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Orchestration

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Title: Orchestration
by Cecil Forsyth
ISBN: 0-486-24383-4
Publisher: Dover Publications
Pub. Date: 01 March, 1983
Format: Paperback
Volumes: 1
List Price(USD): $16.95
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Average Customer Rating: 4.38 (13 reviews)

Customer Reviews

Rating: 5
Summary: excellent
Comment: An excellent and authoritative text. There have been some changes in the capabilities of the instruments that are not reflected in the text, and of course it is missing all of the more modern and electronic instruments (this has the same unabridged text as the 1935 edition), but it's still very useful and well-written.

One (small) lack: after reading the section on the harp, I still greatly prefer the standard on that subject, "Harp Scoring" by Stanley Chaloupka, for discussion of composing or orchestrating for the harp.

I feel this book should be in the library of anyone serious about orchestration or composing for an orchestra.

Rating: 5
Summary: Brilliant
Comment: I've got a small shelf of orchestration books and this is easily the best of the lot. While it doesn't talk as much about combinations of instruments as Rimsky-Korsakoff's book, it provides detailed and practical information on each of the instruments it covers. Yes, it's old and the state of the art has advanced on some instruments, but that has little impact on just how wonderful this book is.

I'd suggest also picking up Essential Dictionary of Orchestration (The Essential Dictionary Series) by Dave Black and Tom Gerou to fill in some of the gaps on contemporary orchestration.

Rating: 5
Summary: Delightful as it is useful
Comment: Like most Dover books, this British text is a reprint of a highly esteemed publication that went out of print for reasons having more to do with capitalism than science. Published between the world wars, it is obviously has no information on the way cool toys of the last few decades, but it is as thorough and practical a treatment as can be found in any language for most of the instruments (other than percussion oddities) in the European musical tradition, and certainly compares favorably with most of the standard textbooks peddled by needy American college professors. In addition, Forsyth can be droll, as for example when he reports that Berlioz observes "ominously" that the best notes on the little known Russian bassoon are said to be D and E-flat.

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