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Principles of Orchestration (Volume 1)
Download Ebook Principles of Orchestration (Volume 1)
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About the Author
Nikolay Rimsky-Korsakov
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Product details
Series: Principles of Orchestration
Paperback: 164 pages
Publisher: CreateSpace Independent Publishing Platform (June 9, 2018)
Language: English
ISBN-10: 172095352X
ISBN-13: 978-1720953524
Product Dimensions:
8.5 x 0.4 x 11 inches
Shipping Weight: 14.9 ounces (View shipping rates and policies)
Average Customer Review:
4.2 out of 5 stars
78 customer reviews
Amazon Best Sellers Rank:
#1,216,372 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 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.
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.
This book is a great and to the point orchestration course book. It's translated into plain English, and it would be difficult for a student of music to not understand Master Rimsky-Korsakov's principles. He even gives relative volume relations between the orchestral sections as just that. (i.e. "x" amount for French Horns at "MF" equals "x" amount of strings at "FF"). Even without the numerous score examples the book is just great!
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