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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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Henry Brant: Textures and Timbres | Presto Sheet Music

For example Brant often lists: Read, highlight, and take notes, across web, tablet, and phone. It is also disturbed in Wind Group 3 see above by vibrato p. This site uses cookies. In an important addendum to this list p. Your request to send this item has been completed.

Homogeneity is a constant concern of his. The only question we need ask ourselves in this instance is can they do it. My library Help Advanced Book Search. Preview this item Preview this item. This is the least valuable for the orchestral piano; the outer ranges low and high are most valuable, says Brant. His two types are: Internet resource Document Type: 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.


The E-mail Address es you entered is are not in a valid format. This could be a modernist tick of his, but probably is statistically true, since piano in the orchestra is a modernist addition. Yet his percussion examples often use vibraphone which with its damper and motor are just about fully sustaining instruments.

herny Henry Brant Find more information about: Privacy Policy Terms and Conditions. Fischer- Instrumentation and orchestration – pages. I wanted to rebel because of the concrete gesture needed to play these sounds puts them in different worlds. A detailed section on accordion may also be a first for orchestration books. Fischer- Instrumentation and orchestration – pages 0 Reviews https: Don’t have an account?

His primary categories pre-empt the usual first division of percussion into definite pitched and indefinite or unpitched instruments. But a big but!

Email required Address never made public. It seemed apparent to Brant that, “a set of practical guides to the actual sound of the instruments rather than to hoped-for evocations of mystic visions would simplify the task of conductors, instrumentalists and audiences alike.

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Henry Brant: Textures and Timbres

Where will you find these outside of a well-stocked conservatory, or in a movie city with movie budgets to hire any number and types of instrumentalists?

Juxtaposition of different timbre groups p. Brant addresses the problem of balancing a progression where chords vary in number of tones p. No eBook available Amazon. Quick Overview Henry Brant’s new guide to orchestration is, in fact, the result of his lifelong work as a conductor, composer, and teacher; its first page written in the s, and its final page written in Fill in your details below or click an icon to log in: Anc many of them he discovered not only errors of fact, but also significant areas of omission.


Young, unconnected composers will not necessarily have access to the high-end, expert players of acoustic instruments. Chapter 17, Extreme Registerspoints out that auditory perceptions in these registers texturs more difficult at fortissimo dynamics, but textkres very good at lower levels p. A really interesting nad of blending, homogeneity, separateness could be to look at say, Mozart, Mahler, and Messiaen textures in actual performances in their acoustic spaces.

Take the middle range of the piano—the range of the solo and jazz repertoires. It is an unusual book. Enter Henry Brant with Chapter 9: It is impersonally addressed. English View all editions and formats Rating: