Principles of Orchestration, with Musical Examples Drawn from His Own Works
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Table of contents
1. Front matter2. with musical examples drawn from his own works3. Volume II4. with musical examples drawn from his own works5. [VOLUME I]6. Editor’s Preface.7. Extract from the Author’s Preface (1891).8. Extract from the Preface to the last edition.9. Chapter I.10. A. Stringed Instruments.11. B. Wind instruments.12. C. Instruments of little sustaining power.13. Percussion instruments producing determinate sounds, keyed instruments.14. Percussion instruments producing indefinite sounds.15. Comparison of resonance in orchestral groups and combination of different tone qualities.16. Chapter II.17. Melody in stringed instruments.18. Grouping in unison.19. Stringed instruments doubling in octaves.20. Melody in the wood-wind.21. Melody in the brass.22. Melody in different groups of instruments combined together.23. Chapter III. General observations.24. String harmony.25. Wood-wind harmony.26. Harmony in the brass.27. Harmony in combined groups.28. Chapter IV.29. Different ways of orchestrating the same music.30. Full Tutti.31. Tutti in the wind.32. Tutti pizzicato.33. Tutti in one, two and three parts.34. Soli in the strings.35. Limits of orchestral range.36. Transference of passages and phrases.37. Chords of different tone quality used alternately.38. Amplification and elimination of tone qualities.39. Repetition of phrases, imitation, echo.40. Sforzando-piano and piano-sforzando chords.41. Method of emphasising certain notes and chords.42. Crescendo and diminuendo.43. Diverging and converging progressions.44. Tone quality as a harmonic force.45. Artificial effects.46. Use of percussion instruments for rhythm and colour.47. Economy in orchestral colour.48. Chapter V.49. Orchestral accompaniment of solo voices.50. Orchestral accompaniment of the chorus.51. Instruments on the stage and in the wings.52. Chapter VI (Supplementary). Technical Terms.53. Soloists.54. Voices in combination.55. Chorus.56. A. Mixed chorus.57. B. Men’s chorus and women’s chorus.58. with musical examples drawn from his own works59. [VOLUME II]60. No. 18. “The May Night,” Act III. No. 1. „La Nuit de Mai,“ 3me acte.61. No. 25. “Ivan the Terrible,” Act III. No. 25. „La Pskovitaine,“ 3me acte.62. No. 38. “Ivan the Terrible,” Act III (p. 236). No. 38. „La Pskovitaine,“ 3me acte (p. 236).63. No. 46. “Mlada,” Act II (p. 206). No. 46. „Mlada,“ 2me acte (p. 206).64. No. 51. “Mlada,” Act III (p. 359). No. 51. „Mlada,“ 3me acte (p. 359).65. No. 60. “Mlada,” Act III (p. 389). No. 60. „Mlada,“ 3me acte (p. 389).66. No. 61. “Mlada,” Act II (p. 205). No. 61. „Mlada,“ 2me acte (p. 205).67. No. 76. “The May Night,” Act III (commencement). No. 76. „La Nuit de Mai,“ 3me acte (début).68. No. 78. “Mlada,” Act III (p. 350). No. 78. „Mlada,“ 3me acte (p. 350).69. No. 79. “Mlada,” Act III (p. 370). No. 79. „Mlada,“ 3me acte (p. 370).70. No. 80. “The May Night,” Act III. No. 80. „La Nuit de Mai,“ 3me acte.71. No. 96. “Ivan the Terrible,” Act III (p. 318). No. 96. „La Pskovitaine,“ 3me acte (p. 318).72. No. 158. “Ivan the Terrible,” Act I. No. 158. „La Pskovitaine,“ 1er acte.73. No. 165. “The May Night,” Act I (p. 105). No. 165. „La Nuit de Mai,“ 1er acte (p. 105).74. No. 212. “Ivan the Terrible,” Act II. No. 212. „La Pskovitaine,“ 2me acte.75. No. 227. “Mlada,” Act II. No. 227. „Mlada,“ 2me acte.76. No. 239. “Ivan the Terrible,” Act II. No. 239. „La Pskovitaine,“ 2me acte.77. No. 258. “Mlada,” Act III. No. 258. „Mlada,“ 3me acte.78. No. 259. “Mlada,” Act III. No. 259. „Mlada,“ 3me acte.79. No. 294. “Ivan the Terrible,” Act I (p. 111). No. 294. „La Pskovitaine,“ 1er acte (p. 111).80. No. 296. “Ivan the Terrible,” Act II. No. 296. „La Pskovitaine,“ 2me acte.81. No. 299. “Mlada,” Act III. No. 299. „Mlada,“ 3me acte.82. No. 312. “Ivan the Terrible,” Act III (the end). No. 312. „La Pskovitaine,“ 3me acte (fin).