Book Description
The third edition of this high successful orchestration text follows the approach established in its innovative predecessor: Learning orchestration is best achieved through familiarity with the orchestral literature; this familiarity is most effectively accomplished from the music notation in combination with the recorded sound. The text has been revised to reflect the most informed reactions to the first and second editions, as well as Professor Adler's revisions. For comprehensiveness, conciseness, and contemporaneity, The Study of Orchestration remains without peer.
Customer Reviews:
Outstanding.......2007-05-06
I am a complete novice but I recognize this is the required study program. You must also buy the CD/DVDs that go along with the book.
Not cheap, but an outstanding learning tool. I would recommend that you read a book on music theory and composition before buying this set to get the most out of the program.
Multi-Media companion discs to The Study of Orchestration Book (6 CDs).......2007-03-16
This 6-disc set provides audio, video and music, and some musical scores to support the examples in The Study of Orchestration Book. The videos show players playing the various orchestral instruments to illustrate performance techniques. The audio examples let the student hear the various orchestration techniques being discussed. The examples and the book in general are very detailed and absolutely worth the purchase price. I highly recommend the book and CDs to everyone studying orchestration.
The way the discs are used is there is a main menu where the user can select which instruments to view and listen to the examples. There was a strange problem with the discs I received. The digital material and menu do not match the book examples or the content printed on the CDs. Strangely, CD 4 is blank (I've tried to read it on several computers) and the main menu doesn't have any pointers that reference CD 4. Also, the other 5 discs do not contain the contents listed on the CD, many examples are missing. Both my book and the discs are listed as "3rd edition" and the cover graphics are identical. I believe this is a manufacturing problem from the publisher and therefore other sets may also exhibit this problem. Perhaps the digital content on the discs was from the 1st or 2nd edition. I'm still working with the vendor I bought the discs from to get a new set of discs and I'm hopeful the next set I receive contains the correct digital content.
If you really want to know how to orchestrate via textbook.......2007-03-08
Every composer is aware that there are countless orchestration books- and every one will tell you basically about how to do the job. Every book will have your standard instrumentation, how they function mechanically, and ranges, or something to that effect. Of course this is important.
However, when it comes down the actual art of Orchestration, elements usually left to experience are taught through Samuel Adler's CD accompanied book. No matter how close a description of an effect, or sound is, the luxury of having a dictionary of them at hand is amazing.
Overall, this is a great concept and book- and I don't believe that there is any book out there that does what it does that well.
A good book!.......2007-02-24
Great, it's got everything you need in one consise but thorough reference. An excellent reference for composer or orchestrator to have.
Very very good!.......2006-11-07
I studied classical piano and composition myself for most of my life and have professional degrees in both. When I write my music, I need to look up stuff now and then, or brush up my knowledge. This book is perfect for this! I wish I had bought it years ago.
Customer Reviews:
A Great Learning Tool.......2007-02-24
My class required the textbook, but the teacher never used the book. However, I learned a lot by reading the book myself, because the teacher never explained the fine details of arranging instrument parts.
This book gets two thumbs up.
The Technique of Orchestration.......2007-02-23
Thorough and masterful work. Suitable for the beginners as well as for the advanced.
Good book... but expensive.......2007-01-09
It has a nice amount of information, but the price could be half what is costs, considering its size. It is useful, but I see no reason why it costs so much. Half the price should be the right amount, this is the reason it only gets three stars. The problem is: technical books are too expensive, if you check other books in the same subject (music, orchestration, composition, harmony) you will see for yourself.
Good basic text, but needs some updating.......2006-09-26
I have taught Orchestration/Instrumentation three times using this book, and find it has its strengths and weaknesses. The practical information about each instrument--such as ranges, typical scorings, and excerpts--are helpful, and I think Kennan really focuses on what an arranger/orchestrator *needs* to know. I also like some of the accompanying examples/excercises in the workbook, which can save preparation time. On the negative side, there are numerous typos in the workbook that still haven't been changed through multiple editions, the photos are quite dated, saxophone is included in a chapter called "Infrequently Used Instruments" (perhaps in the orchestra, but not in band music, the subject of some discussion in the book), and some of the discussions are confusing for students (string harmonics, to take one example). While the CD is helpful for hearing subtle differences in orchestration, the orchestra is out of tune in several places and the sound quality is somewhat poor.
Overall, I think Kennan's book is good for the beginning orchestration student, with lots of practical information and exercises, but I wish that some of its more problematic aspects could be changed or updated.
A wonderful text for study and reference with a very useful CD.......2006-03-14
We used the second edition of this book when I was an undergraduate studying music theory. I loved that book and have always had it on my shelf as a reference for correct transpositions, ranges, and all the little things one needs to know to write correctly for an instrument. When I read through this edition I was simply blown away. You know how you can get attached to an older edition and not want to give it up because the improvements don't overcome the familiarity? Well, the sixth edition clearly obsoletes my trusty old friend.
The book still has the same general format in considering each family of instruments together and has all the good information of the previous editions. However, there is more information, better photographs, improved explanations, well chosen examples, great suggested readings, listenings, and assignments. And the included CD has over 90 short examples of the sounds any orchestrator needs to have in his or her mind when putting pen to paper (or pointing a mouse to the staff on a computer). The first few dozen are different versions of the same two measures of the Bach chorale designated in the book so the student can compare a variety of ways to set that four part chorale for various families of instruments (strings, woodwinds, brass, and in various combinations). Then several dozen orchestral chords of various combinations are provided. Every example is designated in the book and explicitly identified on the CD.
The appendices are also quite useful and contain ready references on ranges and specialized considerations. I especially appreciate the addition of vocal ranges since it is quite common to use voices with orchestras.
This is a terrific text for students, for teachers because the information is so well presented, and for reference after school. Heck, if all you do is read orchestral scores while listening to music, this book can be most helpful in helping you understand the instruments you are hearing and their transpositions.
Most wonderfully done.
Book Description
An accessible and complete introduction to writing and scoring music for each instrument of the orchestra. Clear explanations, vivid descriptions of various instruments, expert advice, and numerous musical examples to maximize the student's understanding of concepts being presented. A valuable resource and reference for students in their future professional endeavors, this text maximizes its usefulness beyond the classroom.
Customer Reviews:
The best of its kind.......2006-11-06
I have been a professional arranger/orchestrator for nearly fifty years. My copy of the first edition of this book, which I obtained in 1982, is well worn from constant use because it is the best source of accurate information about the widest variety of instruments.
Alfred Blatter understood what an orchestrator wants and needs to know about the capabilities and limitations of the instrumental forces. For students, this book provides reliable data on which they can build a useful and dependable knowledge base. For experienced writers, it is a superb source of reminders as well as information about some instruments for which one may not have previously encountered.
The book's fingering charts have often helped me make decisions about how a tricky passage could be made more comfortable for the players. Information about accessible ranges for student performers vs. those of professionals has also been of immense value to me.
In short, this book is an excellent reference work.
an invaluable instrumentation text.......2004-02-24
1) Just because one has written previous works on a subject does not invalidate further works and further revelations on the subject.
2) Every book ever published contains inaccuracies. I'd rather chance a few unimportant inaccuracies for the depth of information that the book does provide.
3) One of the great strengths of the work is its completeness and willingness to tackle instruments that have been largely ignored for many years. The percussion section of the book is worth the cost of the book alone. I'd prefer a text that at least attempts to present relevant information over a book that won't even acknowledge that the "non-orchestral" instruments exist. And really, if you are looking for more advanced information on string instruments, there is a lot already out there. The "glories" of string instruments have been sung before and will be sung again ad nauseum.
4) The fingering charts provide are a starting place to depart from. The woodwind charts, in particular are extremely helpful and very thorough.
The work may be lacking a little in techniques of Orchestration (though there are interesting exercises and basic information on the subject), but as an Instrumentation text, it is invaluable. It is a great look beyond the tired, overplayed orchestral warhorses and is a resource for the new and innovative composers/arrangers looking to escape the cookie-cutter writing emphasized by many texts. It's one of few works that can help you understand what you >can
< do, and not what you >should
< do (in the author's opinion)... two utterly different but oft-mistaken concepts. If you were to follow three-quarters of the orchestration texts out there, you'd never hear anything but the typical "violins on the melody, woodwinds in thirds, brass playing chords, percussion sitting on their duffs reading magazines" that the older texts ram down your throat.
An excellent and thorough work. But if you want highly specialized information, ask a performer... they are always the best of resources.
Great introduction!.......2002-12-04
I am just getting into composing for the orchestra and have no musical training. For me trying to find facts about instrumentation and orchestration, this book is at the perfect level. Accessible descriptions and packed with valuable info. Other books I looked at seemed geared more towards people who were either very familiar with this world already, or, going to school studying this and then have the assistance of a professor. Some other books just had way too much references to existing classical pieces, without very much description (or to high level descriptions for me) of what the author was talking about. This book is great if you are trying to gain some more understanding of the orchestra, and are new to that world.
So-so.......2001-12-22
The author should have actually said this is a book on instrumentation. There are few samples of orchestration and nothing as helpful as a CD of samples. For orchestration you should look elsewhere. For instrumentation it is fairly useful but it does contain errors, one of which is the listed transposition for the Alto Saxophone, which is wrong. One would hope that if someone puts out a book on instrumentation that the basic facts would be correct. Perhaps talking to an instrumentalist would be more useful but the section on the strings is quite decent.
A Great Resource.......2001-05-23
This is an excellent resource book for any music student, anyone interested in symphonic or band music, and any composer. In short: If you love music, this book will be an extrememly useful addition to your bookshelf.
Book Description
Now anyone can write and play their own songs on the guitar - with no prior training! This inspirational handbook teaches readers how to play guitar, while providing a solid foundation in songwriting techniques, using well-known songs as examples, easy-to-follow text, and graphics that explain and demonstrate lyrics, melody, harmony and rhythm. This book's straightforward style will have even those who've never played a guitar or written a song making music with ease.
Customer Reviews:
excellent.......2007-08-15
The book is 90% about writing songs with guitar chords. Sections on lyric writing didn't impress me. The very short chapter on making a demo recording was excellent and almost a great (though very very short) book on its own.
Best real-world, practical explanation of chords and chord progressions I've ever read. (in the rock and pop genre.) Really breaks down song and musical structures of popular songs. Another great point is inclusion of recent as well as 60s and 70s rock songs. For example, one page analyzes a Fat Boy Slim song.
My knowledge and understanding increased greatly from this book.
There are so many great example progressions that you can open the book at random, play around with something on the page and come up with something.
This book does not go into the "front end" of the psychology or craft of creativity.
One of the best books on creating music I've ever read.
Also check out "The War of Art" for a brilliant and inspiring book about creating.
Superb Book.......2007-01-09
I have been playing guitar, and writing songs for 15 years. I learned a good bit from this book that I wish I would have known when I first started 15 years ago. You probably think you know how to write a song, but unless you have been trained in music theory, you probably have just been doing things that sound good without understanding why. This book does not go into extreme detail on any one subject in songwriting, its sort of like an really good overview on information such as melody, lyrics, chords, progressions, song types, etc.. It shows you all the pieces you need and more importantly WHY they sound the way they do or go together. It is for the person with beginner-intermediate music theory skill, or for any skill level guitar player. Information is well organized, easy to understand, and backed with examples from popular songs. Not songs like "Greensleeves" and "mary had a little lamb", but beatles, nirvana, oasis, madonna,etc.. Check out this guy's other books- I was very interested in the chord progression section and got his book on that subject. I think it is even better than this one.
Great Book on Songwriting.......2006-11-02
This is a must have for any guitar player trying to write songs, especially the singer / songwriter type. This book is filled with ideas for songs and how to incorporate the guitar into your songwriting. What I like most about this book was the numerous chord progressions listed and what mood each progression can create. It gives examples of songs that use the progressions and what genre of music they fit best. I loved this book and use it regularly. If you are looking to write music and lyrics this is a must.
Stunningly bad.......2006-10-06
To be honest, I've owned this book forever but after seeing someone ask about it on another forum, I just wanted to log in here and write a quick review of it as a warning to potential customers because I found it so poorly executed. This book basically consists of Rooksby very quickly presenting a topic in overly simple terms and then citing hundreds of examples of existing known songs that are supposed to illustrate his idea. This sounds like a great idea in principle but in execution it all falls apart. The examples read like pure fluff and do not cover any detail whatsoever, he does not even go into high level things like chord progressions, etc, from the examples. I presume this is due to copyright restrictions, etc. It would have made much more sense to license a few decent examples and really show how they illustrate the point. Or heck, the book is about song writing, why not actually WRITE a few over the course of the book??
The CD that came with the book is literally content-free, too. There's almost nothing on it. Again, this is in spite of all of the external music cited (some of it obscure) and due to the lack of specifics in the book. The CD can literally be thrown away without harming use of the book. It appears to be included in the book as reassurance that there is something there... i.e. a marketing move more than a useful resource for the customer.
So, really, in spite of the hundreds of general examples cited in the book, there is not a single specific detailed piece of information I can remember off hand. Ie. almost no tab, chord diagrams, or sheet music style content. Almost nothing specific about the guitar's interaction with the rhythm section and the specifics of writing for the rhythm section or vocal melody are covered either. And of course, the tell-tale item: nothing is composed/written by Rooksby for the book.
Looking at the presentation, its very slick. The book looks nice, the layout is great, the writing style is enthusiastic, its easy to WANT to like it but when it comes down to it it's good looking book that doesn't achieve its objective. I regretted the time I spent reading this book hoping for it to get better... Thankfully it's extremely short too, but I won't even bother going there at this point. ;)
So, basically, this book is just flat out not useful and the time spent looking for a different, more suitable, book on the topic will be rewarded many times over.
Also, avoid Rooksby's "Riffs" book as well, it suffers nearly the exact same set of problems as this one.
Neither fish, nor flesh........2006-09-04
It's not a guitar method neither a complete songwriting book. Perhaps it's both, but I find it quite boring and not focusing.
Book Description
On the Track offers a comprehensive guide to scoring for film and television. Covering all styles and genres, the authors, both noted film composers, cover everything from the nuts-and-bolts of timing, cuing, and recording through balancing the composer's aesthetic vision with the needs of the film itself. Unlike other books that are aimed at the person "dreaming" of a career, this is truly a guide that can be used by everyone from students to technically sophisticated professionals. Plus, it contains over 77 interviews with noted composers, illustrating the many technical points made through the text.
Customer Reviews:
MUST BUY IT :).......2007-07-03
This book is a MUST for everybody who is involved in the film industry (composers, producers, directors, film and music editors, etc...) and wants to know the insides of composing film scores:
It has many examples, references, quotes and the expertise of such a great composer as Karlin is.
Wanna be serious in this business, must get it.
It's worth buying it.
The Veda of Film Scoring .......2007-05-30
Fred Karlin and his orchestration teacher Rayburn Wright both passed away but their spirit comes alive through the pages of this book. Fred's love for film music and to impart fledgling composers to imbibe the intricacies of film music composition is well documented and presented and is current with examples of cues from movies till 2002 in the 2nd edition of the book. Fred's reverence for film composers is both inspirational and exhaustive and reveals what a brilliant human being he was. This world and the music community needs people like this who have taken their chosen art form and has the good heart to share that information which is hard earned to let other men take lead and become CAUSE over their own vistas of expression in film music. Fred is BRILLIANT AND ALIVE. It is inevitable that you can't help but think of him with gratitude and call out to him and say THANK YOU. These are the people who can bring about changes in the field of film music education and the evolution of man in general by helping us create better art. This is the Veda of Film Scoring. Its that good.
Excellent book!.......2007-05-16
This book is perfect for people who is interested in filmscoring, discussing every aspect of filmcomposing that you need to know about. It`s the best I`ve read so far.
Excellent.......2007-01-04
This is a great book to add to your collection and to improve your technique and knowledge of film scoring. it's worth the price!
Great, easy to understand book........2007-01-03
This book was great for the beginner. It breaks down scoring into easy to understand sections. Great examples are used from prominent composers. Definitely a must have for anyone who is just getting serious about composing for picture.
Book Description
This expertly written guide will show you exactly why Pro Tools shrinks a full music studio into a computer, replacing the bulky recording infrastructure of multi-track analog mixing boards and rolls of two-inch-wide magnetic tape. Ideal for beginning, intermediate, and advanced producers, sound engineers, and musicians.
Customer Reviews:
Best Pro Tools Book for Musicians on the market.......2006-12-13
I started home recording with Pro Tools 2 years ago. I went through a lot of books, but this one was definitely a stand-out. I recommend it highly. The BIG difference with this book is that it is written around practical application of the tools. It is not a re-write of the Pro Tools Reference Manual like so many of the other books are.
Written with knowledge, passion and care..............2006-10-31
John Keane takes the time to really educate the reader, helping to build a solid foundation with Pro Tools from the ground up. This book contains invaluable knowledge that I find myself applying again and again in all types of recording situations. This is not another Fly By Night tutorial - but rather an in-depth, step by step truly awesome guide, written by someone who really cares about music. He really wants the reader to excel and learn from his many years of experience with Pro Tools. It also includes a CD with real studio sessions to edit and mix! If you think you can just jump into Pro-Tools ... think again. There's probably an ADD Pro Tools tutorial out there for those impatient folks who foolishly think they'll have Pro Tools mastered in 10 minutes! ... don't waste your money or your time ... it won't be anywhere near as thorough and you'll end up frustrated with a fraction of the knowledge. Invest just a little bit of time and you'll thank yourself, and John Keane! This is one of the best How To guides on any subject, I've ever come across.
Not Helpful for Songwriters w/ simple home studios.......2006-10-16
With all due respect to the author, I found this book frustrating. It seems to be written for engineers with experience in pro studios recording bands, NOT songwriters with simple m-box setups in home studios. I am a songwriter who records mostly by myself, one instrument at a time, so much of the advice and how-to in the book strikes me as overwhelming, confusing and at times irrelevant.
After my frustrating experience w/ this book, I ended up hiring a freelance instructor. It was money well spent. Here was what was on my list to learn -
How do I
-set the whole thing up (install program, get the right hard drive, get enough memory, get the mbox working, and actually record a sound onto a track)
-make a quick click track
-import beats
-perform basic editing techniques
-render a quick mix and a final mix (bounce to disk)
-put reverb and other effects on my voice (aux effects)
-find and install plug-ins (I didn't like the digidesign ones much)
In 4 one-on-one lessons, I learned enough to record and edit my songs with relative ease. In the 10 months following, I've gotten more comfortable w/ Pro Tools, though it is still confusing at times. I occasionally go back to this book when I have a question, but... very rarely does it answer my question! It either doesn't make sense to me, or just doesn't address my exact question.
So, I am going to try "Pro Tools for Musicians and Songwriters," by Gina Fant-Saez. I've heard it's much easier to digest for home studio songwriters. If it's not, I will update this review.
pay a lot for a Pro Tools class, or buy this book.......2006-08-30
Buy this book. It's really awesome. I was a complete novice, just recording and mixing with the sliders and now people think I have been working with pro tools for years.
Some tips when using this book. Make time and do a chapter a week like you are taking a class. Take lots of notes. Everything is very easy to understand, and you'll remember exactly what you can do, but you will forget what keystrokes to hit, and what icons should be initiated. So take the time to take some notes and even screen shots. Also, I found it very helpful, whenever John Keane said to "save as xxxx", I saved my session as the page number of the book. If you ever need to go back to something, and you will, you'll have it right there.
Great book! I wish more people wrote tech help manuals like this one.
PT Novice.......2006-03-01
For those who are new to Pro Tools and who need very basic information, such as where to save session files, this book is helpful, well organized, and easy to use.
Average customer rating:
- An in-depth look at MAX and its applications
- A perfect companion for Max users on all levels.
|
Composing Interactive Music: Techniques and Ideas Using Max
Todd Winkler
Manufacturer: The MIT Press
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ASIN: 0262731398 |
Book Description
Interactive music refers to a composition or improvisation in which software interprets live performances to produce music generated or modified by computers. In Composing Interactive Music, Todd Winkler presents both the technical and aesthetic possibilities of this increasingly popular area of computer music. His own numerous compositions have been the laboratory for the research and development that resulted in this book.
The author's examples use a graphical programming language called Max. Each example in the text is accompanied by a picture of how it appears on the computer screen. The same examples are included as software on the accompanying CD-ROM, playable on a Macintosh computer with a MIDI keyboard.
Although the book is aimed at those interested in writing music and software using Max, the casual reader can learn the basic concepts of interactive composition by just reading the text, without running any software. The book concludes with a discussion of recent multimedia work incorporating projected images and video playback with sound for concert performances and art installations.
Customer Reviews:
An in-depth look at MAX and its applications.......2006-03-25
MAX is an object-oriented graphical programming environment for creating music and multimedia used for over fifteen years by composers, performers, software designers, researchers and artists interested in creating interactive compositions. MAX reuses the patchable modular analog synthesizer metaphor. You build patches by placing modules on a graphic surface and connecting these modules together with patch cords. The connections represent paths on which values or signal streams are send between the modules. These modules are either processing units (arithmetics, timing, ...), data containers (tables, ...), system inputs or outputs (audio, MIDI, ...). MAX modules are called objects in the sense of Object-Oriented Languages. Objects can themselves be patchers, so that a patch has a hierarchical structure. Some objects have graphical interactive behavior and can be used as controllers, to change values in the patch, or as viewers, to display values computed by the patch.
In this book, Winkler mainly deals with the MIDI version of MAX running on the Macintosh platform. What makes this book so interesting is that it brings together much of the research that has been floating around various institutions and e-mail lists. It is also a fantastic introduction to both MAX and how it interfaces with both performers and computer programming. Winkler informs us that there is a growing future for the MAX environment. With the advent of increased QuickTime and Internet support, MAX is becoming one of the tools with which to enter the interactive programming world. Its strength is that one starts with simple commands and a blank sheet of paper, so to speak, not a grid or staff or piano-roll.
Readers of this book, if novices to MAX and MIDI, could find it hard going at first - but if one can work through the exercises, learning is quickly achieved. If you have already used MAX then the book ties many loose ends together and offers advice on structured programming in MAX. Winkler is careful to define his space and the terminology used. His historical introduction is thoughtful and comprehensive, citing many well-known and some less well-known composers and works. Thus, while informing us of quite pertinent details, Winkler manages to keep an informal style that presents these details in exciting ways.
Once into Chapter 3, we are programming with MAX. MAX is a fourth-generation language - its objects on the screen generate run-time code that the programmer may never see (or wish to see). Its structure is intuitive - generally time runs top-to-bottom and precedence runs right-to-left, and this facilitates informative annotation. Although the book contains tutorial information on MAX, some understanding of the fundamentals of MAX is assumed. Also, it is assumed the reader is familiar with simple musical terms and structures.
Winkler categorizes interactive music programming into three sections: computer as listener, computer as composer, and computer as performer and illustrates this with informative examples contained within the accompanying CD-ROM. Winkler explains how the computer can analyze and compare input usually in the form of someone playing a keyboard, filter this information, add to it, store it, and finally play a response. The computer may act as a very intelligent effects box by following the performer in real time and reacting, thus offering the performer something unexpected in order to facilitate a quasi "interactive process", or there may be no performer at all and the computer may generate its own performance data.
The guts of the book are devoted to good programming technique and design, analysis of musical input data, reaction to musical input data, interaction of MIDI with digitized sound, be it a computer file or a track on a CD, and the complicated process of scoring that follows. Finally, Winkler offers a taste of the future with signal processing, audio-visual development, and the possibilities of controlling MAX with non-keyboard devices. He mentions the MIDI flute, designed at IRCAM, and from this we can imagine using MIDI wind controllers, drum pads and the like to enable performers on one instrument to interact more accurately with another. In addition, there are newer controllers such as pressure-sensitive pads, simple potentiometers, light detectors, and movement sensors that can now all interface with the computer and therefore come under the control of MAX. The opportunities for interactive dance have already been explored at institutions around the world but the technology is now readily available, off the shelf, and is being used by installation artists and choreographers alike.
Mr. Winkler is an able musician who circumvents the boring details and makes programming openly accessible to users. He even offers us many programming examples from which we may build our own interactive works. This book is valuable reference material, as it details and illustrates the powerful IRCAM objects Explode and Qlist, and also objects like Borax and AIFFplay, offering a musical approach. Thus, this book is for anybody interested in bringing computers, MIDI gear, an performers into their creative grasp.
A perfect companion for Max users on all levels........1998-05-05
This book gives one a clear and inspiring view into the Max language and the wide scope of work being done with this Macintosh software. My only regret is that I don't own two copies, one for the studio and one to read at home.
Average customer rating:
- Great!
- Second best orchestration book available
- THE best
- must-read for musicians & composers
- One of the best general resources for orchestration
|
Orchestration
Walter Piston
Manufacturer: W. W. Norton & Company
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Binding: Paperback
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Customer Reviews:
Great!.......2006-02-09
Mr Piston is one of the few authors I have come across who has a thorrough understanding of the limitations of the instruments he chose to write about. One can see this especially through hid portrayals of reach, uses, effects, etc.
However, it is worth noting that he could have used a bigger variety of examples from different composers. He also abides to the most common and stereotypical manners of combinations, etc.
Second best orchestration book available.......2005-08-06
The best book on this subject, the one that I actually sometimes refer to when composing, is Kennan's. Piston's book, however, should definitely be carefully studied by anyone wanting to master the art of classical orchestration. Piston goes deeper into each instrument than Kennan does, establishing a root level of knowledge on top of which Kennan can then serve as a handy daily reference. Piston relies heavily on examples from the core classical repertoire (well into the early 20th century but not beyond), so access to a good CD library will go a long way in bringing this book to life.
THE best.......2005-07-30
This is by far the best orchestration book ever published. I am particularly appreciative just now considering that I have in my hands the third edition of Samual Adler's clumsily composed "The Study of Orchestration", which has several errors on almost every page. Unlike Adler and Blattner, Piston knew precisely what he was talking about and put it succinctly and appositely. Note to the silly "reviewers" who call this "dated": the orchestra HAS NOT CHANGED.
must-read for musicians & composers.......2004-06-05
Composer Ignacio Calvo suggested to me that I read this book, and I'm glad I did. Even though it's dated, and written in an academic style that is somewhat difficult to read, and doesn't cover newer instruments, innovations or styles in the field of orchastration, this is a must-read for new and aspiring composers who want to know what instruments to use and mix for the sound they're going for. This book tells you which instruments sound right together, also covering things like tone, pitch, tempo, etc. Musicians too will get good ideas and learn things about playing their instruments. It covers everything--keyboard, woodwind, strings, etc etc. You have to really concentrate to comprehend some of it, but this is nevertheless an essential and comprehensive teaching tool.
(...)
One of the best general resources for orchestration.......2004-02-02
This book, though not the easiest text on the subject to read, is as detailed as any resource on the subject of orchestration can be. It offers the average musician that knows the basics of his own instrument to learn about the details of the other parts of the orchestra, and offers a basic outline of the typical uses of each section. This is a great text for the beginner composer and arranger who wants to learn one of the proper ways to utilize an orchestra. The only recommendation I can make is that the reader not use this books as law, but rather as principle. The ideas and definitions of this book are not completely concrete, and greatness often comes from innovation. This book, though, offers a great path towards a basic understanding of the workings of a live ensemble and it's effect on the nuances of a composition.
Book Description
Great classical orchestrator provides fundamentals of tonal resonance, progression of parts, voice and orchestra, tutti effects, much else in major document. Includes 330pp. of musical excerpts.
Customer Reviews:
19th century Orchestration.......2007-01-11
Rimsky-Korsakov's treatise deals with many of the common issues of orchestration but is steeped in the music of the 19th century when it was written. The modern student of orchestration needs to study orchestral techniques of the 20th century as well as the techniques of the earlier musical periods. Another failure of this treatise is that Rimsky-Korsakov only uses extracted examples from his own compositions. This limits the breadth of the work and provides no understanding of other composer's methods. Overall this book has some useful information provided by a clever orchestrator but should be seen more as an addendum to the broader, more modern, more detailed and less egocentric works of Piston and Adler.
Doesn't cover the "Principles" or basics........2006-05-01
This book should be entitled "Tasteful Orchestration" or something similar. Despite the title, the book assumes that the student is well beyond the developmental stage of learning the principles of orchestration, the prerequisite theory and arual skills to hear complex examples in the mind by glancing at excerpts of conductor's scores and complex passages for piano, etc. Perhaps I would give it a higher score if the the title matched the text, but I bought the book expecting that its subject matter would match the title, and I was let down.
This is really extra reading AFTER you have had a course in orchestration.......2006-02-12
OK. This is an important book and offers a great deal of interesting information for the right audience. However, there are MUCH better modern books for the working musician trying to learn orchestration or a source to reference for a detail (Kent Keenan, Alfred Blatter, and Samuel Adler come quickly to mind). In order to use this book you will need to know a great deal of the music of Rimsky-Korsakov (the written samples are provided in the back, but you still need to know how it SOUNDS, right?), the differences between 19th century orchestras and the instruments used today, the mechanics of transposition, and a great comfort in reading music.
This is really more about how to create orchestral sound and effects. It assumes that you already have a solid grounding in all the basics of music, notation, and transposition. The text of the book is only about 150 pages and the rest consists of the musical examples.
So, if you have already had your basic orchestration courses, go ahead and read this as a way to understand the thinking of a very talented composer for the orchestra. You will, of course, have to break with his thinking to write your own music. However, Stravinsky did pretty well after studying with this master, right?
Excellent work but not for the dilletante.......2005-12-19
I suppose it would be redundant for me to praise the work of Rimsky-Korsakov like so many have before, and besides it seems above me to judge such an authoritative book. I do wish, however, that Rimsky-Korsakov would have used examples that were not only from his own works.
The format of this book is difficult since all of the musical examples are located in the back--rebinding it into two volumes would be advisable.
Anyone who studies this book should be familiar with the works of Rimsky-Korsakov, as all of the examples come from his orchestral works. It is also advisable to have at least rudimentary skills in sight-reading scores and/or to have recordings readily available so you can listen to the examples he cites.
You will benefit most from this book if you are able to devote a significant amount of time to listening to the examples given for each concept and composing practice sketches based on the principles Rimsky-Korsakov outlines.
The writing is rather dense and requires time to understand; therefore I would not recommend it to someone for whom composition or arranging is simply a hobby.
quite good.......2005-03-24
though quite indepth, Korsakov offers insightful tonal colors with great examples to follow.
Book Description
Discover the secrets of successful songwriting with this essential guide! Cofounder of the Los Angeles Songwriters Showcase John Braheny teaches you the craft of songwriting while going behind the scenes of the music business to reveal insider secrets that will make your work stand out. Dozens of exercises, examples and anecdotes from songwriters such as Vince Gill, Sheryl Crow, TLC, Lenny Kravitz and Paul McCartney will you show you how to: develop a songwriter's consciousness; overcome barriers in the creative process; write in all musical styles, and for film and TV; and skillfully manage the business of demos and contracts. This updated edition also covers online opportunities for songwriters. "A practical street-level look at today's world of songwriting ... Read and learn." - Diane Warren, six-time ASCAP Songwriter of the Year with more than 50 Top 10 hits
Customer Reviews:
Ever wondered what it would be like to write a hit song?.......2003-11-21
Have you ever wondered what it would be like to write a hit song? Perhaps you have asked yourself why do some songs become commercial successes while others end up in the dustbin?
Journalist, talk show host, teacher and consultant, John Braheny, provides us with the answers to these queries as well as many other topics in his blue-ribbon manual The Craft and Business of Songwriting-Second Edition.
Braheny was one of the founders, along with Len Chandler, of the Los Angles Songwriters Showcase. For 15 years he was intimately involved with this national non-profit organization that was dedicated to creating opportunities for discovering aspiring songwriters. As a result of this relationship, he accumulated an exceptional amount of knowledge pertaining to the business and craft of song writing. The reader is fortunate to have all of this information neatly wrapped up in a compact manual that is split into two main sections, the craft of writing songs and the business of selling and marketing songs.
Within the section dealing with the craft the author delves into such topics as creativity, inspiration, subject matter, media, listeners, lyric writing, song construction and possible collaboration with other writers. Naturally we would probably be sceptical of a book that purports to teach us how to write a song. Some would say you are born to write a song, others would disagree and say it is possible to be taught the craft. Braheny believes that you can't be taught inspiration or imagination. However, you can be taught ways to get in touch with what you have to say and how to communicate it effectively. Using this premise as a base, the book provides us with the tools that will perhaps uncover our hidden talents.
The second half of the book deals with the business features of song writing and as the author states, "writing a great song is only part of being a successful songwriter. Unsung thousands possess the talent and craft to write great songs, but without understanding the business and knowing how to protect your creations and get them heard by those who can make them successful, those songs are like orphans." Perhaps we should refer to the second half as the entrepreneurial skills needed to sell, promote and market your songs. Within this section we are introduced to such topics as protecting your songs, securing money, publishing, self- publishing, demos, marketing, Internet and record deals.
The appendix of the book provides the reader with a very comprehensive listing of songwriters' resources containing names, addresses, phone numbers, web sites and general descriptions of the various references. No doubt this inclusion will save anyone who aspires to be a songwriter a great deal of time and effort.
After reading the book are you guaranteed that you will be successful songwriter? Probably not. Unfortunately, we don't have a crystal ball indicating who will succeed and who will fail. However, at least after reading and being exposed to the elements of song writing, you will have a better understanding as to how the music industry works in relation to the songwriter, or writer/performer. As the author asserts in his introduction, "it will demystify and humanize what can often feel to a newcomer like a cold, monolithic, and impersonal industry."
The above review first appeared on the reviewer's own site
Bumpy Ride---Great Guide.......2003-01-09
So what if words and music come natural? We write the stuff down, add a tune and sing it to the world. Then what? This book, The Craft and Business of Songwriting, is a very affordable reference; and probably all you need.I'm happy it contains material that will make me wiser.Buy this or you'll miss out.
A Must Read Book for All Songwriters!.......2002-05-03
The first Edition of the book, was a must read, now this 2nd Edition, updated with new information and current song references, is also a must read for everyone that writes songs. The most complete songwriting book, for beginning songwriters to the aspiring, to even pro writers will learn from the book. I often refer to it as "The Songwriters Bible", just full of information that we need in the world of songwriting.
I have been a Nashville Songwriters Association International coordinator in Charlotte for (6) years, and do at least one activity or read a quote from a hit writer or music professional in the book at every meeting. This book is years of songwriting seminars and workshops all in one. The reader will learn just like the title says, the craft and business from someone who knows what they are talking about, and has led workshops for some of the best songwriters of all time, including the awesome Diane Warren and several other hit writers. John Braheny made a difference with hit writers, with myself, and other songwriters that I have recommended the book to in the past 14+ years of reading the first edition, and now the 2nd edition. I recomend this as the very first book for every songwriter to read and study. If you know someone who writes songs, buy the book for them, and a copy for yourself. Buy a highlighter or two, to use when reading the book. ...Doak Turner
...
Strategy and structure andlots more.......2001-01-11
One of my most basic problems when starting off as a songwriter, was the lack of background and knowledge on how to approach a new song. I am talking about your basic strategies and how to structure them into a final product. Where does one begin, what do you need to take into account, what to do first, how to approach rhyme, basic tips about melody, chords etc. I found this book to answer these type of questions in a simple and interesting way.
The author is obviously a specialist with a very good track record. He taught me how to analyse existing songs to expand my knowledge. No more do I just listen to music, I learnt the skill to expand my songwriting knowledge whilst listening to other songs on the radio or on CD.
I have learnt how to decide on a basic structure, how to approach the most important issue of finding a "hook" for your song and refining it to something useful. I have discovered that it is O.K. to rewrite songs, but I have learnt how to approach it. This book has taught me how to make songs more interesting and it has made songwriting a more interesting hobby for me.
I think the most important lesson from this book is how to grow from a songwriter that tries to express his/her own feelings to himself/herself and a few close friends, to someone who can express his deepest feelings in such a way that his song could be loved by millions and could become a commercial success. It also contain an abundace of valuable information on the industry and how to promote your music.
If I did not read this book I would have missed something for sure. If you are serious about songwriting you cannot go without this book.
Terrific book for basics of songwriting & the business.......2000-01-29
Although this book isn't as comprehensive as others in the songwriting department, it presents information in a very concise and interesting format. It also has a comprehensive section (half the book) on the BUSINESS. It's a quick, easy read and definitely worth the price. But if you want to get serious about songwriting, you'll also need a book with more theory such as WRITING MUSIC FOR HIT SONGS.
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