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Studying theory books
It is a very good regular task I think from time to time to take a quick glance at books that had earlier been studied, when the experience on matters dealt with the book was smaller. Thus, the second edition of the book by Samuel Adler on the study of Orchestration certainly has something to offer in a new reading. Numerous details of which were not understood in previous readings now appear under a new light, while the critical study of musical examples certainly pass a new phase. The hearing of most of the musical examples in their "natural space", ie the normal composition and not as a separate passage in the book helps to better understand the correlation of aesthetic and morphological factors within the composition and the corresponding thought of the composer in the creation, as long as of course we can penetrate into it. Technical details of the instruments are much better understood in their mechanistic perspective but also as a way of expressing performers and arrangers. The difficult and complicated music of the 20th century has come closer as both a music notation and a way of thinking. The "assembly" of the jigsaw of orchestrator's knowledge and all other branches of music that will support the composition becomes more satisfactory and effective, working in a shorter time. Thus, the composition changes to a "sum" of more and more larger and more complex individual music tracks that are matching more and more among themselves, allowing the greater distance from the material (technic) and the flight to the infinity (inspiration). Necessary condition, of course, for all this: the patience to read this great book once again! It's also the time to hear carefully to all the disks that accompany the book (five in total) and for the solution of exercises (Uf! Back to school!). Attention! All of the text comes from a Google Translation of the original Greek text, improved on only basically.
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