Review: “Complete Orchestration” by Akira Ifukube

(Original posted on January 4, 2009)

完本 管絃楽法

音楽之友社

伊福部 昭 (著)

This is a masterpiece that has held an unshakeable position as the pinnacle of orchestration since its publication, and it is a book that should be called “the bible for writing orchestral works.” The content by Akira Ifukube, himself a master of orchestration, is characterized by his scholarly inquisitive mind and refined analytical ability. It not only provides detailed explanations of instrumentation but also delves into acoustic effects, their impact on hearing, and even psychological effects. It possesses a quality and volume unparalleled by any other work. The new edition, this “Complete Edition,” consolidates the contents of the old edition, which was a two-volume set in A5 size, into a single volume by expanding the size to B5 and re-editing into a two-column layout. Difficult-to-read old Kanji characters have been replaced with new Kanji, making the author’s distinctive writing style highly readable while retaining its unique flavor. The extensive number of musical examples and figures (approximately 1,000) and index items (approximately 5,000) further demonstrate the dense content of this book.

It is no exaggeration to say that this book is essential for anyone involved in orchestral composition and arrangement, and indeed, many musicians across various genres consider it their bible. While it is not a book for composition and arrangement beginners or casual music lovers to read immediately, it is undoubtedly a volume that anyone serious about mastering orchestration will confront at some point.

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Among the numerous excellent points of this book, such as the detailed instrumentation and high dictionary-like comprehensiveness, what I want to particularly emphasize is the extensive space dedicated to discussing and explaining the “collaborative effect of the orchestra” (※Refer to the “Table of Contents of This Book” below for detailed items). As a concrete example, in the section on “Sound Intensity and Dynamic Contrast,” the book examines in detail specific points of attention and countermeasures when practicing “richness of dynamics,” one of the characteristics of an orchestra, drawing upon various experimental results and reports. For instance, it explains that when musical ideas alternating between mf and mp are repeated within a measure, the dynamic contrast is perceived as increasingly emphasized by the listener with each repetition, and also discusses changes in loudness caused by changes in pitch.

Furthermore, there is a section on the phenomenon where if the volume of one of two sounds is gradually increased, the other sound eventually becomes inaudible – that is, the “sound masking effect.” It addresses the phenomenon “In general, sounds with higher vibration frequencies are easily masked by sounds with lower vibration frequencies” and provides practical and important content in detail, starting with the observation that if the lower voice in voice leading is written “strongly, heavily, and thickly,” the upper voice will be masked.

Moreover, in “Timbral Characteristics of Each Instrument Family,” the book discusses the characteristics of tone color from multiple angles, analyzing the waveform of each instrument’s sound, its harmonic structure, and tone color features under various playing techniques. The detail and practicality of this content are particularly noteworthy aspects of this orchestration book. For example, in the case of the oboe, it discusses the diverse partials (harmonic structure) resulting from the sawtooth-like waveform characteristic of a double reed and the integer harmonics and their resonance expansion effect resulting from the gently conical resonance tube, and explains the timbral characteristics of this instrument in each register while presenting various experimental data. This leads to a discussion of the inevitability of the phenomenon where the oboe sounds prominent among other sound groups in an orchestra and how to handle it.

Furthermore, in the case of the horn, it is explained that due to the balanced formants (formant frequencies) across its entire range, it is perceived as having a smooth tone color when played alone. However, it is also noted that in the register below the lowest formant frequency, the proportion of the fundamental tone gradually decreases. This leads to a discussion of problems that arise when a horn producing difference tones is combined with other sound groups. The explanation of the bassoon, which possesses characteristics of both, includes a careful discussion of timbral characteristics, including the influence of difference tones in the low register. The way this is written for all orchestral instruments in this manner is truly impressive.

Through such explanations, readers will learn the importance of acoustic knowledge, including the concept of difference tones, in orchestration. One feels the renewed need to humbly confront the difference between the combination of notes on the page and what actually appears as an acoustic phenomenon.

In the latter half of “Collaborative Effect of the Orchestra,” important elements in musical expression such as “sound thickness,” “sense of volume,” “fusion and separation of tone color based on volume,” “auditory selective attention,” and “auditory fatigue and aversion” are discussed. Here again, practical advice is given, citing experimental data and incorporating psychological perspectives. This section alone contains content that sets it apart from similar books.

It is astonishing that a book representing a culmination of Western music like orchestration was born in Japan. While Akira Ifukube is often highlighted for his achievements in film music, starting with “Godzilla,” I believe what should be praised anew is his accomplishment in writing this book, “Orchestration.”

Book Information

完本 管絃楽法

音楽之友社

￥26,400(2025/05/16 18:25Time)

伊福部 昭 (著)

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Table of Contents of “Complete Orchestration”

About the Author

Akira Ifukube

Born in Hokkaido in 1914. After graduating from Hokkaido University, he studied composition self-taught and won the first prize in the Cechlebren Prize (Tchaikovsky Prize) in 1935 for “Japanese Rhapsody.” In 1943, he won the first prize in the Victor Orchestral Award and the Minister of Education Award for “Symphony Fantasia.” He composed many works based on the sensibility of the Japanese people. He taught at Tokyo University of the Arts and Tokyo College of Music, fostering talented composers such as Yasushi Akutagawa, Toshiro Mayuzumi, and Maki Ishii. The original of this book, “Orchestration, Vol. 1,” was first published in 1953 and significantly revised in 1968. “Orchestration, Vol. 2,” was first published in 1968. He was also known for the music of “Godzilla.” Passed away on February 8, 2006.

Major works: Japanese Suite, Japanese Rhapsody, Triptychon Aboriginum, Symphony Fantasia, Symphonia Tapkara, Violin Concerto No. 1/No. 2, Lauda Concertata, Symphonic Eclogue, Ritmica Ostinata, Salome, Dialogue Pastorale by Ainu Epic, Biwa Song, and many others.(Cited from this book and the publisher’s website)