Review: “Orchestration” by Walter Piston

(Originally posted on April 9, 2002)

Among the orchestration books currently available, this is the one I can recommend with confidence when considering accessibility, comprehensiveness of content, price, and its added value.

It not only explains the ranges and techniques of each orchestral instrument but also touches upon methods of analysis for learning from the orchestrations of past composers and the concrete process of shaping a specific orchestral piece from melodic and accompaniment sketches. This makes it an invaluable aid for the novice who feels completely lost, helping them take a significant step forward.

After this, it would be a good idea to acquire “The Complete Orchestration” by Akira Ifukube as needed. That book offers a considerably in-depth explanation of the orchestra as an organic sonic body, focusing on the interrelationships between instruments and their combined effects.

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There are many books, large and small, that provide detailed explanations of each instrument in the orchestra and include numerous practical examples. Amidst them, the uniqueness of this book lies in “Part Two: The Analysis of Orchestration” and “Part Three: Problems in Orchestration.” It doesn’t just teach techniques from finished orchestrations; it explains the process of actually orchestrating phrases and accompaniments yourself.

What’s fascinating is the section on “Chords,” which corresponds to what is called “voicing” in popular music. It describes how to effectively combine brass, woodwinds, and strings, and in which registers, to perform a given chord.

It makes you realize that many seemingly eccentric and unique orchestrations are actually extensions of natural sonorities, advanced with a rich imagination. This book strives to illuminate, from the creator’s perspective, things that are difficult to see by only looking at the final result.

The musical examples in this book range widely from classical to modern periods, but the excerpts are short, most of them staying within about 10 bars. However, this very fact teaches us the importance of the continuous accumulation of subtle and delicate considerations. It offers a glimpse into the real “behind-the-scenes”—the immense thought and judgment that go into creating a single moment in a sonic world.

As a good contrast to this book, which explains practical examples of orchestration in a pinpointed way, I would suggest the “Treatise on Instrumentation” by Berlioz (edited and supplemented by R. Strauss). That work focuses on the flow and temporal changes in music, featuring long musical examples. Personally, I feel its primary appeal is as a fascinating historical read. I would advise beginners looking for a serious guide to start with Walter Piston’s book.

I feel that orchestration is something that not only those involved with orchestras, but many who compose, should explore. It will be incredibly helpful for understanding compositional “contrast” and the acoustical “push” and “pull.”

Table of Contents for “Orchestration”

About the Author

Walter Piston

Born in 1894. One of the foremost modern American composers and a student of Nadia Boulanger. He is also famous for his theoretical writings. Among his books, “Harmony” and “Counterpoint” have been translated into Japanese. (Quote from this book)

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