Principles of Orchestration

by Nikolai Rimsky-Korsakov

This book is an essential guide for music majors looking to develop their orchestration skills and create imaginative and brilliant orchestral compositions.
 
"To orchestrate is to create, and this cannot be taught," wrote Nikolay Rimsky-Korsakov, the great Russian composer whose genius for brilliant, highly colored orchestration is unsurpassed. In this affordable paperback reprint of an influential work of music theory, Rimsky-Korsakov, the great classical orchestrator, provides fundamentals of tonal resonance, progression of parts, voice and orchestra, tutti effects, and much more. This major document includes 330 pages of musical excerpts and extracts from Rimsky-Korsakov's 1891 draft and final versions of his Preface.
  Comprehensive Learning: Principles of Orchestration provides a comprehensive exploration of orchestration principles, covering topics such as tonal resonance, orchestral combination, and achieving specific tone qualities/instrument timbres. Practical Illustrations: The book includes over 330 pages of musical examples and exercises from Rimsky-Korsakov's own works, allowing students to see practical applications of the discussed techniques and concepts. Historical Perspective: Rimsky-Korsakov draws on his experience as a composer and conductor to provide historical context and insights into the evolution of orchestral techniques. Systematic Arrangement: The material in the book is systematically arranged according to each constituent of the orchestra, making it easy for students to study and understand the role of different instruments in orchestration. Chapter Inside, you'll find a general review of orchestral groups and musical instruments – string, wind, and percussion; the effect of harmony and melody on individual groups and their impact on different combinations of groups; the composition of the orchestra and other ways of orchestrating the same music; a supplement on solo and combined with the orchestra; voices in duets, trios, quartets, chorus, and more. Technical Guidance: Rimsky-Korsakov offers technical guidance on various orchestration topics, including chord progression and achieving specific tone qualities, helping students develop their orchestration skills. Valuable Resource: "Principles of Orchestration" is invaluable for any music student looking to enhance their understanding of orchestration principles and techniques. Classic and Timeless: Written by a major composer, this book is considered a classic in orchestration and continues to be highly regarded for its wealth of musical examples and systematic approach.
Principles of Orchestration by Nikolay Rimsky-Korsakov is an invaluable resource for any music major. With its wealth of musical examples and systematic approach, this book offers a comprehensive exploration of orchestration principles, providing students with the knowledge and techniques necessary to create extraordinary orchestral compositions.

Genres: Music, Reference, Nonfiction, Classical Music, Russia

512 pages, Paperback

First published July 15, 1822

About the author

Traditional folk music heavily influenced operas and orchestral works of Russian composer Nikolai Andreyevich Rimsky-Korsakov.

This member of the group, known as "the five," mastered. His best-known Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade constitute staples of the classical repertoire alongside suites and excerpts from some of his 15 operas. Scheherazade exemplifies his frequent use of fairy tale and subjects.

Rimsky-Korsakov as fellow Mily Balakirev and critic Vladimir Stasov developed a classical nationalistic style. This style employed song and lore alongside exotic harmonic, melodic, and rhythmic elements in a practice, known as orientalism, and eschewed traditional western methods. Rimsky-Korsakov, a professor of harmony at the Saint Petersburg conservatory in 1871, however, appreciated western techniques. He undertook a rigorous three-year program of self-education and mastered western methods, incorporating them alongside the influences of Mikhail Glinka and fellow members of the five. His exposure to the works of Richard Wagner further enriched his techniques.

Reviews

[Christian]

A very colorful description of harmonics and counterpoints between instruments. I found this book rather helpful in learning more about orchestration - Rimsky-Korsakov is an already famous composer that I wish had written more than one volume on composition. I will definitely read this again, he made learning interesting and easy to audiate.

[Jared Orentlich]

This book is a notable attempt to show all of the nuances of orchestration. The author, famous Russian composer Rimsky-Korkasov, describes everything one needs to know about arranging parts for a string or full orchestra. i recommend this to anyone studying orchestration.

[Arno]

Warning

The e-book is literally just a table of contents and some ads.
The entire text is missing.
Worthless. Do not purchase under any conditions.

[Eric Osborne]

Principles of Orchestration is a really interesting look into the mind of one of Russia’s most influential romantic composers, but I’m not sure if a text book is really the best way to learn orchestration in the year 2025.

The book is actually two volumes in one; the first third is Rimsky-Korkasov’s notes and explanations about instruments, their capabilities and pairings, and some general guidelines on textural clarity. The second two thirds are musical examples that are referenced in the first portion. This means you are constantly flipping back and forth and see what Rimsky is talking about.

This book makes me realize what extraordinary imagination and audiation abilities the old masters must have had. Unless you have a phenomenal ear, just seeing the sheet music is not enough to really explain what a particular pairing of instruments sounds like. So he might say that placing flutes below oboes sounds bad and then reference a passage in which the flutes are, correctly, above the oboes, but you will still be wondering exactly what flutes below oboes sounds like and why it’s to be avoided. It is really necessary to listen to all of the examples, which is difficult as many of them are short fragments from very long works.

If you are a fan of Rimsky-Korsakov’s music, this book is a fascinating read, but if you are trying to learn the art of orchestration, I think you are better off with video lessons that allow you to hear samples as you read. I would recommend Thomas Goss’ Orchestration Online lessons or Alain Mayrand’s course, Orchestrating the Line.

[Ayden Wiggins]

Principles of Orchestration by Rimsky-Korsakov, as expected, discusses the intricacies of orchestration. It was most useful in studying Russian music specifically as that was what Rimsky-Korsakov wrote. This book outlines every detail one could possibly need in the art of orchestration, including vocal production for both opera, choir, and chamber works and how to integrate them within an orchestra. Because of these specificities it is able to retain its relevance in modern orchestral music, tying closely to the great film composers of our time. I did feel, however, that it was lacking detail on integration of woodwind solos and solis into string and brass parts. I would recommend this book to anyone looking to better understand the components behind orchestration, it is an essential book on the subject.

[James Salinas]

superb. took me a lil while to get through since i wanted to listen along and apply along with not consistently reading it, but super informative book from the master of orchestration himself. crazy how relevant and still applicable it is 100+ years later

my favorite part was when he named three separate instruments and super casually dropped, “of my invention”

[P. S.]

No doubt, this is the most complete and deep study of western orchestration up to date. Although many might argue on the fact that Rimski-Korsakov is the father of this science and this is (still) the most comprehensive guide in this ocean - this guide contains the essence. Everything else is further development.

Something which is not very popular among teaching composers is the quality of Rimski-Korsakov's linguistic expression. The author is able not to inform but completely transform our understanding of the function and importance of orchestration.

Conclusion: if you feel like shaping your skills and understanding in music creation - this book is one of your best friends. For life.

[Daniel]

This is my go-to guide for orchestrating my symphonies and other full-orchestra works.

Written by one of the Mighty Handful (or Russian Five) composers, Rimsky-Korsakov's Principles of Orchestration is one of the most important treatises on how to write for a symphonic orchestra. Instruments and instrument sections are covered: strings, woodwinds, brass, percussion. Voicing, part doubling, timbre, balance, all the important aspects of how to make quality compositions and arrangements.

Musical examples are included, most of them from works by the author himself, including Scheherezade and Capriccio espagnol.

(It is also available on the web for free at several locations, in the original Russian and also in English, French and German translations.)

[Richard]

One of two books on orchestration that I've kept at my side for many years. (The other is the classic Walter Piston text.) I find R-K more charming than Piston in some ways, and he certainly has a way with color so I tend to trust his judgement. The examples from his own work are also valuable and instructive.

[Carolyn]

This is not a quick read. It takes a lot of thought and study, but I know it will be well worth it.

[Brian]

A bit dated, but does a good job being direct and explaining the concepts with lots of musical examples.

[Khaled]

Not the most updated (Walter Piston's or Samuel Adler's are way more updated), but it's definitely useful for every composer/orchestrator.

[Serge Pierro]

A solid book on Orchestration. Tons of examples. Works best if you have access to a good Orchestra sample library to hear what the examples sound like.

[Rachel]

helpful

[Alfredo Moura]

Excellent book, with the visionary ideas of Korsakov. Fundamental.

[Ahmad Babtain]

I wrote some of my best pieces as a hobbyist using it as a reference.

[Jackie Manning]

This book was very insightful on proper orchestration within the pairing of the various pitches and timbres of orchestral instruments.

[Craig]

he had a definite hard-on for strings

[Sam]

i like it

[JohnathanC]

Excellent book about orchestration. The descriptions of the instrument groups are fairly objective. The most helpful parts for me were the ones about voicing of harmonies. It’s not really the type of thing you’d just sit down and read, but I would consider it a very useful tool to a composer/orchestrator. If you’re a beginning composer, it will seem very heavy at first, so I recommend you take a little section of it and apply whatever principle it’s talking about to your own composing.