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A Beginner's Guide to Orchestration (In-Depth Tutorial)
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- čas přidán 5. 08. 2024
- I share some basic orchestration techniques when taking piano chords and expanding them to a symphonic orchestra instrumentation. I also analyze the masterful orchestration of the great symphonist, Gustav Mahler, in his transcendental "Resurrection" symphony.
✨Weekly composing tips, advice and tools so we can be creative together: carloslalonde.ck.page/8b93ce6c53
Mahler's 2nd Symphony ("Resurrection"):
- Inside the Score Podcast on Symphony 2: • Discovering Mahler #2 ...
- Full Score & Audio: • Mahler's 2nd Symphony ...
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🎹 Who Am I:
I'm Carlos, a freelance composer and music student. I currently am studying music composition for my Master's degree at Michigan State University and I create insightful videos on both composing, music, and more. Learn about me or contact me at carloslalonde.com/
Time Stamps:
00:00 - Intro
01:20 - Orchestrating Chords in Sibelius
24:19 - Final Orchestration
25:00 - Mahler 2 Finale Analysis
43:30 - Conclusion
Thank you for the detailed and understandable tutorial. It will help me a lot with the orchestration👍👍
You're very welcome!
Well done Dear Lalonde
yo! this is amaing! needed to practice my orchestration actually....this def helped me!
Glad to hear it helped, Cheryl!
Bravo Carlos !!!!. I am impressed by your musical and pedagogical talents. I'm trying to learn orchestration and your video has helped me a lot. I use Dorico with Note Performer and I find it fantastic. I think you should try NP, you would get a lot out of it. Greetings from Seville, Spain.
Was it intentional to tie the D and G across in the violins to the Bb sus or an oversight?
Hi Carlos. Amazing all your videos. Let me ask you. I'm starting work with Sibelius. I have Yamaha PSR-S970. Sibelius recognizes it as mid out? Thank you.
Sibelius should be able to recognize USB midi keyboards/controllers by going to Note Input -> Input Devices -> Find New Input Devices, and then click "OK"
Thank you ! What a great teacher you are. I should practice my orchestration a bit more. Btw can you recommend any good books on this subject ?
Rimsky-Korsakov's "Principles of Orchestration" is a classic which you can find for free online, Another more "modern" one that I use is Samuel Adler's "The Study of Orchestration". However, I've mainly did score study to learn better orchestration.
My question is, are we using rules of harmony when we are composing a piece as you did here? I mean, it is much harder to check for all possible mistakes like parallel / hidden fifths, etc. I am sorry if my question is silly.
Thank you so much for your effort, great job.
IMO, arbitrary rules like avoiding parallel 5ths/octaves are simply antiquated techniques of the common practice period. It's not necessary to follow these unless you are writing in the renaissance, baroque or classical style.
No question is a silly question.
Parallel fifths are not necessarily a bad thing depending upon the chords and the progression. Rather, the idea we should avoid them was the flavor before Joplin and Sousa, who use 5ths extensively.
I'm really impressed, you could have done other things...but seeing you do that...it's really amazing...Bravo Carlos. I ask you because you can clear up the doubt I have about the orchestration,You know that in almost all vst samples... we have an ensemble to play with both hands, but the normal thing is to go by parts like violins 1 second viola etc..You know that in almost all vst samples... That you can play with both hands so that the musicians can play because, as I said, everyone has to play their instrumentIn other words, if I only do harmony with both hands, can they read or does the orchestrator take care of that?I mean, if I harmonize with the strings with both hands and not melody line...the orchestra can later divide and put everything well for each instrument. I hope you can clarify that for me and again I tell you that I am glad to see a boy like you doing that...and not waste time with other things...you will have a great future if you continue...bravo Carlos
If I understand correctly, any orchestrator should be able to take a large blocked chord and expand it out to the string section. And if there's sheet music being created from your DAW project, make sure that the players are given individual notes (or multiple notes on double stops) to read. But you need to consider how much divisi you can have since there are only so many players.
Thanks Carlos!!!
Listen maybe a stupid question but I have a problem reading alto clef at 18:45 you talk about viola staying on Bflat but isn´t the note you wrote in C ??? That would be Bflat but in a standard treble clef.
Good catch! Even now alto clef somehow still can trip me up! Yes that’s supposed to be a Bb not a C.
@@CarlosLalonde Thank you :) nice to know I am getting better at reading alto clef 😂
Isn't that lower C in the contrabass pretty much a given in modern orchestra? Thanks for the video!
The standard is to give the contrabass has root note, cello 2 doubles bass as a barritone range, cello 1 has a 3rd, 5th, or an upper extension, Violas have a 3rd or 5th, or upper extension, 2nd violins a root in middle octave, and Violins an octave above that.
@@Harlem55 sure, but I'm referring to the C extension on contrabass
@@mithramusic5909 the general rule is that we always assume that the contrabass in the strings and the trombones in the brass do not have bass extensions available and write as such if the piece is expected to become a standard (most movie music, classical of the first vienese school, big band, jazz, march, etc.)
The reasons why is that 1. extensions are not within the standard orchestra, and we must assume that we have a standard ensemble if we expect the music to have a large performance venue (especially with students) 2. The extension notes will often impose a key that will make the woodwinds (which are mostly Bb, and Eb instruments) and the brass section (which are mostly Cbb, Bbb, Bb, and F instruments) entertain an undue difficult key- especially if the woodwinds or brass have fast scale runs, trills, etc. such as is common with Sousa, Rimsky-Korsokov, Tchaikovsky, Joplin, Glenn Miller, Lawence Welk, etc. The notable exception being where the music begins over some kind of IV chord. In actual practice good writing will rarely place the strings in the key of C.
Thank you for not making a cringe joke on the B flat sus chord.
I live to serve.
Piccolo is not a transposing instrument, its stays in C.
Transposes up an octave, but yes stays in C
I havent seen the full video yet but quick thing about what you did for timpani
We notate rolls as tremolos. So from what i heard i probably would've written that as a quarter note with an 8th note tremelo and maybe an 8th note right after.
im not 100% on this part, but i think we notate those grace notes with slurs. That specific one you wrote is called a drag, and ive just never seen it written like that.
And on timpani, drags are played with a space between the down beat but its not like that for singular grace notes or on things like snare drum
Thanks for your expertise! I'm not a percussionist, so these tips are quite helpful!
@Carlos Lalonde you're welcome. A quick look at rudiments can help you when writing for drums. It's what we practice a lot and it applies to much of our lives. And for mallets, i feel like as a pianist you should be okay as long as you're not writing crazy intervals for 4 mallets lol