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TitleCreative Orchestration - George Friedrich McKay
File Size42.8 MB
Total Pages128
Table of Contents
1. The Instruments of the Orchestra
	Ranges and Registers
	Transposition Ratios
	Rules for Bowing and Phrasing
	Phrasing for Wind Instruments
	Potentialities and Limitations
	Instrumental Motion
2. Principles of Clarity
	Consistency of Unit Organization
	Definiteness of Texture
	Monophonic Texture
	Chordal Texture
	Polyphonic Texture
	Homophonic Texture
	Polythematic Texture
	Polyrhythmic Texture
	Heterophonic Texture
	Onomatopoetic Texture
	Textural Combination
	Pitch Distribution
	Limitation of Harmony
	Vividness of Timbre
	Limitation of Melodic Components
	Control of Dynamics
3. Principles of Tonal Interest
	Contrast of Timbre (Antiphonal)
	Instrumental Motion
	Doubling for Power
	Blend for Subtlety
	Contrast of Pitch Locale
	Blend of Differential Motion
	Extreme Registers
	Contrasted Articulation
	Total Mixture
	Contrast of Chord and Line
	Motion as a Sustaining Factor
	Percussion as Background
	Strings as Background
	Balance of Idiomatic Characteristics
	Contrast of Staccato and Legato (Consecutive)
	Staccato and Legato (Simultaneous)
	Expanded Tonal Groups
	The Full and Subtle Use of Percussion Instruments
	Total Mixture (Horizontal)
	Total Mixture (Vertical)
	"Music Concrete"
	Electronic Music
	Orchestral Use of Human Voices
4. Structural Values
	Sufficient Instrumental Motion
	Sufficient Vigor of Design
	Sufficient Overlapping of Choirs
	"Light and Shade" through Variegation of "Thickness and Thinness" of Texture
	Sufficient Variety within General Design
5. Orchestral Types
Appendix A
Appendix B

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