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Orchestration is the study or practice of writing music for orchestra (or, more loosely, for any musical ensemble) or of adapting for orchestra music composed for another medium. It only gradually over the course of music history came to be regarded as a compositional art in itself. For other uses, see Music (disambiguation). ...
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A musical ensemble is a group of two or more musicians who gather to perform music. ...
There are two general kinds of adaptation: transcription, which closely follows the original piece, and arrangement, which tends to change significant aspects of the original piece. In practice, however, the terms transcription and arrangement are often used interchangeably.
Orchestration applies, strictly speaking, only to the orchestra, whereas the term instrumentation applies to all instrumental groups. Instrumentation in this sense subsumes orchestration. In the study of orchestration--in contradistinction to the practice--the term instrumentation may also refer to consideration of the defining characteristics of individual instruments rather than to the art of combining instruments.
Some composers--Maurice Ravel is a notable example--have orchestrated their own piano works and that of others.
In commercial music, especially musical theatre and film music, independent orchestrators are often used because it is difficult to meet tight deadlines when the same person is required both to compose and to orchestrate.
Film orchestrators often work from a short score (that is, a score written on several musical staves). Broadway orchestrators are more likely to work from a piano score (as does Jonathan Tunick when he orchestrates Stephen Sondheim's songs, for example) or a lead sheet. In the latter case, arranging as well as orchestration will be involved. In musical notation, the staff or stave is a set of five horizontal lines on which note symbols are placed to indicate pitch and time. ...
Historically significant orchestration texts - Hector Berlioz (1844): Grand traité d’instrumentation et d’orchestration modernes.
- François-Auguste Gevaert (1863): Traité general d’instrumentation.
- Nikolay Rimsky-Korsakov (1912): Основы оркестровки (Principles of Orchestration)
- Cecil Forsyth (1914): Orchestration.
- Walter Piston (1955): Orchestration.
- Samuel Adler (1982/1989/2001): The Study of Orchestration, 3rd. ed., ISBN 0-393-97572-X.
Hector Louis Berlioz (December 11, 1803 – March 8, 1869) was a French Romantic composer best known for the Symphonie fantastique, first performed in 1830, and for his Grande Messe des Morts (Requiem) of 1837, with its tremendous resources that include four antiphonal brass choirs. ...
François-Auguste Gevaert (July 31, 1828 in Huysse, near Oudenarde - December 24, 1908 in Brussels) was a composer. ...
Nikolai Andreyevich Rimsky-Korsakov (Russian: , Nikolaj AndreeviÄ Rimskij-Korsakov), also Nikolay, Nicolai, and Rimsky-Korsakoff, (March 6 (O.S. March 18), 1844 – June 8 (O.S. June 21) 1908) was a Russian composer, one of five Russian composers known as The Five, and was later a teacher of harmony and...
Walter Hamor Piston Jr. ...
Samuel Adler (1809-1891) was born in Worms Germany, and became a rabbi in 1842. ...
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In music, an arrangement refers either to a rewriting of a piece of existing music with additional new material or to a fleshing-out of a compositional sketch, such as a lead sheet. ...
In music, transcription is the act of notating a piece or a sound which was previously unnotated. ...
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Elastic Scoring is a style of orchestration or music arrangement that was first used by the Australian composer, Percy Grainger. ...
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