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 | | Orchestration by Walter Piston ISBN-10: 0393097404 ISBN-10: 0-393-09740-4 ISBN-13: 9780393097405 ISBN-13: 978-0-393-09740-5 Paperback 1955-03 W. W. Norton & Company Find Lowest Price |
Reviews | ||
Great! 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 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 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 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 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. | ||