Orchestration

A copy of this book had a prominent place on my shelf while I was at university in the sixties. I lost that copy during a move, and replaced it with a paperback revision, which was again lost in a theft. The second replacement was this one, a second printing of the first edition from the original publisher, made available by a special purchase through Amazon, in a surprise purchase that made me gasp with delight, since this copy is a hardbound one in amazingly good condition. The text itself is illustrated with cuts of orchestral instruments and Mr. Piston's selection of musical examples, most of which are not at all peculiar outliers (such as Korsakov's book shows) but solid examples that students are likely to be familiar with from their advanced studies in music. There is a large amount of material describing the actual workings of the instruments (such as fingerings) as well as remarks on sonorities and timbres. There are sections on part writing and textures (such as contrapuntal work) and further stretches of text on problems of orchestration and so forth. The book is not deep but it is thorough, and it gives the impression of the work of a mind that is capable of great detail and precision, but it doesn't become bogged down with didacticism. It was through the inspiration of this book that I later purchased all the symphonies of Mr. Piston that became available, and played them as often as my full schedule would allow. Piston's music is known for its great precision and learning; he never wrote a note or passage for which there was no reasonable underlying principle. Data: Orchestration, by Walter Piston; W.W. Norton & Co. (New York and London), 1955. 477 pp.; Index. Second Printing. ISBN 0-393-09740-4. w/ dustjacket.

This is the one of many orchestration books that I have recently bought (my other recent purchases include the Rimsky-Korsakov Principles, the Berlioz/Strauss Treatise, and the Forsyth Orchestration.) Piston's book is one of the best - very clear, accurate, and modern. His overview of the instruments in the orchestra is one of the most comprehensive I have read. The actual orchestration part of the book seems to be slightly lacking. I would recommend studying Rimsky-Korsakov's Principles of Orchestration before, or while reading this book. What Korsakov's covers in detail (such as instrumental combinations and chords), Piston's just touches on, relying on the reader to fill in the gaps himself. But what Korsakov quickly reviews (instrumental technique), Piston's covers in great detail. These two books, when read together, provide a strong foundation of the techniques of modern scoring. One interesting aspect of this book is the time Piston spends in discussing the procedure of analyzing orchestral scores. I have found this very helpful for my own studies, as studying the works of great orchestral masters (Berlioz, Tchaikovsky, Holst, Mahler, Wagner, Stravinsky, Richard Strauss, and Rimsky-Korsakov) has greatly enhanced my knowledge of the details of orchestration. Overall, this book is a wonderful addition to my library. It is very clear in the explanation of everything it sets forth. Even though it is lacking a little in its discussion of orchesral combinations, this can easily be remedied by studying Korsakov's textbook, and Piston's study of the various instruments is one of the most detailed and helpful that I have ever read. I would advise every serious student of orchestration to get this book: it provides valuble insight into composing for the modern orchestra.

This is an excellent book on orchestration, focusing primarily on the individual instruments.

The other comments pretty much tell you what you can expect from the book so no need to repeat it. But what I can say is that it has really opened my eyes. Understanding the different ways you can go about different textures really helped me to write quality music. I love how it goes into detail on the instrumentation of all the different parts of an orchestra. This book changed my life I went ahead and bought Counterpoint and Harmony by the same author. As much as I love Schoenberg and how he looks at things I think Piston's to the point approach is mentally alot less tiring. Right now im doing symphonic black metal and Orchestration has solved alot of problems for me. I now have a much more clear idea of how to create the sound I want. Orchestration is useful to any musician regardless of the type of music you play.

Walter Piston is dah man. Sure, studying Harmony, Counterpoint, and Orchestration is like taking candy from a giant 500 ft candy monster, or maybe drudging through a 1 mi deep swamp - but that's part of their magic. His writing is concise and efficient.NOTE: There are many great music theory texts out there that are more user friendly. But I rely on Prof. Piston for my music theory learning needs.

This is an invaluable reference and research tool for any composer. All major orchestral instruments are reviewed in great detail. The descriptions of the builds, ranges, tonal characteristics, mechanics, and technical strengths and limitations of each instrument are carefully reviewed. The language is clear and efficient. The book is in 3 parts.1-the instruments of the orchestra (divided by section, with each instrument reviewed separately)2-analysis of orchestration (reviews the basic characteristics of instrumental combinations in different melodic/harmonic situations)3-problems of orchestration (deals specific textural considerations. ex: orchestration of melody, scoring of chords, etc.)I love the layout of the book and it has proven very useful. I highly recommend it.

I bought this as a gift for my son. I wanted a hard cover (since it was a gift), but it came as a soft cover. I called Amazon, and they immediately sent a new one. The new one arrived and it was a soft cover as well. I called Amazon and they gave me a partial refund. I had a hard time finding the book except through Amazon. My sone absolutely loves the book.

A must have book full of handy information

The classic in its field.

Excellent

Arrived in time. Content met expectation.

IF IT IS GOOD ENOUGH FOR PETE TOWNSEND IT IS GOOD ENOUGH FOR ME. I WOULD RECOMEND IT TO ANYONE WORKING THROUGH THE STUDY OF MUSIC IT IS SIMPLE TO READ AND GIVES A GREAT DEAL OF INFORMATION ON MOST IF NOT ALL PRODUCTS FOUND IN A MODERN ORCHESTRA