The Technique of Orchestration

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.

Few books are useful in learning to write music. This is one of the rare few. I first got acquainted with the book a quarter century ago, and have been using it ever since. The book assumes basic competence in music performance and theory. The necessary information about the various instruments is provided simply and accessibly -- e.g., where the timbre breaks occur on the clarinet, how to figure out if a particular triple-stop can be fingered on the viola, etc. There is also useful guidance in writing for sections and other combinations of instruments, although nothing can replace a good set of ears and numerous years of orchestral or band playing time for learning that particular skill. Kennan helpfully distinguishes what is practical and idiomatic (what an ordinarily competent player can be expected to be able to do) from what is possible (what the best players might be able to pull off on a good day). Thus, this book should be useful for everything from making high school band arrangements to writing for professional orchestras.

(6th Ed.) Although I've played classical piano for a long time, I'm a beginner in this aspect of music. This book provides a fantastic, detailed survey of the entire symphony orchestra for those who don't know an English horn from an oboe; however, it seems like it's one of those handy books you will refer back to for a very long time: - basic introduction to various configurations of orchestras - all the instruments individually described & photographed - idiosyncracies, limits, abilities of each instrument - the realistic note ranges of each instrument - scoring for sections (strings, woodwinds, brass, percussion) - excerpts from real scores demonstrate techniques - some important aspects of color/blend/orch.texture - arranging for school orchestras, smaller groups - contains small suggested assignments and listening refs. Personally, I am using it as a reference for working with a sampler-based orchestra, to give me better insight towards creating more realistic arrangements and mockups.

With a new updated edition appearing every few years, this book still manages to maintain its place as the standard for entry level orchestration.Along with the basic need to know information, you will find it packed with musical examples of each instrument as well as in context with relative sections and the entire orchestra.Also there are suggested assignments and suggested listening at the end of each chapter. This is invaluble in assimilating and applying the vast amount of information presented here - especially if you don't have access to a live orchestra.Any aspiring composer or orchestrator should consider this book a "must have" - pick it up, you won't regret it.

I should first point out that no book can teach you orchestration. You learn to orchestrate by orchestrating and listening to the results at performances and rehearsals, noting carefully the reactions of your musicians. (Write for musicians, not for instruments.) Most of us have little opportunity to do so, unfortunately, but we can learn a great deal by studying orchestral scores (analyzing and following along at concerts and with recordings.) We can also consult books. I recommend this book for beginning orchestration students, but I recommend especially Cecil Forsyth's "Orchestration" (to which this book occasionally refers) and Walter Piston's "Orchestration". I also recommend George Heussenstamm's "The Norton Manual of Music Notation" (you'll need to know how to make your scores readable), Walter Piston's "Counterpoint" (Rimsky-Korsakov says that the essence of orchestration is voice leading), and, by the bye, Jeff Burns's "Pentatonic Scales for the Jazz Rock Keyboardist".