he Contents that the work differs from others, not merely by reason
of its musical examples, but more especially in the systematic
arrangement of material, not according to orchestral division in
groups (the method adopted by Gevaert for instance), but according to
_each constituent of the musical whole, considered separately_. The
orchestration of melodic and harmonic elements (Chapters II and III)
receives special attention, as does the question of orchestration in
general (Chapter IV). The last two chapters are devoted to operatic
music, and the sixth takes a supplementary form, having no direct
bearing on the previous matter.

Rimsky-Korsakov altered the title of his book several times, and his
final choice was never made. The title I have selected seems to me to
be the one most suitable to the contents of the work, "principles" in
the truest sense of the word. Some may expect to find the "secrets" of
the great orchestrator disclosed; but, as he himself reminds us in his
preface, "to orchestrate is to create, and this is something which
cannot be taught."

Yet, as invention, in all art, is closely allied to technique, this
book may reveal much to the student of instrumentation.
Rimsky-Korsakov has often repeated the axiom that _good orchestration
means proper handling of parts_. The simple use of tone-colours and
their combinations may also be taught, but there the science of
instruction ends. From these standpoints the present book will furnish
the pupil with nearly everything he requires. The author's death
prevented him from discussing a few questions, amongst which I would
include full polyphonic orchestration and the scoring of melodic and
harmonic designs. But these questions can be partly solved by the
principles laid down in Chapters II and III, and I have no wish to
overcrowd the first edition of this book with extra matter which can
be added later, if it is found to be necessary. I had first of all to
prepare and amplify the sketches made by Rimsky-Korsakov in 1905;
these form a connected summary throughout the whole six chapters.
Chapter I was completed by the author; it is published as it stands,
save for a few unimportant alterations in style. As regards the other
five chapters, I have tried to keep to the original drafts as far as
possible, and have only made a few changes in the order, and one or
two indispensable additions. The sketches made between 1891 and 1893
were too disconnected to be of much