Orchestration 1: Instrumentation & Orchestration Basics
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
Now that you’ve learned how to idiomatically write for each instrument and section, now you’ll discover how to write for each section depending on the role that it’s taking. For example, how to write for violins when you need that soaring strings melody singing on top of the orchestra. Or how to make the cellos and basses provide a cinematic solid low end. How to harmonize trumpets and trombones for that climatic heroic motive. Or haw to arrange woods if we want to color a high strings melody. For each section, you’ll have supporting examples that you can listen to and follow along so you understand how each section performs when it’s performing a melody, countermelody, background, bass… and how it sounds different depending on the voicing, unison, or octaves. ',
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You’ll learn all you need to know about the instruments themselves, the range of sounds they are capable of, the roles they play in the orchestra and how to actually write for them to give your compositions the best chance to shine.
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
Now that you’ve learned how to idiomatically write for each instrument and section, now you’ll discover how to write for each section depending on the role that it’s taking. For example, how to write for violins when you need that soaring strings melody singing on top of the orchestra. Or how to make the cellos and basses provide a cinematic solid low end. How to harmonize trumpets and trombones for that climatic heroic motive. Or haw to arrange woods if we want to color a high strings melody. For each section, you’ll have supporting examples that you can listen to and follow along so you understand how each section performs when it’s performing a melody, countermelody, background, bass… and how it sounds different depending on the voicing, unison, or octaves. ',
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		'content' => '<p>There are two factors that are going to determine the total size of the orchestra or particular section&nbsp;we desire. The first is the loudness we want to achieve with a group of musicians and the second is the type of sound. The first is probably the most obvious: the more musicians we have, the louder the sound. The second is not so obvious. An increasing number of musicians will change the quality of the sound, and, at some point, the type of sound entirely. We can agree that adding more French horns to a solo French horn line would not only change the volume, but the sound of it as well. Similarly, a solo violin doesn’t sound like six violins playing in unison. So when balancing –and budgeting an orchestra– we will have to pay a great deal of attention to both.</p><p>In old school recording sessions (and still part of today’s recordings), as well as live performances, the main problem was only loudness: we want this particular brass/woodwind section to not overpower the string section (or in rare cases vice versa). In this situation, everybody is performing in the same room, so problems with a string section that becomes too thin would be uncommon.</p><p>But today’s recording sessions are often done in a way that every section, if not subsection, is recorded one after the other. This way, balance is not as important as long as all instruments in the room are balanced with each other. A mixing process afterward can take care of re-balancing. </p><hr><blockquote>In an <b>Orchestral Mockup Production</b> context...<br>...if you're orchestrating using <b>sample libraries</b> (<b>virtual instruments</b>) you have extreme control over the balance of the different orchestral sections. Yet wrong balance is the number one factor that's going to make your orchestral mockups sound fake. We've included an <b><a href="/courses/viewTopic/1936">Orchestral Mockup Production BONUS Module</a></b> at the end of this course. Check out the <a href="/courses/viewTopic/1928">Balance</a> and the <a href="/courses/viewTopic/1929">Balance (Bonus Video)</a> topics for more info.</blockquote><hr><p>Coming back to recording with a <b>real orchestra</b>...<br>...if due to budgetary concerns, the string section is reduced too far problems can occur. At some point, the strings will sound thin or, in the worst-case scenario, not even sound as a section but rather as a few soloists playing the same line. Limiting the number of string players also adds another problem: even the best violin/viola players have a hard time playing the same note when there are just three or four. So the end result will not only sound very soloist-ish and thin but also out of tune. Because of all these concerns, we recommend you reference the following “rule of thumb” chart in order to achieve the sound you want for every context.</p><h5>[img=/uploads/topics/chart-with-section-sizes-5c7d70de58db1.jpg]Chart with section sizes: [pdf=/uploads/topics/chart-with-section-sizes-5c7d70be6272a.pdf;Download PDF]</h5><p><br></p><p>Considering the previous chart, and the fact that the larger the instrument is the louder it will sound, we can conclude that some ratios for a balanced string orchestra will be something like the following chart(2):</p><h5>[img=/uploads/topics/chart-with-string-sizes-5c7d70e77e191.jpg] Chart with string sizes: [pdf=/uploads/topics/chart-with-string-sizes-5c7d70c69ec8e.pdf;Download PDF]</h5><p><br></p><p>These number will also depend on how we want the orchestra to sound. We may want the violas to add that warmth to the overall sound or we may want it brighter. On the other hand we might want to have more low register supporting the rest of the strings. And again, the better the players are the better the orchestra will sound both in loudness and tuning.</p><p>The kind of sound we want will also determine the numbers of woodwinds and brass.&nbsp;As for the woodwinds, anything that should sound “soloist-ish” can go from the one woodwind we may want to a duo, trio, quartet or even sextet, in different combinations that we might need for the kind of music we are making. For example, it might be a piece or cue that requires a duet of flutes, an oboe, and a clarinet. Another may ask for an alto flute, an english horn, and a pair of clarinets and bassoons. Then, for a more symphonic woodwind section sound, we can start with a section in a2, expand it with an a3, up to the rare section of a4 or more.</p><p>The brass is slightly different to the woodwinds; they play in unison more often than the woodwind section, so it is not rare to see 2, 4, 6, 8, or even 12 horns playing in unison. And as we see and hear in Mahler symphonies, as soon as the numbers go up in one subsection of the brass we need to raise them in the rest of the subsections. The sound of the French horn section will obviously change its quality going from the pure and mellow sound of a single horn through to the continuously less pure sounding shades of 2, 4, 6 or 8 horns where the sound gets considerably thicker, and more powerful and brassy when they play in forte. The numbers of the trumpets are similar but divided by two, so they go from two trumpets in unison to 3, 4, up to 6. The low brass section doesn’t usually change much from the standard trio of two tenor trombones and a bass trombone or 2/3 tenors and cimbasso, plus a tuba as the foundation.</p><p><span style="letter-spacing: 0.1px;">So, if we put together the numbers of the different sections, </span>we will come<span style="letter-spacing: 0.1px;"> up with the following chart for the whole orchestra(4):</span><br></p><h5>[img=/uploads/topics/chart-with-orchestral-sizes-5c7d70d657387.jpg] Chart with orchestral sizes: [pdf=/uploads/topics/chart-with-orchestral-sizes-5c7d70a40b5a2.pdf;Download PDF]</h5><p><br></p><p><br></p><h6>(1) All numbers are approximations, especially when it comes to ranges.<br>(2) All numbers are approximations, especially when it comes to ranges.<br>(3) In the case of the viola section, it is recommended, although not an extended practice, to use the same number of violas as second violins. Due to the way it is constructed, the viola doesn’t project sound as well as the other members of the string family. For this reason, it is prudent to have extra help.<br>(4) All numbers are approximations, especially when it comes to ranges.<br></h6>',
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
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Understand How To Write For Each Orchestral Section
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
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	'content' => '<p>There are two factors that are going to determine the total size of the orchestra or particular section&nbsp;we desire. The first is the loudness we want to achieve with a group of musicians and the second is the type of sound. The first is probably the most obvious: the more musicians we have, the louder the sound. The second is not so obvious. An increasing number of musicians will change the quality of the sound, and, at some point, the type of sound entirely. We can agree that adding more French horns to a solo French horn line would not only change the volume, but the sound of it as well. Similarly, a solo violin doesn’t sound like six violins playing in unison. So when balancing –and budgeting an orchestra– we will have to pay a great deal of attention to both.</p><p>In old school recording sessions (and still part of today’s recordings), as well as live performances, the main problem was only loudness: we want this particular brass/woodwind section to not overpower the string section (or in rare cases vice versa). In this situation, everybody is performing in the same room, so problems with a string section that becomes too thin would be uncommon.</p><p>But today’s recording sessions are often done in a way that every section, if not subsection, is recorded one after the other. This way, balance is not as important as long as all instruments in the room are balanced with each other. A mixing process afterward can take care of re-balancing. </p><hr><blockquote>In an <b>Orchestral Mockup Production</b> context...<br>...if you're orchestrating using <b>sample libraries</b> (<b>virtual instruments</b>) you have extreme control over the balance of the different orchestral sections. Yet wrong balance is the number one factor that's going to make your orchestral mockups sound fake. We've included an <b><a href="/courses/viewTopic/1936">Orchestral Mockup Production BONUS Module</a></b> at the end of this course. Check out the <a href="/courses/viewTopic/1928">Balance</a> and the <a href="/courses/viewTopic/1929">Balance (Bonus Video)</a> topics for more info.</blockquote><hr><p>Coming back to recording with a <b>real orchestra</b>...<br>...if due to budgetary concerns, the string section is reduced too far problems can occur. At some point, the strings will sound thin or, in the worst-case scenario, not even sound as a section but rather as a few soloists playing the same line. Limiting the number of string players also adds another problem: even the best violin/viola players have a hard time playing the same note when there are just three or four. So the end result will not only sound very soloist-ish and thin but also out of tune. Because of all these concerns, we recommend you reference the following “rule of thumb” chart in order to achieve the sound you want for every context.</p><h5>[img=/uploads/topics/chart-with-section-sizes-5c7d70de58db1.jpg]Chart with section sizes: [pdf=/uploads/topics/chart-with-section-sizes-5c7d70be6272a.pdf;Download PDF]</h5><p><br></p><p>Considering the previous chart, and the fact that the larger the instrument is the louder it will sound, we can conclude that some ratios for a balanced string orchestra will be something like the following chart(2):</p><h5>[img=/uploads/topics/chart-with-string-sizes-5c7d70e77e191.jpg] Chart with string sizes: [pdf=/uploads/topics/chart-with-string-sizes-5c7d70c69ec8e.pdf;Download PDF]</h5><p><br></p><p>These number will also depend on how we want the orchestra to sound. We may want the violas to add that warmth to the overall sound or we may want it brighter. On the other hand we might want to have more low register supporting the rest of the strings. And again, the better the players are the better the orchestra will sound both in loudness and tuning.</p><p>The kind of sound we want will also determine the numbers of woodwinds and brass.&nbsp;As for the woodwinds, anything that should sound “soloist-ish” can go from the one woodwind we may want to a duo, trio, quartet or even sextet, in different combinations that we might need for the kind of music we are making. For example, it might be a piece or cue that requires a duet of flutes, an oboe, and a clarinet. Another may ask for an alto flute, an english horn, and a pair of clarinets and bassoons. Then, for a more symphonic woodwind section sound, we can start with a section in a2, expand it with an a3, up to the rare section of a4 or more.</p><p>The brass is slightly different to the woodwinds; they play in unison more often than the woodwind section, so it is not rare to see 2, 4, 6, 8, or even 12 horns playing in unison. And as we see and hear in Mahler symphonies, as soon as the numbers go up in one subsection of the brass we need to raise them in the rest of the subsections. The sound of the French horn section will obviously change its quality going from the pure and mellow sound of a single horn through to the continuously less pure sounding shades of 2, 4, 6 or 8 horns where the sound gets considerably thicker, and more powerful and brassy when they play in forte. The numbers of the trumpets are similar but divided by two, so they go from two trumpets in unison to 3, 4, up to 6. The low brass section doesn’t usually change much from the standard trio of two tenor trombones and a bass trombone or 2/3 tenors and cimbasso, plus a tuba as the foundation.</p><p><span style="letter-spacing: 0.1px;">So, if we put together the numbers of the different sections, </span>we will come<span style="letter-spacing: 0.1px;"> up with the following chart for the whole orchestra(4):</span><br></p><h5>[img=/uploads/topics/chart-with-orchestral-sizes-5c7d70d657387.jpg] Chart with orchestral sizes: [pdf=/uploads/topics/chart-with-orchestral-sizes-5c7d70a40b5a2.pdf;Download PDF]</h5><p><br></p><p><br></p><h6>(1) All numbers are approximations, especially when it comes to ranges.<br>(2) All numbers are approximations, especially when it comes to ranges.<br>(3) In the case of the viola section, it is recommended, although not an extended practice, to use the same number of violas as second violins. Due to the way it is constructed, the viola doesn’t project sound as well as the other members of the string family. For this reason, it is prudent to have extra help.<br>(4) All numbers are approximations, especially when it comes to ranges.<br></h6>',
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		'content' => '<p>It is hard to summarize a century as diverse orchestrally as the 20th, but we can talk about how it affected film music. This century, which was comprised of the greatest variety and number of artistic movements, had two directions in terms of orchestration: the use of the orchestra as the largest chamber ensemble of a vast array of colors, and the use of it as a number of powerful groups.</p><p>At this point all sections, including the percussion, have roughly the same importance and weight as a group within the orchestra. The strings, which were always busiest in the orchestra, have great versatility, and do not tire after long periods of time playing by themselves , remains the group that carries slightly more music than the others. Overall, however, the entire orchestra is quite balanced.</p><p>A very well-known example of the use of the orchestra as a large chamber ensemble, as well as by moments of the power of the group, is The Rite of Spring by I. Stravinsky which is also likely to be the most influential piece in the entire 20th century. Similarly , we have one of the most influential pieces for film music, The Planets by G. Holst, which make a great use of the orchestra as one entity as well as a delicate group of instruments.</p><h5>[img=uploads/topics/the-rite-of-spring-5933e05f0d6c3.png]For a PDF with an excerpt of the score, click here: [pdf=uploads/topics/stravinsky-i-the-rite-of-spring-introduction-bar-1-5933e09333d3f.pdf;The Rite of Spring]</h5><p><br></p><h5>[img=uploads/topics/the-planets-5933e07997821.png]For a PDF with an excerpt of the score, click here: [pdf=uploads/topics/holst-g-the-planets-op-32-mars-bar-1-59349318bac81.pdf;The Planets]</h5><p><br></p><p>As we can see in the diagrams, both pieces have a very extended percussion section. The brass section surpasses the romantic 4-2-3-1 - in the first case - almost doubling it. The woodwinds in the first case in groups of five and in the second of four. Regarding the strings, although the number is not usually specified for this size of the orchestra, it is not going to be less than 16-14-12-10-6.</p>',
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		'content' => '<p>A clef is a symbol that has the function of naming all the lines and spaces in a stave. Placed at the beginning of each stave it points to a particular line and, depending on the type of clef, assigns it the name and the pitch.</p><p>Although it could be possible to use only one clef for all the instruments in the orchestra there are practical reasons for using more than one. Using different clefs keep most notes inside the stave, helps optimize the use of 8va and 8vb lines, and aids in identifying instruments in a large score.</p><p>There are four types of clefs that are used today:</p><h5>[img=uploads/topics/clefs-59346d541ed5d.png] Chart with the clefs used in the modern orchestra: [pdf=uploads/topics/clefs-59346d6372ba8.pdf;Download PDF]</h5><p><br></p><p><br></p><h6>(7) Note that instruments like the guitar use the treble clef even though its register is almost identical to that of the cello.</h6>',
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