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Dr. Hanson's invitation to tell you of my theories of orchestral scor ing led me to discover that I had given but little, if any, thought to formulating such theories. Of course, they existed. But I had been so busy trying to learn more of the art of orchestration that I was not conscious of them. Although what I am about to say may seem paradoxical, it is nevertheless true. The more I learn of orchestration the more I know how little I know of it. Thus you may understand why the theories were so long neglected. Even now, after having given some thought to the matter, I hesitate to term the thoughts I'm about to express "theories." I'd rather call them experiences and resultant conclusions. The major problem confronting one who sets out to score for an orchestra is that of presenting the music most effectively. For the solution of this problem, three factors are absolutely essential; clar ity, balance and a tasteful variety of tone color. Clarity is the quality that tends to make every effect clear and each voice proportionately distinct. In order to acquire this quality it is necessary to refrain from over-orchestrating. I use
Black Sacred Music – Duke University Press
Published: Sep 1, 1992
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