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What our customer's say!

"Excellent resource", Rimsky-Korsakov does an excellent job describing instrumental qualities within a section of an orchestra in "Principles of Orchestration." His book addresses "resonance" better than most other orchestration books. If you're looking for a reference on properties of instruments this book will come up short. This book has helped me to gain a deeper knowledge and appreciation of how and why to score things properly. As stated in other reviews, this shouldn't be your only orchestration book, but it is absolutely an excellent one to have.

"Excellent book for who wants to wirte music. Most practical book", I don't think any book can come close to this book. In terms of the organization and practicallity. RK is the most famous for its colorful and decent orchestration. Just to let you know, there is an Online version of the book perfectly done by Gary Garritan Team at www.northernsounds.com. But still you need to book for a further information.

The book and website have been already adopted by many school. Plus it is very cheap and almost all examples can be listened and read using Macromedia Flesh.

"19th century Orchestration", 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.", 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", 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?

Read this reviews before You buy...

"Do Not Buy This Book", This book was by far the WORST book I have ever read on techniques in orchestration. The author is completely obsessed with his own works and his examples are meaningless and weak.

"of historical interest", I'm giving this four stars instead of three for sentiment's sake. It is probably invaluable for a Rimsky-Korsakov scholar, but...well, let me put it this way: I've owned the book for nearly a decade, and I never, ever use it. For sound practical advice I can do no better than recommend Walter Piston's ORCHESTRATION and Cecil Forsyth's ORCHESTRATION.

Also recommended: THE LYDIAN-CHROMATIC CONCEPT OF TONAL ORGANIZATION by George Russell.

"Roll on, Rimsky!", Nikolay Rimsky-Korsakov might have written some cheesy tone poems, meandering symphonies and mostly forgotten operas (at least outside Russia), but he also could play an orchestra like your Uncle Billy could play a wazoo. Along with Mahler, Wagner, Debussy and Ravel, he is one of the finest orchestrators who ever lived. When his ideas work fully, he has no equal in producing in thrilling, balanced sound. He also taught Stravinsky a thing or two as well, so he wasn't a bad teacher either. This book will show you that as well. Rimsky's ideas might be old-fashioned and perhaps using his own music as examples, is a little arrogant, but when you're good enough, how can you argue?

"This is a great book", This is without a doubt the greatest book on orchestration in my opinion; not only does it give you an insight on Rimsky-Korsakov's style, but also helps perfectly balance any mixture of instruments, and gives you almost all information on any instrument (that he had at the time) that you'll ever need. It is not only a book on orchestration, but a course on it.

"Good Reference Book", I use this book as a reference. It is concise and to the point. It has helpful charts, diagrams and examples. While it is old, it provides a good foundation for instrument blend and technique.