Soyons clairs. Les instruments évoluent, l'art de l'orchestration aussi. Le "grrrrrrrrrrrrand traité d'orchestration et d'instrumentation modernes" de Berlioz a tellement occupé le firmament des ouvrages consacrés au sujet que même les traités de Widor et Richard Strauss se présentent comme des "compléments" à ce Traité. Widor dans sa préface s'excuse presque de son audace.
Certes, le traité de Rimsky Korsakov ne se présente pas ainsi, mais il ne cite que ... des exemples de l'auteur. Rimsky Korsakov était un orchestrateur hors de pair, c'est entendu, mais on peut penser que cela biaise un peu sa vision.
Il n'est pas question de contester le génie de Berlioz. Mais on reconnaîtra qu'en un siècle et demi, la musique a quelque peu évolué, les instruments aussi. Il était temps de remttre les choses à plat. Naturellment, Adler n'a pas été le seul à le faire, mais son oeuvrage est une somme très claire, et qui notamment a l'immense mérite d'aborder l'orchestration autrement que comme une superposition de l'art d'écrire pour chaque instrument. Bien entendu, tous les traités d'orchestration abordent cette vision peu ou prou, mais on sent qu'ici elle est au coeur même de la conception de l'ouvrage.
Je regrettrai simplement un "biais américain" à la Rimsky Korsakov. Beaucoup d'exemples sont empruntés à des compositeurs américains certes non négligeables, mais que l'on peut tout de même estimer comme secondaires par rapport à certains de leurs grands contemporains.Lire la suite ›
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98 internautes sur 105 ont trouvé ce commentaire utile
Some minor problems with the CD Roms...17 février 2003
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A couple of people asked me to tell them what I thought of the book (and cd's) once I got them so I thought I would share a couple of things I discovered. Hopefully this will help someone out, somewhere along the way. I have no classical training in music at all so I can't give an indepth analysis of the information presented. I can offer my impression on how the information is presented though, from my "non-trained" point of view. The book is generally straight forward and easy to understand. I find it to be intelligently written and thoughtfully layed out. This book does assume some prior knowledge of music though. I have never actually learned to read music so for some exmaples I had to dig out an old school book on music theory. The accompanying CD's are professionally produced and have great examples of different playing techniques and the like. A couple of things that irked me though; No matter what CD you want to look at (there are 6) You first need to load up CD no6 and sit through the intro. From there you are presented with a main menu. If you want to look at strings it will pop up a message saying; "Please insert cd no-1" There is no way around this. This becomes annoying as the cd's are clearly marked with their content. You know that percussion is on disc 4 but you still have to go through the procedure described above, each and every time. The intro features what looks like a student orchestra playing a short piece. This is interesting enough to watch the first few times but becomes downright annoying after that. There is no option to skip the intro which is a big mistake in my book. I studied multimedia at college and some of the things mentioned above were specifically what we were told NOT to do when producing a CD ROM. Another interesting point to note; Throughout the book it shows examples of music and different playing techniques. In the book, next to an example it will have wording like; CD1/Track 4 For a while I assumed these were music tracks in the CD Rom production itself. On closer inspection though, there was no track listing of songs at all. I loaded a cd into my computer and browsed it's contents. There was one folder called "videos" and nothing else. I was starting to think that they had made a mistake and not included the audio tracks at all. I then went to folder options under windows and selected "show hidden files and folders" - still nothing. Finally, as a last resort, I opened up Windows media player and clicked on the cd. Suddenly 97 untitled tracks of audio appeared. I clicked on the first one and a voice said; "Chapter 3, Example 1" (or words to that effect. I'm at work at the moment) Suddenly the book took on a new dimension. Every example I had been reading through had an audio example backing it up. I am now starting back at the beginning of the book to hear exmaples of what I have been reading this whole time. The other main gripe is that it is almost impossible to tell at Amazon or anywhere else whether or not you get the book when you purchase the cd's. You don't. I bought the cd "package" and after a week received nothing but the cd's themselves. I had to place a second order for the hardcover book. Hopefully my trials and tribulations will save someone else some time and heartache. I should say, I am really impressed with the book and cd's for the sheer amount of information contained in them. THe ability to hear audio examples of what I am reading really blows me away too. I just think some refinement needs to be done on the integration of the cd's and the book, and the presentation of the information. Regards, Scott.
4 internautes sur 4 ont trouvé ce commentaire utile
Very very good!6 novembre 2006
André van Haren
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I studied classical piano and composition myself for most of my life and have professional degrees in both. When I write my music, I need to look up stuff now and then, or brush up my knowledge. This book is perfect for this! I wish I had bought it years ago.
27 internautes sur 37 ont trouvé ce commentaire utile
helpful but out of date18 mai 2006
a woodwind doubler
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I own the 3rd edition of this book and thought I'd chime in on some of the inaccuracies of the book coming from the perspective of a woodwind specialist as well as a composer.
Inaccuracies in the discussion of the Oboe family: "The baritone oboe, sometimes called the bass oboe, has the same range and transposition as the heckelphone and a very similar sound;" Umm, well, if you're partially deaf or otherwise impaired, it might be a true statement that they sound similar. Also, the hecklephone has a range to low A, while the baritone oboe only has a range to low B... which makes the statement "All parts may be performed equally well on the bass oboe" patently inaccurate.
Inaccuracies in the discussion of the Clarinet family: The book indicates in its diagram that E is the lowest note of the bass clarinet, with optional extended range to E-flat or D, but the text refers to extensions to E-Flat or C. However, all modern bass clarinets are constructed to have a range to E-flat, with extended instruments playing to C. Likewise, the section on the Alto Clarinet in E-flat indicates that E is the lowest note of the alto clarinet, but all modern alto clarinets are constructed to have a range to E-flat. Finally, to round out the misinformation of the clarinet family, the book indicates that the Contrabass Clarinet in Bb has a standard range to low D, but all modern BBb contrabass clarinets are constructed to have a range to E-flat, with extended instruments playing to C.
Inaccuracies in the discussion of the Saxophone family: The book does not mention the low A extension for baritone saxophones, used on virtually all professional and even intermediate models. The book also discusses, misguidedly, the F sopranino saxophone, an instrument not available today, and frankly doubtful that it was *ever* really available or used.
The has a decent foundation of knowledge but comes off as very dated. In particular, I personally dislike the author's tendency to restrain instruments to cliched uses, for example, his admonishment: "If one elects to use an alto flute, one should certainly exploit its lower register, for the regular flute and piccolo are capable of covering the upper part of the register as adequately." Or in the case of the contrabassoon: "Even though many composers have asked contrbassoon players to play in the instrument's higher (and even in its highest) register, this takes the instrument out of it's most characteristic range and makes it just another bassoon, a little weaker and paler than its relatives". This strikes me as very old fashioned and rather simplistic. His suggestion would be like indicating that the cello covers the low range of the viola quite well and the violin covers the upper range of the viola, so you shouldn't use violas. Or perhaps: the violin covers the upper register of the cello quite adequately, so the cello should only be used on its lower three strings.
Thankfully composers have ignored that pathetic line of reasoning... we'd have much less beautiful music if that were the case.
I'd look forward to another, less dated, more accurate text. Probably from another author.
6 internautes sur 7 ont trouvé ce commentaire utile
An Excellent Book20 septembre 2006
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I have used Adler for many years, though several editions. It is a great orchestration book for the beginner and the experienced orchestrator alike. Very easy to read and well organized, I feel it is one of if not the best orchestration text on the market to date.
2 internautes sur 3 ont trouvé ce commentaire utile
focus on playing and writing techniques for each instrument22 mai 2008
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Samuel Adler's book covers all important instruments in the modern symphonic orchestra: how they look, how they are played, where they come from, how they sound, how they blend with other instruments, their practial range (both for professional and non-professional players) and the correct notation within various contexts. It also tells the orchestrator about limitations and build-in problems for each instrument and how to deal with it. This alone is worth the price tag.
This book focusses on the orchestral "tone colors" and how they are mixed. Of course the widely accepted notation is widely covered as well in many examples.
I would have loved to have an accompanying CD (which of course would be expensive to produce - but it would immensely add to the value of this work), and I also would have loved to learn more about how to build great sounding voicings and how exactly the various sections dovetail into each other (melodic and harmonic concepts and layers). From this book I know what I can do and what might sound odd. But I gained little insight on how to tackle an orchestration, how to start: the down to earth nuts and bolts.
There are some examples on how great composers broke the rules. But (as I expected) we have no clue about the ideas behind it and if it actually worked. I would love to have for once a book who doesn't make gods out of famous composers (they are, no doubt, but that's old news - true teaching should equal motivation) but let us in on their secrets, at least as much as possible. Also: we know that rules are meant to be broken, but there are even rules on how to break rules. It's just the next level. I would love to have books on that.
Otherwise: very highly recommended! Not to be left out in any orchestrator's library!