Instrumentation method

Author: Cui Hongbin
Publisher: Henan University Press
Book Description:
This book is compiled based on the needs of composition studies in higher art music academies in Henan Province and the author's many years of teaching experience. During the writing process, references were made to Rimsky-Korsakov's Principles of Orchestration, C. Vasylenko's Symphonic Orchestration, Zhang Xiaohu's Orchestration, Hu Dengjiao's National Orchestration, and Li Minxiong's National Orchestration Score Writing, as well as a large number of score examples from different eras, schools, and modern Chinese composers. It is systematically and scientifically written. This book can serve as a textbook for undergraduate music majors, correspondence courses, and self-study, as well as a reference for amateur music creators.
Orchestration is one of the important technical theoretical courses in composition. Through rigorous and systematic study, we can transform a monophonic music piece or a piano composition into an orchestral work. To perfectly and fully recreate a mature monophonic music piece or piano composition with an orchestra requires substantial work and diverse, multidimensional knowledge—a fact beyond doubt. Therefore, before studying Orchestration, one must possess a solid foundation in music theory, harmony, counterpoint, and formal analysis, as well as a good inner ear and musical sentiment. Additionally, familiarity with Western and national instruments is essential. Only in this way, only in this way, can one creatively write a good orchestral piece, making the overall sound rich in modernity, nationality, and an original individual style, achieving a harmonious effect of "symphony" (a joint performance).
The goal is to blend the timbres of different instruments, integrating their individual personalities into a common whole, reaching a harmonious effect of "symphony."
Table of Contents:
Introduction
Chapter 1 Types and Compositions of Orchestras
Section 1 Symphonic Orchestra
Section 2 National Orchestra
Section 3 Mixed Orchestra
Section 4 Various Small Orchestras
Chapter 2 Methods of Arranging Scores
Section 1 Score Voicing
Section 2 Instrument Names and Score Writing Method
Section 3 Notation for Transposing Instruments
Section 4 Common Performance Signs and Expression/Tempo Terms
Section 5 English Equivalents of Common Western Instruments in Orchestras
Section 6 Range of Instruments
Chapter 3 The String Section of the Symphonic Orchestra
Chapter 1 Types and Compositions of Orchestras
Section 1 Symphonic Orchestra
Section 2 National Orchestra
Section 3 Mixed Orchestra
Section 4 Various Small Orchestras
Chapter 2 Methods of Arranging Scores
Section 1 Score Voicing
Section 2 Instrument Names and Score Writing Method
Section 3 Notation for Transposing Instruments
Section 4 Common Performance Signs and Expression/Tempo Terms
Section 5 English Equivalents of Common Western Instruments in Orchestras
Section 6 Range of Instruments
Chapter 3 The String Section of the Symphonic Orchestra
Section 1 Introduction to the String Section
Section 2 Combining the String Section
Section 3 Structure of the String Section
Section 4 Special Cases in the Lower Strings
Section 5 Texture Writing
Chapter 4 The Woodwind Section
Section 1 Introduction to the Woodwind Section
Section 2 Combining the Woodwind Section
Section 3 Texture Writing for Woodwinds
Chapter 5 The Brass Section
Section 1 Introduction to the Brass Section
Section 2 Use of Brass Instruments in the Orchestra
Section 3 Combining Brass for Melody
Section 4 Polyphonic Writing for Brass
Chapter 6 Piano, Harp, and Percussion
Section 1 Piano, Harp, and Celesta
Section 2 Percussion Instruments
Chapter 7 Advanced Orchestration (Part 1)
Section 1 Melodic Writing Combining Woodwinds and Strings
Section 2 Melodic Writing Combining Woodwinds and Brass
Section 3 Melodic Writing Combining Strings and Brass
Section 4 Melodic Writing with Thirds and Sixths
Section 5 Harmonies of the Orchestra
Section 6 Harmonies of Each Instrument Group
Section 7 Full Orchestra Performance
Section 8 General Use of Percussion and Plucked Instruments, and Other Specialty Instruments
Chapter 8 Advanced Orchestration (Part 2)
Section 1 Transition of Melodic Instruments in the Composition
Section 2 Gradual Increase and Decrease of Instruments
Section 3 Handling of Tones
Section 4 Orchestration of Polyphonic Texture
Section 5 Balance of Sound
Chapter 9 Advanced Orchestration (Part 3)
Section 1 Types of Instrumental Timbre
Section 2 Contrast of Timbre
Section 3 Instrumentation Layout
Chapter 10 National Orchestra Score Writing (Part 1)
Section 1 Bowed Instruments
Section 2 Plucked Instruments
Section 3 Wind Instruments
Section 4 Percussion Instruments
Chapter 11 National Orchestra Score Writing (Part 2)
Section 1 Voicing of National Orchestras
Section 2 Bowed Instrument Ensemble
Section 3 Plucked Instrument Ensemble
Section 4 Wind-Percussion and Bamboo-Folk Ensemble
Section 5 National Orchestra Ensemble
Chapter 12 Orchestration Writing for Electric Bands
Section 1 Introduction to Common Electric Instruments
Section 2 Band Composition and Score Arrangement
Section 3 Common Rhythmic Patterns in Pop Dance Music
Section 4 Various Types of Electric Bands
Section 5 Texture Layer Design
Section 6 Harmony Markings and Handling Methods for Electric Bands
Section 7 Handling Climaxes and Writing of Introductory, Interludes, and Coda
Chapter 13 Arrangement for Wind Bands
Section 1 Composition of Wind Bands and Instruments
Section 2 Band Composition and Score Arrangement
Section 3 Key Points in Wind Band Orchestration
Section 4 Steps in Wind Band Arrangement
Chapter 14 Arrangement for Orchestration Accompanying Vocal Music
References