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Mark Wigglesworth. The Modern Conductor 7th Edition.

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Elizabeth A. Green Emerita-. The Art of Conducting. Donald Hunsberger The Art of. Directing the Choral Music Program.

Principles of Orchestration

Kenneth H. Learning to Conduct and Rehearse. Daniel L. The Study of Orchestration Fourth Edition. Singers, Actors, Dancers, Athletes. David Buswell. Basic Conducting Techniques 5th Edition. Joseph A. Inside Conducting. Christopher Seaman. Basic Conducting Techniques. Patrick Lightman. Brock McElheran. In Search of Meaning - Frank L. Principles of Orchestration Dover Books on Music.


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  • The Project Gutenberg eBook of Principles of Orchestration (contents), by Nikolay Rimsky-Korsakov.;

Nikolai Rimsky-Korsakov. John Mauceri. Cesare Civetta. Serving Genius: Carlo Maria Giulini. Thomas D Saler. Audible Audiobook.

Dover Books on Music: Principles of Orchestration by Nikolay Rimsky-Korsakov (1964, Paperback)

Francisco Navarro Lara. Choral Conducting: Philosophy and Practice. Colin Durrant. Anthony Mazzocchi.

Silver Collection Book Ian Collins. Choral Concepts: A Text for Conductors. Donald Neuen. Screech House. Basic Techniques of Conducting. The Score, the Orchestra, and the Conductor. This book, therefore, which differs from most other texts on the subject because of its tremendous wealth of musical examples and its systematic arrangement of material according to each constituent of the orchestra, will undoubtedly be of value to any music student.

It is a music classic, perhaps the only book on classical orchestration written by a major composer. In it, the composer aims to provide the reader with the fundamental principles of modern orchestration from the standpoint of brilliance and imagination, and he devotes considerable space to the study of tonal resonance and orchestral combination.


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In his course, he demonstrates such things as how to produce a good-sounding chord of certain tone-quality, uniformly distributed; how to detach a melody from its harmonic setting; correct progression of parts; and other similar problems. The first chapter is a general review of orchestral groups, with an instrument-by-instrument breakdown and material on such technical questions as fingering, range, emission of sound, etc.

There follows two chapters on melody and harmony in strings, winds, brasses, and combined groups. Chapter IV, Composition of the Orchestra, covers different ways of orchestrating the same music; effects that can be achieved with full tutti; tutti in winds, tutti pizzicato, soli in the strings, etc. The last two chapters deal with opera and include discussion of solo and choral accompaniment, instruments on stage or in the wings, technical terms, soloists range, register, vocalization, vowels, etc.

These excerpts are all referred to in the text itself, where they illustrate, far better than words, particular points of theory and actual musical practice. They are largely responsible for making this book the very special and very useful publication it is. This single-volume edition also includes a brief preface by the editor and extracts from Rimsky-Korsakov's draft and final versions of his own preface, as well as an appendixed chart of single tutti chords in the composer's works.

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