The brass section provides power, majesty, and warmth. Kennan demystifies the complexities of writing for horns, trumpets, trombones, and tubas.
Violin, Viola, Cello, and Double Bass. Kennan emphasizes bowings (slurred, detached, staccato), special effects (pizzicato, col legno, sul ponticello), and the art of dividing string parts (divisi).
Orchestration is the art of assigning musical ideas to different instruments within an orchestra. It transforms a simple piano melody into a rich, multi-dimensional sonic experience. For decades, students, composers, and arrangers have turned to one definitive text to master this craft: The Technique of Orchestration by Kent Kennan and Donald Grantham.
Regarded as a standard text in university curricula for over five decades, The Technique of Orchestration serves as a bridge between basic music theory and the practical art of writing for the orchestra. Unlike strict reference manuals that merely list instrument ranges, the Kennan textbook focuses on the —the methodology of combining instruments to create specific textures, colors, and effects. It is prized for its clear, concise prose and its systematic approach to the limitations and capabilities of orchestral families.
Strings form the backbone of the traditional orchestra. Kennan dedicates significant space to Violin, Viola, Cello, and Double Bass. The Technique Of Orchestration Kent Kennan Pdf
: Most editions are paired with a workbook that provides exercises in transcribing piano works for various orchestral combinations.
Mastering the Orchestra: A Comprehensive Guide to Kent Kennan’s "The Technique of Orchestration"
A significant portion of the text is dedicated to the "how-to" of transcription. Many composers start at the keyboard, but piano writing doesn't always translate literally to strings or winds. Kennan teaches readers how to:
The book features hundreds of musical examples from master composers like Ravel, Debussy, Stravinsky, and Bartók, offering a masterclass in score study. Educational Resources: Workbooks and Audio The brass section provides power, majesty, and warmth
Ultimately, orchestration cannot be learned purely by passive reading. It requires active listening, score study, and experimentation. By pairing Kent Kennan’s structured methodologies with direct listening to classical masterpieces, any musician can unlock the secrets of the symphonic palette.
Heavy, thick textures belong at the bottom of the sonic spectrum. Chords should be spaced widely in the lower registers (following the natural overtone series) and packed more tightly as they move into the treble frequencies.
Every chapter is packed with excerpted scores from master composers like Ravel, Debussy, Stravinsky, and Bartók, demonstrating how theoretical concepts look and sound in practice. Core Pillars of Orchestration Covered in the Text 1. Mastering Instrument Characteristics
Horn, Trumpet, Trombone, and Tuba. Particular attention is paid to endurance, breathing, mute types, and the transposing nature of the brass family. For decades, students, composers, and arrangers have turned
The opening chapters analyze the four primary orchestral families: strings, woodwinds, brass, and percussion. For every instrument, Kennan provides:
A book is only as strong as its author, and The Technique of Orchestration has an exceptional pedigree.
| Part | Chapter Focus | Example Contents | | :--- | :--- | :--- | | | The Orchestra | Introduction to the orchestra and fundamentals | | Part 1 | The Strings | The String Orchestra, Bowing and Special Effects, Individual string instruments | | Part 2 | The Woodwinds | Individual woodwind instruments, The Woodwind Section | | Part 3 | The Brass | The Horn, The Trumpet, Trombone and Tuba | | Part 4 | Percussion & Other | Percussion (definite & indefinite pitch), Harp, Celesta, Piano | | Part 5 | Scoring & Techniques | Scoring Chords, Transcribing Piano Idioms, Special Devices, Contemporary techniques, Infrequently used instruments | | Part 6 | Special Ensembles | Scoring for High School Orchestra, Nonorchestral groups (Band, Wind Ensemble) | | Appendices | Reference | Bibliography, Index |
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The book is packed with reduced scores from Beethoven, Ravel, Stravinsky, and Bartók. You see not just what they did, but why it works. The accompanying workbook (sold separately) includes excellent self-tests.
