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.
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.
Average customer rating:
- Great!
- Second best orchestration book available
- THE best
- must-read for musicians & composers
- One of the best general resources for orchestration
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Orchestration
Walter Piston
Manufacturer: W. W. Norton & Company
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Treatise on Instrumentation
ASIN: 0393097404 |
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.
Customer Reviews:
Informative and attractively presented.......2006-11-12
As background, I am very much a novice when it comes to orchestration, and I read music only with great difficulty despite the efforts of several well-meaning piano teachers during my childhood. I do have a fairly good grasp of basic music theory and harmony, and I know my way around MIDI and digital audio pretty well. I mostly play by ear, just as a hobby for my own enjoyment.
I find that this book does a good job of meeting me "where I am", and helping me on from there. It is written clearly, with good examples and explanations. Physically, the book itself is exceptionally well made and very attractive.
I use the book mainly for guidance in using the instruments in Garritan Personal Orchestra in a Sonar sequencing environment, and it has been especially helpful for its insights on building ensembles and achieving a natural balance among the instruments.
revised opinion.......2006-11-02
When I first received this book I was disappointed by it. The first things I noticed where: 1) it does NOT provide a comprehensive introduction to orchestration (as another reviewer said); 2) almost half of the book consists of the author's opinions -- which are overwhelmingly positive -- of various softwares and sample libraries (information that is freely available on the internet and which is certain to be outdated quickly and which I don't want on my bookshelf and certainly don't want to pay for!) and 3) the book stank to high heaven when I got it, thanks to the chemicals used to print it in low quality hi-gloss color. Every time I touched it I felt like I had to wash my hands, as if they were covered in bleach or some other odious chemical.
So I contacted the publisher, asking if I could return the book. The publisher at first refused, saying that I hadn't ordered the book through them, so there was nothing he could do about it. But then I got a very nice letter from the author, offering a refund if I was dissatisfied with the book.
BUT....by then...in the midst of a film scoring project, I'd turned to the book and found it useful.
There are many little tips in this book that are helpful, inspiring, or both.
(Also, the chemical stench is starting to wear off.)
So I decided to keep it.
This book is aimed at folks who want to use software samplers to emulate orchestras in pursuit of the Hollywood sound. The author obviously has a great deal of experience and does have a number of interesting ideas about how to use software samplers to create soundtracks.
If you want/need brief introductions to the various intsruments of the traditional orchestra, that's here. If you want to write film scores but don't really want to bother with a book like Adler's guide to orchestration, this book can serve as a useful, though extremely basic, introduction to general orchestration principles.
But really, the book is focused on a specific kind of orchestration: the big Hollywood sound. As such, I find it useful, for 2 reasons: 1) there will always be clients who want that and 2) you have to know what the rules are before you can break them, and for better or worse, that 'Hollywood' sound rules the mainstream roost.
IN SUMMARY
The author is very nice, generous and knowledgeable.
The endless and endlessly glowing reviews in the book are annoying, but there are good advices to be had from this book.
There is absolutely no reason for this book to be 700 pages, or printed in glossy color. A 300 page
paperback in black and white, minus the software reviews, would be better.
It is not a detailed introduction to orchestration. Adler's orchestration book is much more thorough.
I'd prefer a book on this very specific subject -- using MIDI to imitate Hollywood orchestras -- that's half the size and half the price, but if you want to learn this material and eighty dollars doesn't seem like a lot of money to you, give it a shot. You may want to contact the publisher before ordering
re: their return policy if you have any thought that you might want to return the book, as there seems to be some confusion on their end.
Great source of MIDI production information!.......2006-10-26
This book is an exhaustive source of info for anyone who is trying to produce realistic orchestral music using MIDI instruments. The tips for each instrument family and the reviews of plug-ins are particulurly helpful. It does NOT teach MIDI, as one reviewer her plainly thought. For the experienced student or professional, however, it is a must have.
A Great Book.......2006-09-20
Guide to MIDI Orchestration is one of the best investments that I have ever made in my music career. I write symphonic music as well as some commercial works (to pay the bills). Both of these ventures require me to put together MIDI representations of orchestra on a regular basis. Anyone who has done this knows how difficult it is to consistently produce a great product, even if the music is great! GTMO shows how to do this, from start to finish, in a detailed way, that is not overwhelming because it is so methodically presented. I'm an experienced orchestrator and I soon found out that being able to write for orchestra and being able to produce a real sounding MIDI piece for orchestra are two totally different things. Gilreath's book has helped me to produce pieces that sound exceptionally realistic. I recommend this book to anyone doing MIDI orchestra work including classical composers, commercial composers and or course the guys doing games and film.
An Exception Book for composers.......2006-09-16
I am a music professor in NYC. I find Paul's book to be one of the most helpful and insightful books I've ever read and used. It is filled with pages of helpful information. My students and I are at two different places in our "professional" world, yet we both benefit from the book. There is enough basic set up and MIDI primer info to satisfy their needs (and my MIDI course) while the orchestration information is great for intermediate to advanced individuals, so I also use this book for my introduction to orchestration class. The real power of this book is this: It explains in a methodical manner the way to make your electronic orchestrations sound very real. Period. I have found no other book that does this. This is the second semester I've used the book for my courses and my students love it. This is a fine book deserving of serious consideration for anyone who composes for orchestra with MIDI.
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.
Average customer rating:
- A true classic
- Strauss's additions are worth the price alone
- The Book. By the man who "wrote the book."
- Quite possibly the best book on music ever written!
|
Treatise on Instrumentation
Hector Berlioz , and
Richard Strauss
Manufacturer: Dover Publications
ProductGroup: Book
Binding: Paperback
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Principles of Orchestration
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ASIN: 0486269035 |
Book Description
The most influential work of its kind ever written, appraising the musical qualities and potential of over 60 commonly used stringed, wind and percussion instruments. Includes 150 full-score musical examples from works by Berlioz, Mozart, Beethoven, Wagner and others. Complete with Berlioz' chapters on the orchestra and on conducting. Foreword by Richard Strauss. Glossary.
Customer Reviews:
A true classic.......2007-05-17
The revision by R. Strauss added a lot of technical in-depth, that today remains current.
Strauss's additions are worth the price alone.......2004-06-21
Two of the best orchestrators of all time contributed to this book regarding orchestration and the mechanics of various instruments. With examples from many scores included in alsmost every section (especially Wagner, who Strauss admired highly), this tome is invaluable. Throughout the book limitations, advantages, and effects achievable by a broad range of instruments are discussed in detail with good examples included for each section.
I highly recommend the Treatise on Instrumentation. It is worth the price just to get to hear the personal opinions and thoughts of two master composers.
The Book. By the man who "wrote the book.".......2003-12-17
Two hundred years ago this week, Louis-Hector Berlioz was born. This, then, is a time for me to comment on a few of his works, some of them "favorites by acclamation" and others simply those in which I find special merit.
When Berlioz died, in April, 1869, an obituary in the Musical Times read, in part, "...there can be little doubt that he will be remembered by his able and acute contributions to musical criticism than by any of the compositions with which he hoped to revolutionize the world."
These words by the Musical Times were addressed to Berlioz's feuilletons (musical criticisms in a largely satirical style). Berlioz captured many of his best feuilletons in his anthology Soirées de l'Orchestre ("Evenings in the Orchestra"), and his trenchant wit is also evident in his Memoirs.
But Berlioz did leave behind one work for which musical education for generations of composers to come had been the purpose: his "Treatise on Instrumentation," or, if one likes, "the art of writing for musical instruments of the orchestra to achieve maximum effect." The Treatise was the very first serious effort to fully describe these matters of instrumentation and orchestration, instrument-by-instrument and orchestral-choir-by-orchestral-choir. Paraphrasing a portion of a recent Berlioz Bicentennial article by none less than Norman Lebrecht, the Treatise was closely studied by Gustav Mahler and Richard Strauss (who themselves were masterly orchestrators), Modest Mussorgsky had died with a copy of the Treatise on his bed, and, as a result of wildly successful concerts led by Berlioz in Moscow and St. Petersburg, Nicolai Rimsky-Korsakov was motivated to write his own equivalent, "Principles of Orchestration," which would serve as a model for his Russian school of composers.
In point of fact, the revolutionary uses to which Berlioz put orchestral instruments in his compositions cannot be gainsayed, and his compositions, as well has the Treatise, served to redefine orchestral possibilities - and serve as a learning tool for subsequent composers - for the remainder of the 19th century and well into the 20th century. He was an inveterate "tinkerer," in terms of constantly assessing and writing for newly-invented instruments of his era, and, as well, he "borrowed" instruments freely from military bands of his time, to create orchestral "sound worlds" that were new and novel.
As the Treatise demonstrates, Berlioz was no mere dilletante, experimenting in willy-nilly ways, but was in fact thoroughly "grounded" in his understanding of such basic principles as acoustics and the creation of sound. In its original French form (virtually all of which, in translation, survives in this revised edition), the Treatise clearly set out all of these principles, applied to the instruments of his time by means of examples drawn from a wide range of musical compositions, and the French-language original seemed not to have been a problem for all the German, Russian, Italian, English and what-have-you composers who learned from it.
A half-century later, in 1904, Richard Strauss was requested to review and "revise and update" the Treatise by the publisher. It is in this form, with emendations by Strauss and translated ably into English, that the Treatise currently exists. Needless to say, familiarity with musical notation is important if one is to fully appreciate the value of the Treatise. But the narrative, including descriptions-in-words of musical examples of individual instruments and instruments used in various combinations, is clear enough that even those not knowledgeable in musical notation can bypass the notated examples and simply read the narrative with benefit. Berlioz was an exceedingly gifted writer, blessed with clarity in all that he wrote.
Strauss's emendations are rather clearly set out separately from Berlioz's original effort, so that the two do not get confused. By and large, Strauss doesn't trample too much on Berlioz's efforts, but deals with instruments not available to Berlioz, with many of his own examples drawn from the works of Richard Wagner. But Strauss's comparative measures of - and prejudices regarding - Berlioz and Wagner as composers are quite well established in his own separate Foreword.
The most recent instrument invention included in Strauss's emendations is the heckelphone (baritone oboe), which invention Strauss commissioned Wilhelm Heckel for Strauss's use in his "Symphonia Domestica." Obviously, then, the Treatise is not the reference to which to turn for descriptions and applications of instruments that are of 20th century invention, nor, for that matter, instruments in use elsewhere than in Europe that subsequently found application in 20th century "Western" music (such as the Indonesian gamelan).
A side benefit of the Treatise is in its historical value as a repository of capabilities, sonorities, techniques and usages of instruments long deemed obsolete, but in current use during Berlioz's careers as composer and conductor. Where else can one find such a wealth of detail on instrumental esoterica and arcana like the ophicleide, bombardon and serpent (all forerunners of the tuba), as well as various instruments invented by the highly-creative Adophe Sax, inventor of the saxophone but also the various saxhorns, saxtrombas and saxtubas now obsolete? In fact, I could find only one oversight on Berlioz's part, that of the sarrusophone, invented by Auguste Sarrus, a contemporary "competitor" to Adophe Sax.
It's a small oversight. Unless, of course, one takes a personal interest in the sarrusophone and its musical possibilities. I happen to, but that's just me.
Anyone interested in the course of musical instrument usage and history should have this inexpensive Treatise in his or her library. If you can't read the musical notation and examples, you'll nonetheless come away with an excellent understanding of Berlioz's contributions to the field.
Bon anniversaire, M. Berlioz!
Bob Zeidler
Quite possibly the best book on music ever written!.......2000-04-02
Every time I open up this book I find something completly new and exciting. I have never seen an author(s) so enthusiastic about every instrument. Every instrument of the day (keep in mind that it was written in the 1840's and later revised in c. 1900) gets special attention with music examples from great composers like the authors and Wagner. Each musical selection is shown in its full score so that the reader/listener can get a better image of what their reading about or hearing (the only way one can understand some of these examples is to go out and listen to these examples otherwise their just notes on a page). Quite possibly my favorite section is the one where Berlioz describes his "perfect" orchestra. It is one so massive that it sends chills down my spine! A must have for any music library.
Book Description
This reference details the basics as well as the refinements of writing for the symphony orchestra, the band, and string orchestra. Focuses on the difficulties of performance of an instrument, the things to avoid when writing for instruments, how to accomplish basic necessities, guidelines for scoring, preparing the score and parts, and unusual uses of instruments. Ideal for introductory and intermediate courses in Orchestration.
Book Description
Scoring for film has changed dramatically over the past twenty years. With the advent of MIDI, sequencers and low-cost recording gear, just about any composer anywhere can score a film. Well-known composer Sonny Kompanek teaches this new film scoring process at prestigious New York University and now he shares his secrets within the pages of From Score to Screen. Learn about the cast of professionals you'll work with as a film composer. Find out how to meet people in the business, network, and create a promotional demo. Learn how to compose themes and battle writers' block. Understand how to preview a score with the director and manage requested changes. And know how to make a director happy with your work. With this book, you'll gain practical knowledge that you can put into action immediately. SELLING POINTS: This is the only book that discusses the new film scoring process which utilizes the latest technology. Written by revered film composer, Sonny Kompanek. Ideal for any composer interested in film music, from beginner to advanced.
Customer Reviews:
Overall: good.......2007-01-04
This is a good overview book of film music. I own and have read a variety of these types of books, and this holds pretty well. However, i would suggest the Berklee Press book by Richard Davis as well.
Rock-solid advice from someone whose been there.......2006-06-27
An excellent book that takes it's title quite literally - From Score to Screen. This book DOES NOT teach you how to write a score, rather it assumes that you have a computer-sequenced score written and are now converting that midi mockup into a full orchestral recording in a professional recording studio with a large orchestra and several helper professionals to assist you. As such, this book does a wonderful job in covering, very specifically, the nuts and bolts of part extraction, conducting ,and just what all those helper professionals at the session (copyist, orchestrator, mixer) do. Although, obviously, I have never gone through this process, this certainly seems like rock-solid advice from someone whose been there (repeatedly).
EXTREMELY INFORMATIVE & A CONFIDENCE BUILDER.......2006-04-01
This book offers a great start to anyone who has questions about film scoring - whether you're just curious or taking things quite seriously this book provides some very good insight. I currently don;t have the luxury of taking classes for Film Scoring and it is clear that Sonny Kompanek is a great teacher. Realistic, straightforward yet positive & hopeful - he provides some words of encouragement to those aspiring to break into this field as well as "cold hard facts."
Great Book!
Informative, practical, and thoughtful........2005-04-28
Having just started in the business of writing music for film and television, I needed a new book to walk me through the practical aspects of film scoring. This book accomplishes that, and more. It goes through the step by step process by which a contemporary film composer can get work, interact with a director, creatively write a score, edit and tweak it, and record it in a studio environment. It's well written, very communicative, and has already helped me figure out where to go to drum up business, and how to write music for film quickly and confidently. I recommend this book for anyone who wants to write music for film and T.V.
Extremely useful real world advice........2004-10-29
This is a wonderful book for anyone who is interested in the art of film scoring. "From Score to Screen" contains an abundance of great advice for beginning film scorers as well as composers who are more established. Topics include: score preparation and how to make the live orchestra session run smoothly, as well as advice and tips on converting a midi mockup to a full orchestra recording. Great insight from an expert.
Book Description
An authoritative, easy-to-understand text covering all aspects of arranging.
Customer Reviews:
WARNING!! BAIT AND SWITCH.......2007-05-15
The book you are looking at on this page IS NOT THE ONE mentioned in these reviews. It DOES NOT come with a CD. This is the NO CD version!!!
I wonder what they mean by "definitive Edition"? Is there a non-definitive edition? Is that the one with the CD with audio examples?
Not very "definitive" in what they DON'T tell you.
Great Arranging Manual!.......2003-08-03
This book is the best one I have yet seen on the art of arranging for jazz bands and other contemporary/pop ensembles. It is full from beginning to end not only with all the standard info about instrument ranges, which instruments sound best in which voicings, etc., but also full of interesting little gems designed to inform the budding arranger about the realities of the music industry. Things like "All professional trumpet players carry with them a straight mute, cup mute, harmon mute, felt hat, and sometimes a plunger. Any other special mutes must be requested in advance of a performance or recording session" (page 13). Also tips on how best to record particular instruments in the studio, and things to look out for in this regard. "Of all the members of the woodwind family, the bassoon is the hardest to record properly, having the tendency to become lost when combined with other instruments.... it... is most effective when the texture of the passage in which it is used is transparent enough for the bassoon to be heard clearly."
To all of those reviewers at this site and the other page for this book, the CD *does* in fact match the examples in the book. The book specifies between regular written examples (not included on the CD), and *recorded examples*, which are on the CD. The listing on pages viii and ix accurately reflect the listing on the CD and the appropriate text in the book that matches each example.
The examples of various sounds possible on the stringed instruments and the French horn, are particularly helpful in matching up the standard musical terms "detache, parlando" etc. with that particular sound.
Overall, an excellent book both for beginners and folks with some background who are looking to expand into jazz-style sounds.
Recorded CD doesn't match the book's examples........2002-02-19
I just purchased "The Contemporary Arranger" written by Don Sebesky. The CD containing the recorded examples that come with the book don't match the track listing on pages viii & ix. The example numbers (Ex.) can't be found on the page numbers. I went to the publisher's web site looking for a corrected track list of the right example numbers and pages of where they can be found in the book, but I couldn't find it, nor do I see them list this book. Otherwise, it looks like a fine book.
Things you must know to be a serious composer........1999-08-16
What I was always looking for. This book is a crisp and clear breakdown of all the important musical instruments. It is done so clearly that quick reference is possible and most every question is answered.
It's a good book for beginners.......1999-02-11
It's a good book for beginners, but the CD doesn't show the examples of the book!
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