Prof H Klings Modern Orchestration And Intrurmentation PDF Download

Excerpt from Prof. H. Kling's Modern Orchestration and Instrumentation: Or the Art of Instrumentation Containing Detailed Descriptions of the Character and Peculiarities of All Instruments and Their Practical Employment; For Either Solo, Orchestra, or Military Band Purposes; Profusely Illustrated With Examfles in Notes and Fu The extraordinary popularity achieved in Germany, Italy, Switzerland, etc., by the present treatise on Modem Orchestration and Instrumentation, and the friendly reception accorded it by the musical profession at large, together with most flattering comments by European art critics in general, have prompted its publication in a specially prepared American edition. Instrumentation, in its proper sense, is the ability to reproduce musical impressions and ideas in writing, and imparting to theman outwardly comprehensive and audible expression through the employment of one or more musical instruments. In proportion to the number of instruments employed, or their particular combinations, we find the different groupings designated as Sola. Due, Trio, Quarteit, Qumtett. Sextrff. or ultimately Oreheitra. In a broader sense, and comparatively speaking. Instrumentation, and particularly Orchestration or Orchestra) Instrumentation, might be interpreted as signifying that which the painter designates as color-compilation or combination. As a fan. the idea of Tonal-color (as applied to painting) and Vibratory or (as applied to music), although impossible in a strictly comparative sense, has become entirely en ronne through it the intervals or tones (cither individually or collectively) of the various Stringed, Wood. Brass or Percussion Instruments can be best and most appropriately designated. It has even been claimed that certain tones correspond exactly with certain colors, in-so-far that both - one through agency of the organs of hearing, the other through the organs of sigh - combine and affect the brain in such a manner as to bring about the same impressions and feelings. Without desiring to investigate into the detailed and scientific foundation of these analogic at this point, it may be set down as an absolute certainty that for instance A flat or D flat will fittingly correspond to the idea of dark or tombre, and D or E rather to the idea of tight of bright; and in the same way as the expressions of hard and soft, etc., are applied to individual or a combination of colors, and in turn to individual tones of an instrument or to entire tonal successions of different instruments. From the foregoing may be gathered that Instrumentation must be considered from both a technical and asthitc stand point and that both are inseparable. The former above all demands a thorough and complete knowledge of the individual instruments, their tonal-character and compass, treatment, employment, capabilities and tonal-color in the various registers. To gain this knowledge and executive ability, continued application and absolute mastery of instrumental detail must form the foundation, which in turn can only be achieved through incessant and conscientious study. A different proposition presents itself when considering the asthetic side, which embodies and treats of the beauty, effectiveness, and at the same time originality of the compilation of tonal-colors. This faculty is dependent upon natural or inborn capabilities, traceable only to innermost feeling and expressiveness, and which in general is designated as Talent. and. if possessed to a greater degree, as Geniut. Naturally where inborn capabilities are possessed to such an unusual degree, rules and maxims, in fact teaching and learning in the accepted and ordinary sente, are out of the question, development and ultimate mastery being brought about in such a case solely through systematic absorbing of existing material, continual encouragement towards higher ideals, and through the careful and minute study and hearing of master-works by great composers,