Started by c#minor, December 18, 2007, 01:21:44 PM
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Quote from: Anacho on December 19, 2007, 01:23:05 AMWhy not start with something straightforward then move onto more complex composition later. I think I started on Eine Kleine Nachtmusik and moved on to Elgar's Enigma Variations.
Quote from: c#minor on December 18, 2007, 01:21:44 PMAre there any books that help with this
Quote from: Anacho on December 19, 2007, 01:23:05 AMHow you study the scores is important. It's rarely satisfactory to just go through the score while listening because too much is happening. The music usually sounds simpler than it is. Better to choose a brief passage, listen to it extensively then study the passage in the score with the performance fresh in your mind. Then perhaps work with book and music together. Why not start with something straightforward then move onto more complex composition later. I think I started on Eine Kleine Nachtmusik and moved on to Elgar's Enigma Variations. However, if you want to study a selection of examples against a commentary and like Rimsky Korsakov, try the online book:http://www.northernsounds.com/forum/forumdisplay.php?f=77It's an expansion of Rimsky's own book so you'd have to turn to other examples/scores as quickly as possible.
Quote from: longears on December 19, 2007, 05:07:28 AMSee Walter Piston, Orchestration
Quote from: lukeottevanger on December 18, 2007, 11:10:44 PMPersonally, I don't think this graded approach is worth it. It's certainly not how I did it (and my orchestration is the one thing about my composing skills which I know is good!). I just started by surrounding myself with as many scores as my little teenage hands could grab hold of, and also, for a short while, reading some orchestration textbooks just to help me know what sort of thing to look for. I could go into detail about why I think that the graded approach is not necessary, but I haven't got time right now.
Quote from: Sforzando on December 19, 2007, 05:22:54 AMThe second deficiency is that I've never seen a book that shows examples of problematic orchestration and how to correct it. Toscanini premiered a piece by Abram Chasin once, and during rehearsal Chasin was chagrined to find one section sounded just awful, not at all what he had expected. Afterwards Toscanini told the composer: "Chasin! that middle section was not what you wanted, was it?" And that night Toscanini went home and rescored the entire passage. Lessons like that, or the kinds of lessons where Rimsky set Stravinsky to orchestrating passages of Rimsky's own unpublished works, and then the master showed the pupil what he did differently, could be worth their weight in gold.
Quote from: ????? on December 19, 2007, 05:28:37 AMgood thing we have notation programs and MIDI nowadays!(i'd end up making my whole scores sound like something that i didn't want )
Quote from: lukeottevanger on December 19, 2007, 04:56:47 AMWhy not? Well, IMO, doing something like this gives a rather misleading image of what modern orchestration is - at least, a rather staid one. Unlike harmony, which is best studied in a quasi-chronological way, because in that case this also = both natural harmonic 'evolution' and greater harmonic complexity, orchestration developed to an extent at the whim of instrumental technology, and so a chronological study (which is essentially the same thing as starting with small, simple orchestration and moving on to more sophisticated ones) gives the misleading impression that more recent instruments and effects are whimsical add-ons.
Quote from: Sforzando on December 19, 2007, 05:22:54 AM or the kinds of lessons where Rimsky set Stravinsky to orchestrating passages of Rimsky's own unpublished works, and then the master showed the pupil what he did differently, could be worth their weight in gold.
Quote from: johnQpublic on December 19, 2007, 06:26:41 AMI did something similar to that in my orchestration class. The professor would give us a piano reduction of an interior portion of an unidentified orchestral work and have us score it. After turning them in, we would then see the original orchestral score and make notes as to what we did well and poorly.
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