Your suggestions are a great starting point and even more if possible. I happened to be locked in a rehearsal room with the orchestra and a score that didn't work. At that point you are alone, with your pencil and what you have studied. These books are absolutely essential to know and study... Ciao from Italy ( because of my basic english I did this comment with Google Translator. I hope nothing sounds weird...)
My eye caught this at 12:50 and I had to rewind and pause! Where it shows Chapter Six on the rhythm section, I couldn’t help but notice that the first paragraph lists the names of the session musicians on the Peter Gunn recording. The last name on that list is the one and only, Johnny Williams. (Yes, that John Williams)
If you read French (a big if, I know), Koechlin's Treatise of orchestration (1940's) is a gold mine. It's roughly 1600 pages divided into 4 volumes: instrumentation and balance, writing for instrument groups, and the last two on actual orchestration, with examples galore. It's the most comprehensive books I've read on the subject (and I've read Adler), although the writing style is a bit outdated and not the easiest to read.
Henry Brant's is a must read for orchestration. However if you want to learn and comprehend orchestration from a book you can simply get Sevsay's "Cambridge Guide to Orchestration". For more on the Mancini style and beyond Sammy Nestico's "The Complete Arranger" is a fantastic companion.
Great video, thank you! I used both the Piston and the Adler at conservatory. I still love the Adler, though I completely agree that it falls short on orchestral "punchline". At school, we had a running joke about the Piston, that perhaps the Navajo translation would have been easier to read. To one of your last points, I heartily agree that score study, especially of those of the great composer-orchestrators, is a must. Don't tell anybody, but I even went to the trouble of copying out (by hand) quite a few scores by composers like Rimsky-Korsakov and Ravel. I've also done things like transcribe by ear orchestral cues from film soundtracks I love, and then annotate them with comments on why particular instrumentation, motif, or voice leading especially works.(Completely mad, I know.) I think that relying on my ears this way forced me to be honest about what in particular stood out for me in a passage (or what didn't). Anyway, I can honestly say that doing so has served me very well to this day. I think I've learned to be a little less obsessive since then. Cheers! 🙂
Sounds like a fantastic way to learn! I've done similar things with counterpoint and I've learned a lot of orchestration techniques by mocking them up in my DAW - nothing beats this kind of study!
@@AnneKathrinDernComposer Amen! When I was a kid, I remember reading that Bach had learned composition by copying out Buxtehude-by candlelight, no doubt. I figured if that approach was good for him, it certainly couldn't hurt to try! ;-)
I transcribed orchestral cues from my favorite films by ear too, mostly on MuseScore but also Finale (I didn't know the DAW system yet), with their pretty terrible sounds. I did the opening of Out of Africa, Apollo 13's reentry, The Lighting of the Beacons from Lord of the Rings, Star Wars The Force Awakens trailer #2 and a few others, but I must admit that I didn't really LEARN anything by doing it. I only did it for pleasure, because I felt compelled to. However, when you know nothing about orchestration and simply transcribe music that comes to your ears, you just write the notes from the instruments you think you hear, but you don't even know they're doubled, much less which doubles which. You even discover to your astonishment there's a 3/4 bar right in the middle of a whole 4/4 score and you can't even imagine that it is due to picture sync. Now that I have learned a few things in that matter, it would certainly be different if I did it again. Nothing replaces the original score, though.
Good video Anne. Very informative. I haven't read all the books you reviewed, but I full heartedly agree with your assessment of Korsakov's excellent book on the PRINCIPLES OF ORCHESTRATION. The text book we used at USC in the 1980s was Kent Kennan's THE TECHNIQUE OF ORCHESTRATION which I remember was useful as a constant easy-go-to reference for instrument ranges, transpositions, and combining certain instruments for specific colors and effects.
This is a great example of why I find your content so helpful. Over the past several years I’ve considered getting the Adler book more than a few times, but that price tag was too steep for a retired guy and I was reluctant to buy what I feared would be an out-of-date edition. But you’re the first composer I’ve seen who ever discussed the relative value of the different editions … and if the 3rd edition suits you well enough, I am sure it is fine for me as well. So I’ve got a used 3rd edition copy on order now, because of this video. My thanks to you for shedding some new light on another of the mysterious dark corners of this field. (By the way, I do already have the Rimsky-Korsakov book and enjoyed it, but did notice it was mostly about volume balancing and color combinations, as you have said here. So I expect Adler will be at least as helpful, and probably even more so.)
Anne-Kathrin, the comprehensive but concise nature of your presentations are always a pleasure to listen to. "...it's been a bit of a sausage fest over the centuries..." 😂😜That's one way of putting it Anne-Kathrin. I look forward to hearing your thoughts about the music of Nadia and Lili Boulanger.
Hey, from Australia - love your channel. At the Sydney Con composition course, we had Piston, which I love and I still refer students to to this day. Also, I too like some of your other readers, love Arranged by Nelson Riddle as I've had to do more and more over the years. Thanks so much for the other suggestions - I also will be putting them on my reading list. Big hugs from "downunder".
Thanks for sharing your perspective! If I could add another honorable mention, one of my favorites is “The History of Orchestration” by Adam Carse. An old book but it goes through the evolution of the orchestra from Monteverdi to Ravel. Gives a great insight into why composers wrote in a certain way for the instruments available in their time.
For pure instrumentation info, Alfred Blatter’s “Instrumentation and Orchestration” is gold. The info on orchestration isn’t great, but the descriptions of the individual instrumental properties, characteristics, and capabilities is stellar. For the jazz/contemporary side, Sammy Nestico’s “The Complete Arranger” is the gold standard, surpassing anything put out by Berklee Press. An excellent academic book on jazz and popular arranging is “Jazz Composition and Arranging in the Digital Age” by Sussman and Abene.
I bought Adler's Study of Orchestration when you first mentioned in your channel. You cannot get better than studying whatever pupils learn on Academy level. I'm half-through it. Not as if I didn't hear what range seems to be fine with most instruments, but it gave my guesses stability. I used to feel what I was doing, now I know what I'm doing. I have clarity on when I used my orchestration well. As a side effect of reading this book I clearly can study now full symphony scores simply because I can see the doublings/voice leadings/pedal tones/chord fillings or texturing. Most of those 10-50 rows symphonies are quartet like ideas in very elegant fancy outfit and That gives me infinite amount of study on orchestration for the future. I'm looking forward to seeing what the other half of the book brings. But after 3-4 weeks of reading I'm already several level above from wherever I got stuck for over a decade before and I have the ability of self-studying anything I really like.
Love your channel! I've learned so much from your videos. Orchestration has always been of interest to me, and you make it so easy to understand. Oh, and I love your makeup! 😉
Thanks for the reviews. I was hesitant about the first book. Thanks for showing some of the pages. I’m definitely getting that book. I’m glad it has demonstrations and not just walls of text talking without showing. That is the selling point for me and more.
Dear Anne-Kathrin ☘️ Yes, Adler is used WORLDWIDE as you already pointed out in your video. Of course there are other spectacular orchestration books available as we all know as composers but Adler is widely preferred (especially for beginners and intermediate level students) because of two main reasons: 1. It has a workbook. 2. Priceless audio examples. Also, needless to say that it's a very meticulously organized book and the writer is Adler! Greetings from Türkiye 🇹🇷🙂
Great video, thanks Anne! You mentioning the Mancini book reminded me of "The Complete Arranger" by Sammy Nestico. It's much more on the jazz/big band side more so than the traditional orchestration like Adler or Piston. But if someone is interested more in the jazzy, Mancini side, it could be a cool one to check out.
I have most of your recommendations other than the Berlioz (which I'm sure I've seen but is no longer on my shelf). I should read more of the Adler, which I acquired relatively recently, but my go-to is almost always Kent Kennon's "Techniques of Orchestration" book, mostly to check ranges when I am unsure of the extremes of unfamiliar instruments. I use the other books when I face specific questions on esoteric instrument techniques. Except for the Adler and Mancini books, most of mine were purchased more than fifty years ago, when prices were more reasonable.
Thank you for these helpful recommendations. Also like Jonathan E. Peters as an essential reference and overview to look up stuff qickly. Brahms' Third is a nice backdrop.
Great presentation!!! Henry Brant's book is GREAT! Definitely a must have for composers. Another one is The Guide to Midi Orchestration by Paul Gilreath. However, score study is THE BEST guide for orchestration.
Your read on Piston definitely gave me a chuckle. All these years after being introduced to the Professor's books, I still cannot get behind his approach to conveying information.
I had just found out about The Study of Orchestration this year and it was on my need to buy wishlist. But when I saw your Q&A series I saw that you had it so I bought it. You inspire me very much and I'm learning so much from you. Thank you for sharing your knowledge in all music and I hope you're successful in attaining your goals.
I would love to see you do a video on your method for score study. In one of your videos you recommended IMSLP, which I have. I would love to hear a method on this. I am one of those older folks you were mentioning, so I need all the help I can get (57). My current project is working on a ballet for a local dance studio so you can kind of get a feel for where I am coming from. Thank you for all of your insights and information.
Waaaayy back in the day (2004?) Garritan had a free online course on their forums based on Principles of Orchestration. It was very simplified of course, but provided a bunch of example media and MIDI files so users could practice making mockups and orchestrating their own melodies (using GPO 'natch) systematically covering each technique with each section, and then, best of all, you could post your mockups and ask questions and get feedback on the forum (including from Gary himself!). Sadly I never finished the course and it is now long since defunct, but I learned a lot all the same. Now that I'm back into music I've been questioning whether it's worth picking up the book itself to basically finish what I started or if, being a hundred years old, its usefulness has been supplanted by newer texts. I think I will buy it. I like what you say about it jumping directly into orchestration itself - I really don't need a ton more information about the instruments, and I think that's a subject that many TH-cam channels have covered very well anyway.
I just picked up a gently (hopefully) used copy of The Study of Orchestration. Based on this video I did some more digging and it is SO widely loved/respected I decided to pick it up. I saved a bundle by the way...not much difference between the 3rd and 4th edition so I just bought the 3rd. I wish I had started at 4 but instead, I'm starting at 48...bummer. But hey, I think you are right Anne, time and patience. I'm working my way through the basics of music theory, sight reading/singing, and other topics using a few different resources. Know that your message of "don't just listen to my (or someone else's) TH-cam videos and think that get's you somewhere" is well taken in the spirit intended...and at least for myself...there is slow but steady action. And hey, while I'm doing all that...I also really enjoy watching your videos 🙂 BTW...the new mic sounds great 🙂
Back in the days, I started with the Principles of Orchestration, but I was lacking a lot of exemples to listen to (exclusively from his own repertoire). This was far before TH-cam and al. Now I'm into Adler that's way more accessible, probably the #1 recommendation as you picked it. When you buy it new, you have a limited-time access to all the audio excerpts mentionned in the book. The French edition, oddly enough, adds a section about choral arrangement, and IIRC modern instruments. But no audio portal. I have the Mancini too and totally agree with you ; I use it to pick some licks and orchestration tips when I want to write old style. It's a great addition to other books but not the one to begin with. I also have "Jazz Composition and arranging in the digital age" by Sussman & Abene. I didn't start it yet but it's definitely not for beginners. But as anything in the (educational) world, it's not one-size-fits-all. You have to try, see what fits best to you at the moment and go on. Thanks for dedicating a video to this topic. (and yes, your new microphone works well).
Great video, again, thanks ! Just a side note, your german accent at Richard Strauss made me suspicious, so I've made some research and voila ! ;) Never thought of it because of your impeccable english.
I have the pocket version of the Orchestation Dictionary is so beautiful, I love it so much! The smartphone may make it obsolete, but it's such a beautiful tiny object/book!
I heard the best method of orchestration study is to reduce sections of an existing orchestral score down to a piano version where you highlight which instruments are playing which notes. In doing so you notice more the choice of register ie high or low, the doubling of instruments and the function of certain orchestral sections how they contrast ie brass and percussion providing rhythm while winds and strings playing melody and counterpoint etc.
I do some dialogue editing. The key with lavs is to dip around 500 Hz, give or take 50. That region tends to build up against the body. Dip it by 4 to 8 dB at a Q of around 2. Careful not to make yourself hollow. Just get rid of the excess dark vowel resonance.
@@AnneKathrinDernComposer If you mean clothing noise, that's a much more complicated subject. All you can do really is try to choose clothes that don't rustle or produce static electricity easily, and play with different mic positions. If you mean room noise, yeah, they're omnidirectional mics, so they're going to pick up the whole environment. There are a few plug-ins that can mitigate the noise without hurting the sound too much. Izotope RX is best, but it's expensive.
Perfect! I'll keep this in mind. Yes, I mean room noise... insane how much the environment is picked up. I'll be sure to take a noise print in the future so I can feed that into RX and get rid of the noise floor.
I have walter pistons book on orchestration and counterpoint I also have that one korsakov. When I decided to compose an opera or ring cycle like Richard Wagner Ring of the Nibelung and I wanted to orchestrate my piece I got confused over the instruments sharps and flats except for strings if for instance in c major never mind the minor keys,but you are right read more scores thank you for your input
Besides Adler and the Essential Dictionary pocket books my favorite book is Ertugrul Sevsay’s "Handbuch der Instrumentationspraxis". I think the English version is called 'The Cambridge Guide to Orchestration'.
It is! I was just gonna do the Inspiration Trail and then felt adventurous halfway through… my legs regretted that choice later though. What a steep side journey that was…
@@AnneKathrinDernComposer It'll knock you on your butt if you're not careful. I usually make my way up to the little metal bridge ("Chicken Ridge Bridge" as they call it) and that's enough for me.
Love the Adler. I also have the 3rd edition and it's my go-to. My only gripes with it are 1. Not enough full orchestration info (like you said). 2. No information on choral writing at all, either by itself or with the orchestra 3. No information on modern instruments like synthesizers and electric guitars and how they might be used as a feature, as support, as well as things to avoid.
I have a long way to go through the Adler book - it’s great but I agree when it comes to full orchestra it could use a bit more. I was looking up basic info on dynamics so that I could notate the concert piece I’m working on and I couldn’t find any info to help me decide what is a mp, mf, f etc and when crescendos and decrescendos should have dynamic indicators at the beginning and end and when they shouldn’t. In the end, I guess I just need to keep reading/listening to the score examples.
It's super confusing to begin with since all the dynamics are just relative (unlike tempo which is absolute). Every orchestra will interpret mp differently which is where the conductor comes in to make those decisions. Also, dynamics have been interpreted differently over the centuries as well, especially since the instruments and orchestra sizes have changed so much. In our case, this is where we'd give notes from the booth during a session or rehearsal to let them know if they're too loud or soft. The important part is to know how the orchestra balance changes across dynamics for which I think Korsakov's book is very good. As for cresc and decresc - I'd always put dynamic indicators to avoid confusion. It's always good to be precise in how big or small the swells are. The musicians would probably ask otherwise (which we try to avoid in sessions because it costs time). However, if you have a dynamic movement that repeats over many bars, you can just notate it once and then write "simile". It'll tell the players to continue the interpretation as before but it makes the score less cluttered and saves time. 🙂
@@AnneKathrinDernComposer thank you! That’s reassuring and also very helpful! It’s going to be a learning experience and hopefully I will get to be in the booth if it makes it to Air. I also have our friend Andres who is going to help clean up the Sibelius file I gave him. 😅
Only thing I feel like is super difficult with books about music is that, for me at least, hearing the examples is more helpful than the description. Like sure you can describe that tremolo is the act of modulating an instrument's volume in quick succession, but I still wouldn't have a clear sound or feel from it even tho I'd know what it is
I would like to plug a very difficult-to-get book: "Elements of Orchestral Arranging" by William Lovelock. If you're starting from zero (i.e. you've done harmony and counterpoint, but essentially no orchestration), this is the book I would work through first. The way it works is that it works you through arranging small piano pieces for larger and larger ensembles (string quartet, string orchestra, wind choir, etc), working your way up to the full orchestra. I have a question. What's your opinion on Spectratone?
There is also a brand new book by the Belgian composer Piet Swerts (Grand Prix in the Queen Elisabeth Composition Competition): Instrumental thinking (A Preliminary Study On Orchestration) 🙂.
Cool! Thanks for sharing. I already own Study of Orchestration. I’ll check out the others. On a similar subject, do you have any online course you’d recommend on film scoring? Thanks
All these orchestration books can be rather hefty, but if you're after a smaller volume that you can easily carry around as a reference if you're composing on the road or whatever, I like Gordon Jacob's book "Orchestral Technique". It mainly concentrates on orchestrating keyboard pieces. This may seem like an odd thing but in terms of workflow, a lot of composers will probably be writing a piano sketch first and then orchestrating that afterward, so the approach has value for those that work that way. The book does have some good orchestration insights, despite being somewhat outdated in terms of info on instrumental capabilities. I just like that I can carry this one around while the others get stuck at home due to being too heavy!
Blimey, the only one of your recommendations I don't have is the Piston (which I've occasionally looked for, but never found at a price I'm happy to pay). I do have Piston's 'Harmony', but remember finding it tiring to read, which seems like his style based on your comments on 'Orchestration'. Something to mention about the Adler and the Mancini, which I found invaluable in understanding the notated examples, is that both had companion CDs. For Adler, it was a six-CD set with over 500 tracks that matched the examples in the text, while my copy of the Mancini included a CD in the back with 66 tracks matching examples. I don't know if there are online editions of these musical examples sets, but definitely worth looking out for if you're getting the books.
About the Walter Piston book: He has hundreds of excerpts from scores, but without enough information to find them and listen to them. For example, a piece of score from Mahler 9 would be much more helpful if Piston had noted the movement and whether the quote was halfway through, towards the end, etc. It would take years to chase down all those examples without more information. I'm sure Rimsky-Korsakov would get the point of the example just by reading it, but the book is targeted at learners, not experts. All that said, I learned a lot from the book.
Thank you for this video! I am interested in learning more about practical orchestration, but don't know how to study scores. Do you have any advice on how one can learn to do so?
Do you know of Norman del Mar's anatomy of the orchestra? Any opinions on it? It came highly recommended to me, but I must admit I haven't finished it yet.
Just a general observation about language but it was interesting, what you said about the outdated writing style in Piston's book. I can't speak for other languages but English has become a lot less stiff, "fussy" and uptight since the 1950s. I guess it's nearly 80 years ago now and things just move on. I wonder how things will be in another 70-80 years.
Hi Anne, Thank you for your recommendations on the books, that really helps. You mentioned "Score Study", Is there any books that you can recommend that I should get for doing that?
I have a love/hate relationship with the Adler. Love, because the book is undeniably good. Hate, because the Italian edition doesn't feature the CDs with the examples (nor does it allow you to purchase them). I'm not familiar with Piston's book. I have Korsakov's and didn't find it that useful at the time (it was before I got the Adler, will check it out soon). As a Mancini fan, his book was a must have for me. Never had the books in the honorable mentions
I would say, check Rimsky-Korsakov's again. It happend to me the same as her. Once I went through Adler's one I read Rimsky-Korsakov's and it was the most useful for me. Especially for brass and winds. ;-)
@@javiervazquez5556 Oh, I will do that. I'm currently trying to figure out the correct levels of my orchestral template, an amalgamation of libraries from different vendors mixed with EaReverb 2. I'm having a hard time making a realistic "gain staging" of the instruments. Considering what Anne said about Rimksy-Korsakov, the book will save me from some long and exhausting trial and error attempts.
I just picked up the 4th edition of The Study of Orchestration. Very nice book with lots of detail. Being new to orchestration it is a great source. According to the back cover the 4th edition expands coverage of percussion instruments, adds a new section on the accordion, has greatly amplified coverage of wind ensemble and it has moved the sound samples to online access. Beware, the online access is free for 360 days after first access. After 360 days you have to subscribe to continue access.
Hi Anne, ich selbst spiele Klavier und möchte mich nur als Hobby in die Orchestration mit Cubase einarbeiten. Ich hab das Buch the study of Orchestration 3 edition gebraucht im Internet finden können. Gehört da eine CD dazu, denn eine solche kann ich nicht finden ? Hättest du noch Ratschläge für mich wie man sich in das Thema einarbeitet ? Viele Grüsse Christian
How did you approach studying multi-instrumental examples (as in the books), and pick up the message they were trying to convey with said examples, when you were mostly used to reading horizontally? That's what I struggle with the most. I too have started piano, to expand my reading, but with multi-instrument examples I don't really know what approach to take that is efficient.
The boring answer is practice. 😅 I had huge trouble with full scores at first. The easiest way to go about it at the beginning is to just read through pieces you already know while playing a recording of them. That way you're already familiar with the elements and can look for them more easily. I'd focus on one section at a time at first. You'll find that eventually you develop the skill to focus on what's important more quickly and read those parts first. You'll also find that your ears will identify orchestration techniques and textures quicker. If I'm hearing that the WW are doubling the strings, I don't have to read both, I can focus on one of the two. A similar thing happens with the piano: At some point you don't read the notes anymore, you just read chord structures and movements, and instantly know what it is because you've encountered it so many times before (just like when we read text we don't read the individual letters). So it's all about putting in the time to recognize patterns and quickly identifying them - which only happens through endless hours of practice.
@@AnneKathrinDernComposer I'll keep on practicing, thank you for the encouraging answer! Good idea about reading scores from favorite pieces, sadly Elfman's Batman is currently out of stock ... 😄
I haven't watched the video yet and I didn't even look at the description I swear but let me guess "Adler" is one of your favs :))))) Now, lemme watch it.
Do you know of a way to practice score? It would be cool to find some shorts totally missing score. I have seen some really dry short films on Dust so in will look there. But I thought I would ask you if you knew of a source.
A warning about Cecil Forsyth's "Orchestration" from someone who used it in high school: the opening paragraph of the Tuba entry is overtly racist. Forsyth has a very snarky sense of humor which can be fun sometimes, but he goes way too far comparing the Tuba and Euphonium and uses the n-word as part of an analogy. Given this and how old it is, you are 100% likely to do better with other books.
Instead of editing my first posting, I am sending another. As a teacher, I use Adler as the main source material, I use other books as supplementary material. I am sure that you've already come across the book by Ertuğrul Sevsay, a Turkish composer living and teaching in Europe for a long time. For those who don't know about, the book is called "The Cambridge Guide to Orchestration by Sevsay, Ertugrul". For the details and extreme details regarding orchestration, it's a valuable book and one (with experience) can easily tell that it reflects at least 30-35 years of experience. Therefore, I strongly recommend it. Also available in Turkish...
Your suggestions are a great starting point and even more if possible. I happened to be locked in a rehearsal room with the orchestra and a score that didn't work. At that point you are alone, with your pencil and what you have studied. These books are absolutely essential to know and study... Ciao from Italy ( because of my basic english I did this comment with Google Translator. I hope nothing sounds weird...)
My eye caught this at 12:50 and I had to rewind and pause! Where it shows Chapter Six on the rhythm section, I couldn’t help but notice that the first paragraph lists the names of the session musicians on the Peter Gunn recording. The last name on that list is the one and only, Johnny Williams. (Yes, that John Williams)
If you read French (a big if, I know), Koechlin's Treatise of orchestration (1940's) is a gold mine. It's roughly 1600 pages divided into 4 volumes: instrumentation and balance, writing for instrument groups, and the last two on actual orchestration, with examples galore. It's the most comprehensive books I've read on the subject (and I've read Adler), although the writing style is a bit outdated and not the easiest to read.
I’d love to hear you talk about how to score study! 🙂
Henry Brant's is a must read for orchestration. However if you want to learn and comprehend orchestration from a book you can simply get Sevsay's "Cambridge Guide to Orchestration". For more on the Mancini style and beyond Sammy Nestico's "The Complete Arranger" is a fantastic companion.
Great video, thank you! I used both the Piston and the Adler at conservatory. I still love the Adler, though I completely agree that it falls short on orchestral "punchline". At school, we had a running joke about the Piston, that perhaps the Navajo translation would have been easier to read. To one of your last points, I heartily agree that score study, especially of those of the great composer-orchestrators, is a must. Don't tell anybody, but I even went to the trouble of copying out (by hand) quite a few scores by composers like Rimsky-Korsakov and Ravel. I've also done things like transcribe by ear orchestral cues from film soundtracks I love, and then annotate them with comments on why particular instrumentation, motif, or voice leading especially works.(Completely mad, I know.) I think that relying on my ears this way forced me to be honest about what in particular stood out for me in a passage (or what didn't). Anyway, I can honestly say that doing so has served me very well to this day. I think I've learned to be a little less obsessive since then. Cheers! 🙂
Sounds like a fantastic way to learn! I've done similar things with counterpoint and I've learned a lot of orchestration techniques by mocking them up in my DAW - nothing beats this kind of study!
@@AnneKathrinDernComposer Amen! When I was a kid, I remember reading that Bach had learned composition by copying out Buxtehude-by candlelight, no doubt. I figured if that approach was good for him, it certainly couldn't hurt to try! ;-)
I transcribed orchestral cues from my favorite films by ear too, mostly on MuseScore but also Finale (I didn't know the DAW system yet), with their pretty terrible sounds. I did the opening of Out of Africa, Apollo 13's reentry, The Lighting of the Beacons from Lord of the Rings, Star Wars The Force Awakens trailer #2 and a few others, but I must admit that I didn't really LEARN anything by doing it. I only did it for pleasure, because I felt compelled to. However, when you know nothing about orchestration and simply transcribe music that comes to your ears, you just write the notes from the instruments you think you hear, but you don't even know they're doubled, much less which doubles which. You even discover to your astonishment there's a 3/4 bar right in the middle of a whole 4/4 score and you can't even imagine that it is due to picture sync. Now that I have learned a few things in that matter, it would certainly be different if I did it again. Nothing replaces the original score, though.
+1
Good video Anne. Very informative. I haven't read all the books you reviewed, but I full heartedly agree with your assessment of Korsakov's excellent book on the PRINCIPLES OF ORCHESTRATION. The text book we used at USC in the 1980s was Kent Kennan's THE TECHNIQUE OF ORCHESTRATION which I remember was useful as a constant easy-go-to reference for instrument ranges, transpositions, and combining certain instruments for specific colors and effects.
This is a great example of why I find your content so helpful. Over the past several years I’ve considered getting the Adler book more than a few times, but that price tag was too steep for a retired guy and I was reluctant to buy what I feared would be an out-of-date edition. But you’re the first composer I’ve seen who ever discussed the relative value of the different editions … and if the 3rd edition suits you well enough, I am sure it is fine for me as well. So I’ve got a used 3rd edition copy on order now, because of this video. My thanks to you for shedding some new light on another of the mysterious dark corners of this field. (By the way, I do already have the Rimsky-Korsakov book and enjoyed it, but did notice it was mostly about volume balancing and color combinations, as you have said here. So I expect Adler will be at least as helpful, and probably even more so.)
So glad this was helpful! And yes, Adler will contain a lot more information than the Korsakov book. Hope you'll enjoy it!
One of my favorite yt channels for composition for films and tv. Love your content. thanks for making this video on orchestration books.
Anne-Kathrin, the comprehensive but concise nature of your presentations are always a pleasure to listen to.
"...it's been a bit of a sausage fest over the centuries..." 😂😜That's one way of putting it Anne-Kathrin.
I look forward to hearing your thoughts about the music of Nadia and Lili Boulanger.
Hello Anne, here in Brazil Samuel Addler's book is used too, I believe in Latin America it is used as well.
Hey, from Australia - love your channel. At the Sydney Con composition course, we had Piston, which I love and I still refer students to to this day. Also, I too like some of your other readers, love Arranged by Nelson Riddle as I've had to do more and more over the years. Thanks so much for the other suggestions - I also will be putting them on my reading list. Big hugs from "downunder".
I always enjoy listening to the topics you choose to speak about. Your makeup is great.
Thanks for sharing your perspective! If I could add another honorable mention, one of my favorites is “The History of Orchestration” by Adam Carse. An old book but it goes through the evolution of the orchestra from Monteverdi to Ravel. Gives a great insight into why composers wrote in a certain way for the instruments available in their time.
I love that Adam Carse book. It's a very well written, fascinating read. I recommend it to anyone who asks me about orchestration books.
I'd definitely check that out too. I think that could help on preparing classes on the subject.
That eye make up though 😍 Thanks so much for these wonderful, humorous and informative videos!
Thank you so much for the support!
For pure instrumentation info, Alfred Blatter’s “Instrumentation and Orchestration” is gold. The info on orchestration isn’t great, but the descriptions of the individual instrumental properties, characteristics, and capabilities is stellar.
For the jazz/contemporary side, Sammy Nestico’s “The Complete Arranger” is the gold standard, surpassing anything put out by Berklee Press.
An excellent academic book on jazz and popular arranging is “Jazz Composition and Arranging in the Digital Age” by Sussman and Abene.
You are a godsend. Been looking for more resources on orchestration in modern genres
My journey into arranging and orchestration began with "The Complete Arranger." An indispensable resource!
Yes, Orchestrating in the Digital Age is great! The technique for voicing brass vamps is insightful.
I bought Adler's Study of Orchestration when you first mentioned in your channel. You cannot get better than studying whatever pupils learn on Academy level. I'm half-through it. Not as if I didn't hear what range seems to be fine with most instruments, but it gave my guesses stability. I used to feel what I was doing, now I know what I'm doing. I have clarity on when I used my orchestration well. As a side effect of reading this book I clearly can study now full symphony scores simply because I can see the doublings/voice leadings/pedal tones/chord fillings or texturing. Most of those 10-50 rows symphonies are quartet like ideas in very elegant fancy outfit and That gives me infinite amount of study on orchestration for the future. I'm looking forward to seeing what the other half of the book brings. But after 3-4 weeks of reading I'm already several level above from wherever I got stuck for over a decade before and I have the ability of self-studying anything I really like.
Please do a video on score studying Anne-Kathrin! I’d love to get your take on how to get the most out of a score! 🙏
Love your channel! I've learned so much from your videos. Orchestration has always been of interest to me, and you make it so easy to understand. Oh, and I love your makeup! 😉
Thanks for the reviews. I was hesitant about the first book. Thanks for showing some of the pages. I’m definitely getting that book. I’m glad it has demonstrations and not just walls of text talking without showing. That is the selling point for me and more.
Dear Anne-Kathrin ☘️ Yes, Adler is used WORLDWIDE as you already pointed out in your video. Of course there are other spectacular orchestration books available as we all know as composers but Adler is widely preferred (especially for beginners and intermediate level students) because of two main reasons: 1. It has a workbook. 2. Priceless audio examples. Also, needless to say that it's a very meticulously organized book and the writer is Adler! Greetings from Türkiye 🇹🇷🙂
Great video, thanks Anne! You mentioning the Mancini book reminded me of "The Complete Arranger" by Sammy Nestico. It's much more on the jazz/big band side more so than the traditional orchestration like Adler or Piston. But if someone is interested more in the jazzy, Mancini side, it could be a cool one to check out.
You look incredible. And thanks for your hard work best wishes UK England 👍🙏
I have most of your recommendations other than the Berlioz (which I'm sure I've seen but is no longer on my shelf). I should read more of the Adler, which I acquired relatively recently, but my go-to is almost always Kent Kennon's "Techniques of Orchestration" book, mostly to check ranges when I am unsure of the extremes of unfamiliar instruments. I use the other books when I face specific questions on esoteric instrument techniques. Except for the Adler and Mancini books, most of mine were purchased more than fifty years ago, when prices were more reasonable.
you are the best youtuber! you are like the amadeus of our recent times (you rock). i will study sheet music harder now because of your content
Thank you for these helpful recommendations. Also like Jonathan E. Peters as an essential reference and overview to look up stuff qickly. Brahms' Third is a nice backdrop.
I loved your comments about learning to read music near the end.
Great presentation!!! Henry Brant's book is GREAT! Definitely a must have for composers. Another one is The Guide to Midi Orchestration by Paul Gilreath. However, score study is THE BEST guide for orchestration.
Well now I can wait even less to check out Brant's book!
Great!) Thank you for this video!!!)
Your read on Piston definitely gave me a chuckle. All these years after being introduced to the Professor's books, I still cannot get behind his approach to conveying information.
I had just found out about The Study of Orchestration this year and it was on my need to buy wishlist. But when I saw your Q&A series I saw that you had it so I bought it. You inspire me very much and I'm learning so much from you. Thank you for sharing your knowledge in all music and I hope you're successful in attaining your goals.
So glad to hear that!
I would love to see you do a video on your method for score study. In one of your videos you recommended IMSLP, which I have. I would love to hear a method on this. I am one of those older folks you were mentioning, so I need all the help I can get (57). My current project is working on a ballet for a local dance studio so you can kind of get a feel for where I am coming from. Thank you for all of your insights and information.
I'll put it on my list, that's a good idea! There are many different approaches so I'll have to think about it for a moment to give a good overview.
@@AnneKathrinDernComposer Thank you for considering the idea.
Thank you! That Korsakov book is exactly what I needed.
My Korsakov is my definitive read, but thank you for exploring other texts. I will be very keen to read your favorites.
Thanks so much for your fantastic videos
Waaaayy back in the day (2004?) Garritan had a free online course on their forums based on Principles of Orchestration. It was very simplified of course, but provided a bunch of example media and MIDI files so users could practice making mockups and orchestrating their own melodies (using GPO 'natch) systematically covering each technique with each section, and then, best of all, you could post your mockups and ask questions and get feedback on the forum (including from Gary himself!). Sadly I never finished the course and it is now long since defunct, but I learned a lot all the same. Now that I'm back into music I've been questioning whether it's worth picking up the book itself to basically finish what I started or if, being a hundred years old, its usefulness has been supplanted by newer texts. I think I will buy it. I like what you say about it jumping directly into orchestration itself - I really don't need a ton more information about the instruments, and I think that's a subject that many TH-cam channels have covered very well anyway.
Lol I still have it all, downloaded offline. And I still refer to it on occasion.
@@musical_lolu4811 Might you share it with me? I wanna see that. It's a shame that already does not exist in the official webpage.
Thanks!
I just picked up a gently (hopefully) used copy of The Study of Orchestration. Based on this video I did some more digging and it is SO widely loved/respected I decided to pick it up. I saved a bundle by the way...not much difference between the 3rd and 4th edition so I just bought the 3rd. I wish I had started at 4 but instead, I'm starting at 48...bummer. But hey, I think you are right Anne, time and patience. I'm working my way through the basics of music theory, sight reading/singing, and other topics using a few different resources. Know that your message of "don't just listen to my (or someone else's) TH-cam videos and think that get's you somewhere" is well taken in the spirit intended...and at least for myself...there is slow but steady action. And hey, while I'm doing all that...I also really enjoy watching your videos 🙂 BTW...the new mic sounds great 🙂
So happy to hear all this! It takes so much time to acquire all these skills - one day at a time will get you there, I have no doubt! 😀
Back in the days, I started with the Principles of Orchestration, but I was lacking a lot of exemples to listen to (exclusively from his own repertoire). This was far before TH-cam and al.
Now I'm into Adler that's way more accessible, probably the #1 recommendation as you picked it.
When you buy it new, you have a limited-time access to all the audio excerpts mentionned in the book. The French edition, oddly enough, adds a section about choral arrangement, and IIRC modern instruments. But no audio portal.
I have the Mancini too and totally agree with you ; I use it to pick some licks and orchestration tips when I want to write old style. It's a great addition to other books but not the one to begin with.
I also have "Jazz Composition and arranging in the digital age" by Sussman & Abene. I didn't start it yet but it's definitely not for beginners.
But as anything in the (educational) world, it's not one-size-fits-all. You have to try, see what fits best to you at the moment and go on.
Thanks for dedicating a video to this topic.
(and yes, your new microphone works well).
I can confirm that a major university is using the Samuel Adler book for music production classes
Great video, again, thanks ! Just a side note, your german accent at Richard Strauss made me suspicious, so I've made some research and voila ! ;) Never thought of it because of your impeccable english.
In the USA here, 20 years ago in college I bought Adler 2nd Edition, and I still use it to this day. I bought R-K's "Principles" about 5 years later.
Great video as always. I'm trying to save some money and create a routine which will allow me to compose more and be able to join your your bootcamp
I have the pocket version of the Orchestation Dictionary is so beautiful, I love it so much! The smartphone may make it obsolete, but it's such a beautiful tiny object/book!
I heard the best method of orchestration study is to reduce sections of an existing orchestral score down to a piano version where you highlight which instruments are playing which notes. In doing so you notice more the choice of register ie high or low, the doubling of instruments and the function of certain orchestral sections how they contrast ie brass and percussion providing rhythm while winds and strings playing melody and counterpoint etc.
Thank you for this - very helpful!
looking at these books like wow it must be so cool to read books on orchestration for college. Wish I studied music in college
Orchestration - A Practical Handbook by Joseph Wagner. Affordable, logical, simply explained and all in all a good solid addition to your library.
I have to checkout Korsakov's Principles of orch! I've always wanted to buy it, and used maybe great option. Thanks Anne!
I do some dialogue editing. The key with lavs is to dip around 500 Hz, give or take 50. That region tends to build up against the body. Dip it by 4 to 8 dB at a Q of around 2. Careful not to make yourself hollow. Just get rid of the excess dark vowel resonance.
Thank you! Totally new to this type of mic (and totally shocked by how much noise it picks up) so I really appreciate the advice!
@@AnneKathrinDernComposer If you mean clothing noise, that's a much more complicated subject. All you can do really is try to choose clothes that don't rustle or produce static electricity easily, and play with different mic positions. If you mean room noise, yeah, they're omnidirectional mics, so they're going to pick up the whole environment. There are a few plug-ins that can mitigate the noise without hurting the sound too much. Izotope RX is best, but it's expensive.
Perfect! I'll keep this in mind. Yes, I mean room noise... insane how much the environment is picked up. I'll be sure to take a noise print in the future so I can feed that into RX and get rid of the noise floor.
"Logical and unpretentious approach.."? Sounds a good description of every video Ms Dern ever produces.
I have walter pistons book on orchestration and counterpoint I also have that one korsakov. When I decided to compose an opera or ring cycle like Richard Wagner Ring of the Nibelung and I wanted to orchestrate my piece I got confused over the instruments sharps and flats except for strings if for instance in c major never mind the minor keys,but you are right read more scores thank you for your input
Besides Adler and the Essential Dictionary pocket books my favorite book is Ertugrul Sevsay’s "Handbuch der Instrumentationspraxis". I think the English version is called 'The Cambridge Guide to Orchestration'.
Is that the backbone trail at Will Rogers? I recognize that trail!
It is! I was just gonna do the Inspiration Trail and then felt adventurous halfway through… my legs regretted that choice later though. What a steep side journey that was…
@@AnneKathrinDernComposer It'll knock you on your butt if you're not careful. I usually make my way up to the little metal bridge ("Chicken Ridge Bridge" as they call it) and that's enough for me.
Love the Adler. I also have the 3rd edition and it's my go-to. My only gripes with it are
1. Not enough full orchestration info (like you said).
2. No information on choral writing at all, either by itself or with the orchestra
3. No information on modern instruments like synthesizers and electric guitars and how they might be used as a feature, as support, as well as things to avoid.
I have a long way to go through the Adler book - it’s great but I agree when it comes to full orchestra it could use a bit more. I was looking up basic info on dynamics so that I could notate the concert piece I’m working on and I couldn’t find any info to help me decide what is a mp, mf, f etc and when crescendos and decrescendos should have dynamic indicators at the beginning and end and when they shouldn’t. In the end, I guess I just need to keep reading/listening to the score examples.
It's super confusing to begin with since all the dynamics are just relative (unlike tempo which is absolute). Every orchestra will interpret mp differently which is where the conductor comes in to make those decisions. Also, dynamics have been interpreted differently over the centuries as well, especially since the instruments and orchestra sizes have changed so much. In our case, this is where we'd give notes from the booth during a session or rehearsal to let them know if they're too loud or soft. The important part is to know how the orchestra balance changes across dynamics for which I think Korsakov's book is very good. As for cresc and decresc - I'd always put dynamic indicators to avoid confusion. It's always good to be precise in how big or small the swells are. The musicians would probably ask otherwise (which we try to avoid in sessions because it costs time). However, if you have a dynamic movement that repeats over many bars, you can just notate it once and then write "simile". It'll tell the players to continue the interpretation as before but it makes the score less cluttered and saves time. 🙂
@@AnneKathrinDernComposer thank you! That’s reassuring and also very helpful! It’s going to be a learning experience and hopefully I will get to be in the booth if it makes it to Air. I also have our friend Andres who is going to help clean up the Sibelius file I gave him. 😅
Only thing I feel like is super difficult with books about music is that, for me at least, hearing the examples is more helpful than the description. Like sure you can describe that tremolo is the act of modulating an instrument's volume in quick succession, but I still wouldn't have a clear sound or feel from it even tho I'd know what it is
Yep! Used Adler in pursuit of my Masters degree in FL recently. I wish orchestration (the class) lasted FOUR semesters!
Danke Anne - hab mir Henry Brants Buch besorgt. Gerade eingetroffen
Would be great to do a similar video about composition books - what in your experience helped you the most along the way
I would like to plug a very difficult-to-get book: "Elements of Orchestral Arranging" by William Lovelock. If you're starting from zero (i.e. you've done harmony and counterpoint, but essentially no orchestration), this is the book I would work through first. The way it works is that it works you through arranging small piano pieces for larger and larger ensembles (string quartet, string orchestra, wind choir, etc), working your way up to the full orchestra.
I have a question. What's your opinion on Spectratone?
There is also a brand new book by the Belgian composer Piet Swerts (Grand Prix in the Queen Elisabeth Composition Competition): Instrumental thinking (A Preliminary Study On Orchestration) 🙂.
Yes, we use the Adler book in Chile
Good, it will be insteresting to have your opinion on those books, let's hear that! 🙂
Cool! Thanks for sharing. I already own Study of Orchestration. I’ll check out the others. On a similar subject, do you have any online course you’d recommend on film scoring? Thanks
Another very helpful video. Thanks!
All these orchestration books can be rather hefty, but if you're after a smaller volume that you can easily carry around as a reference if you're composing on the road or whatever, I like Gordon Jacob's book "Orchestral Technique". It mainly concentrates on orchestrating keyboard pieces. This may seem like an odd thing but in terms of workflow, a lot of composers will probably be writing a piano sketch first and then orchestrating that afterward, so the approach has value for those that work that way. The book does have some good orchestration insights, despite being somewhat outdated in terms of info on instrumental capabilities. I just like that I can carry this one around while the others get stuck at home due to being too heavy!
Blimey, the only one of your recommendations I don't have is the Piston (which I've occasionally looked for, but never found at a price I'm happy to pay). I do have Piston's 'Harmony', but remember finding it tiring to read, which seems like his style based on your comments on 'Orchestration'.
Something to mention about the Adler and the Mancini, which I found invaluable in understanding the notated examples, is that both had companion CDs. For Adler, it was a six-CD set with over 500 tracks that matched the examples in the text, while my copy of the Mancini included a CD in the back with 66 tracks matching examples. I don't know if there are online editions of these musical examples sets, but definitely worth looking out for if you're getting the books.
About the Walter Piston book: He has hundreds of excerpts from scores, but without enough information to find them and listen to them. For example, a piece of score from Mahler 9 would be much more helpful if Piston had noted the movement and whether the quote was halfway through, towards the end, etc. It would take years to chase down all those examples without more information. I'm sure Rimsky-Korsakov would get the point of the example just by reading it, but the book is targeted at learners, not experts. All that said, I learned a lot from the book.
The Rimsky Korsakov is being updated by Thomas Goss (see his videos on this)
I actually reference 2 arranging books, "Music Arranging and Orchestration: John Cacavas", &
"Arranged by Nelson Riddle".
I also have the The Contemporary Arranger by Don Sebesky. It's more on the studio recording.
Adler sits on my work space all the time!
Thank you for this video! I am interested in learning more about practical orchestration, but don't know how to study scores. Do you have any advice on how one can learn to do so?
Do you know of Norman del Mar's anatomy of the orchestra? Any opinions on it? It came highly recommended to me, but I must admit I haven't finished it yet.
I bought ´´The Study of Orchestration´´. I love that book!!
Just a general observation about language but it was interesting, what you said about the outdated writing style in Piston's book. I can't speak for other languages but English has become a lot less stiff, "fussy" and uptight since the 1950s. I guess it's nearly 80 years ago now and things just move on. I wonder how things will be in another 70-80 years.
Adler is used here in Brazil.
Hi Anne, Thank you for your recommendations on the books, that really helps. You mentioned "Score Study", Is there any books that you can recommend that I should get for doing that?
whoa! love the look!!! u remind me of angel olsen here.
I have a love/hate relationship with the Adler. Love, because the book is undeniably good. Hate, because the Italian edition doesn't feature the CDs with the examples (nor does it allow you to purchase them).
I'm not familiar with Piston's book.
I have Korsakov's and didn't find it that useful at the time (it was before I got the Adler, will check it out soon).
As a Mancini fan, his book was a must have for me.
Never had the books in the honorable mentions
I would say, check Rimsky-Korsakov's again. It happend to me the same as her. Once I went through Adler's one I read Rimsky-Korsakov's and it was the most useful for me. Especially for brass and winds. ;-)
@@javiervazquez5556 Oh, I will do that. I'm currently trying to figure out the correct levels of my orchestral template, an amalgamation of libraries from different vendors mixed with EaReverb 2. I'm having a hard time making a realistic "gain staging" of the instruments. Considering what Anne said about Rimksy-Korsakov, the book will save me from some long and exhausting trial and error attempts.
I just picked up the 4th edition of The Study of Orchestration. Very nice book with lots of detail. Being new to orchestration it is a great source. According to the back cover the 4th edition expands coverage of percussion instruments, adds a new section on the accordion, has greatly amplified coverage of wind ensemble and it has moved the sound samples to online access. Beware, the online access is free for 360 days after first access. After 360 days you have to subscribe to continue access.
The copy Anne & I own has CD’s that you can purchase. Third Edition
Hi Anne,
ich selbst spiele Klavier und möchte mich nur als Hobby in die Orchestration mit Cubase einarbeiten. Ich hab das Buch the study of Orchestration 3 edition gebraucht im Internet finden können. Gehört da eine CD dazu, denn eine solche kann ich nicht finden ?
Hättest du noch Ratschläge für mich wie man sich in das Thema einarbeitet ?
Viele Grüsse Christian
Widor: « The technique of the modern orchestra » is my 2nd favorite, after Adler :)
I haven't heard of that! Will try to find it and check it out!
Anne looks fantastic.
Team Kennan!
Is there any book that u'd recommend too for beginner (beginner in orchestra) in English or auf Deutsch?
Are there also books in german you could recommend? :)
(my english is ok but for this complex topic and terms not good enough :D )
An engaging video! Does anyone know if Anne-Kathrin has done a similar review of books about theory? I would be interested.
She has not but since this video is doing so well and people are clearly interested, I'll do another one on other subjects. 🙂
@@AnneKathrinDernComposer Thanks, Anne-Kathrin!
Very interesting video
Music aside (which is great anyways) you do beautiful and always different make up.
How did you approach studying multi-instrumental examples (as in the books), and pick up the message they were trying to convey with said examples, when you were mostly used to reading horizontally? That's what I struggle with the most. I too have started piano, to expand my reading, but with multi-instrument examples I don't really know what approach to take that is efficient.
The boring answer is practice. 😅 I had huge trouble with full scores at first. The easiest way to go about it at the beginning is to just read through pieces you already know while playing a recording of them. That way you're already familiar with the elements and can look for them more easily. I'd focus on one section at a time at first. You'll find that eventually you develop the skill to focus on what's important more quickly and read those parts first. You'll also find that your ears will identify orchestration techniques and textures quicker. If I'm hearing that the WW are doubling the strings, I don't have to read both, I can focus on one of the two. A similar thing happens with the piano: At some point you don't read the notes anymore, you just read chord structures and movements, and instantly know what it is because you've encountered it so many times before (just like when we read text we don't read the individual letters). So it's all about putting in the time to recognize patterns and quickly identifying them - which only happens through endless hours of practice.
@@AnneKathrinDernComposer I'll keep on practicing, thank you for the encouraging answer! Good idea about reading scores from favorite pieces, sadly Elfman's Batman is currently out of stock ... 😄
I haven't watched the video yet and I didn't even look at the description I swear but let me guess "Adler" is one of your favs :))))) Now, lemme watch it.
Anne is a fairyyyyyyyyyy !!!!! 🧚♂
I should challenge all the other composer TH-camrs to a makeup standoff 😂
Do you know of a way to practice score? It would be cool to find some shorts totally missing score. I have seen some really dry short films on Dust so in will look there. But I thought I would ask you if you knew of a source.
Such a nerd!! Carried a dictionary on the train for "fun reading"! 🤣😂🤣😂
I'm a Korean and I let you know that almost Korean music colleges use the orchestration book of S.Adler. That book is kind of a "Standard", I think.
A warning about Cecil Forsyth's "Orchestration" from someone who used it in high school: the opening paragraph of the Tuba entry is overtly racist.
Forsyth has a very snarky sense of humor which can be fun sometimes, but he goes way too far comparing the Tuba and Euphonium and uses the n-word as part of an analogy. Given this and how old it is, you are 100% likely to do better with other books.
Yikes! I had no idea... Thanks for letting us know!
Lol reminds me of a piano technique book by Josef Hoffmann. Tsk tsk.
Hi Anne, I sent you an email using the form in your site. It's about a completely new Orchestration Book.
Instead of editing my first posting, I am sending another. As a teacher, I use Adler as the main source material, I use other books as supplementary material. I am sure that you've already come across the book by Ertuğrul Sevsay, a Turkish composer living and teaching in Europe for a long time. For those who don't know about, the book is called "The Cambridge Guide to Orchestration by Sevsay, Ertugrul". For the details and extreme details regarding orchestration, it's a valuable book and one (with experience) can easily tell that it reflects at least 30-35 years of experience. Therefore, I strongly recommend it. Also available in Turkish...