE, KE, RA, KS. WAAR BRO, WI MERA A ABA, A My FR UM RL PE EAR ANID I He I SAB, Be A CT SHEA Tr CUR RAY GTB AB TI o HLS RORSRARERRSS SEUAETE FUE UAE AY A AT A EE ES FRAP RENAME. S. Adler, Symphony No.3 W. Benson, The Solitary Dancer H.Brant, Angels and Devils Copland, Emblems M. Colgrass, Wind of Nagual I. Dahl, Sinfonietta V. Giannini, Symphony M. Gould, Symphony No.4 (West Point) Hanson, Chorale and Alleluia Hindmith, Symphony for Band R.Kurka, The Good Soldier Schweik Suite F. McBeth, Kaddish P.Mennin, Canto D.Maslanka, A Child’s Garden of Dream R. Nelson Aspen Jubilee Persichetti, Symphony No.6 Piston, Tunbridge Fair H. 0. Reed La Fiesta Mexicana J. Schwantner “....and the mountains rising nowhere. ..” 774J. Stamp, Divertimento in F Stravinsky, Symphonies of Wind Instruments F. Ticheli, Amazing Grace J. Tower, Stepping Stone, “Celebration Fanfare” F. Tull, Sketches on a Tudor Psalm; Variants on an Advert Theme R. Washbum, Symphony for Band D. Wilson, Piece of Mind 75AYSR 1 IRIS SIS SORDID IRES eet EAR RRL, CUNT ER eH AI TA GE A MAE ABRE HEE 15, TEA REAR SAE, ae jai (eum) ane eam (APT) D ae BEE AE sii Heian A Sie Sidi, BU ALS wie Ae igi A Be ————— D SEHR, RSL RLRRETR DQ REALAAEULMRANTR, RALRABATAEHAORS LBA, 776ae 12H (SLA) EAT Bite wesE ERE ws On 8B) EAL ‘He D Sh BAT ae ARERID ‘aH wR HR tik ea anne saatad (thew) ae ‘ese = i WR Ri AES Hei ae on 5ieih—-e = = ie 2 peumznnns necce Gey He MD, SAREE A fly 2 eke wend D: AT SRA D BE: Whe * AE REE SPTREE: 4/00 ae OO FI He AT tea sei FEE A ae sigma e anraeeeom FEB mE, EAR FEN E. SORABE FED BORE: ATL ‘Oh ete RE LE: e+ He, BSC PTAR ADE FEMEA TH Batters FED: MT Win a ——| » Sia EB, MRK CMR D; WARE sa RPE B.C that D BENS see BN, Braiets mess: RAB AS AS, i SK CGE HE AS AAD PRK BRB AR: ICU cy KAS: Te FEES MAB D, fbb-Lhe be 2 SSRBA ca SCNT (SUR be KS s eo ~~ 255 ame oso aaa ici SiRit Side — at RC, ut siete Hiei st Sigil Bivitt—s EA aes, hs ene BNE Hevea Be Sigil Sight Hea ee Sieit 18 BARES CME BRIA HOURERAET FAR, AP RDA SAE HHRe seta (eu A) aaa we RX ‘Strings Violin (VIn.) Viola ( Via.) ‘Violoncello ( Vie.) Double bass (D. B.) ‘Harp (Hp.) ‘Woodwinds Piccolo (Pice.) Flute (FI.) Oboe ( Ob.) English hom (Eng. Hn.) Clarinet (CL) Bass clarinet (Bs. Cl.) Bassoon (Bsn) Contrabassoon ( Cbsn.) Saxophone (Sax.) Brass (es) Hom (Ha.) ‘Trumpet (Tpt.) ‘Trombone (Teb.) ‘Toba (Tha.) DORE PS TAR HB Be TEE CHAS BANK Archi Violino Viola Violoncello Contrabasso Area Legni( or Fiati) Ottavino oF Flauto Piccolo Flauto Oboe Como inglese Clarinetto Clarone or Clarinetto basso Fagotio Contrafagatto Sassofono Ottoni Como ‘Tromba ‘Trombone ‘Tuba mn” iiss HL RSS A Seat (SEU) ee a Cordes Violon Alto Violoncelle Contrebasse Harpe Bois Petite fate Flate Hautbois Cor anglais Clarinette Clarinette basse Basson Contrebasson Saxophone Cuivees Cor ‘Trompette Trombone Tuba ax Streichinstrumente Violine or Geige Bratsche ‘Violoncell Kontrabass| Harfe Holzbliser Kleine Ble or Pickelitote Flite Obve or Hoboe Englisches Horn Klarinette Bassklarinotte Fagott Kontrafagott Saxophon Blechinstrumente Hor Trompete Posaune TubaRB Bx BANK ie Percussion Percussione Batterie Piano ( Pno.) Pianoforte Piano Celesta ( Cel.) Celesta or Celeste Céleste Harpsichord (Hpschd.) Cemballo Clavecin Organ (Org) Organo Ongue Harmonium ( Harn.) ‘Organetto Harmonium Instruments of Definite Pitch Idiophones Xylophone (Xyl.) Xilofono or Silofono Xylophone or Claquebois Marimba ( Mar.) Marimba Marimba Vibraphone ( Vib.) Vibrafono Vibraphone Glockenspiel_ or Orchestra . bal (Gly) Caropanelli or Campanette Jeu de timbres or Carillon ‘Tubular Chimes (Chm.) Campane or Capane tubolari Jeu des cloches Grotales (Crot.) Crotali Grotales or Cymbales antiques Musical saw (Saw) Sega cantante Lame musicale Flexatone (Flex.) Flessatono Flexatone Membranophones ‘Timpani (Timp.) Timpani ‘Timbales Roto Tom (R. Tom) Roto ~'Tom ~ Tom Roto - Tom Instruments of Indefinite Pitch Metal Idiophones Crash cymbals (Cymb.) Piatti or Cinelli ‘Cymbales ane cymbal CSP. Ping sospeso Cymbale suspendue ‘Sizzie cymbal (Sizile Cymb.) — Piatte chiodat Cymbale sur tiges: Finger cymbals (Fing. Cymb.) Cimbalini Cymbales digitales Triangle (‘Trg).) Triangolo or Acciarino ‘Triangle ‘Anvil ( Anv.) Incudine Enelume Cowbell (Cowb.) ‘Cencerro ‘Sonnailles or Cloches @ vache Tam —tam (Tam — Tam) ‘Tamtam ‘Tam - tam Gong (Gong) Cong Gong, 780 ex ‘Schlagreug Klavier Celesta Cembalo Orgel Harmonium Xylophon or Holshar- ‘monike Marimbaphon ‘Vibraphon Glockenspiel or Stahl- spiel Rahrenglocken or Glocken Zimbeln Singende Sige Flexaton Pauken ‘Tom ~'Tom ~Spiel Becken or Tellem Hingendos Becken Nietenbecken Fingerzimbeln Triangel Amboss Kulglocken or Kubscbellen Tamm Gong.Rl Rasee RX BANK eK ax Metal wind chimes (Metal Bacchette di metallo sospese Baguettes metalliques sus- . W.ch.) pendves Metall - Windglocken Wooden wind chimes Bacchette di Jegno sospese aguettes de bois euspendues Hols ~ Windglocken (Wooden W. Ch.) Bamboo wind chimes (Bam- Tubi di bambt Bambou suspend Bambusrobre ‘boo W. Ch.) Glass wind chimes (Glass Bacchette di vetro sospese Baguettes de verre suspendues Clas ~ Windglocken W.Ch.) Wooden Idiophones ‘Wood blocks (W. Bl.) Blocci de legno cinese or Blocs de bois Holzblicke Cassetina ‘Temple blocks (T.BL) _Bloeci de legno coreano ‘Temple ~ bloes Tempel ~ Blacke Claves (Claves) Claves Claves Claves or Holzstab Castanets (Cast.) Castagnette or Nacchere _Castagnettes Kastagnetten Sandpaper blocks (Sand BL.) Carta vetrata Papier de verre Sandpapier or Sandblocke Ratchet (Ratch.) Raganella Crécelle Ratsche Slapstick or Whip ( Slap- Frusta Fouet Peitsche stick) ‘Membranophones Snare drum (S. Dr.) ‘Tamburo piccolo or Tamburo Caisse claire or Tambour mili- Kleine Tromme! militare tire (with snares on) (colle corde) (avec timbres) rnit Schnarrsaite) (with snares off) (senta le corde) (sans timbres) ohne Schnarrsaite) Tenor drum (Ten, Dr.) Cassa rallante Caisse roulante Wirhelirommel or Ruhrtr- comme) Bass drum (Bs. Dr.) Gran eassa ot Gran tamburo Grosse eaisse Grosse Trommme] upright) Cventicale) (rerticale) (aulrecht) (on side) (orizzontale) (a plat) (liegend) ‘Tom Toms (Tom Toms) ‘Tom ~Tom ‘Tom —tom ‘Tom - Tom ‘Timbsles (Timb.) ‘Timpanetti ‘Timbales cubsines Kubs ~ Pauken Bongos ( Bong.) Bongos or Bonghi Bongos Bongos Gonga drum (Conga) Tamba Conga Conga ~"Tremel or Tarb ‘Tambourine (Tamb.) ‘Tamburo basco or Tamburino Tambour de basque ‘Tamburin or Schellen trommel 781ESEKE Rx Muted Take off mutes Without mute In unison Solo All 1. (first only) , 2 a2 String. Deck or Stand Divided Divided in 3 pars Divided in 4 parts Hilf (a string group) ‘At (near) the bridge Over the fingerboard With the wood of the bow ‘At the point of the bow At the frog In the ordinary way or Natural (after sport. su tastoct.) Near the sounding board (harp) Change to piccolo Change G to E (winds and timpani) Stopped horns) Brasey Open Bells in the air With soft stick With hard sticks DORE Soh SORE BANK Con sordino( Con sordini) Via sordini ‘Senza sordino Unisono( unis.) Solo ‘Tut 1°, 2° a2 Corda Lesaio Divisi(( div.) div.a3 div.a 4 Ja meta Sul ponticello Sul tasto or Sulla tastiera Col legno Punta d’arco al tallone Modo ordinario Muta in piccolo Sol muta in mi Chiuso( Chiusi) ‘Aperto( Apert) Campane in aria Bacchetta di spugna Bacchette di legno 782 aX Sourdine(s) Enleves les soundines Sans sourdine Unis Soul ‘Tous ler, 2e a2 Corde Pupitre Divisé( e) s( div.) div.a3 divad Ix moiti€ Sur le chevalet Sur la touche Avec le bois (de la) pointe au talon Mode ordinaire Pros de ln table ‘Changez en petite flare Changer do en mi Bouché(s) Cuivre Ouvert(s) Pavillons en l'air Baguette d'éponge( Baguette molle) Baguettes en bois mx mit Dampfer( or Gedim- pftin hors) Dampfer(n) weg Ohne Dampfer Bosammen Allein Alle 1 (or einfach), 2°" m2 Saite Put Geteile get.) Dreifach Viesfach dic Halite am Steg am Grifbrett Col legno or mit Hole Spitze am Frosch Gewsbalich Piccolo nebmen C nach E umstimmen Gestopft ‘Schmetternd Offen Schallirichter auf or Schall trichter hoch mit Schwammschlegel mit HolzschlegelnBit Se 2 Select Bibliography by Samuel Adler and Robert Gibson ORCHESTRATION Anderson Arthur O. Practical Orchestration. Boston New York ;C. C. Birchard ,1924. Bennett Robert Russell. Insirumentally Speaking. Melville N.Y. ;Belwin Mills 1975. Berlioz, Hector. Treatise on Instrumentation. Enlarged and ed. Richard Strauss. Trans. Theodore Front. New York; Kalmus, 1948, This important historical document stems from two of the finest orchestrators sRichard Strauss's revi- sions and additions to Berlios's original text are clearly marked. The treatise contains valuable in- formation and orchestrational ideas that are still valid today. Black Dave, and Tom Gerou. Essential Dictionary of Orchestration. Los Angeles; Alfred Music Pub- lishing Co.,1998. This quick reference guide gives the ranges, general characteristics ,and scoring tips for all instru- ments, Blatter, Alfred. /nstrumentation/ Orchestration. 2d ed. New York; Macmillan , 1997. Burton Stephen. Orchestration. Englewood Cliffs,N. J. :Prentice — Hall 1982. Casella, Alfredo. La Tecnica dell' orchestra contemporanea. Milan ; Ricordi ,1959. One of the finest sources of information about twentieth - century orchestration by one of the lead- ing halian composers. This book has never been translated into English. Del Mar,Norman. The Anchor Companion to the Orchestra. London, New York; Faber and Faber, 1987. A comprehensive guide to the instruments of the orchestra as well as to the works in which a par- ticular instrument is prominent. 783ESRRE Expf, Herrmann. Lehrbuch der Instrumentation. Mainz :B. Schott's Sthne,1959. Forsyth Cecil. Orchestration. Reprint of the second edition(1935). New York ; Dover, 1982. 4 delighifid book fall of information on all the orchestral instruments as well as on many less fie- quently used instruments, including those found in British brass bands. Gevaert, Frangois A. Nouveau traité d’instramentation, Paris: Lemaine 1885 ——. Cours méthodique d' orchestration. Paris : Lemaine , 1890. The two Gevaert books the French successors to Berlios's treatise are found only in French. Humperdinck ,Engelbert, Insirumentationlehre. Kéln: Verlag der Arbeitegemeinschah fur theinische Musikgeschichte, 1981. Isanc, Merle. Practical Orchestration ( for schools). New York; Robbins Music ,1963. Jacob, Gordon. The Elements of Orchestration. Westport ,Conn. ;Greenwood Press, 1976. ——~ Orchestral Technique. 3rd ed. London Oxford University Press 1982. Both the Jacob volumes discuss playing techniques for all the instruments and offer helpful sug gestions for employing them in orchestration. Orchestral Technique also contains valuable exam- ples of keyboard works transcribed for other instruments. Kennan Kent W. ,and Donald Grantham. The Technique of Orchestration. 5th ed. Englewood Cliffs, N. J. : Prentice ~ Hall 1997. This text includes a compact disc of selected excerpts in the book. Kling, Henri. The Art of Instrumentation, New York ;Carl Fisheer ,1905. Koechlin Charles. Traité de l'orchestration. 4 vols. Paris; Max Eschig,1954 ~ 1959, Kohs, Ellis B. An Aural Approach to Orchestration. Published by and available from the author. Kruckenberg,Sven. The Symphony Orchestra and Its Instruments. Twickenham ,England : Tiger Books International 1997, A beauifully illustrated ,large — format book that provides information on the growth of the mod- ern symphony orchestra ,and its instruments literature and techniques. Kunitz, Hans. Die Instrumentation. 13 vols. Leipzig: Breitkopf und Hartel ,1956 ~ 1961. This series which devotes an entire volume to each important orchestral instrument ,exists only in German. Each volume gives specialised information on each instrument and detailed charts on a 784WR variety of playing techniques associated with that instrument. Copious music examples of all possi- ble trills and tremolos for the wind instruments are included. Leibowitz René ,and Jan Maguire. Thinking for Orchestra. New Yor:Schirmer Books ,1960. McKay , George F. Creative Orchestration. Boston ; Allyn & Bacon, 1963. Piston , Walter. Orchestration. New York ; W. W. Norton ,1955. Read, Gardner. Thesaurus of Orchestral Devices. Westport Conn. :Greenwood Press ,1969. ——. Contemporary Instrumental Technique. New York ;Schirmer Books ,1976. style and Orchestration. New York ;Schirmer Books ,1979. The three Read books are references to orchestral techniques and devices. They are full of examples of contemporary techniques—always giving the pieces in which these techniques may be found—as well as discussions of some neglected aspects of orchestration found in scores from the common practice period to the present. Rimsky ~ Korsakov, Nikolai, Principles of Orchestration, Trans. Edward Agate. New York: Dover, 1953. This book is of historical as well as practical interest. AUl the examples are from Rimsky ~ Korsak- ov's own works. Rogers Bernard. The art of Orchestration. New York ; Appleton ~ Century ~ Croft 1951. This book contains tremendous insights into orchestrational techniques. Wagner, Joseph F. Orchestration. New York ; McGraw — Hill ,1959. Wellesz,, Egon. Die neue Instrumentation. Berlin: Max Hesse Handbicher, 1928. Widor Charles M. The Technique of the Modern Orchestra. London :J. Williams ,1906. INDIVIDUAL INSTRUMENTAL TECHNIQUE ‘This section lists books on the techniques of individual instruments. Many of these volumes are de- voted to twentieth ~ century techniques, which extend the original boundaries of the traditional techniques. Strings The Violin Family Bachman, Alberto. An Encyclopedia of the Violin. Trans. F. H. Martens. New York; Da Capo Press, 1976. 785RERKE Galamian, Ivan. Principles of Violin Playing and Teaching. Englewood Cliffs ,N. J. :Prentice - Hall, 1963. This book contains detailed information about bowings and string techniques, giving a violinist’s perspective on violin playing and teaching. Green, Elizabeth A. H. Orchestral Bowings and Routines. 2d ed. Ann Arbor,Mich. ;Ann Arbor Pub- lishers 1957. A manual detailing how to apply the basic principles of orchestral bowing to specific examples ‘from the literature. Nelson Sheila M. The Violin and Viola. New York :W. W. Norton ,1972. Seagrave, Barbara Garvey, and Joel Berman. The American String Teachers Dictionary of Bowing Terms for Siring Instruments. Urbana Ill. ; American String Teachers Association , 1968. A comprehensive source of information about bowing terms( including all foreign terms). Bach en- try lists the common modern usage first followed by historical or special meanings. Turetzky , Bertram. The Contemporary Contrabass. Berkeley : University of California Press 1974. An invaluable guide to new sound possibilities on the double bass. ‘Yampolsky ,1. M. Principles of Violin Fingering. Trans. Alan Lumsden. New York ; Oxford University Press ,1967. Zukovsky ,Paul. “On Violin Harmonics,” Perspectives of New Music( Spring/Summer 1968) :174~ 81. A well ~ known performer presents useful information and recommendations about contemporary no- tation and the performance of violin harmonics. This article also appears in Perspectives on Notation aan Performance ,ed. Benjamin Boretz and Edward T. Cone( New York; W. W. Norton ,1976. ) Other Strings Quine , Hector. Guitar Technique. London ; Oxford University Press ,1990. Salzedo, Carlos. Modern Study for the Harp. New York :. Schirmer 1948. The composer gives the symbols for and explanations of the new effects that he created. Sparks ,Paul. The Classical Mandolin. New York; Oxford University Press 1995. This book explores the techniques and literature for the mandolin from the Classical period to the 786We present. Stahl, William C. Stahl’s New Mandolin Method. Milwaukee J. Flanner,1900. Woodwinds Bartolozzi , Bruno. New Sounds for Woodwinds. Trans. Reginald Smith Brindle. London: Oxford Uni- versity Press, 1967. This book discusses monophonic and multiphonic possibilities for individual woodwind instruments. The fingering suggested in the book to produce these effects are easier to use on European — built instruments than on American ~ built ones. Includes sound recording of these techniques. Biggers,C. A. The Contrabassoon:A Guide to Performance, Bryn Mawr, Pa: Elkan Vogel ,1977. Cooper,L. H. and H. Toplansky. Essentials of Bassoon Technique. Union ,N. J. :Toplansky ,1968. Dick, Robert. The Other Flute. New York: Oxford University Press 1975. Dom ,Ken. Saxophone Techniques. Vol. I: Multiphonies. Islington Mass. ; Dorm Publications 1975. Heiss John C. “For the Flute: A List of Double ~ Stops, Triple — Stops, Quadruple - Stops, and shakes.” Perspectives of New Music( Fall/Winter 1966) :139 ~ 42. = “Some Multiple ~ Sonorities for the Flute, Oboe Clarinet, and Bassoon.” Perspectives of New Music( Fall/Winter 1968) ;136 ~ 42. - “The Flute: New Sounds.” Perspectives of New Music( Summer 1972) :153 ~ 58. Three articles from the journal Perspectives of New Music by a composer ~ flutist who has great in- sights into the mew techniques on woodwind instruments. The last contains detailed information on ‘multiphonics and extended playing techniques Howell , Thomas 8. The Avant ~ Garde Flute:A Handbook for Composers and Flutists. Berkeley : Uni- versity of California Press 1974, This book presents useful information about harmonics , quarter — tone fingerings , and special effects ,and catalogues the multiphonic possibilities for the flute according to the degree of their reliability of performance by most flutists. Kroll Oskar. The Clarinet. Trans, Hilda Morris. New York: Taplinger, 1968, Originally published as Die Klarinette :ikre Geschichte thre Literatur ihre grossen Meister ( Kassel; Barenreiter ~ Verlag 1965. ) 787RRR Langwill ,Lyndesay Graham. The Bassoon and Contrabassoon. New York; W. W. Norton ,1965. Pellerite James J. A Modern Guide to Fingerings for the Flute. 2d ed, Bloomington ,Ind. :Zalo Publi- cations 1972. Putnik, Edwin, The Art of Flute Playing. Evanston Il. ;Summy Birchard ,1970. Rascher, Sigurd M. Top ~ Tones for the Saxophone, Boston :Carl Fischer, 1941. Rehfeld ,P. New Directions for the Clarinet. Berkeley ; University of California Press ,1978. Spenser, W. G. The Art of Bassoon Playing. Evanston Ill. :Summy Birchard ,1958. Sprenkle , Robert ,and D. Ledet. The Art of Oboe Playing. Evanston ,Ill. ;Summy Birchard ,1961. Stein, Keith. The Art of Clarinet Playing. Evanston Ill. :Surumy Birchard ,1958. ‘Teal ,Larry. The Art of Saxophone Playing. Evanston Ill. :Summy Birchard ,1963. ‘Toff ,Nancy. The Flute Book. New York: Oxford University Press ,1996. A basic book for the flutist as well as the orchestrator. ‘Tose, G. Artistic Clarinet Technique and Study. Hollywood ; Highland Music ,1962. Weisberg, Arthur. The Art of Woodwind Playing. New York ;Schirmer Books 1975. Brass Baines , Anthony. Brass Instruments ; Their History and Development. London; Faber and Faber,1976; reprinted with corrections in 1978 and 1980. New York : Dover, 1993, Bevan , Clifford. The Tuba Family, New York : Charles Scribner's Sons ,1978. Farkas ,Philip. The Art of French Horn Playing. Evanston Wl. :Summy Birchard ,1956, Franz ,Oscar. Complete Method for the Horn. New York ;Carl Fischer ,1906. Herbert ,Trevor,and John Wallace ,eds. The Cambridge Companion to Brass Instruments. Cambridge : Cambridge Univesity Press,1997. Morley ~ Pegge R. The French Horn. New York:W. W. Norton 1973 Schuller, Gunther. Horn Technique. London; Oxford University Press ,1962. The noted composer and horn player has included a chapter that clarifies a number of commonly held misconceptions about writing for the horn. Wick, Dennis. Trombone Technique. New York : Oxford University Press 1984. Percussion and Keyboard Blades , James. Orchestral Percussion Technique. New York ;Oxford University Press 1973. Davis , Roger. The Organists' Manual. New York; W. W. Norton, 1985. Peinkofer, Karl, and Fritz Tannigel. Handbook of Percussion Instruments. Trans. K and E. Stone, 788MHD Mainz; B. Schott’s Séhne ,1976. Ramada, Manel. Atlas de los instrumentos de percusién. Valencia, Spai Rivera Editores, 1999, A coneise dictionary, in Spanish, of about one thousand percussion instruments. Each entry in~ eludes the instrument's name translated into several languages including English sits symbol ;its classification ( wood ,metal ,and so on) ;and its notation. Reed ,H. Owen, and Joel T. Leach. Scoring for Percussion. Englewood Cliffs ,N. J. : Prentice - Hall, 1969. The book discusses the commonly used percussion instruments ,more obscure instruments and spe- cial effects. Chapters on percussion notation are particularly useful. ‘Smith Brindle Reginald. Contemporary Percussion. New York ; Oxford University Press ,1970. THE HISTORY OF THE ORCHESTRA AND OF ORCHESTRAL INSTRUMENTS. Baines, Anthony. Musical Instruments Through the Ages. Baltimore : Penguin Books ,1961. ——. Woodwind Instruments and Their History. London :Faber and Faber, 1967. Bames, William H. The Contemporary American Organ. New York ;J. Fischer ,1952. Bate ,Philip. The Flute:An Outline of lus History, Development and Construction. New York: W. W. Norton , 1975 ~—. The Oboe :An Outline of lts History , Development and Construction. 31d ed. New York: W. W. Noxton 1975. ——. The Trumpet and Trembone;An Outline of Their History , Development ,and Construction. 24 ed. New York: W. W. Norton 1978, Becker, Hans. History of Instrumentation. Cologne; Amo Verlag ,1964. Bekker, Paul. The Orchestra. New York ;W. W. Norton, 1963. Bellow, A. The Illustrated History of the Guitar. New York ; Colombo ,1970. Belt, Phillip,et al. The Piano. New York:W. W. Norton ,1988. Bevan, Clifford. The Tuba Family. New York : Charles Scribner's Sons ,1978. Blades James. Percussion Instruments and Their History. London: Faber,1975. Brymer, Jack. The Clarinet. New York :Schirmer Books ,1976. Carse, Adam. History of Orchestration. New York ; Dover Publications ,1964. ——. The Orchestra from Beethoven to Berlioz. Cambridge : W. Heffer & Sons,Ltd. ,1948. ——. The Orchestra in the XVIIith Century. Cambridge; W. Heffer & Sons ,Ltd. ,1940. ——. Musical Wind Instruments. New York ;Da Capo Press ,1966. Coeme,Louis A. The Evolution of Modern Orchestration. New York : Macmillan ,1908, 789RERRE abeth. The Cello. New York ;Charles Scribner's Sons 1975. Geiringer Karl. Musical Instruments. New York ; Oxford University Press 1945. Goossens, Eugene and Evelyn Rothwell. The Oboe. New York :Schirmer Books,1977. Gregory Robin. The Horn. New York : Praeger, 1969. ——. The Trombone. New York ; Praeger 1973. Kentner, Louis. Piano, New York ;Schirmer Books ,1976. Korn, Richard. Orchestral Accents. New York Farrar Strauss and Cudahy ,1956. Kroll Oscar. The Clarinet. Trans. Hilda Morris. New York: Taplinger,1968. Langwill ,Lindesay Graham. The Bassoon and the Contrabassoon. New York: W. W. Norton, 1975. Leipps, Emile. The Violin. Trans. H.W. Parry. Toronto: Toronto University Press ,1969. Menuhin, Yehudi, William Primrose, and D. Stevens. Violin and Viola. New York :Schirmer Books, 1976. Niland, Austin. Introduction to the Organ. London ;Faber and Faber, 1968 Owen, Barbara and Peter Williams. The Organ. New York; W. W. Norton 1988. Peyser, Joan. The Orchestra ; Origins and Transformations. New York ;Charles Scribner's Sons ,1986 ; paperback ed. ,New York : Billboard Books ,2000. A wide - ranging collection of articles by noted contributors ,which deal with the history of the or- chestra and issues related to orchestrating with various historical instruments. Reusch .R. The Harp. New York : Praeger, 1969. Suchs,Curt, The History of Musical Instruments. New York: W. W. Norton ,1940. Sadie Stanley ,ed. The New Grove Dictionary of Musical Instruments. New York : Grove’s Dictionaries of Music, Inc. ,1984, Tumbull , H. The Guitar from the Renaissance to the Present Day. New York : Charles Scribner's Sons, 1974, Wheeler, Tom. The Guitar Book. New York :Harper and Row ,1974. BAND AND WIND ENSEMBLE SCORING, FILM SCORING, AND COMMER- CIAL ARRANGING Baker, Mickey. Complete Handbook for the Music Arranger. New York: AMSCO Press 1970. Cacavas, John. Music Arranging and Orchestration. Melville, N. Y. : Belwin Mills Publishing Co. , 1975 Clappe, Arthur. Principles of Wind - Band Transcription. New York ;Carl Fischer, 1921. Grove, Dick. Arranging Concepts. Studio City ,Calif, : First Place Music Publishers, 1972. Hagen Earle, Scoring for Film; Complete Text. N. p:E. D. J. Music Ine. ( pact of C. P. P. Belwin 790MRD Music) ,1971. Lang, Philip. Scoring for Band. New York: Mills Music ,1950. Mancini Henry. Sounds and Seores:A Practical Guide to Professional Orchestration. N. p: Northridge Music Co. Inc. ,1962. Distributed by Cherry Lane Music Co. This book discusses the instruments of the studio orchestra as well as arranging for studio orches- tra,drawing examples from the author's motion picture television and commercial recordings. A recording is included. Prendergast, Roy. Film Music, Neglected Art.2d ed. New York; W. W. Norton ,1992. Sebesky Don. The Contemporary Arranger. Los Angeles; Alfred Music Co. ,1975. A recording is available. Skinner, Frank. Underscore. Hollywood ; Criterion Music , 1960. Wagner, Joseph F. Band ~ Scoring. New York ; McGraw — Hill 1960. Wright ,D. Scoring for Brass Band. Colne ,Lanes. ,England;J. Duckworth ,1935. COMPUTER AND ELECTRONIC MUSIC. Anderson , Craig. MIDI for Musicians. New York: AMSCO Press , 1986, A guide t0 working with MIDI. Cook ,Perry R. An Introduction to Psychoacoustics. Cambridge Mass. ;The MIT Press 1997. An excellent text on how the brain processes and interprets sound. Includes units on cognitive psychology ,the physics of sound and computerized sound generation. Dodge Charles, and Thomas Jerse. Computer Music; Synthesis, Composition and Performance. 2d ed. New York ;Schirmer Books 1997. Provides an excellent introductory overview to the theory and practice of computer and clec- tronic music techniques. Manning , Paul, Electronic and Computer Music, London : Oxford University Press 1994, The invaluable book contains a thorough history of this genre as well as technical explanations, a bibliography ,and a discography. 791RBA Pellman Samuel. An Introduction to the Creation of Electroacoustic Music. New York; Wadsworth, 1994, An accessible and thorough introductory text, especially well suited to those with little prior background in bject. Roads , Curtis. The Computer Music Tutorial. Cambridge ,Mass. : The MIT Press ,1996. A comprehensive and accessible introduction to the practice, history, and theory of computer music techniques. Roads ,Curtis and John Strawn, Foundations of Computer Music. Cambridge Mass. :The MIT Press 1985. Rowe ,Robert, Interactive Music Systems. Cambridge Mass. :The MIT Press ,1992. Surveys graphical computer programs and systems that can analyze ,compose ,and participate in music performance in real time. Recommended Joumals Computer Music Journal. Cambridge ,Mass, ; The MIT Press. Electronic Musician. Berkeley ,Calif. Mix Publications. Keyboard. Cupertino ,Calif. ;GPT Publications. Leonardo Journal ( MIT Press Journals, Five Cambridge Center, Cambridge , Mass. 02142 — 1407) and the online Leonardo Electronic Almanac ( http ;//mitpress, mit. edu/e - joumnals/LEA/ home. html) 792