# Best book on orchestration currently?



## Lunatique (Jun 2, 2009)

I've been meaning to pick up one of the well-known books on orchestration, and it seems Study of Orchestration, Third Edition by Samuel Adler is currently the most popular as it includes audio CD's (where as Piston and Rimsky-Korsakov's books don't). 

I currently have Arranging Music for the Real World: Classical and Commercial Aspects by Vince Corozine, and Paul Gilreath's Guide to MIDI Orchestration.

I've read that Rimsky-Korsakov's book is more focused on actual arranging while the Piston and Adler's books focus more on instrumentation (ranges, articulations...etc). 

Kent Kennan's Technique of Orchestration and CD Recording Package, The (6th Edition) looks like it's gotten some good customer reviews too.

Your thoughts?


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## hbuus (Jun 2, 2009)

For me, Adler's book and CDs have been great.
It makes all the difference in the world that for pretty much every example in the book, you can hear the music while looking at the notes.
It's a great source of inspiration also, as you get to hear a lot of small pieces from different works with which you may not be acquainted already.
I've found that I've been returning to the book on numerous occassions in order to take it all in.
I am a hobby user though, but I'm sure some of the others who work with music professionally will chime in with their opinion on the book also.


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## JohnG (Jun 2, 2009)

I like Adler's book too, but maybe have a look if you want more of a study course at Peter Alexander's materials. Both have CDs. 

I wouldn't consider an orchestration book that doesn't have CDs with recordings of most or all of the examples -- that's how I think one really learns. I have Kennan too and have enjoyed it; it's still an excellent book.


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## lux (Jun 2, 2009)

adlers for sure, but with the complete cd set too.

But from a pratical standpoiint i think there are a lot more suggestions within the classic edition of Rimsky Korsakov, expecially about doublings. Adler has the disadvantage that most of the book is about the instruments themselves more than pratical orchestration. The extracts in audio and score though make it worth every penny imho.

I would get both, considering that Korsakov classic edition is so cheap that is ridicolous.


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## Ashermusic (Jun 2, 2009)

Back when I was at Boston Conservatory, when dinosaurs roamed the earth, we used the Kurt Kennan and its workbook. But if memory serves me it was as much instrumentation as orchestration.


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## Dave Connor (Jun 2, 2009)

The Kent Kennan Book is great and has a real world approach that shows the student numerous ways to score the same passage. It also has a number of examples how to orchestra chords with various orchestral groupings up to full orchestra. Great Book!

That said, the Adler book is the new Bible of orchestration and a must have. I would get both but start with the Kennan if you're just getting going since it's compact and very easy to navigate. It's a great quick reference as well.


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## José Herring (Jun 2, 2009)

Kent Kennan
Rimsky-Kirsakov
Cecil Forsyth

All good books. Haven't seen the Adler though. I'm sure that's good too.

As an additional thing the Berlioz/Strauss book is good too, but don't think of it as a main book as it mostly focuses on special orchestra effects.

best,

Jose


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## janila (Jun 2, 2009)

Get them all. Especially Adler and Kennan.


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## Lunatique (Jun 2, 2009)

josejherring @ Tue Jun 02 said:


> Depends on what you want. Your question is too open ended to answer concisely.



I'm self-taught and I'm slowly trying to get comfortable reading music. In the last 18 years (since senior year in high school) I have gone through books on music theory and learned to play multiple instruments (keyboard, guitar, bass, drums, harmonica), so I do have a good grasp on the concepts and structures--just not in traditionally notated form. It's an area I know I'll eventually conquer--just takes time.

As for what I want to get out of a good orchestration book, it's of course ideal to have both technical and creative aspects fully explored by a teacher that knows what the hell he's doing and is good at translating that experience into lessons that other people can easily understand. Technical information about instrument ranges and articulation can be found on the internet, but the artistic side of the why's of orchestration is much harder to find online, and usually only exists in books. 

So if I had to place an emphasis on what I want, it would be the artistic side of the teaching. Things like why a composer would choose to arrange a tight spacing chord voicing in a particularly passage for a specific effect as opposed to the wisdom of arranging a more open voicing, or what instruments are better for conveying particular expressions and why a particular articulation on one instrument is more effective than another of a different articulation for a specific timbre or effect, and of course the why's behind specific instrument combinations and when/why to split their parts a particular way for maximum expressiveness or emotional impact...etc.

I also think the best books are the ones that don't just concentrate on what the title dictates, but also combines other relevant knowledge/points so the student can understand the big picture. For example, while explaining orchestration, also talk about that particular example from the perspective of composition as well so the orchestration is discussed in the context of the composition, as opposed to disconnected from it. But I'm assuming all good orchestration books do that?


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## PolarBear (Jun 2, 2009)

Hmm.. they don't have the Adler in China, but Rimsky-Korsakov it seems (my chinese letters are actually not working and I couldn't read them anyway): http://www.amazon.cn/mn/detailApp?qid=1243980193&ref=SR&sr=13-3&uid=479-5831859-9007808&prodid=enbk632527 (http://www.amazon.cn/mn/detailApp?qid=1 ... enbk632527)

So what I'm saying is get one of them with you and the others there, shipping within china should be doable. If you're travelling back you could resell it again.


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## José Herring (Jun 2, 2009)

I respect the fact that you're taking the time to study music formally. 

Going by what you want I'd drop the Kennen book. And, respecting Evan Gamble's opinion I'd drop Adler too. 

Imo you need to look at composers who have written orchestration books. Namely Rimsky-Korsakov and Berlioz/Strauss books.

Even though I've read the book extensively I actually did do a bit of Garritan's online course and found it very helpful ( not including the fact that every example was rendered with GPO of course. That was pretty tough.) Peter's course is excellent. You could start by just getting the book and then signing up for a self study course.

Also, don't worry about studying with a teacher who "knows it already". It's music. Their opinion is just as good as your opinion as long as that opinion is informed. And, you've got some pretty good orchestrators here that can help you along.

best,

Jose


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## Lunatique (Jun 2, 2009)

Holy crap since when did Amazon end up in China? That's news to me! They totally jack up the price in China though--typically double of the prices in the States. That's why whenever I'm back in the States I shop like a demon and leave with luggage burstingò³   ¢Åš³   ¢Å›³   ¢Åœ³   ¢Å´   ¢Åž´   ¢ÅŸ´   ¢Å ´   ¢Å¡´   ¢Å¢´   ¢Å£´   ¢Å¤´   ¢Å¥´   ¢Å¦´   ¢Å§´   ¢Å¨´   ¢Å©´   ¢Åª´   ¢Å«´   ¢Å¬´   ¢Å­´   ¢Å®´   ¢Å¯´   ¢Å°´   ¢Å±´   ¢Å²´   ¢Å³´   ¢Å´´   ¢Åµ´   ¢Å¶´   ¢Å·´


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## om30tools (Jun 3, 2009)

See its reasons like these, why I really wish the music theory books especially the high standard ones really ought to be made available in electronic form. 

I means seriously, if you're learning through a work book, it may take you several attempts to really apply a theory tht has just been demonstrated, before you're honestly able to fill in the work book section confidently.

I'm going through a melody book right now and ist very simple, doesnt expect much in the work book part, but still I refuse to just fill it in at first go, I use Finale and make several attempts at applying the theories.

Sorry to digress.

I have however found some E-books, here: http://www.questia.com/Index.jsp
Maybe that might help your luggage weight restriction

Good Luck!


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## billval3 (Jun 8, 2009)

Lunatique @ Tue Jun 02 said:


> josejherring @ Tue Jun 02 said:
> 
> 
> > Depends on what you want. Your question is too open ended to answer concisely.
> ...



I'd love to see a book that answers the questions you bring up. I don't know that it exists, however. I know Adler doesn't address that kind of thing. It's basically just an instrumentation book.

Probably the most helpful to me so far has been Rimsky-Korsakov, which you can get from the Garritan website.


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## Rodney Glenn (Jun 8, 2009)

JohnG @ Wed Jun 03 said:


> However, because of the CDs, I give Adler the edge over Kennan and Rimsky-Korsakov.



John,

Aren't there CD's available for the Kennan book as well? Or would you still recommend Adler over Kennan, even with the latter including its CD's?

Apologies if I misunderstood you...and I do value and appreciate your recommendations, or else I wouldn't have asked.  

Cheers

Rodney


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## synergy543 (Jun 8, 2009)

Rob, what you're desiring to learn is more the "process" than orchestration and instrumentation and I'm not so sure that any book thoroughly covers the actual process in great detail (as you might get from an orchestration instructor).

You might want to check out Leon Willett's Blog and possibly even consider some one-on-one lessons with him. He's a guy who clearly knows his craft and how to translate notes and ideas into sounds.
http://www.leonwillett.com/leonwillett. ... /Blog.html

Also, I'm not sure how EIS might suit your needs or the Alexander classes with Stephen Hill but it might be worth considering some of these alternative correspondence ideas in addition to your books.

Greg


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## billval3 (Jun 8, 2009)

synergy543 @ Mon Jun 08 said:


> Rob, what you're desiring to learn is more the "process" than orchestration and instrumentation and I'm not so sure that any book thoroughly covers the actual process in great detail (as you might get from an orchestration instructor).
> 
> You might want to check out Leon Willett's Blog and possibly even consider some one-on-one lessons with him. He's a guy who clearly knows his craft and how to translate notes and ideas into sounds.
> http://www.leonwillett.com/leonwillett. ... /Blog.html
> ...



Sorry, but shouldn't the "actual process" of orchestration be covered in an orchestration text book? :wink: 

I don't think there's any reason why a book COULDN'T address the questions he's raising. In fact, I think it's a shame that such a thing doesn't really exist (as you're correctly asserting).

Why do you guys think such a book does not exist? I understand that there are probably an overwhelming number of options when approaching an orchestration "problem." But surely there are pro orchestrators out there that could teach us a lot about the standard practice, if you will, of today. That's not saying we would all simply mimic whatever is being done by them, but I bet it would be a really great starting point.

Maybe they just don't want to share their secrets?


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## Dave Connor (Jun 8, 2009)

Rodney Glenn @ Mon Jun 08 said:


> JohnG @ Wed Jun 03 said:
> 
> 
> > However, because of the CDs, I give Adler the edge over Kennan and Rimsky-Korsakov.
> ...



Yes Kennan now has a CD with the book. 

The Kennan book is very easy to penetrate learning-wise as well as laid out progressively from simple to more complex. It's a must have I would say.


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## mducharme (Jun 8, 2009)

I think the Kennan text is much better than the Adler text for introductory orchestration.

The Adler text is very complete, but does not really differentiate clearly between the really important stuff that you need to know and the less important stuff - it's all piled together. The Kennan text does not cover the breadth of articulations and have the number of examples of the Adler, but when you are starting out the Adler is a bit of information overload.

If you're wanting to go a different route from the Kennan/Adler, Rimsky-Korsakov is an Orchestration text but does not cover Instrumentation. As Instrumentation is really a pre-requisite to Orchestration, you would need something like Forsyth's &quoò	)   £Ný	)   £Nþ	)   £Nÿ	)   £O 	)   £O	)   £O	)   £O	)   £O	)   £O	)   £O	)   £O	)   £O	)   £O		)   £O
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## mducharme (Jun 9, 2009)

It is correct that the Kennan text listening CDs have fewer examples. However, one thing they do have at the end of each section is the same short Bach snippet orchestrated in various ways (first strings only in the string chapter, then winds only, then brass only, etc) to show the difference in effect between each method, including a few methods that don't work, and those are very helpful and all on the CD.


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