Gardner Read has compiled an exhaustive account of modern instrumental techniques, putting aside sujective opinions of their worth or importance and including information about instruments foreign to traditional orchestras, such as the banjo. He sites numerous source examples of each techniques use and the varying methods of notation suggested by pioneering composers. The book serves a dual service to both modern composers and musicians. First, it serves as a reference manual for reviewing and understanding the history of new notations of a particular instrumental techiniue. Second, it serves as a source for ideas and inspiration, simply by flipping through randomly and stumbling upon examples. The first part of the book contains "Generalized Techniques" about extended ranges, muting, glissandi, harmonics, percussive devices, microtones (several suggested notations), amplification and extranmusical devices. The second part of the book focuses on "Idiomatic Techniques" in detail regarding woodwinds and brasses, percussion, harp and plucked instruments, keyboard instruments, and strings. Gardner Read's details suggest that technique experiments of 20th century composer's, mainly the "scrape and scratcher's", in my personal opinion, have been explored to such an extent that they should now be a part of a musician's and composer's arsenal: meaning they should no longer be consider experimental. Composers can get back to composing listenable and interesting music, utilizing the assorted intsrumental techniques when they will benefit the music vs being used primarily as an experiment, resulting in a "composition" that sounds terrible. (It was a good idea on paper, but it sounds like crap.) The experiments have been thourougly hashed out. It's time to start using the results in compositions accesible to those not wearing stuffed shirts.

I have had this book on my reference shelf for over twenty years. While it hasn't answered every question I've ever had about music notation, it has always at least pointed me in the right direction. Anyone interested in putting music on paper should own this book--and read it.

(I also think that this book will most certainly outlast--"Pentatonic Scales for the Jazz-Rock Keyboardist" by Jeff Burns. At least Mr. Read has something to be pretentious about.)

This book covers everything you need to know about traditional music notation. It will serve as an excellent reference, though the amount of material might take a while to get through. It's definitely worth reading in its entirety at least once if you plan to write or arrange music of any kind.

A number of reviewers have recomended the "Norton Manual of Music Notation" instead of this book. I would recommend it in adition to this book as they cover different topics. This book is about the meaning and history of notation. The Norton Manual is a practical guide to writing out music by hand.

This amazingly thorough book covers every problem, concern or question that can ever come up in a musician's mind. Whether you are a performer, composer, arranger, or just interested in music notation, this book is perfect for reference.

After a brief history of music notation's development through the Middle Ages, Mr. Read systematically examines every part of notation, giving plenty of examples and also providing new innovations in that area. Every chapter is well organized, and the reference tables are a particularly helpful resource.

Being a young composer, I found this book extremely valuable for providing me with the knowledge that, although essential to all musical fields, is rarely taught in any manner. A must buy for all musicians.