Sounds and scores : a practical guide to professional orchestration / Henry Mancini
Material type:
- 20 780.265 MAN
- MT86 .M33
Item type | Current library | Collection | Call number | Status | Date due | Barcode | |
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Academy of Music & Performing Arts Library Reference | Non-fiction | 780.265 MAN (Browse shelf(Opens below)) | Not For Loan | A00192 |
Browsing Academy of Music & Performing Arts Library shelves, Shelving location: Reference, Collection: Non-fiction Close shelf browser (Hides shelf browser)
780.216 BAR A dictionary of musical themes / | 780.265 KAM The Norton scores : an anthology for listening / | 780.265 KAM The Norton scores : an anthology for listening / | 780.265 MAN Sounds and scores : | 780.9 GRO A history of western music / | 780.9 HAN Concise history of western music / | 780.904 MAC Introduction to contemporary music / |
1. The Essentials -- 2. The Saxophones -- 3. The Woodwinds : The Piccolo ; The C Flute ; The Alto Flute ; The Bass Flute ; The Clarinet ; The Bass Clarinet ; The Oboe ; The English Horn ; The Bassoon ; The Woodwind Ensemble -- 4. The Brass : The Trumpet ; The Trombones ; The French Horn ; The Tuba ; The Brass Ensemble ; The Brass Mutes ; The Brass and Saxophone Ensemble -- 5. Show and Act Music -- 6. The Rhythm Section : The Piano ; The Celesta ; The Guitar ; The Bass Guitar ; The String Bass ; The Drums ; The Timpani ; The Vibraphone ; The Marimba ; The Xylophone ; The Bells ; The Harp -- 7. Latin Instruments and Rhythms -- 8. The Combo -- 9. The String Section -- 10. Conclusion.
"Following the score along with the recording of a piece of music has long been a major part of the 'serious' music student's method of study. Unfortunately, the long 'popular' music student who hopes to become a professional composer-arranger in the commercial field has no wealth of material to aid him. Printed scores of commercial recordings are rare. The basic purpose of this book is to remedy this situation by giving the budding professional a means of comparing the recorded sounds with the printed illustrations. However, this procedure will be altered from time to time to include discussion of subjects that are not available on recordings.
Since the average dance orchestra does not include eight brass, five saxes, four French horns , or twenty strings, many of the recorded examples are rewritten for smaller groups, showing how the voicing change as the groups get progressively smaller.
We will not concern ourselves with the definitive studies of the technical possibilities of the various instruments. The orchestration books of Cecil Forsyth and Walter Piston have taken ample care of this for us. Our main concern is the combining of instruments into sections and ensembles of all types that must be dealt with be the professional writer in the commercial field" -- Book forward.
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