This book offers to study how to reproduce an orchestra virtually with sounds banks such as East West Symphonic Orchestrated, VSL... It is not therefore about a theoretical book on orchestration but rather about a book centered on the technical side (sequencers, controllers).

On the whole, the author comes back directly into subject, there is little a superfluous and the whole is condensed enough. The book is organised around 4 main chapters corresponding to the sections of the orchestra: strings, wood, copperwares and percussions / rhythmics (guitar, piano). Each of these chapters is organised in the same way itself: general characteristics of the section, specific instruments, extracted from sheet musics, to use the section in a sequencer, to mix the section.

A first introductory chapter defines the big notions of used bases: orchestration principles on one hand and functioning of norm MIDI of other one. He uses it besides to define the controllers very precisely MIDI (CC#7, CC#11). Few books made it in so exhaustive a way.

In each of the chapters dedicated to the different sections of the orchestra, it gives at first rather succinct notions of instrumentation. It is especially a question of defining the role of the instrument, its range, its characteristics, its articulations. The author gives different extracts of sheet musics to illustrate various uses of the orchestra (rhythmic, harmonic, melodic). Group is short but gives however necessary basic concepts.

They enter subject more directly with the following sub-chapters concerning more particularly the technical side of '" virtual orchestration ". He gives the main sounds banks with their strong and weak points. He itemises the different ways of recording instruments on his computer (keyboard midi, adapter midi for guitar) and especially how to give life to instruments (simulate breathing for winds with a small apparatus called " breath controller "). The controllers MIDI are copiously described to improve the realism of a line (expression, volume).

He lists for every section important points allowing to make a more realistic instrument (breath for winds, attack for copperwares and strings) and how to implement them in the sequencer. He suggests so for example making slightly some instruments go out of tune to give a more human side, to quantify not much or not the slow parts and more strongly the rhythmic parts.

He ends up giving indications on the sound mixing of sections. He points naturally out to respect pan of instruments but gives such different variants to give more of space and depth in group. Concerning reverberation, he gives main parametres to simulate at best a realistic environment (length of reverberation, space).

On the whole, this book is full of good advice. The author lists a lot of smartness, rules to be followed to simulate an orchestra in an even more realistic way with sounds banks. It is one of the only books that I read who itemises the controllers so precisely MIDI and their use. Sheet music extracts are very pertinent but unfortunately not rather many. A DVD gives sound extracts very interesting to judge difference between a section without reverberation and with, use or not expression controller... Contrary to other books on subject such as The Guide To Midi Orchestration of Paul Gilreath, this one is also complete even more in spite of its very lower number of pages.

This book which dates currently of 1988 does not lose its interest in view of its date of publication since it approaches theoretical notions on music, music theory and arrangement. The whole being only not much described under a technological side (sequencers, midi). In spite of the title which seems to intend the book for keyboard players, its range is more general. He contacts in fact in a broader way all those who compromise, who dispose a piece... It is true that he gives some advice specific for keyboard players but it is not about the bottom of subject.

Book is centered around 5 big main themes allowing to construct a piece: form, melody, rhythm, harmony and instruments. I particularly appreciated the step of the author. Indeed, he classifies, orders, sorts his ideas out to offer us a methodology, a reminder. He is not aimed at writing such a novel on subject but rather at giving to the reader a way to consider to arrest the composition of a piece. He uses again and again questions, diagrammes, listing... To note that a CD accompanies book. His utility is not essential but can allow to initiate some beginners from examples.

The first approached theme is that of the structure of a piece: how to construct an introduction, a development, a conclusion... He offers for example to compose introduction when the piece is ended since this one must follow and announce the piece naturally in melody, harmony term... It is more about the structure of a piece style "variety, pop-rock". Some ideas can be very of even used in other musical forms (orchestral).

The second chapter, very interesting, concerns the building of a melody. How to develop a theme? How to repeat it? How to prettify the melody with contrechants, changes under 18 in tonality... He offers the whole group of tools in the service of the compositor to develop a melody, he points out different approaches allowing to supplement, to repeat a theme.

The section on rhythm is less dense and less complete. It draws a parallel with tools allowing to construct rhythmic motives on computer. Group is less pertinent since it is mainly focused on the drum kit.

Harmony is the heart of any piece, no wonder this chapter is rather consequent. It is possible to divide him into 2 themes: the one on theory around harmony (harmonic, intervals, movements) and other one on chords and their use. He introduces how to give rhythm to harmony with blackouts, to create tensions, to make live together melody and harmony. The author itemises how to write in several voices, how to harmonise a melody...

The following chapters concern in in turn strings, copperwares, wood, voice and "modern" instruments. He begins generally with a part on instrumentation (register, colour) then deal of practical advice to use the instrument within a piece (melody, harmony). The last chapter on the recent instruments am very interesting since he offers uses of modern instruments such as guitar, bass, keyboard...

In balance sheet, this book brings very pertinent information on the writing and the composition of a piece. It is not about a theoretical book on subject as it exists a lot. He is just on horseback between theory and technology on computer. Different methods, suggestions of the author allow us to think and to enrich our way of compromising. Group is rather condensed what makes a book which it is possible to keep under the hand as reminder. It is not however edited any more at present. Alone the market of occasion will allow to obtain it.

This book in small format is very practical to keep under the hand the characteristics of all the instruments of the orchestra. He contacts all those who want to discover or to supplement their knowledge of the orchestra to compromise or simply by curiosity.

In spite of the title which points "orchestration" out, it is rather about a reminder on instrumentation. Indeed, although he lands how to include an instrument within the orchestra, he mentions not very or even not sections (strings, winds) in their wholeness.

Every instrument is itemised according to plan portray according to:

• His register: written (level of professional game), practice (level of intermediate game), transposed (if the instrument is transposing)
• Tonal qualities and volume: according to the part of the register, the timbre of the instrument varies as well as its volume.
• Technical considerations: description of the articulations of the instrument, his technical specificity (effects...)
• Orchestration: role of the instrument solo or as section, the colour which he brings...

This book is very interesting because it gives in a succinct way all necessary information to know or to recollect an instrument. In concrete terms, is such note in the register in the instrument? This part of the register is more adapted to her to passage to be played? What are available articulations?

For which euro, no book is more condensed and complete on subject. With more than 200 instruments, layout would have been able to be more apparently organised but the index at the end allows to find desired information very easily.

This book was written by Albert Lavignac in 1945. The author was music theory and harmony professor to the Conservatory of Paris, Debussy as one of his pupils is notably counted. Music and Musicians constitutes its main book, it was even used for a long time after its death.

The writing style is very definite and clear, the experience of the author is really smelt. It is possible to note the pedagogic step of Lavignac which argues each of its purposes with examples. There is little a superfluous, book is very dense at the level of contents, sometimes richer than more recent books.

In a first part, he offers to describe the ground rules of acoustics (perception and production of the sound, harmonic of fundamental one sound). Group is very accessible and acts as plinth to include the following chapters.

The following section is a presentation of instrumentation. All the instruments of the orchestra are reviewed. The author describes the register of the instrument, its timbre, its articulations and the particular characteristics. Many examples illustrate impossible movements, those who are more sure (trills for example). Lavignac brings the personal key in descriptions by giving anecdotes, his personal experience. He always takes care of giving a bibliography for every instrument. He finishes the chapter by approaching notions of orchestration. How the different sections bring a different colour to the orchestra? It's a shame however that this chapter is not more itemised because it brings very interesting information.

Chapters according to concentrate on musical grammar. It is not about an introduction in the music theory but rather about a harmony concentrated solution. Description of intervals, building of chords, harmonic motions and melodic, cadenzas... Presentation is very rich on subject. He describes all the rules in harmony: defended intervals, disadvised doubling... The author assumes that the reader already has basic knowledge in music theory. Indeed, Lavignac takes in subject directly in the bottom. The chapter on the modulation is particularly interesting. He finishes this section of the book by the study of the counterpoint and of the running away

The last third of the book approaches the History of music: musical forms (sonata, opera) as well as big stages of musical art according to the primitive and ancient people then the big Schools.

In conclusion, this book in spite of its date of writing of the middle of the XXth century has nothing to envy the more recent books. It is more complete, rich and better written than a lot of books on subject. Experience and pedagogy of Lavignac allows to acquire solid bases in instrumentation and in harmony. You should not besides hesitate to be several reading to supplement his knowledge according to his training. This book is difficult to get, alone the market of occasion or of libraries of ancient books will allow to acquire it.

Sound mixing is one of the steps of the most important musical production but at the same time in the hardest to be controlled. Indeed, who has not ever tried to compose a piece and was disappointed by comparing the result with its favourite CD? His flavorless surplus, no dynamics, aspect too much draught, not enough power... Sound mixing is a full science which is very often the key of a successful piece. Only sound mixing cuts again group of concepts (acoustics, technology) and of tools (compression, levelling out) which the amateur generally finds it difficult to use correctly.

On subject, there are different types of books: those who list figures such simply a general rule (booster rocket of 3db the bass in 15hz) and those who explain basic notions justifying treatments during sound mixing (perception of the sound space for pan).

This book registers precisely in this second category. It is clear that after many reading on subject, this book goes out apparently of the lot for several reasons:

First of all, the step of the author is very pedagogic: everything is clear, defined, simple of access. The text, simple to include, is always livened up with diagrammes and illustrations. Important points are put in bold. The methodology is apparently displayed.

A DVD is given with the book offering more than 2000 sound extracts. They are necessary to hear what is considered to be a good sound mixing, a too bright sound... Most serious difficulty of the beginner, it is to find it difficult to link sounds to learnt notions. How to admit a problem of step if he has been never heard before?

Second point, he offers at the beginning of the book to explain all fundamental basic concepts such as the perception of the volume, beaches of frequencies, step... To include how sounds are received is essential to justify treatments performed in sound mixing step.

He defines then the philosophy of sound mixing by offering several methodologies: what instruments to mix in first? what treatments to perform? He offers several alternatives and does not satisfy to give general rules, his choices are justified. He tries to bring answers to our questionings.

A section of the book is devoted to every step of sound mixing: volume, pan, levelling out, compression, reverberation... A general description of tools is performed at first then he applies this in very detailed examples.

The last part of book is extremely rewarding and rare in books on subject. The author chose four sound mixing that he accomplished and for which he itemises all followed stages (what plugins? what stocks of parametres?). The DVD contains every version of sound mixing as well as instruments before and after every treatment.

It is clear that it is for me about the best book on sound mixing. It is necessary to note that he is not however exempt from orthography and grammar errors. A rereading would have been beneficial but this spoils in no way the quality of contents.

Guitar without levelling out:


Guitar with levelling out (high pass filter [144Hz 12db / October] and high shelving filter [9Khz-8db]):

The book name is promising: "the guide to midi orchestration". Indeed he offers to approach orchestration on the one hand technical by using orchestral sounds banks and sequencers MIDI with the intention of simulating an orchestra in a most realistic possible way. Theme is interesting since not enough books succeed in putting into practice the notions of orchestration in the virtual world. Is the challenge of Paul Gilreath attained? According to the editor, yes since this book was sold in more than 25 000 copies in the world and that it is used in schools and universities American. It is even considered to be the Bible of virtual orchestration by the community of the musicians! In t-il answered my requests? Not so sure...

The first chapters concentrate mainly on the composition of the orchestra: instruments, sections. Said in another way, it is about chapters on instrumentation. All traditional notions on instrumentation are found: register, timbre, articulations... It is a pity that he is not considered useful to add to the registers of the written instruments, registers without transposition. Inconvenient therefore to use the annex on registers as reminder. On the whole, an instrumentation treaty will be more pertinent and complete on subject.

100 following pages enter finally the initial subject of the book. He offers to take back the different sections of the orchestra and to introduce how to transpose them into the virtual world of COMPUTER MUSIC He itemises for example as to accomplish a realistic legato, to write a melody in wood playable, to write a harp glissando... In red thread, he uses Nuendo to illustrate concrete cases. In the final, in spite of some smartness or interesting suggestions, Paul Gilreath approaches problems only superficially. How to accomplish divisi for example? How to return a more realistic solo? Chapters lack examples on sheet musics and sound extracts. A CD would have been welcome to judge result.

After this first third of book, coherent plan is a little incoherent and lacks reflexion apparently. A chapter introduces the equipment of the studio (keyboards, cards sounds) and the sequencers of the market (Cubase, pro Tools). Further to this technical interlude, the author re-concentrates on orchestration by approaching tempo changes within a piece. However, the reading of the textbook of your sequencer on the track Tempo will teach you just as much that this chapter. Book approaches then the environment of the orchestra, that is to say mainly the foyer and its reverberation. This chapter is a chance to define how one "reverberation" on computer works. Little practical information is given on the use of a reverberation within a piece.

Paul Gilreath offers then to review in a chapter, the plug-ins main of the market: levelling out, compression, reverberation, delay... This a description of samplers used succeeds to construct sounds banks: Gigastudio, Kontakt... Interesting to decide on the acquisition of a new product but this window of plug-ins is not willy-nilly pertinent in a book on orchestration.

The plan of book follows its logic by approaching ch from now on? urs. Further to some general notions on the writing in several voices, he describes some sounds banks on the market (Symphony Of Voices, Voices Of The Apocalypse). The sound mixing of an orchestral piece constitutes the following chapter. It is about a very complex and necessary subject. Unfortunately 22 pages are a bit thin thereupon. He gives some general truths: pan to respect the position of instruments in the orchestra, levelling out to adjust a timbre... Some generality which would have been able more to be supported.

A hundred of pages of the book is dedicated to interviews accomplished by Paul Gilreath with Eric Persing (Spectrasonics), Gary Garritan (Garritan Personal Orchestra), Herb TucMandl (Vienna Symphonic Library), Doug Roger (East West), Jeremy Soule (compositor), Bob Ludwing (engineer of the sound), Bob Katz (engineer of the sound)... Some tackled points are interesting (development of a library, sound mixing of a piece) but the every rest too superficial.

150 last pages of the book review the different orchestral libraries by describing in detail the strong and weak points of each.

In the final, The Guide To Midi Orchestration is for me a book which does not hold its promises. Although the book is consequent (more than 700 pages), printed by an exemplary quality and illustrated with colour photographs, the bottom of subject, to know orchestration about computer, is not approached in a rather complete way. First of all coherent plan is chaotic, musical theory is cut by technical descriptions which precede interviews before describing libraries. Second point, I have the feeling that Paul Gilreath filled up a lot when he wrote: the general truths, anecdotal chapters... What is lacking in this book, it is lack of offered methodologies, very definite examples... On group, only 25 % books is indeed dedicated to virtual orchestration. It's a shame! For more than 80? across the Atlantic, the Bible of orchestration will not have really persuaded a new supporter.

Concerning instrumentation and orchestration, the book of Samuel Adler is a reference book. It is about one of the best, or even the best of books on subject, this for several reasons. The book is extremely rich, clear, constructed well and very researched. The quantity of knowledge collected within the same book is consequent. Group of CDS including musical extracts and a workbook spreads still greatly the borders of the book. Let us itemise currently each of the points above.

The Study Of Orchestration is composed of two big sections: Instrumentation (~500 pages) and Orchestration (~300 pages). Considerations on instrumentation approach successively the family of strings, winds, copperwares and of percussions. Every part is constructed at the same level: description of the family in its wholeness (role? articulations? specificity?), description of instruments individually and then composition for this family (melody, harmony). This section is extremely rich in information and very accessible.

The second left book approaches orchestration, that is to say art to write for the considered orchestra how an intrument in its wholeness. The author explains how to accomplish tutti, to divide a chord in the orchestra or to accomplish effects (crescendo, sforzando). He notably itemises how the orchestra allows to vary colours, to put a melody forward or to accompany a soloist...

The book, the only one, is a mine of information. The author is concise, definite and accessible, there is no superfluous. Every explanation is illustrated by a pertinent sheet music extract allowing to include the studied point. Samuel Adler did not stop there since he offers in more all the 6 cds allowing to listen to the extracts of sheet musics. To this is added a workbook (Workbook) to validate its knowledge and to train.

Concerning available all the 6 CDS séparemment, it contains about 500 extracts and 100 videos. Audios extracts introduce as well extracts of sheet musics as articulations of instruments. Videos, they, supplement the chapter in a visual way on instrumentation: what tacts? what pressures specific for every instrument? The optics of the author is apparently expressed in preface: be capable of hearing instruments separately to approach then combinations of timbres up to the complete orchestra. It is the big interest of CDS coupled with book there, that extracts are very numerous am very pertinent.

A flat however concerning the use of this pack of CDS. Extracts are available in format audio CD and can therefore be listened on computer or hi-fi chain. Videos are in format Quicktime and are usable only on computer. A Flash application allows to sail between videos and information supplementary (compositors, ranges of instruments). However, as there are 6 CDS, they are very quickly led to change CD always. This can therefore be disturbing in the long. An advice: extract all the tracks of 6 CDS on your computer with your favourite software (Windows Medium Player).

Available Workbook separately is a booklet of about 200 pages offering various types of exercises on subject: questions to test his knowledge on intruments and families, transposition of instruments, of piano transcriptions to orchestra or towards other trainings, listening of an extract on CD then writing of sheet music... To note that this book of exercises does not contain correct versions, he allows only to train alone or in another training frame.

In conclusion, The Study Of Orchestration is an indipensable book for all those who want to discover or to deepen instrumentation and orchestration. He structure of the book is consistent, explanation is clear, the choices of writings are pertinent. The author did a huge work. The pack of CDS is necessary, the workbook is it less. The cost of the separated elements is not negligible: book (40?), CDS (80?), Workbook (15?) but the investment is apparently worth the candle.

Extracts of the book:



6 CDS as an accompaniment:



Audio extract of example 11-10 above:



The workbook (Workbook):

This book is a summary regularly updated on all basic concepts in music theory. It starts with necessary notions allowing to decipher a sheet music (notes, rhythm, expression) then links on the definition of ranges, intervals, chords... His strong point, it is to be rather exhaustive and to more definite. He allows to find very easily the definition of a term, the signification of a symbol. On the other hand, he is very often illustrated with summary pictures very useful as reminder (list of chords, intervals, cycle of fifthes). He offers many methods to be applied to determine the tonality of a piece, to transpose an instrument...

The counterpart of this condensed writing is its absence of pedagogy. It is not apparently about a book for beginner wanting to start to learn about the music theory. Book does not stay over concepts and examples to make understand them. It is rather a question of delaying some notions on memo.

This book is from now on a reference book in the training of the music theory. It is very regularly reissued and supplemented to put on fashionable (with contemporary notations for example). Although some themes would have been able more to be itemised (modulation for example), it is a book which they keep readily under the hand and in that they often refer.