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Principles of Orchestration (Dover Books on Music)

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From the Back Cover

"To orchestrate is to create, and this cannot be taught," wrote Nikolay Rimsky-Korsakov, the great Russian composer whose genius for brilliant, highly colored orchestration is unsurpassed. But invention, in all art, is closely allied to technique, and technique can be taught. This book, therefore, which differs from most other texts on the subject because of its tremendous wealth of musical examples and its systematic arrangement of material according to each constituent of the orchestra, will undoubtedly be of value to any music student. It is a music classic, perhaps the only book on classical orchestration written by a major composer.In it, the composer aims to provide the reader with the fundamental principles of modern orchestration from the standpoint of brilliance and imagination, and he devotes considerable space to the study of tonal resonance and orchestral combination. In his course, he demonstrates such things as how to produce a good-sounding chord of certain tone-quality, uniformly distributed; how to detach a melody from its harmonic setting; correct progression of parts; and other similar problems.The first chapter is a general review of orchestral groups, with an instrument-by-instrument breakdown and material on such technical questions as fingering, range, emission of sound, etc. There follows two chapters on melody and harmony in strings, winds, brasses, and combined groups. Chapter IV, Composition of the Orchestra, covers different ways of orchestrating the same music; effects that can be achieved with full tutti; tutti in winds, tutti pizzicato, soli in the strings, etc.; chords; progressions; and so on. The last two chapters deal with opera and include discussion of solo and choral accompaniment, instruments on stage or in the wings, technical terms, soloists (range, register, vocalization, vowels, etc.), voices in combination, and choral singing.Immediately following this text are some 330 pages of musical examples drawn from "Sheherazade," the "Antar Symphony," "Capriccio Espagnol," "Sadko," "Ivan the Terrible," "Le Coq d'Or," "Mlada," "The Tsar's Bride," and others of Rimsky-Korsakov's works. These excerpts are all referred to in the text itself, where they illustrate, far better than words, particular points of theory and actual musical practice. They are largely responsible for making this book the very special (and very useful) publication it is.This single-volume edition also includes a brief preface by the editor and extracts from Rimsky-Korsakov's 1891 draft and final versions of his own preface, as well as an appendixed chart of single tutti chords in the composer's works.

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Product details

Series: Dover Books on Music

Paperback: 512 pages

Publisher: Dover Publications; Revised ed. edition (June 1, 1964)

Language: English

ISBN-10: 9780486212661

ISBN-13: 978-0486212661

ASIN: 0486212661

Product Dimensions:

6.5 x 1 x 9.2 inches

Shipping Weight: 1.6 pounds (View shipping rates and policies)

Average Customer Review:

4.2 out of 5 stars

77 customer reviews

Amazon Best Sellers Rank:

#63,727 in Books (See Top 100 in Books)

Explanations of how to orchestrate various groups of musical instruments to create beautiful sounding symphonic arrangements. Includes all the families of instruments plus vocals. Principles can be applied with virtual orchestra sample libraries in a DAW on computer as well as real orchestras.

I think I just wasted $3. Not much, but still. "Gutenberg-Kindle" offers this for $0.00, also, near as I can tell, without the important musical examples (very many of them from opera and orchestral full scores that are mostly now- as they weren't at the time of original publication- freely downloadable individually from sites like IMSLP.) This edition seems to be basically identical to the $0 edition, I think (more or less, anyway.) To get one with the music included inline, you may have to get the $10 Dover-Kindle edition (and I'm not positive, not having purchased that, that _that_ one has them either, so not taking the risk.) Aside from that, what do I think of the book? I haven't read much of it, I'm ambivalent about what I've read- he's far too harsh about Brahms' orchestration for example, imho, but so are most musicians (I can't really agree) - and overall I prefer Forsyth's expansiveness, historical point of view, humor, etc. allowing, too, for Forsyth's book's age. (I haven't read many books on orchestration, however...)

I purchased and read this book because of many recommendations from very different people, so clearly this is considered to be something of a cornerstone work in the world of orchestration books. The remarkable thing about this book is that it really does not go very in-depth about much at all. The purpose of this book is to inspire the reader and to generate a specific class of thinking which can achieve some very powerful results when effectively put into practice while composing. Some of the best things this book has to offer are ideas and concepts--like knowing exactly what type and size of orchestra should be playing a work from the moment composing begins rather than composing 4-part harmonies and then arranging them for the orchestra. This book is littered with similar words of wisdom.The greatest drawback to this book is in my opinion not, as others have mentioned before, the exclusive use of Nikolai's own works, but rather the fact that the art of orchestration is explained too broadly. This is not a good first book for a beginning orchestrator--it's an incredibly fantastic second or third supplementary read about orchestration that should not be overlooked by anybody. One example that stuck out to me was that Rimsky-Korsakov began writing about orchestrating for the harp, and completely omitted clarification about the harp's pedals and how they function and how they may be a limiting factor when orchestrating. He even mentioned that he would assume the reader is aware of the function of a harp's pedals. Similarly there was little to no mention about the tuning mechanism of the timpani, and I'm sure there are other examples that are just not coming to mind right at this moment. All in all when it comes to details and practical methods for a beginner, Kennan's book is still my favorite.My personal favorite part of this book is the last section about orchestrating for solo singers, or for a chorus, or for duets, trios, etc. It seems as though some orchestration books forget that many composers write for singers, and the composer must take into account the voice that will be performing the work as well. This book is different in that regard.All in all this is a great book to read when a student or self-taught orchestrator already has some knowledge about the orchestra, its limitations, and its quirks. This would also be a good read for someone who would like to rekindle a bit of excitement when orchestrating just because it does not approach orchestration like a math problem. I would definitely recommend it!

Rimsky-Korsakov's classic textbook is an extraordinarily helpful and eloquent explanation of both the basic and advanced principles of orchestration. It's no mystery why it's stood the test of time.

I've been writing music for years, but have always dreamed of composing for Orchestras - small or large. This is definitely a good, handy book to have available, not matter what level of musical congregation for which you're writing.

I am enjoying reading this work by Rimsky- Korsakov. I would recommend it to those who have some musical knowledge and are interested in orchestration. However, for a reference material, I would recommend getting the print version. The kindle version has the tables removed from the text.

This is a great book. I don't have any background in music and never studied it but what the author writes here is clear an understandable. I had to jump on Wikipedia many times. And I still can't fully understand the partitions but I am getting there I guess. Almost done with the book itself.

This Kindle edition (and a slightly more expensive one, too) were rendered worthless through the disappearance of the important musical examples that take up so much of the book.

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