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Such a thing as a “timbral/orchestrational progression�
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When we study harmony, it is considered obvious that we must consider chords in relation to the chords that come before and after them (chord progressions). However, I have yet to find any resources on orchestration which describe relationships between adjacent orchestral textures and timbres. What/where have you learned about characterizing orchestration in such a way that you can talk about one orchestrational choice relative to the choice that immediately follows it?
orchestration timbre
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lightning
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When we study harmony, it is considered obvious that we must consider chords in relation to the chords that come before and after them (chord progressions). However, I have yet to find any resources on orchestration which describe relationships between adjacent orchestral textures and timbres. What/where have you learned about characterizing orchestration in such a way that you can talk about one orchestrational choice relative to the choice that immediately follows it?
orchestration timbre
asked 3 hours ago
lightning
4578
add a comment |Â
up vote
1
down vote
favorite
up vote
1
down vote
favorite
When we study harmony, it is considered obvious that we must consider chords in relation to the chords that come before and after them (chord progressions). However, I have yet to find any resources on orchestration which describe relationships between adjacent orchestral textures and timbres. What/where have you learned about characterizing orchestration in such a way that you can talk about one orchestrational choice relative to the choice that immediately follows it?
orchestration timbre
asked 3 hours ago
lightning
4578
When we study harmony, it is considered obvious that we must consider chords in relation to the chords that come before and after them (chord progressions). However, I have yet to find any resources on orchestration which describe relationships between adjacent orchestral textures and timbres. What/where have you learned about characterizing orchestration in such a way that you can talk about one orchestrational choice relative to the choice that immediately follows it?
orchestration timbre
orchestration timbre
asked 3 hours ago
lightning
4578
asked 3 hours ago
lightning
4578
asked 3 hours ago
lightning
4578
asked 3 hours ago
lightning
4578
asked 3 hours ago
lightning
4578
4578
add a comment |Â
add a comment |Â
1 Answer
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I don't know if there is any theory on this, but there are a few terms that are used.
Baroque concerti grossi have the concept of "concertino" and "ripieno". The orchestral texture alternates between the whole group and only the group of soloists.
A "Rossini crescendo," as heard in many Rossini overtures, repeats a short passage several times, louder and with more instruments each time.
Ravel's "Bolero" is one long crescendo, each section having a fuller orchestration than the one before. It's the Rossini crescendo taken to an extreme.
That sums up all I can think of as far as a theory goes: alternating textures, getting louder, or getting softer. Obviously there are many composers whose music would yield a rich analysis of their textures, particularly if you studied the changes in moods and emotions the textures evoke. Tchaikovsky, Bruckner and Shostakovich come to mind. But I don't think there are any standard progressions of texture to correspond to I-IV-V-I or other harmonic progressions.
answered 53 mins ago
Mark Lutton
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1 Answer
1
active
oldest
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1 Answer
1
active
oldest
votes
active
oldest
votes
active
oldest
votes
up vote
2
down vote
I don't know if there is any theory on this, but there are a few terms that are used.
Baroque concerti grossi have the concept of "concertino" and "ripieno". The orchestral texture alternates between the whole group and only the group of soloists.
A "Rossini crescendo," as heard in many Rossini overtures, repeats a short passage several times, louder and with more instruments each time.
Ravel's "Bolero" is one long crescendo, each section having a fuller orchestration than the one before. It's the Rossini crescendo taken to an extreme.
That sums up all I can think of as far as a theory goes: alternating textures, getting louder, or getting softer. Obviously there are many composers whose music would yield a rich analysis of their textures, particularly if you studied the changes in moods and emotions the textures evoke. Tchaikovsky, Bruckner and Shostakovich come to mind. But I don't think there are any standard progressions of texture to correspond to I-IV-V-I or other harmonic progressions.
answered 53 mins ago
Mark Lutton
6,4711628
add a comment |Â
up vote
2
down vote
I don't know if there is any theory on this, but there are a few terms that are used.
Baroque concerti grossi have the concept of "concertino" and "ripieno". The orchestral texture alternates between the whole group and only the group of soloists.
A "Rossini crescendo," as heard in many Rossini overtures, repeats a short passage several times, louder and with more instruments each time.
Ravel's "Bolero" is one long crescendo, each section having a fuller orchestration than the one before. It's the Rossini crescendo taken to an extreme.
That sums up all I can think of as far as a theory goes: alternating textures, getting louder, or getting softer. Obviously there are many composers whose music would yield a rich analysis of their textures, particularly if you studied the changes in moods and emotions the textures evoke. Tchaikovsky, Bruckner and Shostakovich come to mind. But I don't think there are any standard progressions of texture to correspond to I-IV-V-I or other harmonic progressions.
answered 53 mins ago
Mark Lutton
6,4711628
add a comment |Â
up vote
2
down vote
up vote
2
down vote
I don't know if there is any theory on this, but there are a few terms that are used.
Baroque concerti grossi have the concept of "concertino" and "ripieno". The orchestral texture alternates between the whole group and only the group of soloists.
A "Rossini crescendo," as heard in many Rossini overtures, repeats a short passage several times, louder and with more instruments each time.
Ravel's "Bolero" is one long crescendo, each section having a fuller orchestration than the one before. It's the Rossini crescendo taken to an extreme.
That sums up all I can think of as far as a theory goes: alternating textures, getting louder, or getting softer. Obviously there are many composers whose music would yield a rich analysis of their textures, particularly if you studied the changes in moods and emotions the textures evoke. Tchaikovsky, Bruckner and Shostakovich come to mind. But I don't think there are any standard progressions of texture to correspond to I-IV-V-I or other harmonic progressions.
answered 53 mins ago
Mark Lutton
6,4711628
I don't know if there is any theory on this, but there are a few terms that are used.
Baroque concerti grossi have the concept of "concertino" and "ripieno". The orchestral texture alternates between the whole group and only the group of soloists.
A "Rossini crescendo," as heard in many Rossini overtures, repeats a short passage several times, louder and with more instruments each time.
Ravel's "Bolero" is one long crescendo, each section having a fuller orchestration than the one before. It's the Rossini crescendo taken to an extreme.
That sums up all I can think of as far as a theory goes: alternating textures, getting louder, or getting softer. Obviously there are many composers whose music would yield a rich analysis of their textures, particularly if you studied the changes in moods and emotions the textures evoke. Tchaikovsky, Bruckner and Shostakovich come to mind. But I don't think there are any standard progressions of texture to correspond to I-IV-V-I or other harmonic progressions.
answered 53 mins ago
Mark Lutton
6,4711628
answered 53 mins ago
Mark Lutton
6,4711628
answered 53 mins ago
Mark Lutton
6,4711628
answered 53 mins ago
Mark Lutton
6,4711628
6,4711628
add a comment |Â
add a comment |Â
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