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?










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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?










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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?










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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?







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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.






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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.






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              up vote
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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.






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                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.






                share|improve this answer












                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.







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                answered 53 mins ago









                Mark Lutton

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