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McKay, Creative Orchestration

George Frederick McKay

McKay, Creative Orchestration

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  1. Creative Orchestration
  2. Preface
  3. Plates
  4. Projects
  5. I. The Instruments of the Orchestra
  6. Transposition ratios
  7. Rules for bowing and phrasing
  8. Phrasing for wind instruments
  9. The Piccolo
  10. The Flute
  11. The Alto Flute
  12. The Oboe
  13. The English Horn
  14. The Clarinet
  15. The Bassoon
  16. The Contrabassoon
  17. The Saxophone
  18. The Horn
  19. The Trumpet
  20. The Trombone
  21. The Tuba
  22. The Violin
  23. The Viola
  24. The Cello
  25. The String Bass
  26. The Harp
  27. The Piano
  28. Percussion Instruments
  29. Instrumental motion
  30. II. Principles of Clarity
  31. Consistency of unit organization
  32. Project 1
  33. Definiteness of texture
  34. Monophonic texture
  35. Chordal texture
  36. Project 3
  37. Polyphonic texture
  38. Project 4
  39. Homophonic texture
  40. Project 5
  41. Polythematic texture
  42. Project 6
  43. Polyrhythmic texture
  44. Project 7
  45. Heterophonic texture
  46. Project 8
  47. Onomatopoeic texture
  48. Project 9
  49. Textural combination
  50. Pitch distribution
  51. Project 10
  52. Limitation of harmony
  53. Project 11
  54. Vividness of timbre
  55. Project 12
  56. Limitation of melodic components
  57. Project 13
  58. Control of dynamics
  59. Project 14
  60. III. Principles of Tonal Interest
  61. CONTRAST OF TIMBRE (Antiphonal)
  62. Project 15
  63. Instrumental motion
  64. Project 16
  65. Doubling for power
  66. Project 17
  67. Blend for subtlety
  68. Project 18
  69. Blend of differentiated motion
  70. Project 20
  71. Extreme registers
  72. Project 21
  73. Contrasted articulation
  74. Project 22
  75. Project 23
  76. Pointillism
  77. Project 24
  78. Total mixture
  79. Project 25
  80. Contrast of chord and line
  81. Project 26
  82. Motion as a sustaining factor
  83. Percussion as background
  84. Strings as background
  85. Punctuation
  86. Project 30
  87. Balance of idiomatic characteristics
  88. CONTRAST OF STACCATO AND LEGATO (Consecutive)
  89. STACCATO AND LEGATO (Simultaneous)
  90. Project 33
  91. Expanded tonal groups
  92. Project 34
  93. Frontiers
  94. The full and subtle use of percussion instruments
  95. TOTAL MIXTURE (Horizontal)
  96. TOTAL MIXTURE (Vertical)
  97. “music concrete”
  98. Electronic music
  99. Orchestral use of human voices
  100. Project 35
  101. IV. Structural Values
  102. Sufficient instrumental motion
  103. Sufficient vigor of design
  104. Sufficient overlapping of choirs
  105. “light and shade” through variegation of “thickness and thinness” of texture
  106. Sufficient variety within general design
  107. V. Orchestral Types
  108. Appendix A
  109. Examples for Reference
  110. Bibliography
  111. General index