Treatise on Instrumentation, by Hermann Erpf

Most treatises on instrumentation begin with an individual exposition of each instrument. They describe its use and effect in detail, and deduce the appropriate considerations on the role of that instrument in the ensemble. In this way, the student learns about all the effects and technical possibilities. They are also able to get a complete overview of all the experiences made in the modern orchestra in regards to instrumentation technology. In practice, however, there is a great deal of uncertainty about the practical demands of the art of writing for orchestra. This is because every practical attempt is overloaded with too many possibilities that are, in principle, unattainable. For this reason, our Treatise on Instrumentation follows a different method of exposition. It does not begin with the instrument on its own, but with the simplest forms of orchestral writing, and moves step by step to more complex ones. At the same time, each instrument is introduced in turn, and their special technical possibilities are also introduced little by little, depending on the development of the writing technique. In this way, the author tries to ensure the synoptic character of the treatise for the reader. In its development, less importance will be given to the complete exposition of the effects of instrumentation than to the gradual construction of a solid basis. This will make it possible to easily add and complete those details which may be lacking at another point. This Treatise on Instrumentation is not only useful as a textbook, but is also an essential reference work for musicologists and composers, as well as for instrumentalists interested in orchestral and chamber music practice.