Principles of Orchestration : With Musical Examples Drawn From His Own Works
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In our eReader you can find the full English version of the book. Read Principles of Orchestration : With Musical Examples Drawn From His Own Works Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book Principles of Orchestration : With Musical Examples Drawn From His Own Works
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A confused, heavy accompaniment will overpower the singer; an accompaniment which is too simple in character will lack interest, and one which is too weak will not sustain the voice sufficiently.
In modern opera it is rare that orchestral writing is confined to accompaniment pure and simple. It frequently happens that the principal musical idea, often complex in character, is contained in the orchestra. Th? voice may then be said to form the accom- paniment, exchanging musical for literary inte...rest. It becomes — 120 — subordinate to the orchestra, as though it were an extra part^ subsequently added as an after-thought. But it is evident that great care must be taken with orchestral writing in such cases. The scoring must not be so heavy or complicated as to drown the voice and prevent the words from being heard, thereby breaking the thread of the text, and leaving the musical imagery unexplained, Certain moments may require great volume of orchestral tone, so great that a voice of even phenomenal power is incapable of being heard.
What to read after Principles of Orchestration : With Musical Examples Drawn From His Own Works?
You can find similar books in the "Read Also" column, or choose other free books by Rimsky-Korsakov, Nikolay, 1844-1908 to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
A confused, heavy accompaniment will overpower the singer; an accompaniment which is too simple in character will lack interest, and one which is too weak will not sustain the voice sufficiently.
In modern opera it is rare that orchestral writing is confined to accompaniment pure and simple. It frequently happens that the principal musical idea, often complex in character, is contained in the orchestra. Th? voice may then be said to form the accom- paniment, exchanging musical for literary inte...rest. It becomes — 120 — subordinate to the orchestra, as though it were an extra part^ subsequently added as an after-thought. But it is evident that great care must be taken with orchestral writing in such cases. The scoring must not be so heavy or complicated as to drown the voice and prevent the words from being heard, thereby breaking the thread of the text, and leaving the musical imagery unexplained, Certain moments may require great volume of orchestral tone, so great that a voice of even phenomenal power is incapable of being heard.
What to read after Principles of Orchestration : With Musical Examples Drawn From His Own Works?
You can find similar books in the "Read Also" column, or choose other free books by Rimsky-Korsakov, Nikolay, 1844-1908 to read onlineMoreLess
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