Billaudot Girard A. - Techniques d'Orchestration Vol.2
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Summary of This Book
This second volume of Techniques d'orchestration continues the work begun in the previous one while adopting a decidedly different approach: here, the study is organized by themes to directly address the issues encountered by the orchestrator in real situations. The author introduces the notion of "mixture" to refine listening and writing of doublings, highlighting their respective qualities according to registers, timbres, and instrumental combinations. Significant attention is given to instrument choice and the hierarchy of sound planes, to learn how to bring out a line, support a harmony, or densify a texture without weighing it down. One chapter deals with the specific difficulties posed by very pianistic writing, then another explores the possible margins of freedom regarding the original score, between fidelity, adaptation, and musical intention. The final pages deepen an approach to timbres through brightness, warmth, and color, relying on numerous examples dominated by Debussy and Ravel, while broadly expanding the stylistic palette towards Dukas, Koechlin, Scriabin, Bartók, Berg, Stravinsky, Prokofiev, Takemitsu, and other 20th and 21st-century writings.
Technical specifications
| Theme | Music theory | ||
| Instrumentation | orchestra | Language | French |
| Genre | orchestration method | ||
Questions frequently asked
Is Techniques of Orchestration Vol.2 available in French?
The book is written in French and pertains to the subject of music theory, with a focus on orchestral writing.
How should instrumental doublings be worked on with this volume?
The concept of "mixture" structures the study of doublings. The qualities of associations are examined according to registers, timbres, and instrumental combinations.
Does this book address the hierarchy of sound layers in the orchestra?
Significant attention is given to the choice of instruments and the hierarchy of sound layers. It covers highlighting a melodic line, supporting a harmony, and thickening a texture without making it heavy.
Does Techniques of Orchestration Vol.2 deal with orchestrating piano-like writing?
One chapter is dedicated to the difficulties specific to orchestrating very pianistic writing.
Which composers are studied in Techniques of Orchestration Vol.2?
The examples are largely based on Debussy and Ravel. Writings by Dukas, Koechlin, Scriabin, Bartók, Berg, Stravinsky, Prokofiev, and Takemitsu are also cited, covering a range from the 20th to the 21st centuries.
