THE STUDY OF ORCHESTRATION
by Samuel Adler


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Summary:

The Study of Orchestration by Samuel Adler is a comprehensive guide to the art and craft of orchestration. It covers all aspects of writing for orchestra, from basic principles to advanced techniques. The book begins with an overview of the history and development of orchestral music, followed by chapters on instrumentation, score preparation, transposition, voicing and balance, texture and coloration. It also includes sections on special effects such as percussion instruments and electronic sounds.

Adler provides detailed information about each instrument in the orchestra—its range, timbre (tone quality), articulation (how it is played) dynamics (volume), notation conventions—and how they are used together to create musical textures. He explains various methods for combining instruments into ensembles or "choirs" that can be used to achieve different colors or moods in a composition. He also discusses ways to use harmony effectively in orchestrations. 

In addition to discussing traditional approaches to orchestration, Adler explores more modern techniques such as aleatoric writing (using chance elements) and extended instrumental techniques like multiphonics (playing multiple notes at once). He also examines contemporary trends in film scoring and other genres where technology has opened up new possibilities for composers. 

Throughout the book there are numerous examples drawn from classical works as well as popular music styles ranging from jazz fusion to rock & roll. These examples illustrate many points made throughout the text while providing insight into how great composers have approached their craft over time. 

 The Study of Orchestration is an invaluable resource for any composer looking for guidance on creating effective orchestrations or simply wanting a better understanding of this complex art form. With its clear explanations backed up by practical examples it will help readers develop their own unique approach towards composing with large ensembles.</


Main ideas:

Main idea #1.      Orchestration is the art of combining instruments to create a musical texture: Orchestration is the art of combining instruments to create a musical texture that is both pleasing to the ear and effective in conveying the composer’s musical ideas. It is a complex process that requires knowledge of the instruments’ capabilities and the ability to create a balanced and effective texture.

Main idea #2.      The composer must consider the range, timbre, and dynamics of each instrument: The composer must consider the range, timbre, and dynamics of each instrument when orchestrating a piece of music. This includes understanding the capabilities of each instrument and how they can be used to create a desired effect.

Main idea #3.      The composer must also consider the acoustics of the performance space: The composer must also consider the acoustics of the performance space when orchestrating a piece of music. This includes understanding how the instruments will sound in the space and how the acoustics will affect the overall sound of the piece.

Main idea #4.      The composer must understand the capabilities of each instrument: The composer must understand the capabilities of each instrument when orchestrating a piece of music. This includes understanding the range, timbre, and dynamics of each instrument and how they can be used to create a desired effect.

Main idea #5.      The composer must also consider the musical style of the piece: The composer must also consider the musical style of the piece when orchestrating a piece of music. This includes understanding the conventions of the style and how they can be used to create a desired effect.

Main idea #6.      The composer must understand the capabilities of the ensemble: The composer must understand the capabilities of the ensemble when orchestrating a piece of music. This includes understanding the range, timbre, and dynamics of the ensemble and how they can be used to create a desired effect.

Main idea #7.      The composer must consider the balance of the ensemble: The composer must consider the balance of the ensemble when orchestrating a piece of music. This includes understanding how the instruments will interact with each other and how the balance of the ensemble can be used to create a desired effect.

Main idea #8.      The composer must understand the capabilities of the conductor: The composer must understand the capabilities of the conductor when orchestrating a piece of music. This includes understanding the conductor’s ability to shape the performance and how the conductor can be used to create a desired effect.

Main idea #9.      The composer must consider the use of special effects: The composer must consider the use of special effects when orchestrating a piece of music. This includes understanding how the use of special effects can be used to create a desired effect and how they can be used to enhance the overall sound of the piece.

Main idea #10.      The composer must consider the use of technology: The composer must consider the use of technology when orchestrating a piece of music. This includes understanding how technology can be used to create a desired effect and how it can be used to enhance the overall sound of the piece.

Main ideas expanded:

Main idea #1.     Orchestration is the art of combining instruments to create a musical texture that is both pleasing to the ear and effective in conveying the composer’s musical ideas. It requires knowledge of each instruments capabilities, as well as an understanding of how different combinations of instruments can be used to create a balanced and effective texture. Orchestrators must also consider factors such as dynamics, articulation, range, timbre, and register when creating their textures. 

The process begins with selecting which instruments will be used for each part or section within a composition. Once this has been determined, orchestrators must decide on how many players are needed for each part and what techniques should be employed by those players (e.g., pizzicato vs arco). They must also consider how these parts interact with one another in order to achieve the desired effect. 

In addition to choosing appropriate instruments and techniques for individual parts or sections within a composition, orchestrators must also think about larger-scale issues such as balance between sections or groups of instruments; contrast between loud/soft passages; transitions from one section or group to another; overall coloration; etc. 

Ultimately, orchestration is an art form that requires creativity and skill in order to effectively combine various elements into a cohesive whole. By carefully considering all aspects of orchestration – from individual instrumental parts through large-scale considerations – composers can craft beautiful music that speaks directly to their audience.</p

Main idea #2.     The composer must consider the range, timbre, and dynamics of each instrument when orchestrating a piece of music. This includes understanding the capabilities of each instrument and how they can be used to create a desired effect. Range refers to the highest and lowest notes that an instrument is capable of producing; timbre is the unique sound quality or tone color associated with an instrument; and dynamics refer to how loud or soft an instrument can play. 

When composing for orchestra, it is important for composers to understand which instruments are best suited for certain passages in order to achieve their desired musical effects. For example, if a composer wants a passage to have a bright sound they may choose instruments such as trumpets or violins because these instruments tend to have brighter tones than other orchestral instruments. On the other hand, if they want something more mellow sounding then strings like cellos or basses might be better suited. 

In addition, composers should also take into account how different combinations of instruments will interact with one another in terms of volume levels (dynamics) as well as overall texture (timbre). By carefully considering all these factors when writing for orchestra, composers can ensure that their pieces will come out sounding exactly as intended.

Main idea #3.     The composer must also consider the acoustics of the performance space when orchestrating a piece of music. This includes understanding how the instruments will sound in the space and how the acoustics will affect the overall sound of the piece. The reverberation time, or RT60, is an important factor to consider as it affects both clarity and balance within a composition. Additionally, composers should be aware of any potential acoustic anomalies that may exist in certain spaces such as standing waves or flutter echoes. 

In order to achieve optimal results from their compositions, composers should take into account not only what instruments they are using but also where they are performing them. By considering these factors ahead of time, composers can ensure that their pieces will have maximum impact on audiences.

Main idea #4.     The composer must understand the capabilities of each instrument when orchestrating a piece of music. This includes understanding the range, timbre, and dynamics of each instrument and how they can be used to create a desired effect. Range refers to the highest and lowest notes that an instrument is capable of playing; timbre is the unique sound quality or tone color that distinguishes one instrument from another; and dynamics refer to how loud or soft an instrument can play. 

In addition, composers should also consider articulation—the manner in which notes are played—as well as techniques such as vibrato, glissando (sliding between two pitches), trills (rapid alternation between two pitches), tremolo (rapid repetition of a single note) and mutes (devices placed on instruments to alter their sound). By understanding these elements, composers can effectively use orchestration to bring out certain musical ideas in their compositions.

Main idea #5.     The composer must also consider the musical style of the piece when orchestrating a piece of music. This includes understanding the conventions of the style and how they can be used to create a desired effect. For example, in classical music, composers often use specific instrumentation to evoke certain emotions or moods. They may choose instruments that are associated with particular genres such as strings for romantic pieces or brass for military marches. Additionally, they may employ techniques like counterpoint and harmony to further enhance their composition. 

In addition to considering instrumentation and technique, composers should also think about texture when writing for an orchestra. Texture refers to how many different layers there are in a piece of music at any given time; it is determined by both the number of instruments playing simultaneously as well as their individual parts within those layers. A thick texture might include multiple melodic lines while a thin texture could consist only of one single line played by one instrument. 

Finally, composers should take into account dynamics when orchestrating their compositions. Dynamics refer to how loud or soft certain sections or passages are relative to others; this can be used effectively to add contrast and interest throughout a work. By carefully considering all these elements together – instrumentation, technique, texture and dynamics – composers can craft unique orchestral works that truly capture their vision.

Main idea #6.     The composer must understand the capabilities of the ensemble when orchestrating a piece of music. This includes understanding the range, timbre, and dynamics of the ensemble and how they can be used to create a desired effect. Range refers to both the highest and lowest notes that an instrument or group of instruments is capable of producing. Timbre is related to tone color; it describes how different instruments sound in comparison with one another. Dynamics refer to changes in volume over time, from very soft (pp) to very loud (ff). 

In order for a composer to effectively use these elements within their composition, they must have an intimate knowledge of each instrument’s capabilities as well as how those individual parts interact with one another when combined into an ensemble. The composer should also consider any limitations that may exist due to physical space or other factors such as budget constraints. 

By taking all these considerations into account, composers are able craft pieces that take full advantage of what their chosen ensemble has to offer while still creating something unique and interesting for listeners.

Main idea #7.     The composer must consider the balance of the ensemble when orchestrating a piece of music. This includes understanding how the instruments will interact with each other and how the balance of the ensemble can be used to create a desired effect. The composer should take into account both timbre and volume when considering this balance, as well as any special effects that may be desired. 

When determining which instruments to use in an orchestration, it is important for composers to think about what kind of sound they want from their ensemble. Different combinations of instruments can produce different sounds, so it is important for composers to understand which instrumentation will best suit their needs. Additionally, composers should also consider how certain sections or passages might benefit from specific instrumentation. 

In addition to choosing appropriate instrumentation, composers must also pay attention to dynamics within an orchestration. Dynamics are essential in creating contrast between sections and providing interest throughout a piece. Composers should strive for variety in dynamic levels by using crescendos and decrescendos where appropriate. 

Finally, it is important for composers to remember that all parts need not always play at once; sometimes leaving out certain parts can help create more interesting textures or provide space for soloists or small ensembles within larger pieces. By taking these considerations into account during composition and orchestration processes, composers can ensure that their works have balanced ensembles that contribute effectively towards achieving their artistic goals.</p

Main idea #8.     The composer must understand the capabilities of the conductor when orchestrating a piece of music. This includes understanding how to use the conductor’s skill set to shape and control the performance, as well as how to create desired effects through their interpretation. The composer should be aware of what techniques are available for creating certain sounds or textures, such as crescendos, decrescendos, accelerandos and ritardandos. They should also consider how different instruments can be used in combination with each other to achieve a particular sound or effect. 

In addition, it is important for composers to understand that conductors have their own individual style which will affect the way they interpret a score. It is therefore essential that composers take into account this personal approach when writing for an orchestra so that they can ensure their work is performed accurately and effectively.

Main idea #9.     The composer must consider the use of special effects when orchestrating a piece of music. Special effects can be used to create a desired effect and enhance the overall sound of the piece. For example, reverb or delay can be used to add depth and texture to an orchestral arrangement, while tremolo or vibrato can be used to add movement and interest. The composer should also consider how different instruments interact with each other in order to create unique sounds that are not possible with just one instrument alone. 

When using special effects, it is important for the composer to understand how they will affect the overall balance of the orchestra. Too much reverb or delay may make certain instruments difficult to hear, while too little may leave them sounding thin and weak. It is also important for composers to experiment with different combinations of instruments in order to find out which ones work best together. 

Finally, it is essential for composers to take into account any technical limitations that might exist when incorporating special effects into their compositions. Some pieces require specific types of equipment in order for certain sounds or techniques to be achieved; if these requirements are not met then it could lead to unsatisfactory results.

Main idea #10.     The composer must consider the use of technology when orchestrating a piece of music. Technology can be used to create a desired effect and enhance the overall sound of the piece. For example, modern synthesizers and samplers allow for an infinite range of sounds that can be blended with traditional orchestral instruments to create unique sonic textures. Additionally, digital audio workstations provide composers with powerful tools for manipulating sound in ways that would have been impossible just a few decades ago. 

Technology also allows composers to experiment with new techniques such as microtonal tuning or spectral synthesis which are not possible using traditional acoustic instruments. Furthermore, technology provides access to vast libraries of samples from real-world instruments which can be used to recreate realistic sounding performances without having access to live musicians. 

In short, understanding how technology can be used in composition is essential for any modern composer who wishes to take full advantage of all available resources when creating their works.

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