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Product Description
This work enables students to understand the basics of orchestrations by choosing the most appropriate instruments, instrumental combinations and instrumental techniques to write an effective orchestral score. It deals with orchestral writing for individual instruments, combinations of instruments, and full orchestra, and this edition has a new chapter on scoring for wind ensembles. Six accompanying CDs (0-393-10283-1) expand on the course materal at an extra GBP86.95.
From the Publisher
Third Edition.
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Most Helpful Customer Reviews
7 of 7 people found the following review helpful
Format:Hardcover
Though this book isn't "perfect", it runs through almost every single instrument one can expect to find in any modern day symphony orchestra.
Examples range from Bach and Handel to Penderecki, and although more weight is given to pre-1950 orchestral techniques, contemporary techniques and methods are mentioned throughout, with reference to every instrument - apart from perhaps the saxophone (probably due to its limited use in orchestral music before 1950), which could benefit from its own mention of multiphonics etc.
I unfortunately made the mistake of reading Rimsky-Korsakov's Principles of Orchestration before this, and was left perplexed by his explanations and examples as to how I was expected to orchestrate in any style other than his.
Adler's manual looks at all angles of orchestration discusses many of the problems encountered by the orchestrator and sets out flexible but valuable guiding principles of balance, weighting etc. and instils the right attitude for private study of orchestral repertoire on an individual basis.
Above all it takes into account the stylistic considerations of various different composers and emphasises the importance of individuality, and the need for familiarity with a particular composer's orchestral style when trying to imitate their work.
Examples range from Bach and Handel to Penderecki, and although more weight is given to pre-1950 orchestral techniques, contemporary techniques and methods are mentioned throughout, with reference to every instrument - apart from perhaps the saxophone (probably due to its limited use in orchestral music before 1950), which could benefit from its own mention of multiphonics etc.
I unfortunately made the mistake of reading Rimsky-Korsakov's Principles of Orchestration before this, and was left perplexed by his explanations and examples as to how I was expected to orchestrate in any style other than his.
Adler's manual looks at all angles of orchestration discusses many of the problems encountered by the orchestrator and sets out flexible but valuable guiding principles of balance, weighting etc. and instils the right attitude for private study of orchestral repertoire on an individual basis.
Above all it takes into account the stylistic considerations of various different composers and emphasises the importance of individuality, and the need for familiarity with a particular composer's orchestral style when trying to imitate their work.
14 of 16 people found the following review helpful
Format:Hardcover
As the first orchestration book I know of to have CDs of the musical examples available, Adler is definitely worth acquiring if you've a hundred quid or so to spare. I find the text a bit of a let down though. First, it's an American book, and many American instruments differ from European ones, a trap for the European reader. Secondly, there's a knack for writing idiomatic stuff for all instruments which sometimes deserts even the greatest composers (Brahms is not the greatest writer for strings, for example), and Adler doesn't really get inside the instrumental character in the way Piston's book does, or better still Cecil Forsyth's "Orchestration", written nearly a hundred years ago. Infuriatingly, Adler's book is badly laid out so if you want to leaf quickly through to find, say, the bottom note of the piccolo there are no headers telling you which instrument is on which page. If I had to use just one book it would be Piston's, because it's succinct, clear and much better written than Adler. I don't know Blatter, and I've never seen Berlioz's book, or Rimsky's. But the Edwardian gem is Forsyth - detailed, funny and unafraid to trash bad orchestration even from the greats.
Format:Hardcover|Amazon Verified Purchase
A very good book in lots of ways and even more so if you've the dosh to spend on the accompanying cds. Very thorough and some good examples of form, texture awareness, etc. You may need glasses though, as some of the score examples are rather small. If you are serious about orchestration, money well spent.
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Most Recent Customer Reviews
CDs not compatible with MAC OS X
I just recently bought the CDs and was very disappointed in discovering that they could not be installed on a MAC OSX program. I contacted W.W. Read more
Published 4 months ago by Stephanie Buri
CDs don't work on new Macs
These CDs don't work on new Apple computers and when I say new, within the last 3 or 4 years. The CD says system 8. Read more
Published 5 months ago by A Chamberlain
Book OK CDs less so
The Study of Orchestration book is excellent and takes you through all the aspects of orchestral playing that a budding composer may need. Read more
Published 16 months ago by Kaw
Excellent book on orchestration
This book gives detailed advice on how to set about orchestatration including tables of possible double stops for stringed instruments etc - a good buy.
Published 19 months ago by G. Sweet
One of the best
Altough it is perfect for study of orchestration of classical music, the book is little out of date because the more recent examples are around the first decades of 1900. Read more
Published on 9 Aug 2002 by Professional Musician
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