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 enlarge | Author: Samuel Adler
Publisher: W. W. Norton
Category: Book
List Price: $75.00
Buy New: $54.25
You Save: $20.75 (28%)
New (32) Used (18) from $54.25
Avg. Customer Rating:  31 reviews
Sales Rank: 7559
Media: Hardcover
Edition: 3
Number Of Items: 1
Pages: 864
Shipping Weight (lbs): 3.4
Dimensions (in): 10.1 x 7.2 x 1.5
ISBN: 039397572X
Dewey Decimal Number: 781.374
EAN: 9780393975727
ASIN: 039397572X
Publication Date: March 2002
Availability: Usually ships in 1-2 business days
Shipping: International shipping available
Condition: Brand new book delivered from the UK in 10-14 days.
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| Customer Reviews:
 Very very good! November 7, 2006
3 out of 3 found this review helpful
I studied classical piano and composition myself for most of my life and have professional degrees in both. When I write my music, I need to look up stuff now and then, or brush up my knowledge. This book is perfect for this! I wish I had bought it years ago.
An Excellent Book September 20, 2006
6 out of 7 found this review helpful
I have used Adler for many years, though several editions. It is a great orchestration book for the beginner and the experienced orchestrator alike. Very easy to read and well organized, I feel it is one of if not the best orchestration text on the market to date.
 helpful but out of date May 17, 2006
15 out of 18 found this review helpful
I own the 3rd edition of this book and thought I'd chime in on some of the inaccuracies of the book coming from the perspective of a woodwind specialist as well as a composer.
Inaccuracies in the discussion of the Oboe family:
"The baritone oboe, sometimes called the bass oboe, has the same range and transposition as the heckelphone and a very similar sound;" Umm, well, if you're partially deaf or otherwise impaired, it might be a true statement that they sound similar. Also, the hecklephone has a range to low A, while the baritone oboe only has a range to low B... which makes the statement "All parts may be performed equally well on the bass oboe" patently inaccurate.
Inaccuracies in the discussion of the Clarinet family:
The book indicates in its diagram that E is the lowest note of the bass clarinet, with optional extended range to E-flat or D, but the text refers to extensions to E-Flat or C. However, all modern bass clarinets are constructed to have a range to E-flat, with extended instruments playing to C. Likewise, the section on the Alto Clarinet in E-flat indicates that E is the lowest note of the alto clarinet, but all modern alto clarinets are constructed to have a range to E-flat. Finally, to round out the misinformation of the clarinet family, the book indicates that the Contrabass Clarinet in Bb has a standard range to low D, but all modern BBb contrabass clarinets are constructed to have a range to E-flat, with extended instruments playing to C.
Inaccuracies in the discussion of the Saxophone family:
The book does not mention the low A extension for baritone saxophones, used on virtually all professional and even intermediate models. The book also discusses, misguidedly, the F sopranino saxophone, an instrument not available today, and frankly doubtful that it was *ever* really available or used.
The has a decent foundation of knowledge but comes off as very dated. In particular, I personally dislike the author's tendency to restrain instruments to cliched uses, for example, his admonishment: "If one elects to use an alto flute, one should certainly exploit its lower register, for the regular flute and piccolo are capable of covering the upper part of the register as adequately." Or in the case of the contrabassoon: "Even though many composers have asked contrbassoon players to play in the instrument's higher (and even in its highest) register, this takes the instrument out of it's most characteristic range and makes it just another bassoon, a little weaker and paler than its relatives". This strikes me as very old fashioned and rather simplistic. His suggestion would be like indicating that the cello covers the low range of the viola quite well and the violin covers the upper range of the viola, so you shouldn't use violas. Or perhaps: the violin covers the upper register of the cello quite adequately, so the cello should only be used on its lower three strings.
Thankfully composers have ignored that pathetic line of reasoning... we'd have much less beautiful music if that were the case.
I'd look forward to another, less dated, more accurate text. Probably from another author.
Excellent text for learning orchestration March 3, 2006
0 out of 7 found this review helpful
I studied orchestration using this text, along with the workbook and the set of CD's, at The University of Tennessee at Martin (taught by Dr. Scott Roberts), and found it to be an excellent resource. I chose to retain the book and CD's as permanent references, as I now work on my own professional orchestrations, being a self-published songwriter (Larry's Songs of Praise and Worship). I highly recommend this book, especially in conjunction with the associated CD's.
Problems with CD payback October 28, 2005
2 out of 5 found this review helpful
The book and CD set make a formidable combination and a great study guide, but I have had difficulties playing the CDs. The only direct way to list and select the 532 audio tracks on a PC is to open Microsoft Media Player and insert the appropriate disc. Going via disc 6 is enough to start hating the climactic finish to the Great Gate of Kiev from sheer repetition!
My difficulty is in playing the movies, which appear to be .DXR files. Can any fellow-sufferer help me here? They simply won't run for me. All that runs is the Musorgsky/Ravel under Quick-Time.
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